DAY'S END

DAY'S END

BRICK TOWER

BRICK TOWER

SUNSET

SUNSET

ELEPHANT SCULPTURE

ELEPHANT SCULPTURE

EASTERN MEBON

EASTERN MEBON

A hindu temple situated on a now dried up reservoir, it was built by Rajendravarman II in the 953. The brick towers were once plastered. The temple consists of three tiers, the base of the temple is guarded at each corner by carved stone elephants.

ALL SEEING

ALL SEEING

The inner gallery is nearly filled by the upper terrace, raised one level higher again. On this level, the visitor is surrounded by face towers, each with two, three or (most commonly) four of the famous smiling faces. Glaize wrote that, "On the upper terrace, mystery reigns. Wherever one wanders, the faces of Lokesvara follow and dominate with their multiple presence, always countered by the overwhelming mass of the central core." The towers are located along the inner gallery (at the corners and entrances), and on chapels on the upper terrace. Additional faces are carved on the central tower. Despite efforts to find significance in the number of towers and faces, the numbers varied from time to time as more towers were added: at one point there were up to 49 towers, although only 37 now remain. There are around 200 faces, but as some are only partially preserved there can be no definitive count.

Like the inner gallery, the central massif was originally cruciform but was later filled out, this time making it circular. It rises 43 metres above the ground. The original Buddha image from the central shrine was removed and smashed by Jayavarman VIII, but has now been restored and is displayed in a pavilion to the northeast of the temple.

NUN BY THE DOOR

NUN BY THE DOOR

The outer gallery encloses a courtyard in which there are two libraries (one on either side of the east entrance). 16 chapels formerly in this courtyard were demolished by Jayavarman VIII. The inner gallery is raised above ground level and has doubled corners, with the original redented cross-shape later filled out to a square. Its bas-reliefs, later additions of Jayavarman VIII, are in stark contrast to those of the outer: rather than set-piece battles and processions, the smaller canvases offered by the inner gallery are decorated for the most part with scenes from Hindu mythology. There is however no certainty as to what some of the panels depict, or as to their relationship with one another. One gallery just north of the eastern gopura, for example, shows two linked scenes which have been explained as the freeing of a goddess from inside a mountain, or as an act of iconoclasm by Cham invaders (Freeman and Jacques). A nearby series of panels show a king fighting with a serpent and dying, and have been connected with the legend of the leper king. Less obscure are depictions of the construction of a Vishnuite temple (south of the western gopura) and the Churning of the Sea of Milk (north of the western gopura).

UPPER LEVEL

UPPER LEVEL

Within the temple itself, there are two galleried enclosures (the third and second enclosures) and an upper terrace (the first enclosure). The outer gallery features a series of historical and everyday scenes on its outer wall, but there is considerable uncertainty as to which historical events are portrayed and how, if at all, the different reliefs are related. From the east gopura clockwise, the subjects are: a marching Khmer army (including some Chinese soldiers), followed by wagons of provisions; domestic scenes; in the southeast corner, a temple scene; on the south wall, a battle on the Tonle Sap between Khmers and Chams, with more domestic scenes underneath; a naval display; palace scenes; Cham boats, followed by a land battle won by the Khmers, then the Khmer victory feast; a military procession (including both Khmers and Chams); on the west gallery, unfinished reliefs show an army marching through the forest, then arguments and battle between groups of Khmers (Freeman and Jacques suggest that this may show a revolt which took place in 1182); a royal procession; on the north gallery, again unfinished, royal entertainments and more battles, one showing Khmers defeated by the Chams; in the northeast corner another marching army; and on the east gallery, a land battle being won by the Khmers.

WINDOW TO THE PAST

WINDOW TO THE PAST

The Bayon was the last state temple to be built at Angkor, and the only one to be built primarily as a Mahayana Buddhist temple (although various local deities were also worshipped there). It was the centrepiece of Jayavarman VII's building program, and the similarity of the faces on the temple's towers to other statues of the king have led many scholars to the conclusion that the faces are, at least in part, representations of Jayavarman VII (although Avalokitesvara is another possibility). Under the reign of Jayavarman VIII in the mid-13th century the temple was converted to Hinduism. In later centuries Theravada Buddhism became dominant, before the temple was eventually abandoned to the jungle.

The temple is orientated towards the east, and so its buildings are set back to the west inside enclosures elongated along the east-west axis. Because the temple sits at the exact centre of Angkor Thom, roads lead to it directly from the gates at each of the city's cardinal points. The temple itself has no wall or moats, these being replaced by those of the city itself: the city-temple arrangement, with an area of 9 square kilometres, is much larger than that of Angkor Wat to the south (2 km²).

THE BAYON

THE BAYON

The Bayon was built in the 13th century as the state temple of king Jayavarman VII, and stands at the centre of his capital, Angkor Thom. Its most distinctive feature is the multitude of smiling faces on the towers which rise up to its central peak. It also possesses two sets of bas-reliefs, which depict an unusual combination of mythological, historical and mundane events.

