1. Big Buddhas: The Monywa Buddha
This reclining Buddha of Burma (Myanmar), is a frequent theme in Buddhist art, signifies the Buddha’s parinirvana — his death and entry into nirvana. The reclining buddha of Monywa is hollow, and people can walk inside its 300-foot length and view 9,000 small images of the Buddha and his disciples. This was built in 1991.
In the hills South East of Monywa is the Maha Bodhi Ta Htaung, a Burmese monastery known for its two giant images of the Buddha. The images on top of a hill dominate the area and can be seen from far away. The large grounds at the foot of the hill is dotted with thousands of seated Buddha images under Bodhi trees.
Reclining Buddha image
At 90 meters long and 20 meters high the Monywa reclining Buddha is one of the largest in the world. The image dressed in a golden robe resting on a golden pedestal portrays the Buddha on the eve of death and entering into Nirvana.
The image completed in 1991 is hollow; visitors can walk through the interior in which 9,000 small Buddha images are on display.
Standing Buddha image
Towering above the landscape is the Laykyun Setkyar Buddha, a standing image of the Buddha dressed in a golden robe. The stairs to the platform where the image is on is guarded by two large white Chinthes, mythological creatures resembling a lion.
The 31 storey image measures 116 meters high (129 meters including pedestal). It was completed in 2008. The image is hollow; visitors can climb to nearly the top. The ground floor exhibits a number of Buddha images in several mudras.
On the walls of the image’s interior are murals depicting scenes from Buddhist hell and the punishments received by those who stay there. Some rather graphic scenes show the punishments for every type of sin. From the top of the image visitors have great views of the surrounding country side with the mountains in the background.
Aung Sakkya Pagoda
At the foot of the hill is the Aung Sakkya Pagoda, completed in 1979. The 70 meter high pagoda consists of a white base and a golden stupa topped with a hti, an ornamental top element found on most Burmese pagodas. It is surrounded by over a thousand small pagodas enshrining images of the Buddha. Next to the Aung Sakkya pagoda is an ornate pavilion with a multi tiered Pyatthat roof.
The large grounds at the foot of the hill is dotted with thousands of Bodhi trees. The Bodhi tree is highly revered, because it is the tree under which the Buddha meditated and reached enlightenment. Under every tree is an image of the Buddha seated under a pedestal. Spread out across the grounds are several more Buddha images and chedis.
How to get to the Maha Bodhi Ta Htaung
The temple is located about 20 kilometers South East of Monywa. From the center of town, follow road 71 South for about 10 kilometers. Turn left towards the Thanboddhay Paya and the Monywa technical university. The monastery is found at the end of this road.
A ride by tuk tuk from downtown Monywa will take around 45 minutes. To visit both the monastery and nearby Thanboddhay temple charter a tuk tuk for half a day, which will cost around 10,000 Kyat.
In the end, because of China's Spring Temple Buddha, the Bodhi Tataung Standing Buddha only measured as the second tallest statue in the world, though that's no great shame. What is a greater shame is the general disuse the entire Bodhi Tataung site seems to be falling into. Donations are still coming in thick and fast - for the Standing Buddha, at least, the Myanmar government made some generous contributions - but they seem to be focussed on the ongoing construction of new monuments rather than the upkeep of old. Overgrown fields of crumbling Buddhas slowly allow the elements to take over. Only a decade or so old, wandering through these fields is not unlike wandering through ruins of a much more distant era. Even the giant reclining statue looks to be ageing quickly. It looks fine from the outside, but the interior (which also contains dioramas from Buddha's life story) is dirty, has pools of water, and doesn't look like it has been maintained since the day it was finished. An adjoining construction at the back of the statue looks like it's falling down. Bodhi Tataung, just a few decades old, seems already to have its eye on being an archaeological site.
Perhaps that's its perverse intention. Two blogs, one written in 2005 (before the Standing Buddha's completion) and another in 2009, give interestingly different perceptions of the site. The first, in fairness, years before the headline act was complete and thus saying of it "right behind it [the reclining Buddha] another huge structure of grey concrete was towering", describes the scene as extremely tacky and concludes: "For this visit we did not need much time, the four of us were equivocal in our dislike and were happy to return to Mandalay". I personally disagree, but understand the sentiment: Bodhi Tataung will never be to universal acclaim. The second, which I stress is in no way a direct response to the first (which I strongly doubt the writer had seen) makes the interesting point: "True, they’re relatively new constructions, but they’re impressive all the same. If it makes snobby monument connoisseurs feel better, the towering figures are already starting to crumble and should look like ruins within a decade. Give the site time to mature." Would dereliction help Bodhi Tataung? That would be a cruel assessment. With the level of donations that are coming in, some upkeep of the older areas would be a good idea, because even if not to everyone's taste, the scale of it is nonetheless impressive. And give it some time and a little bit of antiquity can do wonders for your sense of taste.
2. Taj Mahal - Agra - India
Famous as one of the wonders of the world, the Taj Mahal at Agra, India, is epitome of true love and passion. The Taj Mahal was built by the famous Mughal emperor Shah Jahan in memory of his beloved wife, Mumtaj Mahal. The architectural beauty and magnificence of the Taj Mahal has never been surpassed. It is said to be the most beautiful monument built by the Mughal rulers and represents the zenith of the Mughal architecture. Built entirely out of white marbles, the beauty of the Taj Mahal is beyond description. The beauty of the Taj Mahal has been aptly summarized by the famous English poet, Sir Edwin Arnold, as "Not a piece of architecture, as other buildings are, but the proud passions of an emperor's love wrought in living stones."
