- Architecture of Cambodia
The period of
Angkoris the period from approximately the latter half of the 8th century A.D. to the first half of the 15th century. If precise dates are required, the beginning may be set in 802 A.D., when the KhmerKing Jayavarman IIpronounced himself universal monarch (chakravartin) and declared independence from Java, and the end may be set in 1431 A.D., when Thai invaders from the kingdom of Ayutthaya sacked Angkor and caused the Khmerelite to migrate to Phnom Penh.
In any study of Angkorian architecture, the emphasis is necessarily on religious architecture, since the only remaining Angkorian buildings are religious in nature. During the period of Angkor, only temples and other religious buildings were constructed of stone. Non-religious buildings such as dwellings were constructed of perishable materials such as wood, and as such have not survived.
The religious architecture of
Angkorhas characteristic structures, elements, and motifs, which are identified in the glossary below. Since a number of different architectural styles succeeded one another during the Angkorean period, not all of these features were equally in evidence throughout the period. Indeed, scholars have recurred to the presence or absence of such features as one source of evidence for dating the remains.
Scholars have worked to develop a periodization of Angkorian architectural styles. The following periods and styles may be distinguished. Each is named for a particular temple regarded as paradigmatic for the style. [The periodization of Angkorian architecture presented here is based on that of Freeman and Jacques, "Ancient Angkor", pp.30-31.]
Preah KoStyle (877-886 A.D.): Hariharalayawas the first capital city of the Khmer empirelocated in the area of Angkor; its ruins are in the area now called Roluossome fifteen kilometers southeast of the modern city of Siem Reap. The earliest surviving temple of Hariharalayais Preah Ko; the others are Bakongand Lolei. The temples of the Preah Ko style are known for their small brick towers and for the great beauty and delicacy of their lintels.
* Bakheng Style (889-923): Bakheng was the first temple mountain constructed in the area of Angkor proper north of Siem Reap. It was the state temple of King
Yasovarman, who built his capital of Yasodharapura around it. Located on a hill (phnom), it is currently one of the most endangered of the monuments, having become a favorite perch for tourists eager to witness a glorious sundown at Angkor.
Koh KerStyle (921-944)
Pre RupStyle (944-968): Under King Rajendravarman, the Angkorian Khmer built the temples of Pre Rup, East Mebonand Phimeanakas. Their common style is named after the state temple mountain of Pre Rup.
Banteay SreiStyle (967-1000): Banteay Srei is the only major Angkorian temple constructed not by a monarch, but by a courtier. It is known for its small scale and the extreme refinement of its decorative carvings, including several famous narrative bas-reliefs dealing with scenes from Indian mythology.
BaphuonStyle (1050-1080): Baphuon, the massive temple mountain of King Udayadityavarman IIwas apparently the temple that most impressed the Chinese traveller Zhou Daguan, who visited Angkor toward the end of the 13th century. Its unique relief carvings have a naive dynamic quality that contrast with the rigidity of the figures typical of some other periods. As of 2008, Baphuon is under restoration and cannot currently be appreciated in its full magnificence.
* Classical or
Angkor WatStyle (1080-1175): Angkor Wat, the temple and perhaps the mausoleum of King Suryavarman II, is the greatest of the Angkorian temples and defines what has come to be known as the classical style of Angkorian architecture. Other temples in this style are Banteay Samreand Thommanonin the area of Angkor, and Phimaiin modern Thailand.
* Baroque or
BayonStyle (1181-1243): In the final quarter of the 12th century, King Jayavarman VIIfreed the country of Angkor from occupation by an invasionary force from Champa. Thereafter, he began a massive program of monumental construction, paradigmatic for which was the state temple called the Bayon. The king's other foundations participated in the style of the Bayon, and included Ta Prohm, Preah Khan, Angkor Thom, and Banteay Chmar. Though grandiose in plan and elaborately decorated, the temples exhibit a hurriedness of construction that contrasts with the perfection of Angkor Wat.
