Khmer Metal Arts

By Tho thon

Metal arts in South East Asia probably originated around 5000 BP, bronze being the first metal used in this region. It was used for making statues and other tools utilized daily. Some artifacts made of iron were used in approximately 2500 BP, and they were needed tools for agriculture.   

In ancient time, trading was conducted by exchanging goods, and later on, the Khmer used metal currency, such as gold, silver, copper, iron, bronze and so on, for commercial purposes. These metals were popularly used in Khmer daily life, covering the fields of economy, society, religion and ornamentation. On the other hand, Khmer people used these metals for making artifacts, weapons, agricultural tools, religious items and other useful daily tools since the pre-historic time. The Khmer used metal for making bronze drums, buffalo-horn-shaped bangles, water-bowls, bells, other iron tools, and gold and silver jewelry. Remarkably, in 1940 during World War II, a French archaeologist named Louis Malleret, conducted an excavation at Oc Ev and discovered 1100 artifacts, such as local figures, deities, Buddha images and Roman coins, dated from the early Christian era. These archaeological finds proved that a commercial relationship occurred by sea trade from Rome to India and then from India to Cambodia, continuing up into China through Tonle Sap and Oc Ev port. This ancient port, located at the coast of the Funan kingdom and spanning over the delta of lower Mekong River (presently in South Viet Nam), played a very important role in the Funan period. The archeological findings from this site were similar to another ancient site at Phoum Snay. Most of these artifacts were bronze anklets, a small copper bowl placed on the corpse’s abdomen, a pair of golden earrings on both ears and a curved copper plate (possibly a head ornament of the corpse). In addition, we can learn from new research at Samrong Sen in Kampong Chhnange province, a cemetery site at Prei Khmeng in Siem Reap province, Phoum 10.8, Kampong Cham province, Bet Meas and Prohear site in Prei veng province. It proved that since pre-historic times the Khmer people could make artifacts composed of bronze, gold, silver, iron and other materials. Here are some samples made of bronze from Phoum Snay and Prohear site, dating from the early 2^nd BC to 5^th-6^th century AD.

According to Andreas Reinecke, Vin Laychour and Seng Sonetra, there were many artifacts made of bronze in the southern Chinese culture located at Kele site in the late Western Han dynasty (202 BC to 9AD). For instance, long buffalo-horn-shaped bangles were found, contemporary to bronze works at Phoum Snay and Prohear site in Cambodia. To elaborate, at the Dong Son culture of northern Viet Nam, dating around 500 BC, drums, weapons made of bronze, as well as some beautiful metal arts imported from China were found. These bronze drums look similar to the one found in a cemetery at Prohear site in Cambodia, specifically, they buried a corpse with the drum and sometimes a corpse’s head is found placed directly in the drum. Also, due to more requirements for Khmer traditions on beliefs and religion, a technique for metal casting developed very quickly. In fact, a statue of Nandi (composed of metal alloys: 80% silver  and 20 % other metals) was found from the 7^th century at the Toul Kuhear ancient site, Kandal province. Nowadays, it is placed in Prasat Hor Preah Trai, Royal palace in Phnom Penh, along with a bronze Yoni with gilded Linga from the 7^th century. A silver-casting image of Vishnu is also found, but today only its head remains dating in the 7^th century.

Therefore, the Khmer have used metals side by side, including tools for their daily activities as well as other purpose since the pre-historic time and finally, reaching its pinnacle in the Angkor period. For instance, there are many metal art works collected and displayed in the Phnom Penh National Museum, the Angkor National Museum, Wat Rajabo and other collections abroad. Precisely, by referring to new research at Samrong Sen pre-historic site, Ou Pijoan and Kok Tameas sites, the scholars assumed that they are from the Bronze Age, and for the Angkor Borei site, Oc Ev, Ba Phnom, Phoum Snay, Prohear, Bet Meas, Prei Khmeng, Phoum 10.8, Krasang Thmei, Prek Poury and Sampov Loun sites are from the iron age, the 2^nd century BC.