Architecture and Design
Taj Mahal, synonymous with India’s identity, is the crowning jewel of Mughal architecture in India. The Mughal tradition of erecting majestic mausoleums in memory of Royal members found its culmination in the Taj’s majestic form. The Humayun’s tomb built in 1562 was a major influence over Taj’s design. An architectural marvel, the structure incorporates elements of Persian influences like the design of the Dome and incorporation of arched entrances or ‘Iwans’ along with inspiration from contemporary Hindu design elements like chhatris and copious incorporation of the lotus motif. Described by Tagore as “the tear-drop on the cheek of time”, the monument embodies funereal austerity turned into the most beautiful reminder of eternal love.
Taj Mahal is part of an elaborate complex consisting of a decorative gateway, a beautifully designed garden, a wonderful water system and a mosque. The complex is situated on the southern banks of river Yamuna. The complex stretches in a south to north incline towards the river and is constructed in steps.
Exterior of the Taj Mahal
The central focus of the complex is the Tomb structure. Made completely out of white marble, its beauty lies in the symmetry of its architecture. The structure is situated on a raised square plinth, also made of white marble, at a height of 50 m from the river level, at one end of the complex. The tomb itself is situated at the center of the plinth, framed by four equidistant minarets. The Taj Mahal is a square structure with sides measuring 55 m. The minarets are spread at a distance of 41.75 m from the tomb wall and have a height of 39.62 m. There is a bulbous central dome in the main building, 18.28 m in diameter and 73 m in height. The dome is elevated from the top of the building by a 7 m high cylindrical base. It is decorated at its top by lotus motif and ends in a gilded finial topped with the Islamic half-moon. The spherical and grand aspect of the central dome is emphasized by incorporation of smaller domes on both sides in the form of chhatris, also capped in gilded finials. Each minaret is divided into three equal segments by two balconies and has an octagonal base. The delicate curve of the dome is emphasized by the tapering structure and slightly angular placement of the minarets. The entrance to the main tomb is framed by a huge arched vault or Iwan which in turn is again framed by two similar but smaller arches on each side. These arches indicate stacked balconies along two different levels. This is called pishtaqs, which is replicated on all the eight edges of the building affording it another dimension of symmetry.
The juxtaposition of solids and voids in combination with concave and convex design elements create a breathtaking effect of contrast. The marble exterior changes color periodically reflecting the light conditions of the day and produces an astonishing pearly diaphanous effect at night.
The exteriors of the Taj are inlaid with intricate decorations. Generously inlaid with precious gemstones like opals, lapis lazuli and jade, the decorations offer stunning flashes of color against a white background. Stucco and paintings cover the exterior walls along with calligraphy of verses from Quran or excerpts from poems in black marble. Murals of herringbone inlays and marble jaalis, mosaics of colored stones in geometric patterns along with abstract tessellations cover the exterior floors and surfaces.
Interior of the Taj Mahal
The interior of Taj mahal is dominated by a cavernous octagonal central chamber with eight smaller chambers radiating from it. The smaller chambers are leveled across two floors making a total of 16 such niches. The central chamber is the main funerary chamber housing the cenotaphs of Mumtaz Mahal and Shah Jahan. The two ornate marble cenotaphs are enclosed within a marble screen and face the south. The actual sarcophagi are housed below the tomb is a relatively simple crypt.
Although Islam prohibits elaborate decoration of tombs, Shah Jahan flamboyantly overlooked the dictate and commissioned opulent detailing of the interior surfaces. Inlays of Pietra dura and lapidary adorn the floors and works of the walls and floors. Copious amounts of gemstones were used for the design along with colored stones. Highly polished surfaces reflect the light filtered through marble lattice work in the windows and arches. Calligraphic inscriptions of the 99 names of God is carved on the tombs itself and on Shah Jahan’s tomb an addition passage has been inscribed in impeccable calligraphy reading "He travelled from this world to the banquet-hall of Eternity on the night of the twenty-sixth of the month of Rajab, in the year 1076 Hijri.".
The Garden (Mughal Garden) at the Taj Mahal
The garden is an intricate part of Mughal mausoleums and is commonly known as Charbagh. Raised red sandstone pathways divide the Mughal garden into four segments which are in turn fractioned into 16 symmetrical sections. A raised square marble pool is situated midway between the Taj Mahal and the Entrance. The Hawd al-Kawthar or Tank of Abundance positioned on the north-south axis offer beautiful reflection of the Taj in all its glory. Various fruit bearing trees and Cyprus trees symbolizing life and death respectively are arranged in symmetrical equidistant patterns along the raised central pathway. The garden is designed in such a way that it offers unhindered view of the Taj from any random point.
Other Buildings in the Taj Complex
Every element of the Taj complex was designed to uphold the majesty and beauty of the Taj Mahal. The main entrance gateway or Darwaza-e-Rauza is constructed with red sandstone and is designed in such a way that standing outside the archway one cannot see the Taj, but upon entering it manifests offering a breathtaking effect.