BayonStyle (1243-1431): Following the period of frantic construction under Jayavarman VII, Angkorian architecture entered the period of its decline. The 13th century Terrace of the Leper Kingis known for its dynamic relief sculptures of demon kings, dancers, and nagas.
Angkorian builders used
brick, sandstone, lateriteand wood as their materials. The ruins that remain are of brick, sandstone and laterite, the wood elements having been lost to decay and other destructive processes.
The earliest Angkorian temples were made entirely of brick. Good examples are the temple towers of
Preah Ko, Loleiand Bakongat Hariharalaya. Decorations were usually carved into a stucco applied to the brick, rather than into the brick itself. [Freeman and Jacques, "Ancient Angkor", p.27.]
Angkor's neighbor state of
Champawas also the home to numerous brick temples that are similar in style to those of Angkor. The most extensive ruins are at My Sonin Vietnam. A Cham story tells of the time that the two countries settled an armed conflict by means of a tower-building contest proposed by the Cham King Po Klaung Garai. While the Khmer built a standard brick tower, Po Klaung Garai directed his people to build an impressive replica of paper and wood. In the end, the Cham replica was more impressive than the real brick tower of the Khmer, and the Cham won the contest. [Ngô Vǎn Doanh, "Champa: Ancient Towers", p.232.]
The only stone used by Angkorian builders was sandstone, obtained from the
Kulenmountains. Since its obtainment was considerably more expensive than that of brick, sandstone only gradually came into use, and at first was used for particular elements such as door frames. The 10th century temple of Ta Keois the first Angkorian temple to be constructed more or less entirely from Sandstone. [Freeman and Jacques, "Ancient Angkor", p.26.]
Angkorian builders used laterite, a clay that is soft when taken from the ground but that hardens when exposed to the sun, for foundations and other hidden parts of buildings. Because the surface of laterite is uneven, it was not suitable for decorative carvings, unless first dressed with stucco. Laterite was more commonly used in the Khmer provinces than at Angkor itself. [Freeman and Jacques, "Ancient Angkor", p.29.]
The central sanctuary of an Angkorian temple was home to the temple's primary deity, the one to whom the site was dedicated: typically
Shivaor Vishnuin the case of a Hindutemple, Buddha or a bodhisattvain the case of a Buddhisttemple. The deity was represented by a statue (or in the case of Shiva, most commonly by a linga). Since the temple was not considered a place of worship for use by the population at large, but rather a home for the deity, the sanctuary needed only to be large enough to hold the statue or linga; it was never more than a few metres across. [Coedès, "Pour mieux comprendre Angkor", p.91.] Its importance was instead conveyed by the height of the tower ("prasat") rising above it, by its location at the centre of the temple, and by the greater decoration on its walls. Symbolically, the sanctuary represented Mount Meru, the legendary home of the Hindugods. [See Glaize, "Monuments of the Angkor Group", pp.26 ff.]
Khmer temples were typically enclosed by a concentric series of walls, with the central sanctuary in the middle; this arrangement represented the mountain ranges surrounding
Mount Meru, the mythical home of the gods. Enclosures are the spaces between these walls, and between the innermost wall and the temple itself. By modern convention, enclosures are numbered from the centre outwards. The walls defining the enclosures of Khmer temples are frequently lined by galleries, while passage through the walls is by way of gopuras located at the cardinal points. [Glaize, "Monuments of the Angkor Group", p.27.]
