Meitei culture

Article
Talk

Read
Edit
View history

Tools

Appearance
Text

Small
Standard
Large

Width

Standard
Wide

Color (beta)

Automatic
Light
Dark

From Wikipedia, the free encyclopedia

"Manipuri civilization" redirects here. For the overall cultural heritage of
Manipur, see Culture of Manipur.
Meetei Mayek
This article contains the Meitei alphabet. Without proper rendering support, you
may see errors in display.

The culture of Meitei civilization evolved over thousands of years, beginning in

Ancient Kangleipak, continuing most notably into Medieval Kangleipak, while
influencing the neighboring states and kingdoms, till present times.
Pakhangba Temple, Kangla, in the classical Meitei architecture, affiliated to the
traditional Meitei religion (Sanamahism)
Armenian stamp illustrating Manipuri classical dance, the "national dance" of
India,[a] the highest spiritual expression of the worship of Hindu deity Krishna,
[4] as well as an intangible cultural heritage of Meitei civilization[5]
The crest of Indian missile destroyer, INS Imphal, illustrating the Kangla
Sanathong (Meitei for 'Kangla Golden Gate') and the Kanglasha dragon lion, two of
the most remarkable cultural heritages of the Meitei civilization
Animals and birds
Main article: Animals in Meitei civilization
Further information: Meitei horse

Dogs are mentioned as friends or companions of human beings, in many ancient Meitei
tales and texts. In many cases, when dogs died, they were given respect by
performing elaborate death ceremonies, equal to that of human beings.[6]

Being wise is appreciated in Meitei sociaty, but cunning is treated with suspicion.
If a person is very cunning, they may be pejoratively be called foxy.[7] Foxes
appear in a number of Meitei folktales, including The Clever Fox (ꯂꯝꯍꯨꯢ ꯂꯧꯁꯤꯡ,
Lamhui Loushing),[8] The Fox and the Jackal (ꯂꯝꯍꯨꯢ ꯑꯃꯁꯨꯡ ꯀꯩꯁꯥꯜ, Lamhui amashung
Keishal),[9] and The Fox's Trick (ꯂꯝꯍꯨꯢ ꯒꯤ ꯇꯥꯠ, Lamhui gi Tat).[10]
Crows
Further information: Kwaak Taanba
Goddess of doves and pigeons
Further information: Khunu Leima
Khunu Leima, the Meitei goddess of doves and pigeons

In Meitei mythology and religion, Khunu Leima (Meitei: ꯈꯨꯅꯨ ꯂꯩꯃ, romanized: /khoo-
noo lei-ma/), also known as Khunureima (Meitei: ꯈꯨꯅꯨꯔꯩꯃ, romanized: /khoo-noo-rei-
ma/), is a goddess associated with pigeons and doves. She is one of the three
dearest daughters of the sky god. Along with her two sisters, Nganu Leima and Shapi
Leima, she got married the same person, who is a mortal.[11]
Pigeon in the story of Sandrembi and Chaisra

In the Meitei folktale of Sandrembi and Chaisra, Lady Sandrembi, after being killed
by her stepsister and stepmother, transformed herself into a pigeon and flew into
the Royal Garden of the king, her husband. She perched on a tree branch and told
the Royal Gardener, about the forgetfulness of the King about his wife Queen
Sandrembi, the animal epidemic happened in the kingdom, the grievances of the
Prince (Sandrembi's son) and the loss of the gardener's own sickle in a recent
past. Sandrembi told him to report these words to the King. The king, on hearing
the news, came by himself, to the pigeon in the garden. Holding some grains of
paddy in his hands, the King brought and kept the supernatural bird (Sandrembi's
bird form) in his custody. Even as a pigeon, she took care of the Prince. During
the King's absence, Chaisra (the imposter and Sandrembi's stepsister) slaughtered
the pigeon and cooked a nice meal from the meat.[12] Upon knowing that the food was
made of the very pigeon, the king refused to dine it and buried the pigeon's
remains in the ground behind the Royal Kitchen.[12]
Hornbills
Further information: Uchek Langmeitong
"Hayainu" as the "Uchek Langmeitong" flying high up the sky