The mosque on the western side of the Taj Mahal and the Nakkar Khana or guest house on the eastern side are made with red sandstone. They are mirror images of each other in design, which in Mughal architectural terms is called Jawab, and enhance the symmetry of the Taj along with emphasizing the translucent beauty of the white marble structure.
Construction of the Taj Mahal
Construction of the Taj Mahal started in the year 1632. Around 22,000 masons, stonecutters, calligraphers and artisans, from all over India and Central Asia were employed during the construction period of 22 years. The marble used for the building was sourced from various parts of India and around 1000 elements were employed for this purpose. A board of architects oversaw the design elements under imperial supervision. The main tomb took 10 years to build and other ancillary buildings took another 12 years to complete.
Taj Mahal - Myths & Legends
Several myths surround the Taj Mahal. The most wide spread of them is that after completion of construction, Shah Jahan ordered the thumbs of the architects and workers to be cut of so that they cannot reproduce the work they did for him. This however does not have any historical evidence.
There is also the myth of Shah Jahan commissioning a Black Taj Mahal, but was unable to finish it since his rule was overthrown by his son Aurangzeb. Some historians believe that the ruins excavated in the Mehtab Bagh, situated on the opposite bank of river Yamuna, are the incomplete remains of the structure owing to its similarity with Taj Mahal’s symmetrical architecture.
With a history of about 2,700 years, some of the Great Wall sections are now in ruins or have disappeared. However, the Great Wall of China is still one of the most appealing attractions all around the world owing to its architectural grandeur and historical significance.
The Wall we see today was mostly built during the Ming Dynasty (1368 - 1644). It starts from Hushan in the east to Jiayuguan Pass in the west traversing Liaoning, Hebei, Beijing, Tianjin, Shanxi, Inner Mongolia, Ningxia, Shaanxi, Gansu and Qinghai. Here lists the famous sections for you to know the incredible diversity of scenery along the wall and practical travel tips.
Excitement abounds regarding the vicissitude of the Wall of the Qin, Han, and Ming Dynasties.
The Great Wall was originally built in the Spring and Autumn, and Warring States Periods as a defensive fortification by the three states: Yan, Zhao and Qin. It went through constant extensions and repairs in later dynasties. It began as independent walls for different states when it was first built, and did not become the "Great" wall until the Qin Dynasty.
Emperor Qin Shi Huang succeeded in his effort to have the walls joined together to fend off the invasions from the Huns in the north. Since then, the Wall has served as a monument of the Chinese nation throughout history.
Perhaps that's its perverse intention. Two blogs, one written in 2005 (before the Standing Buddha's completion) and another in 2009, give interestingly different perceptions of the site. The first, in fairness, years before the headline act was complete and thus saying of it "right behind it [the reclining Buddha] another huge structure of grey concrete was towering", describes the scene as extremely tacky and concludes: "For this visit we did not need much time, the four of us were equivocal in our dislike and were happy to return to Mandalay". I personally disagree, but understand the sentiment: Bodhi Tataung will never be to universal acclaim. The second, which I stress is in no way a direct response to the first (which I strongly doubt the writer had seen) makes the interesting point: "True, they’re relatively new constructions, but they’re impressive all the same. If it makes snobby monument connoisseurs feel better, the towering figures are already starting to crumble and should look like ruins within a decade. Give the site time to mature." Would dereliction help Bodhi Tataung? That would be a cruel assessment. With the level of donations that are coming in, some upkeep of the older areas would be a good idea, because even if not to everyone's taste, the scale of it is nonetheless impressive. And give it some time and a little bit of antiquity can do wonders for your sense of taste.
2. Taj Mahal - Agra - India
Famous as one of the wonders of the world, the Taj Mahal at Agra, India, is epitome of true love and passion. The Taj Mahal was built by the famous Mughal emperor Shah Jahan in memory of his beloved wife, Mumtaj Mahal. The architectural beauty and magnificence of the Taj Mahal has never been surpassed. It is said to be the most beautiful monument built by the Mughal rulers and represents the zenith of the Mughal architecture. Built entirely out of white marbles, the beauty of the Taj Mahal is beyond description. The beauty of the Taj Mahal has been aptly summarized by the famous English poet, Sir Edwin Arnold, as "Not a piece of architecture, as other buildings are, but the proud passions of an emperor's love wrought in living stones."
Architecture and Design
Taj Mahal, synonymous with India’s identity, is the crowning jewel of Mughal architecture in India. The Mughal tradition of erecting majestic mausoleums in memory of Royal members found its culmination in the Taj’s majestic form. The Humayun’s tomb built in 1562 was a major influence over Taj’s design. An architectural marvel, the structure incorporates elements of Persian influences like the design of the Dome and incorporation of arched entrances or ‘Iwans’ along with inspiration from contemporary Hindu design elements like chhatris and copious incorporation of the lotus motif. Described by Tagore as “the tear-drop on the cheek of time”, the monument embodies funereal austerity turned into the most beautiful reminder of eternal love.
Taj Mahal is part of an elaborate complex consisting of a decorative gateway, a beautifully designed garden, a wonderful water system and a mosque. The complex is situated on the southern banks of river Yamuna. The complex stretches in a south to north incline towards the river and is constructed in steps.