A gallery is a passageway running along the wall of an enclosure or along the axis of a temple, often open to one or both sides. Historically, the form of the gallery evolved during the
10th centuryfrom the increasingly long hallways which had earlier been used to surround the central sanctuary of a temple. During the period of Angkor Watin the first half of the 12th century, additional half galleries on one side were introduced to buttressthe structure of the temple.
gopurais an entrance building. At Angkor, passage through the enclosure walls surrounding a temple compound is frequently accomplished by means of an impressive gopura, rather than just an aperture in the wall or a doorway. Enclosures surrounding a temple are often constructed with a gopura at each of the four cardinal points. In plan, gopuras are usually cross-shaped and elongated along the axis of the enclosure wall; if the wall is constructed with an accompanying gallery, the gallery is sometimes connected to the arms of the gopura. Many Angkorian gopuras have a tower at the centre of the cross. The lintels and pediments are often decorated, and guardian figures ( dvarapalas) are often placed or carved on either side of the doorways.
Hall of Dancers
A Hall of Dancers is a structure of a type found in certain late 12th century temples constructed under King
Jayavarman VII: Ta Prohm, Preah Khan, Banteay Kdeiand Banteay Chhmar. It is a rectangular building elongated along the temple's east axis and divided into four courtyards by galleries. Formerly it had a roof made of perishable materials; now only the stone walls remain. The pillars of the galleries are decorated with carved designs of dancing apsaras; hence scholars have suggested that the hall itself may have been used for dancing.
House of Fire
House of Fire, or "Dharmasala", is the name given to a type of building found only in temples constructed during the reign of late 12th century monarch
Jayavarman VII: Preah Khan, Ta Prohmand Banteay Chhmar. A House of Fire has thick walls, a tower at the west end and south-facing windows. [Freeman and Jacques, "Ancient Angkor", p.172.]
Scholars theorize that the House of Fire functioned as a "rest house with fire" for travellers. An inscription at
Preah Khantells of 121 such rest houses lining the highways into Angkor. The Chinese traveller Zhou Daguanexpressed his admiration for these rest houses when he visited Angkor in 1296 A.D. [Coedès, "Pour mieux comprendre Angkor", p.197f.] Another theory is that the House of Fire had a religious function as the repository the sacred flame used in sacred ceremonies.
Structures conventionally known as "libraries" are a common feature of Khmer temple architecture, but their true purpose remains unknown. Most likely they functioned broadly as religious shrines rather than strictly as repositories of manuscripts. Freestanding buildings, they were normally placed in pairs on either side of the entrance to an enclosure, opening to the west. [Freeman and Jacques, "Ancient Angkor", p.30.]
rah and baray
Srahs and barays were reservoirs, generally created by excavation and embankment respectively. It is not clear whether the significance of these reservoirs was religious, agricultural, or a combination of the two.
The two largest reservoirs at Angkor were the
West Barayand the East Baray, located on either side of Angkor Thom. The East Baray is now dry. The West Mebonis an 11th century temple standing at the center of the West Baray; the East Mebona 10th century temple standing at the center of the East Baray. [Freeman and Jacques, "Ancient Angkor", p.161, 188.] The baray associated with Preah Khanis the Jayataka, in the middle of which stands the 12th century temple of Neak Pean. Scholars have speculated that the Jayataka represents the Himalayan lake of Anavatapta, known for its miraculous healing powers. [Freeman and Jacques, "Ancient Angkor", p.178.]
The dominant scheme for the construction of state temples in the Angkorian period was that of the Temple Mountain, an architectural representation of
Mount Meru, the home of the gods in Hindu mythology. [Glaize, "The Monuments of Angkor", p.24.] The style was influenced by Indian temple architecture. Enclosures represented the mountain chains surrounding Mount Meru, while a moat represented the ocean. The temple itself took shape as a pyramid of several levels, and the home of the gods was represented by the elevated sanctuary at the center of the temple. The first great Temple Mountain was the Bakong, a five-level pyramid dedicated in 881 A.D. by King Indravarman I. [Jessup, "Art & Architecture of Cambodia", pp.73 ff.] Other Khmer Temple Mountains include Baphuon, Pre Rup, Ta Keoand most notably Angkor Wat.