References

Abreviation

EFEO: École Française d´Extrême-orient

BEFEO: Bulletin de l´École Française d´Extrême-orient

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1967> vcnanuRkumExµr PaK1 nigPaK2/ e)aHBum<elIkTI5/ PñMeBj³ karpSayrbs;BuT§sasnabNÐitü

2-BUNKE, Emma C. & LATHFORD, Douglas

2004. Adoration and Glory: The Golden Age of Khmer Art,

Chicago: Art Media Resources

3-CAMPBELL, Bronwyn

                2004. Museum Treasures of Southeast Asia, Singapore.

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1925. BEFEO, XXIV: 353

5-CŒDÈS, Georges

1937. Inscription du Cambodge, Volume. I, EFEO, Hanoi

1942. Inscription du Cambodge, Volume. II, EFEO, Hanoi

1951. Inscription du Cambodge, Volume. III, EFEO, Paris

1952. Inscription du Cambodge, Volume.IV, EFEO, Paris

1953. Inscription du Cambodge, Volume.V, EFEO, Paris

1954. Inscription du Cambodge, Volume.VI, EFEO, Paris 

                1964. Inscription du Cambodge, Volume.VII, EFEO, Paris

6-JENNER, Philip N. edited by Doug Cooper

2009. A dictionary of pre-Angkorian Khmer, Australian National University.

2009. A dictionary of Angkorian Khmer, Australian National University.

7-KHOO, James C.M.

 2003, Art & Archaeology of Fu Nan: Pre-Khmer Kingdom of the Lower Mekong Valley, Thailand, Page: 5

8-MALLERET, Louis       

1951.  Aperçu de la Glyptique D’Oc Èo, BEFEO XXIV fase1, Paris, P : 189-199   

9-POU, Saveros

1992. An Old Khmer-French-English Dictionary, Cedoreck, Paris, Page: 373.

10-REINECKE, Andreas & VIN, Laychour & SENG, Sonetra

                2009. The First Golden Age of Cambodia:Excavation at Prohear, Germany, Page: 209

11-VICKERY, Michael 1998. SOCIETY, ECONOMICS, AND POLITICS IN PRE-ANGKOR CAMBODIA: The 7th-8th  Centuries, Japan, Page: 445.

               

Preah Pithu Temple Group

                    By Ven Sophorn

It's Just a few meters from the terrace of leper king and right next to the North Khleangs and the Suor Prat towers. There was a secluded charming cluster of temples (five temples), so-called Preah Pithu temple group. They beared a beautiful name, as we learned from the local: Prasat Kor Sak, Prasat Chorm or Baysei, Prasat Ta Tourt, Kre Preah Pithu, Rean Hal Preah Pithu, An Trai Khai Vonea and Pond of Preah Pithu. Moreover, the artistic work and religious context were so impress, they contained such a gorgeous style from Khleang upto Bayon style, and temples were dedicated to Vishnu, Shiva and Buddhist. Most interestingly, there was a big renovated in Khmer middle period, if we looked in to the central tower of Ta Tourt temple,it was depicted two registers of seated Buddhsa in Bhumispasa Mudra on four sides and other fragments of Seated Buddha to performed in Bhumispasa Mudra with a big Buddhist terrace in the same period.

Angkor National Museum

ANM-Bulletin Vol.1
Ven Sophorn

Art and cultural landmark, reflecting the past!

Cambodia’s golden ancient history and civilization come alive in Siem Reap, most significant art and cultural landmark, the Angkor National Museum.

It has already been a few years, since 12^th November 2007, that we can see this beautifully outstanding museum, recommended as a must-to-see touristic place in Seam Reap Town. The museum is remarkably established in this ancient city and regarded as a world class museum that inspires the wonderful history of Khmer civilization, culture and Art. Anyone traveling along the main road to the Angkor historical park could easily notice this unique building from its museum’s structure where its architectural concept is adopted with a link between the modern and a traditional style of Khmer monument. It is situated in a huge area of over 20,000 square meters. Inside the building, visitors will be impressed with the immense collection of over 1,300 artifacts which are selected, consolidated, and well preserved in the best condition where the visitors can learn and experience in a very comfortable atmosphere.

The artifacts on display are mainly transferred from the National Museum in Phnom Penh and the Conservation d’ Angkor Site (the warehouses in Siem Reap where artifacts have been assembled since 1908). Amongst the exhibits are beautiful Hindu and Buddhist sculptures as well as other priceless objects, revealing its mythologies and historical stories that give good knowledgeable background which can make a good value for the visit. The galleries are equipped with interactive multimedia technology for full picture in a comprehensive way. As a result, a visit to the Angkor National Museum is a worthwhile in addition to any trip to the archaeological and historical park.