Exterior of the Taj Mahal
The central focus of the complex is the Tomb structure. Made completely out of white marble, its beauty lies in the symmetry of its architecture. The structure is situated on a raised square plinth, also made of white marble, at a height of 50 m from the river level, at one end of the complex. The tomb itself is situated at the center of the plinth, framed by four equidistant minarets. The Taj Mahal is a square structure with sides measuring 55 m. The minarets are spread at a distance of 41.75 m from the tomb wall and have a height of 39.62 m. There is a bulbous central dome in the main building, 18.28 m in diameter and 73 m in height. The dome is elevated from the top of the building by a 7 m high cylindrical base. It is decorated at its top by lotus motif and ends in a gilded finial topped with the Islamic half-moon. The spherical and grand aspect of the central dome is emphasized by incorporation of smaller domes on both sides in the form of chhatris, also capped in gilded finials. Each minaret is divided into three equal segments by two balconies and has an octagonal base. The delicate curve of the dome is emphasized by the tapering structure and slightly angular placement of the minarets. The entrance to the main tomb is framed by a huge arched vault or Iwan which in turn is again framed by two similar but smaller arches on each side. These arches indicate stacked balconies along two different levels. This is called pishtaqs, which is replicated on all the eight edges of the building affording it another dimension of symmetry.
The juxtaposition of solids and voids in combination with concave and convex design elements create a breathtaking effect of contrast. The marble exterior changes color periodically reflecting the light conditions of the day and produces an astonishing pearly diaphanous effect at night.
The exteriors of the Taj are inlaid with intricate decorations. Generously inlaid with precious gemstones like opals, lapis lazuli and jade, the decorations offer stunning flashes of color against a white background. Stucco and paintings cover the exterior walls along with calligraphy of verses from Quran or excerpts from poems in black marble. Murals of herringbone inlays and marble jaalis, mosaics of colored stones in geometric patterns along with abstract tessellations cover the exterior floors and surfaces.
Interior of the Taj Mahal
The interior of Taj mahal is dominated by a cavernous octagonal central chamber with eight smaller chambers radiating from it. The smaller chambers are leveled across two floors making a total of 16 such niches. The central chamber is the main funerary chamber housing the cenotaphs of Mumtaz Mahal and Shah Jahan. The two ornate marble cenotaphs are enclosed within a marble screen and face the south. The actual sarcophagi are housed below the tomb is a relatively simple crypt.
Although Islam prohibits elaborate decoration of tombs, Shah Jahan flamboyantly overlooked the dictate and commissioned opulent detailing of the interior surfaces. Inlays of Pietra dura and lapidary adorn the floors and works of the walls and floors. Copious amounts of gemstones were used for the design along with colored stones. Highly polished surfaces reflect the light filtered through marble lattice work in the windows and arches. Calligraphic inscriptions of the 99 names of God is carved on the tombs itself and on Shah Jahan’s tomb an addition passage has been inscribed in impeccable calligraphy reading "He travelled from this world to the banquet-hall of Eternity on the night of the twenty-sixth of the month of Rajab, in the year 1076 Hijri.".
The Garden (Mughal Garden) at the Taj Mahal
The garden is an intricate part of Mughal mausoleums and is commonly known as Charbagh. Raised red sandstone pathways divide the Mughal garden into four segments which are in turn fractioned into 16 symmetrical sections. A raised square marble pool is situated midway between the Taj Mahal and the Entrance. The Hawd al-Kawthar or Tank of Abundance positioned on the north-south axis offer beautiful reflection of the Taj in all its glory. Various fruit bearing trees and Cyprus trees symbolizing life and death respectively are arranged in symmetrical equidistant patterns along the raised central pathway. The garden is designed in such a way that it offers unhindered view of the Taj from any random point.
Other Buildings in the Taj Complex
Every element of the Taj complex was designed to uphold the majesty and beauty of the Taj Mahal. The main entrance gateway or Darwaza-e-Rauza is constructed with red sandstone and is designed in such a way that standing outside the archway one cannot see the Taj, but upon entering it manifests offering a breathtaking effect.
The mosque on the western side of the Taj Mahal and the Nakkar Khana or guest house on the eastern side are made with red sandstone. They are mirror images of each other in design, which in Mughal architectural terms is called Jawab, and enhance the symmetry of the Taj along with emphasizing the translucent beauty of the white marble structure.
Construction of the Taj Mahal
Construction of the Taj Mahal started in the year 1632. Around 22,000 masons, stonecutters, calligraphers and artisans, from all over India and Central Asia were employed during the construction period of 22 years. The marble used for the building was sourced from various parts of India and around 1000 elements were employed for this purpose. A board of architects oversaw the design elements under imperial supervision. The main tomb took 10 years to build and other ancillary buildings took another 12 years to complete.
Taj Mahal - Myths & Legends
Several myths surround the Taj Mahal. The most wide spread of them is that after completion of construction, Shah Jahan ordered the thumbs of the architects and workers to be cut of so that they cannot reproduce the work they did for him. This however does not have any historical evidence.