Bas-reliefsare individual figures, groups of figures, or entire scenes cut into stone walls, not as drawings but as sculpted images projecting from a background. Sculpture in bas-relief is distinguished from sculpture in haut-relief, in that the latter projects farther from the background, in some cases almost detaching itself from it. The Angkorian Khmerpreferred to work in bas-relief, while their neighbors the Cham were partial to haut-relief.
Narrative bas-reliefs are bas-reliefs depicting stories from mythology or history. Until about the 11th century A.D., the Angkorian Khmer confined their narrative bas-reliefs to the space on the
tympanaabove doorways. The most famous early narrative bas-reliefs are those on the tympana at the 10th century temple of Banteay Srei, depicting scenes from Hindu mythologyas well as scenes from the great works of Indian literature, the Ramayanaand the Mahabharata. By the 12th century, however, the Angkorian artists were covering entire walls with narrative scenes in bas-relief. At Angkor Wat, the external gallery wall is covered with some 12,000 or 13,000 square meters of such scenes, some of them historical, some mythological. Similarly, the outer gallery at the Bayoncontains extensive bas-reliefs documenting the everyday life of the medieval Khmer as well as historical events from the reign of King Jayavarman VII. [Glaize, "Monuments of the Angkor Group", p.36.]
The following is a listing of the motifs illustrated in some of the more famous Angkorian narrative bas-reliefs:
* bas-reliefs in the tympana at
Banteay Srei(10th century)
** the duel of the monkey princes Vali and
Sugriva, and the intervention of the human hero Ramaon behalf of the latter
** the duel of
Bhimaand Duryodhanaat the Battle of Kurukshetra
Rakshasaking Ravanashaking Mount Kailasa, upon which sit Shivaand his shakti
** Kama firing an arrow at
Shivaas the latter sits on Mount Kailasa
** the burning of Khandava Forest by
Agniand Indra's attempt to extinguish the flames
* bas-reliefs on the walls of the outer gallery at
Angkor Wat(mid-12th century)
** the Battle of
Lankabetween the Rakshasasand the vanarasor monkeys
** the court and procession of King
Suryavarman II, the builder of Angkor Wat
Battle of Kurukshetrabetween Pandavasand Kauravas
** the judgment of
Yamaand the tortures of Hell
** the Churning of the Ocean of Milk
** a battle between devas and
** a battle between
Vishnuand a force of asuras
** the conflict between
Krishnaand the asura Bana
** the story of the monkey princes Vali and
* bas-reliefs on the walls of the outer and inner galleries at the
Bayon(late 12th century)
** battles on land and sea between
Khmerand Cham troops
** scenes from the everyday life of
** civil strife among the
** the legend of the Leper King
** the worship of
** groups of dancing
Blind door and window
Angkorean shrines frequently opened in only one direction, typically to the East. The other three sides featured fake or blind doors to maintain symmetry. Blind windows were often used along otherwise blank walls. [Glaize, "Monuments of the Angkor Group", p.40.]
Colonettes were narrow decorative columns that that served as supports for the beams and
lintels above doorways or windows. Depending on the period, they were round, rectangular, or octagonal in shape. Colonettes were often circled with molded rings and decorated with carved leaves. [Glaize, "Monuments of the Angkor Group", p.38.]
Angkorian engineers tended to use the
corbel archin order to construct rooms, passageways and openings in buildings. A corbel arch is constructed by adding layers of stones to the walls on either side of an opening, with each successive layer projecting further towards the centre than the one supporting it from below, until the two sides meet in the middle. The corbel arch is structurally weaker than the true arch, of which the Angkorian engineers appear to have been ignorant. The use of corbelling prevented the Angkorian engineers from constructing large openings or spaces in buildings roofed with stone, and made such buildings particularly prone to collapse once they were no longer maintained. These difficulties did not, of course, exist for buildings constructed with stone walls surmounted by a light wooden roof. The problem of preventing the collapse of corbelled structures at Angkor remains a serious one for modern conservation.Glaize, "Monuments of the Angkor Group", p.32.]
