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Pau Cin Hau lai tawh kisai in, tulaitak Michigan University – Graduate School ah thesis a gelh khat om hi. Amah pen Anshuman Pandey , Vaite hi a -   Facebook (http://www. facebook. com/zogamnuam ) ah Pau Cin Hau lai tawh kisai in lai ong khak hi.

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Title: Preliminary Proposal to Encode the Pau Cin Hau Script in ISO/IEC 10646
Author: Anshuman Pandey (pandey@umich.edu)
Status: Individual Contribution
Action: For consideration by UTC
Date: 2010-02-28

1 Introduction
The purpose of this document is to bring the Pau Cin Hau writing system to the attention of the Unicode Technical Committee. Very little information about this script is available in English, but there appears to be a good number of materials written in Chin languages. This document provides a historical background of Pau Cin Hau, briefly describes its structure, presents tentative character names and glyph shapes, and enumerates several encoding issues. Research on the script is ongoing and the present author is in contact with specialists of Chin languages and culture. The information given here is subject to change. It is requested that any information regarding Pau Cin Hau be submitted to the author at the email address given above.

2 Background
The Pau Cin Hau script is the ecclesiastical script of the Laipian religious tradition, which developed in the Chin Hills region at the turn of the 20th century. The script is named after Pau Cin Hau (1859–1948), a ‘Sukte’ (Tedim) Chin, who founded the Laipian tradition and developed the script in order to convey his teachings. In an account given by J. J. Bennison in the 1931 Census of India report for Burma, Pau Cin Hau
stated that the characters of his script were revealed to him in a dream in 1902.1 Pau Cin Hau revised his script twice and developed the third and final form in 1931.

The script was designed to represent Tedim ([ctd]), a northern language of the Kuki-Chin group of the Tibeto-Burman family, which is spoken in Chin State, Myanmar. It is known traditionally as pau cin hau lai “script of Pau Cin Hau”. The Tedim word lai means “writing” and Pau Cin Hau himself is referred to as laipianpa “script creator”.2 The name is also romanized as ‘Pau Chin Hau’ and is known in one source as ‘Bow-chinhow’.3

There appear to be logographic and alphasyllabic forms of Pau Cin Hau. The logographic form is believed to be the original script revealed to Pau Cin Hau (see Figure 6). It is reported that the logographic script consisted of 1,050 characters, which were reduced to a repertoire consisting of 57 characters.4 This 57- character repertoire belongs to the alphasyllabic script described in this document. The transformation of the logographic script into an alphasyllabic form was the final revision made by Pau Cin Hau in 1931. Some characters of both the logographic and alphasyllabic scripts resemble those found in Burmese, Latin, and other writing systems, but these occurances are coincidental. Neither form has a genetic relationship with any other script.

The alphasyllabic script formalized in 1931 was used for writing and printing Laipian and Christian literature. A primer for the script was printed for the purpose of teaching the script (see Figure 3). Books of Laipian ritual songs were written in the script and it is believed that some of these were also printed.5 In 1931, the Baptist and Foreign Bible Society printed the “Sermon on the Mount” from the book of St. Matthew in the ‘Kamhow’ (now known as Tedim) dialect in the Pau Cin Hau script (see Figure 4). At least one metal font was developed in order to print the materials of the Baptist and Foreign Bible Society. The script charts shown in Figure 2 and Figure 3 appear to be printed using different fonts, but there is insufficient information to ascertain the accuracy of this assumption.

The use of the Pau Cin Hau script diminished with the decline of the Laipian tradition and the rise of Christian missionary activity. Baptist missionaries introduced Latin-based orthographies for languages of the Chin Hills and in many cases developed the first orthographies for these languages. A Latin-based script for Tedim was introduced by J. H. Cope, an American Baptist missionary.6 This Latin alphabet is the regular
script for Tedim and has replaced Pau Cin Hau. Although practice of Laipian and usage of the Pau Cin Hau script have declined, both still survive to an extent. It is reported that both the logographic and syllabic systems are still used in a very limited fashion by the Laipian religious community.7 Information on the size of the user community was unavailable to Bennison in 1931;8 the same is true at present. In addition to
the religious uses of Pau Cin Hau, the script appears to enjoy scholarly attention, as is evidenced by articles published online by members of Chin-speaking communities and in websites dedicated to the script.

3 Character Repertoire
The alphasyllabic Pau Cin Hau script has a repertoire of 57 characters, which consists of 21 consonant letters, 7 vowel letters, 9 coda letters, and 20 tone marks. A preliminary code chart and nameslist is provided in Figure 1.

Character names are tentatively assigned according to those given in the script charts. The only exceptions are the names of ???? ?? and ???? ???, which are shown in the charts as ‘á’ and ‘ái’, respectively. Names for the tone marks have been assigned serially based upon the order in which they appear in the charts.

The character names are problematic; please see section 7 for further details.
4 Structure

Pau Cin Hau is written from left to right. It is designed to represent the Tedim language, whose syllable canon may be described as (C1)V1(V2)(C2)T.9 The presence of consonant letters that represent phonemes not used in Tedim suggest that the script was intended to represent other Chin languages, such as Mizo, as well.

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