Pang, a Cambodian poet, in a tribute to the Khmer ideal of female beauty wrote of the Apsaras in the seventeenth century. These millions of gracious figures, filling you with such emotion that the eye is never wearied, the soul is renewed, and the heart sated! They were never carved by the hands of men! They were created by the gods living, lovely, breathing women! Only the king and the high priest were allowed on the upper or third level of Angkor Wat, it lacks the stately covered galleries of the other two but is the base of the five central towers, one of which contains the most sacred image of the temple.
The square base 60 meters, feet long of the upper level is 13 meters 43 feet high and raises over 40 meters feet above the second level. Twelve sets of stairs with 40 steps each one in the center of each side and two at the corners-ascend at a degree angle giving access to this level. Tip: The stairway to the third level is less steep on the west center but those who suffer from vertigo should use the south stairway center, which has concrete steps and a handrail.
All the repetitive elements of the architectural composition of Angkor Wat appear on the upper level. The space is divided into a cross-shaped area defined with covered galleries and four paved courts. An entry tower with a porch and columns is at the top of each stairway. Passages supported on both sides with double rows of columns link the entry tower to the central structure.
The corners of the upper level are dominated by the four towers. Steps both separate and link the different parts. A narrow covered gallery with a double row of pillars and windows and balusters on the outer side surrounds the third level. The Central sanctuary rises on a tiered base 42 meters feet above the upper level.
The highest of the five towers, it is equal in height to the cathedral of Notre Dame in Paris. This central sanctuary sheltered the sacred image of the temple. It originally had four porches opening to the cardinal directions. The central core was walled up some time after the sacking of Angkor in the middle if the fifteenth century.
Nearly years later French archaeologists discovered a vertical shaft 27 meters 89 feet below the surface in the center of the upper level with a hoard of gold objects at the base. At the summit the layout of Angkor Wat reveals itself at last. The view is a spectacle of beauty befitting the Khmer's architectural genius for creating harmonious proportions.
Tip: Walk all the way around the outer gallery of the upper level to enjoy the view of the surrounding countryside, the causeway in the west and the central group of towers. You have not quite an aerial view the Phnom is not high enough for that But you can see enough to realize something of the superb audacity of the architects who dared to embark upon a single plan measuring nearly a mile square.
Your point of view is diagonal, across the north-west corner of the moat to the soaring lotus-tip of the central sanctuary, you can trace the perfect balance of every faultless line, Worshipful for its beauty bewildering in its stupendous size, there is no other point from which the Wat appears so inconceivable an undertaking to have been attempted-much less achieved by human brains and hands.
The Gallery of Bas-reliefs, surrounding the first level of Angkor Wat, contains 1, square meters 12, square feet of sandstone carvings. The relief covers most of the inner wall of all four sides of the gallery and extend for two meters seven feet from top to bottom. The detail, quality composition and execution give them an unequalled status in world art. Columns along the outer wall of the gallery create an intriguing interplay of light and shadow on the relief. The effect is one of textured wallpaper that looks like the work of painters rather than sculptors' The bas-reliefs are of dazzling rich decoration-always kept in check, never allowed to run unbridled over wall and ceiling possess strength and repose, imagination and power of fantasy, wherever one looks [the] main effect is one of "supreme dignity "wrote a visitor 50 years ago.
The bas-reliefs are divided into eight sections, two on each wall of the square gallery each section depicts a specific theme. In addition the two pavilions at the corners of the west Gallery have a variety of scenes. The book does not include description of badly damaged relief. Some others are unidentifiable. The composition of the relief can be divided into two types scenes without any attempt to contain or separate the contents and scenes contain or separate the contents; and scenes contained in panels which are some-times superimposed on one another-this type is probably later.
The panels run horizontally along the wall and generally consist of two or three parts. Sometimes the borders at the top bottom are also decorated. Themes for the bas-reliefs derive from two main sources-Indian epics and sacred books and warfare of the Angkor Period. Some scholars suggest that the placement of a relief has a relevance to its theme. The relief on the east and west walls, for example, depict themes related to the rising and setting sun.
The word bas means low or shallow and refers to the degree of projection of the relief. The method of creating relief at Angkor Wat was generally to carve away the background leaving the design in relief. Sometime, though the method was reversed giving a sunken appearance. There are two theories as to why this occurred. The position of the sheen and its occurrence in important parts of the relief suggest it may have resulted from visitors rubbing their hands over them.