Lintel, pediment, and tympanum
lintelis a horizontal beam connecting two vertical columns between which runs a door or passageway. Because the Angkorean Khmer lacked the ability to construct a true arch, they constructed their passageways using lintels or corbelling. A pedimentis a roughly triangular structure above a lintel. A tympanumis the decorated surface of a pediment.
The styles employed by Angkorean artists in the decoration of lintels evolved over time, as a result, the study of lintels has proven a useful guide to the dating of temples. Some scholars have endeavored to develop a periodization of lintel styles. [See, for example, Freeman and Jacques, "Ancient Angkor", pp.32-35.] The most beautiful Angkorean lintels are thought to be those of the
Preah Kostyle from the late 9th century. [Freeman and Jacques, "Ancient Angkor", pp.32-33.]
Common motifs in the decoration of lintels include the
kala, the naga and the makara, as well as various forms of vegetation. [Glaize, "The Monuments of the Angkor Group", p.40.] Also frequently depicted are the Hindugods associated with the four cardinal directions, with the identity of the god depicted on a given lintel or pediment depending on the direction faced by that element. Indra, the god of the sky, is associated with East; Yama, the god of judgment and Hell, with South; Varuna, the god of the ocean, with West; and Kubera, god of wealth, with North. [Freeman and Jacques, "Ancient Angkor", p.20.]
stairsare notoriously steep. Frequently, the length of the riserexceeds that of the tread, producing an angle of ascent somewhere between 45 and 70 degrees. The reasons for this peculiarity appear to be both religious and monumental. From the religious perspective, a steep stairway can be interpreted as a "stairway to heaven," the realm of the gods. "From the monumental point of view," according to Angkor-scholar Maurice Glaize, "the advantage is clear - the square of the base not having to spread in surface area, the entire building rises to its zenith with a particular thrust."
Apsara and devata
Apsaras, divine nymphs or celestial dancing girls, are characters from Indian mythology. Their origin is explained in the story of the churning of the Ocean of Milk, or samudra manthan, found in the great epic Mahabharata. Other stories in the Mahabharata detail the exploits of individual apsaras, who were often used by the gods as agents to persuade or seduce mythological demons, heroes and ascetics. The widespread use of apsaras as a motif for decorating the walls and pillars of temples and other religious buildings, however, was a Khmer innovation. In modern descriptions of Angkorian temples, the term "apsara" is sometimes used to refer not only to dancers but also to other minor female deities, though minor female deities who are depicted standing about rather than dancing are more commonly called " devatas." [See Rovedo. "Images of the Gods", p.200ff.]
Apsaras and devatas are ubiquitous at
Angkor, but are most common in the foundations of the 12th century. Depictions of true (dancing) apsaras are found, for example, in the Hall of Dancers at Preah Khan, in the pillars that line the passageways through the outer gallery of the Bayon, and in the famous bas-relief of Angkor Watdepicting the churning of the Ocean of Milk. The largest population of devatas (around 2,000) is at Angkor Wat, where they appear individually and in groups. [See Glaize, "Monuments of the Angkor Group", p.37.]
Dvarapalas are human or demonic temple guardians, generally armed with lances and clubs. They are presented either as a stone statues or as relief carvings in the walls of temples and other buildings, generally close to entrances or passageways. Their function is to protect the temples. Dvarapalas may be seen, for example, at Preah Ko, Lolei, Banteay Srei, Preah Khanand Banteay Kdei. [Glaize, "Monuments of the Angkor Group", p.37.]
Gajasimha and Reachisey
The gajasimha is a mythical animal with the body of a lion and the head of an elephant. At Angkor, it is portrayed as a guardian of temples and as a mount for some warriors. The gajasimha may be found at
Banteay Sreiand at the temples belonging to the Roluos group.