The Meitei folktale of Uchek Langmeitong (Uchek Langmeidong), also known as Chekla
Langmeitong (Chekla Langmeidong), of Ancient Kangleipak (early Manipur),[13][14]
narrates the tragic story of a mortal girl named "Hayainu" (alias Nongdam Atombi),
who turned herself into a Langmeitong (Meitei for 'hornbill bird') as she was
unable to suffer the ill treatments of her cruel and selfish stepmother, in her
father's absence.[13][14][15][16][17]
Sanagi Tenawa : Golden parrot
"Te Te Tenawaa" (lit. "Te Te Parrot") - a traditional Meitei children's song of
Kangleipak

In a Meitei folktale of a Sanagi Tenawa (Meitei for 'golden parrot'), a divine

golden parrot used to live in a land of rocks. It possessed magical spells, due to
which it made all the trees of the land able to talk and move like animals. The
parrot was famous far and wide. In a far away kingdom, a courageous and clever
prince got the news of the parrot, which he wanted to be brought to his kingdom.
Henceforth, in the dead of the night, the prince and his friend, who was a
minister's son, proceeded to find the parrot, without informing his father, the
king. For three full moons of phase, they travelled until they finally reached the
land of rocks. Surprised to see the rocks and the talking trees, and wandering
around, they found out a door way to go inside a cave. When the prince was about to
go inside the cave, he heard a loud sound. The voice from unknown source asked him
to stop going inside the cave for the parrot. Upon investigated, they found the
voice was from a tree monster at the door.[18]

The monster warned them of asking them three questions before they enter. If
answered incorrectly, they would turn into stones. The first question was 'Who is
the happiest man alive?' The prince's answer was 'One who owes no debt to anyone
and who is healthy and free from any illness.' The second question was 'What are
the main qualities of a king?' The prince's answer was 'A king should conduct
according to the wishes of the people, should take care of the poor and destitute,
and should treat everyone equally.' The final question was 'Name the gods one can
see one's own eyes?' The final answer was 'One's birth parents are one's gods that
they can see with their eyes.'[18]

The tree monster was satisfied with all the correct answers and it praised the
prince for his wisdom and intelligence. It allowed the prince for entry and was
vanished from the spot as it was waiting for someone who could answer all the
questions correctly before he leave. Inside the cave, the golden parrot was found
sitting on a golden plate, as was once being under captivity of the tree monster.
The prince was told by the parrot about the way to change the stones into princes.
He had to sprinkle water of the golden pond on them. The prince did and undo the
spells/curses of the stones, bringing them back to life. The princes thanked the
prince and went back to their respective kingdoms. Finally, the parrot was brought
by the prince and his friend to their kingdom.[18]
Waterfowl
Further information: Nganu Leima
Nganu Leima, the Meitei goddess of waterfowls

In Meitei mythology and religion, Nganu Leima (Meitei: ꯉꯥꯅꯨ ꯂꯩꯃ, romanized: /ngaa-
noo lei-ma/), also known as Nganureima (Meitei: ꯉꯥꯅꯨꯔꯩꯃ, romanized: /ngaa-noo-rei-
ma/), is a goddess associated with ducks and other water birds . She is one of the
three dearest daughters of the sky god. Along with her two sisters, Khunu Leima and
Shapi Leima, she married to the same person.[19]
Arts
Classicism in Meitei culture
(Classicalism in Meitei culture)
Clockwise from top: the depiction of Lai Haraoba classical performance[b] on the
Republic Day of India,[20] the Khamba Thoibi classical dance,[b][c] the Thang-Ta
classical martial art,[d] the ancient Meitei language text Numit Kappa, Armenian
stamp illustrating Manipuri classical dance as the "national dance" of India,[e][f]
Cultural origins Meitei culture
Related topics
Intangible cultural heritage of Meitei civilization
Architecture
Main article: Meitei architecture
The architecture of the Inner Entrance Gate, along with the statues of a pair of
Kanglashas, the dragon lions, inside the Kangla, the old metropolis of Ancient
Kangleipak