There is also the myth of Shah Jahan commissioning a Black Taj Mahal, but was unable to finish it since his rule was overthrown by his son Aurangzeb. Some historians believe that the ruins excavated in the Mehtab Bagh, situated on the opposite bank of river Yamuna, are the incomplete remains of the structure owing to its similarity with Taj Mahal’s symmetrical architecture.
3. Great wall - China
The Great Wall, one of the greatest wonders of the world, was listed as a World Heritage by UNESCO in 1987. Just like a gigantic dragon, it winds up and down across deserts, grasslands, mountains and plateaus, stretching approximately 21,196 kilometers from east to west of China.With a history of about 2,700 years, some of the Great Wall sections are now in ruins or have disappeared. However, the Great Wall of China is still one of the most appealing attractions all around the world owing to its architectural grandeur and historical significance.
The Wall we see today was mostly built during the Ming Dynasty (1368 - 1644). It starts from Hushan in the east to Jiayuguan Pass in the west traversing Liaoning, Hebei, Beijing, Tianjin, Shanxi, Inner Mongolia, Ningxia, Shaanxi, Gansu and Qinghai. Here lists the famous sections for you to know the incredible diversity of scenery along the wall and practical travel tips.
Excitement abounds regarding the vicissitude of the Wall of the Qin, Han, and Ming Dynasties.
The Great Wall was originally built in the Spring and Autumn, and Warring States Periods as a defensive fortification by the three states: Yan, Zhao and Qin. It went through constant extensions and repairs in later dynasties. It began as independent walls for different states when it was first built, and did not become the "Great" wall until the Qin Dynasty.
Emperor Qin Shi Huang succeeded in his effort to have the walls joined together to fend off the invasions from the Huns in the north. Since then, the Wall has served as a monument of the Chinese nation throughout history.
The mystery of the construction of the wall is amazing. The construction, which drew heavily on the local resources for construction materials, was carried out in-line with the local conditions under the management of contract and responsibility system. A great army of manpower, composed of soldiers, prisoners and local people, built the wall. The construction result demonstrates the wisdom and tenacity of the Chinese people.
Great Wall carries a considerable part of Chinese culture. It has long been incorporated into Chinese mythology and symbolism. The most well-known legend is about the collapse of a section of the Wall caused by Meng Jiangnu, who cried bitterly over the death of her husband after he died while building the wall. This legend has been spread widely through textbooks, folk songs and traditional operas.
Following a 45-day long survey of 101 sections of the Wall in different provinces, the China Great Wall Academy reported on December 12, 2002 that the forces of nature and destruction by mankind are bringing about gradual reduction of extent of the Wall with the result that less than 30% remains in good condition. The Academy has called for greater protection of this important relic.
In the mid-17th century, the Manchus from central and southern Manchuria broke through the Great Wall and encroached on Beijing, eventually forcing the fall of the Ming dynasty and beginning of the Qing (Manchu) dynasty (1644-1912). Between the 18th and 20th centuries, the Great Wall emerged as the most common emblem of China for the Western world, and a symbol both physical–a manifestation of Chinese strength–and psychological–a representation of the barrier maintained by the Chinese state to repel foreign influences and exert control over its citizens.
Today, the Great Wall is generally recognized as one of the most impressive architectural feats in history. In 1987, UNESCO designated the Great Wall a World Heritage site, and a popular claim that emerged in the 20th century holds that it is the only manmade structure that is visible from space. Over the years, roadways have been cut through the wall in various points, and many sections have deteriorated after centuries of neglect. The best-known section of the Great Wall of China–Badaling, located 43 miles (70 km) northwest of Beijing–was rebuilt in the late 1950s, and attracts thousands of national and foreign tourists every day.
The general was later deified in Chinese culture and is reverently referred to as Guan Gong or Guan Di and has come to symbolize brotherhood, integrity, loyalty and righteousness.
The statue was designed by Han Meilin who is known for his designs of the 2008 Beijing Olympics mascots. The legendary figure (48 m tall) stands atop a 10-meter tall pedestal that has been designed to look like an ancient warship. Inside the statue, visitors can explore an 8,000 sq m museum.
In his right hand, Guan Yu is seen holding his famous “Green Dragon Crescent Blade”, an axe-like weapon that weighs over 136 tonnes. Over 4,000 strips of bronze have been glued to the sculpture, which serves as the centrepiece for Jinghzhou’s Guan Yu Park.
I read a translation of The Romance of the Three Kingdoms in 1993 over a six-week period while I was recovering from surgery. It was a compelling read, with every chapter ending with a cliff-hanger, a question and the command to “read on”.
I never could be sure what would happen next. It was as if the author, Luo Ghanzhong, rolled dice or cast I Ching stalks to determine the outcome. But more likely it was because he followed actual historical events, which, unlike fiction, are unpredictable.
The classic Chinese novels are more complex and have many more plot threads than European novels. In terms of plot, War and Peace is a young adult novel to The Three Kingdoms. The translator, Moss Roberts, provided lists of characters, chapter summaries, a chronology, maps and extensive footnotes to help the reader keep track. I referred frequently to all of them.
The central figure is the noble but poor Liu Bei, who swears an oath of friendship in a peach orchard with Xhang Fei and Guan Yu, two heroes he happens to meet in a tavern. The three enlist to defend the Chinese government against the Yellow Banner rebels, who have supernatural powers. They rise in the ranks, and Liu Bei becomes one of a number of independent warlords as the Han dynasty loses power.