The reachisey is another mythical animal, similar to the gajasimha, with the head of a lion, a short elephantine trunk, and the scaly body of a dragon. It occurs at
Angkor Watin the epic bas reliefs of the outer gallery. [Rovedo, "Images of the Gods", pp.211-212.]
Garudais a divine being that is part man and part bird. He is the lord of birds, the mythologial enemy of nagas, and the battle steed of Vishnu. Depictions of Garuda at Angkor number in the thousands, and though Indian in inspiration exhibit a style that is uniquely Khmer.Rovedo, "Images of the Gods", p.177.] They may be classified as follows:
* As part of a narrative bas relief, Garuda is shown as the battle steed of
Vishnuor Krishna, bearing the god on his shoulders, and simultaneously fighting against the god's enemies. Numerous such images of Garuda may be observed in the outer gallery of Angkor Wat.
* Garuda serves as an atlas supporting a superstructure, as in the bas relief at Angkor Wat that depicts heaven and hell. Garudas and stylized mythological lions are the most common atlas figures at Angkor.
* Garuda is depicted in the pose of a victor, often dominating a naga, as in the gigantic relief sculptures on the outer wall of
Preah Khan. In this context, Garuda symblizes the military power of the Khmer kings and their victories over their enemies. Not coincidentally, the city of Preah Khan was built on the site of King Jayavarman VII's victory over invaders from Champa.
* In free-standing naga sculptures, such as in naga bridges and balustrades, Garuda is often depicted in relief against the fan of naga heads. The relationship between Garuda and the naga heads is ambiguous in these sculptures: it may be one of cooperation, or it may again be one of domination of the naga by Garuda.
In the ancient religion of the
Vedas, Indrathe sky-god reigned supreme. In the medieval Hinduismof Angkor, however, he had no religious status, and served only as a decorative motif in architecture. Indra is associated with the East; since Angkorian temples typically open to the East, his image is sometimes encountered on lintels and pediments facing that direction. Typically, he is mounted on the three-headed elephant Airavataand holds his trusty weapon, the thunderbolt or vajra. The numerous adventures of Indra documented in Hindu epic Mahabharataare not depicted at Angkor.
The kala is a ferocious monster symbolic of time in its all-devouring aspect and associated with the destructive side of the god
Siva. [Glaize, "Monuments of the Angkor Group", p.39.] In Khmer temple architecture, the kala serves as a common decorative element on lintels, tympana and walls, where it is depicted as a monstrous head with a large upper jaw lined by large carnivorous teeth, but with no lower jaw. Some kalas are shown disgorging vine-like plants, and some serve as the base for other figures.
Scholars have speculated that the origin of the kala as a decorative element in Khmer temple architecture may be found in an earlier period when the skulls of human victims were incorporated into buildings as a kind of protective magic. Such skulls tended to lose their lower jaws when the ligaments holding them together dried out. Thus, the kalas of Angkor may represent the Khmer civilization's adoption into its decorative iconography of elements derived from long forgotten primitive antecedents. [Rovedo, "Images of the Gods", p.209.]
Scenes from the life of
Krishna, a mythological hero and avatarof the god Vishnu, are common in the relief carvings decorating Angkorian temples, and unknown in Angkorian sculpture in the round. The literary sources for these scenes are the Mahabharata, the Harivamsa, and the Bhagavata Purana. [See Rovedo, "Images of the Gods", pp.76 ff.] The following are some of the most important Angkorian depictions of the life of Krishna:
* A series of bas reliefs at the 11th century temple pyramid called
Baphuondepicts scenes of the birth and childhood of Krishna. [Rovedo, "Images of the Gods", p.76.]
* Numerous bas reliefs in various temples show Krishna subduing the naga
Kaliya. In Angkorian depictions, Krishna is shown effortlessly stepping on and pushing down his opponent's multiple heads. [Rovedo, "Images of the Gods", p.79]
* Also common is the depiction of Krishna as he lifts Mount
Govardhanawith one hand in order to provide the cowherds with shelter from the deluge caused by Indra. [Rovedo, "Images of the Gods", p.80.]