Some art historians, though think it was the result of lacquer applied over the relief. Traces of gilt and paint, particularly black and red, can also be found on some of the relief's. They are probably the remains of an undercoat or a fixative. Several primitive artistic conventions are seen in the bas-reliefs. A river is represented by two parallel vertical lines with fish swimming between them. As in Egyptian art, a person's rank is indicated by size.
The higher the rank the larger the size. In battle scenes, broken shafts on the ceremonial umbrellas of a chief signify defeat. Perspective is shown by planes placed one above the other. The higher up the wall, the further away is the scene. Figures with legs far apart and knees flexed are in a flying posture.
Tip: As the bas-reliefs at Angkor Wat were designed for viewing from to lefts the visitor should, follow this convention for maximum appreciation.
Enter at the west entrance, turn right into the gallery and continue walking counterclockwise. If you start from another point always keep the monument on your left. If one's time at Angkor is limited, the following bas-recommended.
Description of the bas-reliefs in this guidebook follows the normal route for viewing Angkor Wat. They begin in the middle of the West Gallery and continue counter clockwise. The other half of the West Gallery is at the end of the section. Identifying characteristics are in parenthesis and the locations of scenes on the bas-reliefs are in bold type. This battle scene is the main subject of the Hindu epic Mahabharata. It recalls the historic was wars in Kurukshetra, a province in India, and depicts the last battle between rival enemies who are cousins see page 54 for a description of this legend.
The armies of the Kauravas and the Pandavas march from opposite ends towards the center of the panel where they meet in combat. Headpieces differentiate the warriors of the two armies. The scene begins with infantry marching into battle and musicians playing a rhythmic cadence. The battlefield is the scene of hand-to-hand combat and many dead soldiers.
Chief officers and generals represented on a larger scale oversee the battle in chariots and on elephants and horses. Bisma near the beginning of the pane , one of the heroes of the Mahabharata and commander of the Kauravas, pierced with arrow, is dying and his men surround him. Arjuna holding a shield decorated with the face of the demon rahu shoots an arrow at Krsna, his half-brother, and kills him. After death, Krisna four arms becomes the charioteer of Arjuna.
Enter the pavilion and view the scenes facing you. Then continue clockwise around the pavilion. The bas-reliefs in this pavilion depict scenes from epic the Ramayana. A- Left, Water festival; two ships superimposed with Apsaras, chess players top ship B- Center, above the door: A god receiving offerings. C- Left, top to bottom. A fight between Vali and Sugriva, the monkey king; Rama shoots Vali with an arrow who lies in the arms of his wife three pointed headdress ; monkeys mourn his death D- Center, above the door: Murder of a demon; Krsna extinguishes a fire west.
G- Right: Ravana, disguised as a chameleon, presents himself at the palace of Indra. I - Center, above the door: Rama kills Marica, who, disguised as a golden stag, helped in the abduction of Sita. J- Right: Krisna lifts Mount Govardhana to shelter their shepherds and their herds from the storm ignited by the anger of Indra. The relief's show methods used in warfare, mainly hand-to-hand combat, as they no machinery and no knowledge of firearms.
The naturalistic depiction of trees and animals in the background of this panel is unusual. An inscription on the panel identifies him by his posthumous name, suggesting it may have been done after his death. The rectangular holes randomly cut n this gallery may have contained precious objects of the temple. On the upper tier the king seated with traces of gilt on his body holds an audience on a mountain.
Below of the place walk down a mountain in the forest. The army gathers for inspection and the commander mounted on elephants join their troops who are marching towards the enemy.
The commander's rank is identified by a small inscription near the figure. King Suryavarman II stands on an elephant conical headdress, sword with the blade across his shoulder and servants around him hold 15 ceremonial umbrellas. Visnu stands on a Garuda on a Garuda on a flagpole in front of the king's elephant. The lively and loud procession of the Sacred Fire carried in an ark follows with standard bearers, musicians and jesters.
Brahmans chant to the accompaniment of cymbals. The royal sacrifice in a palanquin. Towards the end of the panel: The military procession resumes with a troop of Thai soldiers pleated skirts with floral pattern; belts with long pendants; plaited hair; headdresses with plumes; short moustaches led by their commander who is mounted on an elephant.
The Thai troops were probably either mercenaries of a contingent from the province of Louvo today called Lopburi conscripted to the Khmer army.