The architectural works of the Meitei ethnicity is best known through its Meitei
temples as well as ancient buildings including palaces, court halls, offices,
entrance gates and so on.
Notable structures
Further information: Hiyangthang Lairembi Temple; Ima Market; Kangla fort; Kangla
Nongpok Thong; Kangla Sanathong; Kanglasha; Lainingthou Sanamahi Kiyong; Mount
Manipur Memorial; Pakhangba Temple, Kangla; Sanggai Yumpham; and Thangjing Temple,
Moirang
Cinema
Main article: Meitei cinema
Further information: List of Meitei-language films and Cinema of Manipur

Ishanou (Meitei for 'The Chosen One'), a 1990 Indian Meitei language film, was
screened in the Un Certain Regard section in the 1991 Cannes Film Festival,[29] and
again after a gap of 33 years, it was recognized as a "World Classic" in the 2023
Cannes Film Festival. Notably, it was the only film selected from India for the
event in that year.[30][31][32]
Dance

The steps, gaits and poses of using thang (Meitei for 'sword') and ta (Meitei for
'spear') in the traditional Meitei dance-cum-martial art form of Thang-Ta form the
basic foundation of the classical choreographic steps of Lai Haraoba, Manipuri Raas
Leela, Meitei Sankirtana and Pung Cholom.[33]

The Manipuri classical dance, also known as the Manipuri Raas Leela (Meitei: ꯖꯒꯣꯏ
ꯔꯥꯁ/ꯔꯥꯁ ꯖꯒꯣꯏ, romanized: Jagoi Raas/Raas Jagoi[34][35][36]), is a jagoi and is one
of the major Indian classical dance drama forms, originating from Kangleipak
(Meitei for 'Manipur').[37] Formally developed by Meitei Hindu King Ching Thang
Khomba (Meitei for 'Rajarshi Bhagyachandra') of Manipur Kingdom in the 18th century
CE,[38][39][40] the Manipuri classical dance form, which is considered to be the
highest spiritual expression of the worship of Hindu deity Krishna,[41] spreads
across the Indian subcontinent in subsequent centuries.[42] Owing to its huge
influences on the diverse cultural heritages across India, it is recognised by the
Sangeet Natak Akademi of the Ministry of Culture of the Government of India as one
of the few primary classical dance forms of the Republic of India,[43] and is
honoured with the Sangeet Natak Akademi Award for Manipuri every year.[44]

Pung Cholom and Meitei Nata Sankirtana are the other classical dance forms, which
are also related to the Manipuri Raas Leela.[45]

The ritualistic and theatrical dances of the Lai Haraoba, in general and one of its
primary forms, the Khamba Thoibi Jagoi (Meitei for 'Khamba Thoibi dance') in
particular, are also considered to be classical dances.[46] Notably, Lai Haraoba's
Khamba Thoibi Jagoi (Meitei for 'Khamba Thoibi dance') is one of the cultural
elements, giving inspirations to the development of the Manipuri Raas Leela
classical dance drama form.[47]
Dance and Music
Further information: Manipuri classical dance, Jagoi, Music of Manipur, Pena
(musical instrument), Moirang Sai, and Festival of Moirang Shai

“Dance and music play a vital role in the life span of Manipuri people. The
most flourishing branch of Manipuri culture is dance. The Manipuri synonym of dance
is jagoi and in this dance, body movements create either circle or ellipse. Rasa
dance is the finest product of Manipuri culture. Maharaj Bhagyachandra innovated it
and it was first performed in Manipur in 1779 in the fullmoon of Kartik.”
— Banglapedia[48]

Music

Nat (a shortened form of Meitei Nat Sankirtan)[49] is a classical form of music of

Manipur. It is a product of the Sanskritisation of traditional Meitei culture with
Hindu culture by the Brahmanas, having 6 ragas and 36 raginis.[50]

Contrasting to the other forms of Indian classical music, which are performed by
sitting, in the Meitei Nata-Sankirtana, artists perform musical instruments as well
as sing songs, simultaneously performing the delicate movements of the body and
hands, based on the form of Khuthek Anoi (Meitei for 'language of hand movements'),
aligning to different footsteps, based on the Khongthang Anoi (Meitei for 'language
of footsteps').[51]
Martial arts
Further information: Huiyen Lallong
See also: Arambai