* Krishna is frequently depicted killing or subduing various demons, including his evil uncle
Kamsa. [Rovedo, "Images of the Gods", p.91.] An extensive bas relief in the outer gallery of Angkor Watdepicts Krishna's battle with the asuraBana. In battle, Krishna is shown riding on the shoulders of Garuda, the traditional mount of Vishnu.
* In some scenes, Krishna is depicted in his role as charioteer, advisor and protector of
Arjuna, the hero of the Mahabharata. A well-known bas relief from the 10th century temple of Banteay Sreidepicts the Krishna and Arjuna helping Agnito burn down Khandava forest.
lingais a phallic post or cylinder symbolic of the god Sivaand of creative power. [Glaize, "Monuments of the Angkor Group", p.16.] As a religious symbol, the function of the linga is primarily that of worship and ritual, and only secondarily that of decoration. In the Khmer empire, certain lingas were erected as symbols of the king himself, and were housed in royal temples in order to express the king's consubstantiality with Siva. [Coedès, "Pour mieux comprendre Angkor", p.60.] The lingas that survive from the Angkorean period are generally made of polished stone.
The lingas of the Angkorian period are of several different types.
* Some lingas are implanted in flat square base called a
yoni, symbolic of the womb.
* On the surface of some lingas is engraved the face of Siva. Such lingas are called mukhalingas.
* Some lingas are segmented into three parts: a square base symbolic of
Brahma, an octagonal middle section symbolic of Vishnu, and a round tip symbolic of Shiva.
makarais a mythical sea monster with the body of a serpent, the trunk of an elephant, and a head that can have features reminiscent of a lion, a crocodile, or a dragon. In Khmer temple architecture, the motif of the makara is generally part of a decorative carving on a lintel, tympanum, or wall. Often the makara is depicted with some other creature, such as a lion or serpent, emerging from its gaping maw. The makara is a central motif in the design of the famously beautiful lintels of the Roluos group of temples: Preah Ko, Bakong, and Lolei. At Banteay Srei, carvings of makaras disgorging other monsters may be observed on many of the corners of the buildings.
Mythical serpents, or nagas, represent an important motif in Khmer architecture as well as in free-standing sculpture. They are frequently depicted as having multiple heads, always uneven in number, arranged in a fan. Each head has a flared hood, in the manner of a cobra.
Nagas are frequently depicted in Angkorian lintels. The composition of such lintels characteristically consists in a dominant image at the center of a rectangle, from which issue swirling elements that reach to the far ends of the rectangle. These swirling elements may take shape as either vinelike vegetation or as the bodies of nagas. Some such nagas are depicted wearing crowns, and others are depicted serving as mounts for human riders.
To the Angkorian Khmer, nagas were symbols of water and figured in the myths of origin for the Khmer people, who were said to be descended from the union of an Indian
Brahmanand a serpent princess from Cambodia. [Glaize, "The Monuments of Angkor", p.1.] Nagas were also characters in other well-known legends and stories depicted in Khmer art, such as the churning of the Ocean of Milk, the legend of the Leper King as depicted in the bas-reliefs of the Bayon, and the story of Mucalinda, the serpent king who protected the Buddha from the elements. [Glaize, "The Monuments of the Angkor Group", p.43.]
Naga bridges are causeways or true bridges lined by stone
balustrades shaped as nagas.