A number of the Khmer warriors wear helmets with horns of animal heads deer, horse, bird and some of their shields are embellished with monsters for the same purpose. Inscriptions have identified 37 heavens where one sees leisurely pursuits in palaces and 32 hells with scenes of punishment and suffering. Draperies and Apsaras separate the two and a row of Garudas borders the tier in the bottom. The roof was destroyed by lightning in and subsequently the ceiling of this gallery was restored by the French.
Traces of gilt can be on riders on horses at the beginning of the panel. The lower section of the panel was badly damaged and liter filled with cement. Lower tier: Yama, the Supreme Judge multiple arms, wields a staff and rides a buffalo , points out to his scribes the upper road representing heaven and the lower one of hell.
Departed spirits a wait judgment. Assistants to Yama shove the wicked through a trap door to the lower regions where torturers deliver punishments such as sawing a body in half for those who overeat. Lawbreakers have their bones broken. Some of the punished wear iron shackles or have nails pierced through their heads. Upper tier: A celestial palace is supported by a frieze of Garudas with Apsaras in the skies. The Ocean of Milk is churned by gods and demons to generate Amrta, the elixir of life.
The retrieval of these objects symbolizes prosperity. It takes place during the second ascent of Visnu, when he is incarnated as a tortoise. The scene is decided into three tiers. The lower tier comprises various aquatic animals, real and mythical, and is bordered by a serpent.
The middle tier has, on one side, a row of 92 demons round bulging eyes, crested helmets and, on the other side, a row of 88 gods almond-shaped eyes, conical headdresses. They work together by holding and churning the serpent. Hanuman, the monkey god, assists. Visnu, in his reincarnation as a tortoise, offers the back of his shell as a base for the mountain Mandara, and as a pivot for the churning.
He sits on the bottom of the Ocean. A huge cord in the form of the body of the serpent Vasuki acts as a stirring instrument to churn the sea. To begin the motion the gods and demons twist the serpent's body; the demons hold the head and the gods hold the tail of the serpent. As a result, Angkor Wat was constructed with blocks of sandstone.
A foot high wall, surrounded by a wide moat, protected the city, the temple and residents from invasion, and much of that fortification is still standing. A sandstone causeway served as the main access point for the temple. Inside these walls, Angkor Wat stretches across more than acres.
Hence, only portions of the temple and city wall remain. Even so, the temple is still a majestic structure: At its highest point—the tower above the main shrine—it reaches nearly 70 feet into the air.
The temple walls are decorated with thousands of bas-reliefs representing important deities and figures in the Hindu and Buddhist religions as well as key events in its narrative tradition. There is also a bas-relief depicting Emperor Suryavarman II entering the city, perhaps for the first time following its construction.
Unfortunately, although Angkor Wat remained in use until fairly recently—into the s—the site has sustained significant damage, from forest overgrowth to earthquakes to war. The French, who ruled what is now known as Cambodia for much of the 20th century, established a commission to restore the site for tourism purposes in the early s. This group also oversaw ongoing archeological projects there. By then, Cambodia was a country transitioning from colonial rule to a limited form of constitutional monarchy.
When Cambodia fell into a brutal civil war in the s, Angkor Wat, somewhat miraculously, sustained relatively minimal damage. The autocratic and barbarous Khmer Rouge regime did battle troops from neighboring Vietnam in the area near the ancient city, and there are bullet holes marking its outer walls as a result. Since then, with the Cambodian government undergoing numerous changes, the international community, including representatives of India, Germany and France, among others, have contributed to the ongoing restoration efforts.
Although visitors to Angkor Wat numbered in just the few thousands at the time, the landmark now welcomes some , visitors each year—many of whom arrive early in the morning to capture images of the sunrise over what still is a very magical, spiritual place. World Heritage Convention. Ray, Nick. Glancey, J. Hoeller, S-C. Cripps, K. But if you see something that doesn't look right, click here to contact us! Subscribe for fascinating stories connecting the past to the present.
Jayavarman VII was a capable military commander who repelled attacks by the Champa kingdom before becoming the Khmer king and undertaking a massive effort to construct stone temples and other monuments.
Ultimately, it was the Siamese kingdom based in what is now Thailand, that sacked Angkor in and ended the kingdom's regional power. This item has a Creative Commons license for re-use. This Creative Commons BY-NC-SA license means that you may use, remix, tweak, and build upon the work for non-commerical purposes as long as you credit the original creator and as long as you license your new creation using the same license. Comments are not published until reviewed by NCpedia editors at the State Library of NC , and the editors reserve the right to not publish any comment submitted that is considered inappropriate for this resource.
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