Sculptures
Further information: Kanglasha, Marjing Polo Statue, and Statue of Meidingu Nara
Singh
Theatre
Further information: Shumang Kumhei
Notable productions
Further information: Bacchae (Thiyam play), Hojang Taret, Lairembigee Eshei, and
Yamata Amasung Keibu Keioiba
Notable personalities
See also: Ratan Thiyam, Heisnam Kanhailal, and Sabitri Heisnam
Meitei adaptations of classical Greco-Roman plays

Numerous theatrical plays based on Antigone, a princess from ancient Greek

mythology, was and is frequently produced in Meitei language in its own adaptation,
[52][53][54] in Imphal.[55] Malemnganbi is a Meitei adaptation of Sophocles'
ancient Greek tragedy play named Antigone, rescripted by Makhonmani Mongsaba and
directed by Chanam Nillabira Meitei.[56] In 1985–86, Lengshonnei, a play based on
Antigone, adapted into Meitei language, by Ratan Thiyam, was performed in Imphal.
[57][58] Some sources say that he adapted from Antigone (Sophocles play)[59][60]
while some others assert that it was from Antigone (Brecht play).[61][62][63]

Hojang Taret is a classical Meitei language play based on Euripides's ancient Greek
tragedy named "The Phoenician Women".[64] Directed by Oasis Sougaijam and produced
by The Umbilical Theatre in Imphal,[65][66][67] the play shows the moral
uncertainty of the royal sibling rivalry that led to the destruction of the ancient
city of Thebes, Greece.[68][69][70]

Bacchae (Thiyam play) is a classical Meitei language play, based on the eponymous
ancient Greek tragedy, authored by Euripides (480-406 BCE), one of the 3 tragedians
of classical Athens. Directed by Thawai Thiyam, the Meitei play shows the story of
king Pentheus of Thebes and Olympian god Dionysus.[71][72]
Meitei adaptations of classical Sanskrit plays

Classical Sanskrit plays such as Urubhangam (originally authored by Bhasa in 2nd-

3rd century CE) was reproduced into its Meitei version by Ratan Thiyam, shown in
Imphal,[73][74] Panaji,[75] Edinburgh,[76] as well as in Athens.[77] Its another
Meitei version was directed by Uttamkumar Naorem, shown in Kakching.[78]

Others include Shakuntala (based on Kalidas' Abhigyanam Shakuntalam), directed by

Kshetri Jugindro, shown in the Jawaharlal Nehru Dance Academy in Imphal.[79]
Bhagwatajjukiyam (based on Bodhayana's Bhagavadajjukam) was produced in a Meitei
version, directed by Kshetri Jugindro, under the "Manipuri Ensemble", notably
staged in the 2023 Bharat Rang Mahotsav.[80][81]
Clothing
Further information: Kajenglei, Kokyet, Moirang Phee, Phanek, Shaphee Lanphee, and
Wangkhei Phee
Constitutionalism
Main article: Constitutionalism in Meitei civilization
Further information: Loiyumba
Cuisine
Further information: Meitei cuisine, Singju, and Emoinu Fish Fest
Education
Further information: Manipur University of Culture
Hills and mountains
"Ching", a Meitei language root word for "hill" or "mountain"

Many Chings (Meitei for 'hills and mountains') play significant role in different
elements of Meitei culture, including but not limited to Meitei folklore, Meitei
folktales, Meitei literature, Meitei mythology and Meitei religion (Sanamahism) of
Kangleipak (Meitei for 'Manipur').
Terms in Meitei language (officially called 'Manipuri') Translation(s)
 Notes/References
"Ching" (Meitei: ꯆꯤꯡ) either a hill or a mountain [82]
"Cingjāo" (Meitei: ꯆꯤꯡꯖꯥꯎ, lit. 'hill/mountain-to be large') a high mountain
[82]
"Cingdum" (Meitei: ꯆꯤꯡꯗꯨꯝ, lit. 'hill-sth rounded') a hillock; mound [82]
"Cingsāng" (Meitei: ꯆꯤꯡꯁꯥꯡ, lit. 'hill/mountain-to be long') the range of a
hill or mountain [82]
Heingang Ching
Main article: Heingang Ching
The Marjing Polo Statue inside the Marjing Polo Complex in November, 2022