There are eight galleries displaying artifacts in chronicle order from the 6^th to the late 18^thcentury A.D. i.e. Exclusive gallery of 1,000 Buddha, Khmer Civilization, Religion and Beliefs, The Great Khmer Kings, Angkor Wat, Angkor Thom, Story from Stones, and Ancient Costume. Upon the visit, the visitors will be treated with warm welcome and convenient services such as fast ticketing, deposit box, fast fact information, and optional services i.e. audio tour guide in 7 languages.

Asura and Deva at Southern gate of Angkor Thom

By Say Sophearin / Editor: Ven Sophorn
ANM-Bulletin vol.1

Angkor Thom was a great city in the Angkor region, erected by King Jayavarman VII (late 12^th –early 13^th century), this city covers 9 square kilometers, surrounded by large moat and five gateways (to the north gate, the villagers called Tvea Dei chhnang, south gate: Tvea Tonle Oum, east gate from Bayon’s access: Tvea Khmoach and east gate from Royal palace’s access called Tvea Chey). This city stands in the north of Angkor Wat and 7.2 kilometers far from Siem reap town, Siem Reap province, Cambodia. By the way, we learnt from Prasat Chrung’s inscriptions, the moat of Angkor Thom and its enclosure walls so-called Jayasindhu and Jayagiri. Besides the great external feature of the city, the internal area of Angkor Thom was elaborated with an outstanding gridline, centered by Prasat Bayon dedicated to Mahayana Buddhism; it played an important role in his reign as the pivot of the sacred city, beliefs and religion. Furthermore, to the north of this temple, it consists of terrace of the elephants, leper king and Prasat Sour Proat, and other temples built before his reign, i.e. Prasat Baphuon, Phimean Akas and Prasat Khleang.

At each gates of Angkor Thom, it flanked by fascinated statue of Deva and Asura which narrated on the most famous Hindu mythology “the churning of the ocean of milk”. And also contained a deep meaning in Khmer context, in order to proclaim a recovery of the country and victory over Cham in 1181 AD. On the other hand, based on a new research, this well-known Hindu myth was depicted since the ancient time, but in Khmer arts, it depicted popularly in the period of Angkor, roughly appeared in the 10^th, 11^th , 12^th and early 13^thcentury and  the most depictions of this myth are on the lintels, pediments and pilasters (Prasat Inkosei, Snoeung, Wat Ek, Preah Vihear, Beng Melea, Chao Saydevada, Thomanon, Banteay Samre, Ta Prohm Tonle Bati, Ta Som, Ba Phuon, Angkor Wat and Bayon) and depicted on a huge panels of the galleries at Angkor Wat and Bayon temple.

Beyond the physical appearance of the churning of the ocean of milk seen at the temples mentioned above. Angkor Thom was exposed uniquely in a huge scale on earth by erecting such a grand city with an abstracted concept of immortal city resulted from the great Hindu mythology “the churning of the ocean of milk”. For instance, there are impressive elements from the myth: Asuras and Devas flanked at each gates of Angkor Thom, posed in pulling action used Vasuki Naga as a rope, Bayon temple centered of the great city as a pivot (Mandara Mountain) and other miracle objects emerged from the churning of the  ocean of milk, i.e. Airvata (the Indra’s vehicle, an elephant with three heads) at each gates of Angkor Thom, Uchhaishravas, the divine 5 headed horse at the terrace of the elephants, Apsaras and a vase of Amrita (nectar) depicted on the bas-relief of Bayon temple.

In 1953, referring to EFEO’s archives (École Française d’extrême-orient), one of the five gates of Angkor Thom, so-called Tvea Tonle Oum (the south gate) has been restored by collecting a different Asura and Deva statues from other four gateways, to be assembled  and fixed at this southern gateway. A total number of Asuras and Devas are 108 (54 Asuras and 54 Devas).

O Paong Temple

     ANM-Bulletin Vol.1

     Ms. Khan Lakhena and Chhun Sambor

Prasat O Paong located on Kulen Mountain in Anlong Thom village, Khnorng Phnom Commune, Svay Leur district and Siem Reap province. It was about 6 Kilometers to the northwest of Preah Ang Thom (a colossal reclining Buddha on Kulen Mountain). This temple stands in the dense forest, next to Ro hal village in the west (presently it was abandoned), Anlong Thom village in the east, forest in the north and close to the creek in the south.

