Shamu (Meitei culture)

In Meitei civilization, elephants, known as **Shamu** or **Samu** in Meitei language,
The origin of this particular Meitei clothing dates back to the time of King Loiyumba (c. 10th century CE).

### Medieval times 
The elephant plays a significant role in the story of Rajarshi Bhagyachandra, also known as Karta Maharaj, during his time in Assam. To test his legitimacy as the king of Manipur, the king of Tekhao (Assam) asked Bhagyachandra to capture a wild elephant that had been causing disturbances. This elephant, known for its aggression, had been kept at the Tekhao palace after escaping during the upheaval caused by the 1764 war with Awa.

When Bhagyachandra approached the elephant, it unexpectedly behaved in a calm manner, kneeling before him, allowing him to mount it. This behavior was interpreted as a divine sign, symbolizing Bhagyachandra’s rightful position as the ruler of Manipur. The elephant’s recognition of Bhagyachandra, possibly due to a previous connection, played a pivotal role in the validation of his kingship.

* yāisā () – The most important animal, often referring to a royal horse or elephant.

A performer of dance and music passed through the jungle and encountered the dead elephant. To determine if the elephant was truly dead, he played a traditional musical instrument. The sound caused the eagles to fly out of the elephant's body in fear, briefly causing the elephant to rise into the air. After the man played the musical instrument again, the elephant flew once more, but it fell back to the ground.

The tiger overpowered the elephant and took him captive. Although the tiger considered killing the elephant, he was already full from eating, so he kept the elephant alive for the time being. While captive, the elephant noticed a frog on a nearby tree and called out to it. The loud voice of the elephant angered the frog, which made the elephant even more frustrated.

The mother pebet approached the leader of the herd and respectfully requested that the elephants be careful as they passed. All elephants, except for one, heeded her request. The last elephant, young and arrogant, ignored the plea and, believing his strength made him invincible, crushed the nest and its contents underfoot.

Meanwhile, a couple of foxes found the elephant’s body in the jungle. They decided to live inside the elephant’s stomach to avoid searching for food. After a few days, they grew tired and wanted fresh air, but when they tried to leave, the hole they had made to enter had closed up. They were trapped.

They reached the Sky Kingdom, where the Sky King was surprised to see a human. The man explained that the elephant had eaten his crops and asked for compensation. The King gave him gold and silver and ordered the elephant to take him back home.

The Pebet bird, upset by the loss of her chicks, vowed to take revenge. She began to poke the elephant's back, causing pain and allowing flies to lay maggots on its skin. The elephant became infected and died after a few days.

The cat felt sorry for the bat and agreed to help. While walking through the jungle, the cat asked a beehive for help. The bees agreed to assist and found the elephant. Together, they killed the elephant.

In the classical Meitei epic of Khamba Thoibi, Prince Chingkhu Akhuba and Nongban Kongyamba planned to harm Khuman Khamba. They sent messengers to call Khamba to meet the Prince. On his way, Khamba was stopped by Kongyamba and his men. Kongyamba asked Khamba to give up his feelings for princess Thoibi, but Khamba refused. They fought, and Khamba defeated Kongyamba’s men. He nearly hurt Kongyamba, but Kongyamba’s men pulled him away, beat him, and tied him to an elephant.

The Prince arrived and ordered that Khamba be tied to the elephant. They used ropes to attach Khamba to the elephant's leg, but the elephant did not harm Khamba, thanks to the protection of God Thangjing. Kongyamba struck the elephant with a spear, but the elephant did not react.
   
** Literal Meaning: Playing pena on the elephant’s back.

## Shamu Taipot 
The Shamu Taipot is a decorative howdah that was used by Meitei King Churachand Singh of Manipur (1891–1941 CE). It is traditionally placed on the back of an elephant, secured by ropes around the elephant's belly. It can also be placed across the backs of two elephants in a configuration known as "Khabak Lakpa." This arrangement is used during royal processions and festive occasions. It is crafted from Chingshu teak wood and is designed to resemble a small, dome-shaped temple, a style common in Meitei temples in Bangladesh and in the monuments of the Meitei Kings at RadhaKunda (U.P).

The Shamu Taipot features a double-seated structure with an extended canopy at the front. The four sides of the howdah are decorated with high-relief carvings of animals and floral motifs. The front panel includes two stages with a figure looking backward, with the inscription "MANIPUR STATE" at the top. The lower section of this panel depicts the Nura Khudonglei flowering plant.

## In paintings 
The elephant is a prominent subject in Bhadra's artwork, particularly in his painting Shamu Khongyetpa (Torture of Khamba by Elephant). Bhadra employed techniques of light and shade to create a sense of volume, moving beyond traditional line-oriented illustrations. In this work, the elephant is depicted with a focus on realistic form and detail, showcasing Bhadra’s skill in blending colors and using fine lines. His approach to depicting the elephant contributed to the development of Meitei visual art during the period of cultural renaissance in literature and performing arts.

## Gallery 

Depictions of animals and moon in the illustrations from the Subika Laisaba (ꯁꯨꯕꯤꯀꯥ ꯂꯥꯏꯁꯥꯕ), an 18-19th century Meitei language manuscript in Meitei script (15.5 × 8.5 cm).jpg
Depictions of animals and birds in the illustrations from the Subika Laisaba (ꯁꯨꯕꯤꯀꯥ ꯂꯥꯏꯁꯥꯕ), an 18-19th century Meitei language manuscript in Meitei script.jpg
Kangla Thon 7 Thollangmei.jpg
Depictions of riding elephant, human figures, carrying corpse in coffin and crow, couple in the Subika Laisaba (ꯁꯨꯕꯤꯀꯥ ꯂꯥꯏꯁꯥꯕ), an 18-19th century Meitei language manuscript in Meitei script (30 × 15.5 cm).jpg
A traditional Meitei painting depicting “Jila Durbar” (“Jila Darbar”), the procession of Meitei King Chandrakirti, the Maharaja of Kangleipak (Manipur), riding on the Meitei royal elephants.jpg

## Related pages 
* Lai Haraoba
* Meitei traditional games
* Meitei traditional weapons
* Meitei traditional toys
* Meitei traditional fishing
* Meitei martial arts

## References