In Meitei mythology and religion (Sanamahism), the Heingang Ching (Meitei: ꯍꯩꯉꯥꯡ
ꯆꯤꯡ) is a sacred mountain and the home of God Marjing, the ancient Meitei deity of
Sagol Kangjei (Meitei for 'polo'), Khong Kangjei (Meitei for 'hockey') and Meitei
horse (Manipuri pony).[83][84]

The Government of Manipur developed Marjing Polo Statue, the world's tallest
equestrian statue of a player of Sagol Kangjei (Meitei for 'polo game'), riding a
Meitei horse (Manipuri pony),[85][83] standing inside the Marjing Polo Complex, the
sacred sports site dedicated to God Marjing, which is on the hilltop of the
Heingang Ching, being historically, mythologically and religiously associated with
the game of polo (Meitei: Sagol Kangjei).[86][87] It is built to commemorate the
game of "modern polo" being originated from Kangleipak (Meitei for 'Manipur').[88]
Koupalu Ching

The Koupalu Ching (Meitei: ꯀꯧꯄꯂꯨ ꯆꯤꯡ), also known as the Koubaru Ching (Meitei:
ꯀꯧꯕꯔꯨ ꯆꯤꯡ) or the Koubru Ching (Meitei: ꯀꯧꯕ꯭ꯔꯨ ꯆꯤꯡ), in the Northwest of
Kangleipak, is a sacred mountain and a divine abode of Koupalu (Koubru), the
ancient Meitei deity, who protects the Northwest direction. Innumerable shrines and
holy sites dedicated to Him are located in its mountainous realms, where Meitei
people regularly visit and worship Him. Many ancient Meitei language texts
including but not limited to the Chinglon Laihui, the Chinggoirol, the Chingsatlon,
the Nunglon mentioned about the Koupalu Ching (Koubru Ching).[89]
Kounu Ching

The "Kounu Ching" (Meitei: ꯀꯧꯅꯨ ꯆꯤꯡ, lit. 'Mount Kounu'), located in the Senapati
district of Manipur, is a sacred mountain as well as a divine abode of ancient
Meitei goddess Kounu, the consort of God Koupalu (Koubru). Numerous shrines and
sacred sites dedicated to her are found scattered across the mountain. Meitei
people regularly visit and worship her in her holy sanctuaries.[90]
Langkol Ching

The Langgol Chinggoiba is an ancient Meitei language text which is a description

for the Langkol Ching (Meitei: ꯂꯥꯡꯀꯣꯜ ꯆꯤꯡ), also called the Langgol Ching (Meitei:
ꯂꯥꯡꯒꯣꯜ ꯆꯤꯡ), a hill situated in the north of Imphal. According to the text, the
Langkol Ching is the first perfect creation of seven goddesses and eighteen gods.
[91]

When Panthoibi, the Meitei princess, was sporting with her paramour Nongpok
Ningthou, she reminded him of the crack of dawn and of the fear of them being seen
by her mother-in-law Manu Tekngā. Henceforth the slope has been known as Chingnung
Shoy.
— Langkol Chingkoipa (Langgol Chinggoiba)[g][91]

And this is the place where Nungpan Choupri maintained his kiddle for which he
laid a wooden beam across the stream and erected strong reeds densely beneath it to
block the passage of fishes. He handed over regularly to his wife those caught in
daytime. But for some successive nights no fish could be found in the trap for
which his wife developed suspicion of his having illicit relation with another
woman. He sincerely pleaded that some evil spirits might have gobbled them up
during the night. The fisherman invoked the god of the sky to save him from this
predicament. Blessed as he was, he kept a night-long vigil on the top of a tree and
could dispel with his sharp sword a rabble of goblins who clambered up to devour
him. Therefore the place took the name of Laihat Shoy and also Aham Shoy as the
fisherman returned home with an empty creel.
— Langkol Chingkoipa (Langgol Chinggoiba)[g][92]