Prasat O Paong was built in four different materials: brick, sandstone, laterite and wood. It is a single sanctuary in brick, 25 meters height in 3 tiers division. Moreover, each tier of its tower is elaborated with false doors and miniature shrines in four cardinal directions. Noteworthy, at the ground level does not have a false door as the first, second and third tier, but it has an accessible doorway enclosed by other three walls. On the other hand, at the upper part of this temple is made by reducing roof technique, it forms three tiers in different height (first tier is 4.10 meters height, second tier is 3.30 meters height and third tier is 2.15 meter height) and maintained properly the same feature in square shape for each tier. Furthermore, the base of Prasat O Paong is also made in brick, square shape and has 16.5 meter length by 16.5 meter width and 1.40 meter height.

Explanatory on the base, it was neither appears with any floral motifs nor figures, but simply carved in convex and concave shape and only three round-lined motifs. Besides, there is a stairway made in sandstone in the eastern side and impressively, Prasat O Paong enclosed by one enclosure wall in brick and laterite, size: 40.5 meter by 37 meters (Chevence, 2005).

There are two remarkable ornaments for architectural element of Prasat O Paong, i.e. lintel and colonettes. It has only one sandstone lintel placed over the entrance doorway (size: 250 centimeters in length and 93 centimeters in height). The condition of the lintel is very good, technically observed, its style is quite similar to Kampong Preah and Sambor Prei kuk: at the central arch, it forms a foliage branch in a bow shape with beautiful divergent tendrils at the end and more elaboration by depicting three medallions, the big central one is carved in poly-lobed medallion as a seated figure on the throne (it might be a king or deity), flanked by two attendants, and a charming head of Rahu or kala is underneath. For other two smaller medallions, it depicts a deity mounting on an animal (Garuda?) in divergent position. Additionally, below this, there is an impressive illumination of a row of larger leaf-motifs turning up with suspended flowers and at the upper frieze of the lintel; there is a row of fish-egg motifs with stylized lotus petals at above. All of these decorations are typically regarded as a new creation art.

Besides the lintel, there are two gorgeous colonettes, flanking at the doorframe with an octagonal shape and richly decorations on the capital, shaft and the base. The capital is remarkably divided in two parts: the upper part has bulb, ring motif and multi-tiny leafs motif. For the lower part, it elaborates with lotus petals at the central part, and surrounded by a row of fish-eggs and large leafs motif.

On the shaft, there are four rings with some leaf ornamentation and small fish-eggs motif. Interestingly, at the base of the colonette, it adorned with four large leafs motif at each corner and attached more illuminations with a ring motif and Chan-flower motifs (Khmer called Kbach Chak Kra Chan and Kbach Phkar Chan).

Due to comparison approach of lintels and colonettes with other contemporary temples, i.e. Prasat Neak Ta and Prasat Krahorm. Prasat O Paong can be assumed that, it was erected under the reign of Jayavarman II (802-850 AD). By the way, referring to the depiction of the lintel of Prasat O Paong, there is a seated human figure on the throne with his right leg hanging down, comprising of the image of Kala or Rahu. More detail, at the end of Garuda’s beak has some folds; this art might be influenced from Javanese art.  

New Discovery from Ta Prohm Temple

By Ven Sophorn

The unique beauty of this temple, known as " tree-temple" , it intertwines between a gigantic tree's roots and  free standing tower of Ta Prohm temple. Beyond of that, it bears a wonderful history and culture in the reign of King Jayavarman VII (late 12th-early 13th century AD).
According to Ta Prohm's inscription, Rajavihara (original name of Ta Prohm temple) was built by King Jayavarman in 1186, dedicating to his mother in form of Prajnaparamita (goddess of wisdom) in Mahayana Buddhism. Moreover, he erected many images of divinities in the temple's shrines.

In facts, on 20 September 2011, the two big Seated Buddha in meditation, sheltered by the Naga were discovered, at Ta prohm's Nata Mandir (dancing hall), by Apsara-Archaeologists: Ven Sophorn, Hou Nolamony, Phoeung Dara and Moul Komnith, incorporated with ASI's team: led by Ds.Sood.

Technical observation,one of them, looks quite similar to the one which french scholar found in the central tower of Bayon temple in 1933 (that is a huge seated Buddha in meditation, sheltered by the Naga; 3.6 meter tall).