His main rival is a Napoleonic figure named Cao Cao, a bold and ruthless figure who stops at nothing. He becomes more and more powerful, eliminating his rivals one by one, all except Liu Bei, who is always able to recover from defeat because people trust him.
The characters are revealed through action, not their interior thoughts, so it is never certain whether Liu Bei is a person of flawless integrity or a brilliant schemer who manipulates things in order to always occupy the moral high ground.
The scheming of the contenders for power would make Machiavelli or Clausewitz seem naive. In one chapter, Guan Yu does not have time to destroy a bridge over a river that stands between his troops and a vastly superior force. So he advances alone, and challenges the enemy commander to single combat. Fearing a trap, the enemy falls back, and Guan Yu has time to destroy the bridge.
When he reports his feat, Liu Bei tells him he is a brave soldier, but a poor tactician. Liu Bei says he could have delayed the force longer if he had left the bridge standing. (Think about it.)
The gardens were also the centre of Sigiriya’s monastic activity before and after Kassapa: there are approximately twenty rock shelters hereabouts which were used by monks, some containing inscriptions dating form between the third century BC and the first century AD. The caves would originally have been plastered and painted, and traces of this ornamentation can still be seen in a few places; you’ll also notice the dripstone ledges which were carved around the entrances in many of the caves of to prevent water from running into them. The Deraniyagala cave, just to the left of the path shortly after it begins to ascend through the gardens (there’s no sign), has a well-preserved dripstone ledge and traces of old paintings including the faded remains of various Apsara figures very similar to the famous Sigiriya Damsels further up the rock. On the opposite side of the main path up the rock, a side path leads to the Cobra Hood Cave, named for its strange decoration and a very faint inscription on the ledge in archaic Brahmi script dating from the second century BC.
Follow the path up the hill behind the Cobra Hood Cave and up through “Boulder Arch No.2” (as it’s signed), then turn left to reach the so-called Audience Hall, where the wooden walls and roof have long since disappeared, but the impressively smooth floor, created by chiseling the top off a single enormous boulder, remains, along with a five-meter-wide “throne” also cut out for a hall, though it’s more likely to have served a purely religious function, with the empty throne representing the Buddha. The small cave on the path just below the Audience Hall retains colorful splashes of various paintings on its ceiling (though now almost obliterated by contemporary graffiti) and is home to another throne, while a couple of more thrones can be found carved into nearby rocks.
Great Wall carries a considerable part of Chinese culture. It has long been incorporated into Chinese mythology and symbolism. The most well-known legend is about the collapse of a section of the Wall caused by Meng Jiangnu, who cried bitterly over the death of her husband after he died while building the wall. This legend has been spread widely through textbooks, folk songs and traditional operas.
Following a 45-day long survey of 101 sections of the Wall in different provinces, the China Great Wall Academy reported on December 12, 2002 that the forces of nature and destruction by mankind are bringing about gradual reduction of extent of the Wall with the result that less than 30% remains in good condition. The Academy has called for greater protection of this important relic.
In the mid-17th century, the Manchus from central and southern Manchuria broke through the Great Wall and encroached on Beijing, eventually forcing the fall of the Ming dynasty and beginning of the Qing (Manchu) dynasty (1644-1912). Between the 18th and 20th centuries, the Great Wall emerged as the most common emblem of China for the Western world, and a symbol both physical–a manifestation of Chinese strength–and psychological–a representation of the barrier maintained by the Chinese state to repel foreign influences and exert control over its citizens.
Today, the Great Wall is generally recognized as one of the most impressive architectural feats in history. In 1987, UNESCO designated the Great Wall a World Heritage site, and a popular claim that emerged in the 20th century holds that it is the only manmade structure that is visible from space. Over the years, roadways have been cut through the wall in various points, and many sections have deteriorated after centuries of neglect. The best-known section of the Great Wall of China–Badaling, located 43 miles (70 km) northwest of Beijing–was rebuilt in the late 1950s, and attracts thousands of national and foreign tourists every day.
4. Guan Yu Statue - China
A colossal statue standing 58 meters (190 ft) tall and weighing over 1,320 tonnes has been unveiled in Jingzhou, China. The incredible statue depicts Guan Yu, a prominent historical figure in Chinese history that was a famous general during the Three Kingdoms period.The general was later deified in Chinese culture and is reverently referred to as Guan Gong or Guan Di and has come to symbolize brotherhood, integrity, loyalty and righteousness.
The statue was designed by Han Meilin who is known for his designs of the 2008 Beijing Olympics mascots. The legendary figure (48 m tall) stands atop a 10-meter tall pedestal that has been designed to look like an ancient warship. Inside the statue, visitors can explore an 8,000 sq m museum.
In his right hand, Guan Yu is seen holding his famous “Green Dragon Crescent Blade”, an axe-like weapon that weighs over 136 tonnes. Over 4,000 strips of bronze have been glued to the sculpture, which serves as the centrepiece for Jinghzhou’s Guan Yu Park.