Nongmaiching Ching
Main article: Nongmaiching Ching
The Lainingthou Sanamahi Kiyong shrine is the central body of the University of
Sanamahi Culture, in the hilltop of the Nongmaiching Ching.[93]
Nongmaiching Chingkoipa

The Nongmaijing Chinggoiba (also called, "Nongmaijing Chinggoiba") is an ancient

Meitei language text. It describes the sprawling branches of the Nongmaiching
mountain (Meitei: ꯅꯣꯡꯃꯥꯏꯆꯤꯡ ꯆꯤꯡ), which extends from the North to the South of the
Imphal Valley of Kangleipak.[94] The opening lines of the text describes the
Nongmaiching to a king as follows:

O King, the mountain situated in the east and beyond the river is the abode of
Kainou Chingsomba, lord of the Langmais. They attain majestic heights, are washed
by seven streams, project into nine ranges and abound with deep gorges and sun-
drenched ridges... They catch first the sight of every onlooker and stand steadfast
unshaken by great earthquakes as if held by strong iron pegs and with their peaks
kissed by white flakes of cloud. Their slopes are smoothly carpeted green with
pennyworts under the shadow of tall and robust plants of cane and they are also
dotted with dense growth of tall reeds. And the gorges reverberate against the
strong current of wind. Of these mountain ranges the bard would like to sing.
— Nongmaiching Chingkoipa (Nongmaijing Chinggoiba)[94]

Following these lines, the author describes on many cliffs, slopes and its
peripheral areas of the Nongmaiching mountain.[94]
Panthoibi Naheirol
See also: Panthoibi § Panthoibi Naheirol, and Nongmaiching Ching § Panthoibi
Naheirol

The "Panthoibi Naheirol" (Meitei: ꯄꯥꯟꯊꯣꯏꯕꯤ ꯅꯥꯍꯩꯔꯣꯜ, romanized: pānthoibī nāheirōl)

is an ancient Meitei language text. According to it, ancient Meitei goddess
Panthoibi pretended to be unwell in front of her mother, just to make her mother
call physician Nongpok Ningthou (her secret paramour) for the treatment of her fake
illness.[95] While telling her mother about Nongpok Ningthou, princess Panthoibi
mentioned the Nongmaiching (aka Langmai Ching) as follows:

As I told you there is one who is reigning supreme in the Langmai Hills on
whose slope the sun shines first.
— Panthoibi to her mother in the "Panthoibi Naheirol"[95]

Meitei people
Main article: Meitei people
Further information: Yek Salai, Yumnak Sagei, Mangang, Luwang, Khuman Salai, Angom,
Kha Nganpa, Moilang, and Salai Leishangthem
See also: List of Meitei people and List of Meitei kings
Language
Main article: Meitei language
Further information: Meitei language in Bangladesh and Meitei language in India

Meitei language (Meitei: ꯃꯩꯇꯩꯂꯣꯟ/মৈতৈলোন, romanized: Meiteilon), also known as

Manipuri language (Meitei: ꯃꯅꯤꯄꯨꯔꯤ/মণিপুরী), is a classical language of Tibeto-
Burman branch of the Sino-Tibetan linguistic family, having a literary tradition of
not less than 2000 years.[96] Some of the early literary works include the Ougri
(c. 1st century CE musical composition),[97] the Numit Kappa (c. 1st century CE
narrative work),[98] the Poireiton Khunthok (c. 3rd century CE narrative work),[99]
the Khencho (pre-7th century CE musical composition),[100] 6th-7th century CE
copper plate inscriptions of king Khongtekcha,[101] the Panthoibi Khonggul (c. 8th
century CE narrative work),[102] the Loiyumpa Silyel (c. 11th-12th century CE
written Constitution, drafted in 429 CE), etc.[103] Besides, Meitei language is
best known for its classical association with the Manipuri classical dance and
other intangible cultural heritages of Meitei civilization.[104]
Language related events
Observances
Further information: Meitei language day, Meitei poetry day, and Meitei language
festival
Linguistic movements
Main article: Meitei language movement
Further information: Meitei scheduled language movement, Meitei classical language
movement, Meitei associate official language movement, and Meitei linguistic purism
movement
Literature