In some Angkorian naga-bridges, as for example those located at the entrances to 12th century city of
Angkor Thom, the naga-shaped balustrades are supported not by simple posts but by stone statues of gigantic warriors. These giants are the devas and asuraswho used the naga king Vasukiin order to the churn the Ocean of Milk in quest of the amritaor elixir of immortality. The story of the Churning of the Ocean of Milk or samudra manthanhas its source in Indian mythology.
quincunxis a spatial arrangement of five elements, with four elements placed as the corners of a square and the fifth placed in the center. The five peaks of Mount Meruwere taken to exhibit this arrangement, and Khmer temples was arranged accordingly in order to convey a symbolic identification with the sacred mountain. The five brick towers of the 10th century temple known as East Mebon, for example, are arranged in the shape of a quincunx. The quincunx also appears elsewhere in designs of the Angkorian period, as in the riverbed carvings of Kbal Spean.
Most temples at
Angkorare dedicated to Shiva. In general, the Angkorian Khmer represented and worshipped Shiva in the form of a lingam, though they also fashioned anthropomorphic statues of the god. Anthropomorphic representations are also found in Angkorian bas reliefs. A famous tympanum from Banteay Sreidepicts Shiva sitting on Mount Kailasa with his consort, while the demon king Ravanashakes the mountain from below. At Angkor Watand Bayon, Shiva is depicted as a bearded ascetic. His attributes include the mystical eye in the middle of his forehead, the trident, and the rosary. His vahanaor mount is the bull Nandi.
Angkorian representations of
Vishnuinclude anthropomorphic representations of the god himself, as well as representations of his incarnations or avatars, especially Krishnaand Rama. Depictions of Vishnu are prominent at Angkor Wat, the 12th century temple that was originally dedicated to Vishnu. Bas reliefs depict Vishna battling with against asuraopponents, or riding on the shoulders of his vahanaor mount, the gigantic bird-man Garuda. Vishnu's attributes include the discus, the conch shell, the baton, and the orb.
The nuclear family, in rural Cambodia, typically lives in a rectangular house that may vary in size from four by six meters to six by ten meters. It is constructed of a wooden frame with gabled thatch roof and walls of woven bamboo. Khmer houses typically are raised on stilts as much as three meters for protection from annual floods. Two ladders or wooden staircases provide access to the house. The steep thatch roof overhanging the house walls protects the interior from rain. Typically a house contains three rooms separated by partitions of woven bamboo. The front room serves as a living room used to receive visitors, the next room is the parents' bedroom, and the third is for unmarried daughters. Sons sleep anywhere they can find space. Family members and neighbors work together to build the house, and a house-raising ceremony is held upon its completion. The houses of poorer persons may contain only a single large room. Food is prepared in a separate kitchen located near the house but usually behind it. Toilet facilities consist of simple pits in the ground, located away from the house, that are covered up when filled. Any livestock is kept below the house.
Federal Research Division. Russell R. Ross, ed. "Housing". [http://lcweb2.loc.gov/frd/cs/khtoc.html "Cambodia: A Country Study."] Research completed December 1987. "This article incorporates text from this source, which is in the public domain."]
Chinese and Vietnamese houses in Cambodian town and villages typically are built directly on the ground and have earthen, cement, or tile floors, depending upon the economic status of the owner. Urban housing and commercial buildings may be of brick, masonry, or wood.
*Coedès, George. "Pour mieux comprendre Angkor". Hanoi: Imprimerie d'Extrême-Orient, 1943.
*Freeman, Michael and Jacques, Claude. "Ancient Angkor". Bangkok: River Books, 1999. ISBN 0-8348-0426-3.
*Glaize, Maurice. "The Monuments of the Angkor Group". 1944. A translation from the original French into English is available online at [http://www.theangkorguide.com theangkorguide.com] .
*Jessup, Helen Ibbitson. "Art & Architecture of Cambodia". London: Thames & Hudson, 2004.
*Ngô Vǎn Doanh, "Champa:Ancient Towers". Hanoi: The Gioi Publishers, 2006.
*Rovedo, Vittorio. "Images of the Gods: Khmer Mythology in Cambodia, Laos & Thailand". Bangkok: River Books, 2005.
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