I read a translation of The Romance of the Three Kingdoms in 1993 over a six-week period while I was recovering from surgery. It was a compelling read, with every chapter ending with a cliff-hanger, a question and the command to “read on”.
I never could be sure what would happen next. It was as if the author, Luo Ghanzhong, rolled dice or cast I Ching stalks to determine the outcome. But more likely it was because he followed actual historical events, which, unlike fiction, are unpredictable.
The classic Chinese novels are more complex and have many more plot threads than European novels. In terms of plot, War and Peace is a young adult novel to The Three Kingdoms. The translator, Moss Roberts, provided lists of characters, chapter summaries, a chronology, maps and extensive footnotes to help the reader keep track. I referred frequently to all of them.
The central figure is the noble but poor Liu Bei, who swears an oath of friendship in a peach orchard with Xhang Fei and Guan Yu, two heroes he happens to meet in a tavern. The three enlist to defend the Chinese government against the Yellow Banner rebels, who have supernatural powers. They rise in the ranks, and Liu Bei becomes one of a number of independent warlords as the Han dynasty loses power.
His main rival is a Napoleonic figure named Cao Cao, a bold and ruthless figure who stops at nothing. He becomes more and more powerful, eliminating his rivals one by one, all except Liu Bei, who is always able to recover from defeat because people trust him.
The characters are revealed through action, not their interior thoughts, so it is never certain whether Liu Bei is a person of flawless integrity or a brilliant schemer who manipulates things in order to always occupy the moral high ground.
The scheming of the contenders for power would make Machiavelli or Clausewitz seem naive. In one chapter, Guan Yu does not have time to destroy a bridge over a river that stands between his troops and a vastly superior force. So he advances alone, and challenges the enemy commander to single combat. Fearing a trap, the enemy falls back, and Guan Yu has time to destroy the bridge.
When he reports his feat, Liu Bei tells him he is a brave soldier, but a poor tactician. Liu Bei says he could have delayed the force longer if he had left the bridge standing. (Think about it.)
5. Sigiriya Rock - Sri lanka
According to inscriptions found in the caves which honeycomb the base of the rock fortress, Sigiriya
served as a place of religious retreat as far back as the third century BC, when Buddhist monks established refuge in the locale. It wasn’t until the fifth century AD, however, that Sigiriya rose briefly to supremacy in Sri Lanka, following the power struggle which succeeded the reign of Dhatusena (455-473) of Anuradhapura.
served as a place of religious retreat as far back as the third century BC, when Buddhist monks established refuge in the locale. It wasn’t until the fifth century AD, however, that Sigiriya rose briefly to supremacy in Sri Lanka, following the power struggle which succeeded the reign of Dhatusena (455-473) of Anuradhapura.
King Dhatusena had two sons, Mogallana, by one of the most desired and finest of his queens, and Kassapa, by a less significant consort. Upon hearing that Mogallana had been declared heir to the throne, Kassapa rebelled, driving Mogallana into exile in India and imprisoning his father, King Dhatusena. The legend of Dhatusena’s subsequent demise offers an enlightening illustration of the importance given to water in early Sinhalese civilization.
Threatened with death if he refused to reveal the whereabouts of the state treasure, Dhatusena agreed to show his errant son its location if he was permitted to bathe one final time in the great Kalawewa Tank, of which the construction he had overseen. Standing within the tank, Dhatusena poured its water through his hands and told Kassapa that this alone was his treasure. Kassapa, none too impressed, had his father walled up in a chamber and left him to die. Mogallana, meanwhile, vowed to return from India and reclaim his inheritance. Kassapa, making preparations for the expected invasion, constructed a new dwelling on top of the 200-metre-high Sigiriya rock – a combination of pleasure palace and indestructible fortress, which Kassapa intended would emulate the legendary abode of Kubera, the god of wealth, while a new city was established around its base. According to folklore, the entire fortress was built in just seven years, from 477 to 485 AD.
The long-awaited invasion finally materialized in 491, Mogallana having raised an army of Tamil mercenaries to fight his cause. Despite the benefits of his indestructible fortress, Kassapa, in an act of fatalistic bravado, descended from his rocky abode and rode boldly out on an elephant at the head of his troops to meet the attackers on the plains below. Unfortunately for Kassapa, his elephant took fright and bolted leading the battle. His troops, thinking he was retreating, fell back and left him to face off the battle. Facing capture and defeat, Kassapa killed himself. Following Mogallana’s quest, Sigiriya was handed over to the Buddhist monks, after which its caves once again became home to religious ascetics seeking peace and solitude. The site was finally abandoned in 1155, after which it remained largely forgotten, except for brief periods of military use by the Kingdom of Kandy in the sixteenth and seventeenth centuries, until being rediscovered by the British in 1828.