"The beginning of this old Manipuri literature (as in the case of Newari) may
go back to 1500 years, or even 2000 years, from now."[105]

—Suniti Kumar Chatterji, Padma Vibhushan awardee Indian scholar

Further information: Ancient Meitei literature and Meitei literature

Meitei literature dates back right from the 15th century BC, during the era of
Tangcha Lee La Pakhangpa (Tangja Leela Pakhangba) (1445 BC-1405 BC) in Ancient
Manipur. The Puya (Meitei texts) account for most of the accounts for the literary
works till Medieval Manipur.[106]

Khamba Thoibi Sheireng (Meitei for 'Epic of Khamba and Thoibi'), the third longest
Indian epic poem, next to the Mahabharata and the Ramayana, is a classical Meitei
epic poem,[107] having 39,000 lines, and is regarded as the national epic of the
Manipuris.[108] The Meitei classic tale of Khamba and Thoibi became an Assamese
classic as well, after being translated into Assamese language as "Khamba Thoibir
Sadhukatha", by Assamese author and anthropologist Rajanikanta Bordoloi (1869-
1939).[109][110]

Besides the Khamba Thoibi, other notable ancient Meitei narrative literary works
which are considered to be classics, include the Nungpan Ponpi Luwaopa, the
Chainarol and the story of Petanga.[111]

The tales of Meitei folklore, which are considered to be classical in heights,

include the stories of Sandrembi and Cheisra,[112] Emoinu (Imoinu),[113] Hanuba
Hanubi Paan Thaaba, Pebet and Hoidong Lamboiba, Thabaton and Keibu Keioiba, Lai
Khutshangbi, Uchek Langmeidong, Eeta Thangmei and Tapta.[114]

Since ancient times, it was continuously used to be the sole "court language" of
the Durbar (court) as well as all the other courts in the Kingdom of Manipur,[115]
later even officially declared as such in the Manipur State Constitution Act 1947,
before Manipur became a territory of the Republic of India.[116]

Owing to its huge literary heritage of ancient and medieval eras written in
traditional Meitei script,[117] it was recognised by the Sahitya Akademi of the
Ministry of Culture of the Government of India as one of the major advanced
languages of India in 1972, and since then, it was honoured annually with the
Sahitya Akademi Award for Meitei, the Sahitya Akademi Translation Prize for Meitei,
the Yuva Puraskar for Meitei and the Bal Sahitya Puraskar Award for Meitei.[118]
Later, it was again recognised by the Government of India as an official scheduled
language, enlisted in the Eighth Schedule to the Constitution of India in 1992.
[119] Since 2013,[120] Meitei classical language movement for the official
recognition of Meitei as a "classical language" is carried out widespreadly, in
Manipur, Assam and Tripura, endorsed by the Government of Manipur, several civil
society organizations and various language experts.[121]

Some of the most prominent Puyas, written in Meitei language (Manipuri language),
[122] are given below in alphabetical order:

Chada Laihui
Chainarol
Chothe Thangwai Pakhangba
Hijan Hirao (Hichan Hilao)
Khongjomnubi Nongarol
Khuman Kangleirol
Khumanlon
Konthoujam Nongarol
Leishemlon
Leithak Leikharol
Moirang Ningthourol Lambuba
Ningthourol Lambuba
Nongban Pombi Luwaoba
Numit Kappa
Panthoibi Khongul
Phouoibi Waron
Poireiton Khunthok
Sakok Lamlen
Sanamahi Laihui
Tharon (Thalon)
Toreirol Lambuba
Tutenglon
Wakoklon Heelel Thilen Salai Amailon Pukok Puya

Mythology and folklore

Main articles: Meitei mythology and Meitei folklore
Further information: Meitei folktales
See also: Khamba and Thoibi and Khamba Thoibi Sheireng