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It is on the way to Minnanthu Village about 1 ½ miles south-east of Bagan. It was built in 1183 by King Narapatisithu. It is a cave pagoda and massive in structure. Its entrance was decorated superb architectural works of art. There are also wall ink writings of later Innwa and Konbaung Periods. A 15th century writing said it was named Zawta Mani Ruby Brilliance Pagoda.
Legend had it that the King spotted the place exuding ruby-like brilliance and was inspired to build a pagoda there but it happened to be a gorge so he had it filled with earth despite his mentor monk's entreaties. The monk was about to leave the kingdom when the king begged for forgiveness and sought advice to build the pagoda. In order that men might follow the Path and reach fruition in Nibbana, he built a great work of merit with two hollow storeys and called it Sulamani.”
Thus do the chronicles record this act of merit by King Narapatisithu (1174-1211). The name chosen-Culamani in Pali, meaning “Crowning Jewel” – was a particularly sacred one, being the name of the reliquary monument in the celestial abode of Tavatimsa in which as enshrined the holy hair of the Buddha when, as prince Siddhattha, he cut it off to renounce the world and set out on a life of asceticism. The chronicles also record how Narapatisithu settled on a site for the temple. It is said that once, when Narapatisithu was returning from climbing Mount Tuywin, he chanced upon a ruby shining radiantly in a hollow. He exclaimed, “It is a sign for me to make a work of merit here!” and making men fill up the hollow, he built he Sulamani there. The Sulamani consists of two storeys, each of which is square in plan, with porches on all four sides but with the eastern porch extending farther than the others. The upper storey is set back from the lower, but it is of the same height. Both storeys are surmounted by receding terraces, with crenellated parapets and small stupas at the corners. Glazed terracotta plaques of different sizes and patterns decorate the terraces but the damaged spire above conveys a feeling of incompleteness. In the ground storey, a vaulted corridor runs around the central pile of solid brickwork, each side of which has a seated image of the Buddha on a pedestal. The image on the estern side differs slightly from the others, being set into a deep recess. Two narrow flights of steps set into the thick walls lead to the terrace above the estern porch. From there, two broad stairways lead to the upper storey. Here too a vaulted corridor runs around the central block, which has a recess on the estern side to form an image chamber. The inner walls of the temple were once decorated with paintings, but they are now obliterated or overlaid with more recent paintings of no great artistic merit.
Reference
1. Ancient Pagodas in Myanmar Vol I , Jan 2003, by Myat Min Hlaing 2. Glimpses of Glorious Bagan, Jan 1996, by The Universities Historical Research Centre
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