Beyond the Water Gardens the main path begins to scale up through the unusual Boulder Gardens, constructed out of the huge boulders which lie tumbled around the foot of the rock, and offering a naturalistic wildness as opposed to the neat symmetries of the water gardens. Many of the boulders are notched with lines of fissures — they look rather like rock-carved steps, but in fact they were used as footings to support the brick walls or timber frames of the numerous buildings a which were built against or on top of the boulders – complex to imagine now, although it must originally have made an extremely picturesque sight.The gardens were also the centre of Sigiriya’s monastic activity before and after Kassapa: there are approximately twenty rock shelters hereabouts which were used by monks, some containing inscriptions dating form between the third century BC and the first century AD. The caves would originally have been plastered and painted, and traces of this ornamentation can still be seen in a few places; you’ll also notice the dripstone ledges which were carved around the entrances in many of the caves of to prevent water from running into them. The Deraniyagala cave, just to the left of the path shortly after it begins to ascend through the gardens (there’s no sign), has a well-preserved dripstone ledge and traces of old paintings including the faded remains of various Apsara figures very similar to the famous Sigiriya Damsels further up the rock. On the opposite side of the main path up the rock, a side path leads to the Cobra Hood Cave, named for its strange decoration and a very faint inscription on the ledge in archaic Brahmi script dating from the second century BC.
Follow the path up the hill behind the Cobra Hood Cave and up through “Boulder Arch No.2” (as it’s signed), then turn left to reach the so-called Audience Hall, where the wooden walls and roof have long since disappeared, but the impressively smooth floor, created by chiseling the top off a single enormous boulder, remains, along with a five-meter-wide “throne” also cut out for a hall, though it’s more likely to have served a purely religious function, with the empty throne representing the Buddha. The small cave on the path just below the Audience Hall retains colorful splashes of various paintings on its ceiling (though now almost obliterated by contemporary graffiti) and is home to another throne, while a couple of more thrones can be found carved into nearby rocks.
The Water Gardens
From the entrance, a wide and straight path arrows directly towards the rock, following the line of an imaginary east-west axis, drawn straight through the rock, around which the whole city had been planned This entire side of the city is protected by a broad moat enclosed within two-tiered walls. Crossing the moat (which once enclosed the entire west-facing side of the complex), you enter the Water Gardens. The appearance of this part varies greatly according to how much rain has recently been encompassed in the area, and in the dry season lack of water means that the gardens can be a little underwhelming.
The first section comprises of four pools set in a square; when full, they create a small island at their centre, connected by pathways to the surrounding gardens. The remains of pavilions can be seen in the rectangular areas to the north and south of the pools. Beyond this area is the small but elaborating Fountain Garden. Features here include a serpentine miniature “river” and limestone-bottomed channels and ponds. Two preserve their ancient fountain sprinklers –while these work on a simple pressure and gravity principle and still spurt out modest plumes of water after a heavy downpour. The whole complex offers a good example of the hydraulic sophistication achieved by the ancient Sinhalese natives in the dry zone: after almost 1500 years of disuse, all that was needed to restore the fountains to working order was to clear the water channels which feed them.
The Mirror Wall
Shortly after reaching the base of the rock, two inconsistent nineteenth – century metal spiral staircases lead to and from a sheltered cave in the sheer rock face that holds Sri Lanka’s most famous sequence of frescoes, popularly referred to as the Sigiriya Damsels (no flash photography is entertained). These busty beauties were painted in the fifth century and are the only non-religious paintings to have survived from ancient Sri Lanka; they’re now one of the island’s most iconic- and most reproduced – images. Once described as the largest picture Gallery in the world, it’s thought that these frescoes would originally have covered an area of some 140 meters by length and 40 meters by height, though only 21 damsels now survive out of an original total of some five hundred (a number of paintings were destroyed by a delinquent in 1967, while a few of the surviving pictures are roped off out of sight). The exact significance of the paintings is unclear: they were originally thought to depict Kassapa’s consorts, though according to modern art historians the most convincing theory is that they are portraits of Apsaras (celestial nymphs), which would explain why they are shown from the waist up only, rising out of a cocoon of clouds (although even if this theory is true, the figures may, of course, have been modeled on particular beauties from Kassapa’s own court). The portrayal of the damsels is strikingly naturalistic, showing them scattering petals and offering flowers and trays of fruit – similar in a style to the famous murals at the Ajanta Caves in India, and a world away from the much later murals at nearby Dambulla, with their stylized and minutely detailed religious tableaux. An endearingly human touch is added by the slip of the brush visible here and there: one damsel has three hands, while another sports three nipples.
Just past the damsels, the pathway runs along the face of the rock, bounded on one side by the Mirror Wall. This was originally coated in highly polished plaster made from lime, egg white, beeswax and wild honey; sections of the original plaster survive and still retain a marvelous polished sheen. The wall is covered in graffiti, the oldest dating from the seventh century, in which early visitors recorded their impressions of Sigiriya and, especially, the nearby damsels – even after the city was abandoned, Sigiriya continued to draw a steady stream of tourists curious to see the remains of Kassapa’s fabulous pleasure-dome. Taken together, the graffiti form a kind of early medieval visitors’ book, and the 685 comments which have been deciphered give important insights into the development of the Sinhalese language and script; some are also of a certain poetic merit. Sadly, the older graffiti are very small and rather hard to see under the layers of deranged scribbling left by later and less cultured hands.
Beyond the Mirror Wall, the path runs along a perilous-looking iron walkway bolted onto the sheer rock face. From here you can see a huge boulder below, propped up on stone slabs. The rather far-fetched popular theory is that, in the event of an attack, the slabs would have been knocked away, causing the boulder to fall onto the attackers below, though it’s more likely that the slabs were designed to stop the boulder inadvertently falling down over the cliff.
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