VICTORY GATE

VICTORY GATE

The faces on the 23 m towers at the city gates (which are later additions to the main structure) take after those of the Bayon, and pose the same problems of interpretation. They may represent the king himself, the bodhisattva Avalokiteshvara, guardians of the empire's cardinal points, or some combination of these. A causeway spans the moat in front of each tower: these have a row of devas on the left and asuras on the right, each row holding a naga in the attitude of a tug-of-war. This appears to be a reference to the myth, popular in Angkor, of the Churning of the Sea of Milk. The temple-mountain of the Bayon, or perhaps the gate itself, would then be the pivot around which the churning takes place. The gateways themselves are 3.5 by 7 m, and would originally have been closed with wooden doors.

Within the city was a system of canals, through which water flowed from the northeast to the southwest. The bulk of the land enclosed by the walls would have been occupied by the secular buildings of the city, of which nothing remains. This area is now covered by forest.

GATE DETAIL

GATE DETAIL

The city lies on the right bank of the river Siem Reap, a tributary of Tonle Sap, about a quarter of a mile from the river. The south gate of Angkor Thom is 7.2 km north of Siem Reap, and 1.7 km north of the entrance to Angkor Wat. The walls, 8 m high and flanked by a moat, are each 3 km long, enclosing an area of 9 km². The walls are of laterite buttressed by earth, with a parapet on the top. There are gates at each of the cardinal points, from which roads lead to the Bayon at the centre of the city. As the Bayon itself has no wall or moat of its own, those of the city are interpreted by archaeologists as representing the mountains and oceans surrounding the Bayon's Mount Meru. Another gate — the Victory Gate — is 500 m north of the east gate; the Victory Way runs parallel to the east road to the Victory Square and the Royal Palace north of the Bayon.

CAUSEWAY GUARDIANS

CAUSEWAY GUARDIANS

The last temple known to have been constructed in Angkor Thom was Mangalartha, which was dedicated in 1295. Thereafter the existing structures continued to be modified from time to time, but any new creations were in perishable materials and have not survived. In the following centuries Angkor Thom remained the capital of a kingdom in decline until it was abandoned some time prior to 1609.

Angkor Thom is in the Bayon style. This manifests itself in the large scale of the construction, in the widespread use of laterite, in the face-towers at each of the entrances to the city and in the naga-carrying giant figures which accompany each of the towers.

ANGKOR THOM

ANGKOR THOM

Angkor Thom was the last and most enduring capital city of the Khmer empire. It was established in the late twelfth century by king Jayavarman VII. It covers an area of 9 km², within which are located several monuments from earlier eras as well as those established by Jayavarman and his sucessors. At the centre of the city is Jayavarman's state temple, the Bayon, with the other major sites clustered around the Victory Square immediately to the north.

Angkor Thom was established as the centre of Jayavarman VII's empire, and was the centre of his massive building programme. One inscription found in the city refers to Jayavarman as the groom and the city as his bride. It was not the first capital on the site: Yashodharapura, dating from three centuries earlier, was centred slightly further northwest. The most notable earlier temples within the city are the former state temple of Baphuon, and Phimeanakas, which was incorporated into the Royal Palace. The Khmers did not draw any clear distinctions between Angkor Thom and Yashodharapura: even in the fourteenth century an inscription used the earlier name. The name of Angkor Thom — great city — was in use from the 16th century.

ELEPHANT HEAD SPOUT

ELEPHANT HEAD SPOUT

HUMAN HEAD SPOUT

HUMAN HEAD SPOUT

SPOUT HOUSE

SPOUT HOUSE
Another interesting feature of Neak Pean are the four small chambers placed around the island. Each houses a water spout - one looks like an elephant, one like a lion, another like a horse, and the fourth is a human. From them flowed lustful water that according to Zhou Daguan was used by pilgrims to wash their sins away.

PREAH NEAK PEAN

PREAH NEAK PEAN

Late 12^th century Buddhist temple by Jayavarman VII. A large square surrounded by 4 smaller square pools. In the centre of the central pool is a circular ‘island’ encircled by two naga with intertwined tails. The basin of the lake today is dry. Zhou Daguan reports that the pond was filled with red lotus and that the tower had a golden spire (He seems to have liked Neak Pean). The tower is decorated with images of the Buddha and the Boddhisatva Avalokiteshvara. A horse statue also refers to this Boddhisatva; it represents the horse Balala. According to a Buddhist legend, Avalokiteshvara once manifested himself as this horse to rescue a group of merchants who were shipwrecked.

WALL RELIEF

WALL RELIEF

TUG OF WAR

TUG OF WAR

THE TOUR GROUP

THE TOUR GROUP

PHALLIC SYMBOLISM APPARENTLY

PHALLIC SYMBOLISM APPARENTLY

Between the second enclosure wall (85 by 76 m) and the first enclosure wall (62 by 55 m) on the eastern side is a row of later additions which impede access and hide some of the original decoration. The first enclosure is, as Glaize said, similarly, "choked with more or less ruined buildings". The enclosure is divided into four parts by a cruciform gallery, each part almost filled by these later irregular additions. The walls of this gallery, and the interior of the central sanctuary, are covered with holes for the fixing of bronze plates which would originally have covered them and the outside of the sanctuary — 1500 tonnes was used to decorate the whole temple. At the centre of the temple, in place of the original statue of Lokesvara, is a stupa built several centuries after the temple's initial construction.

PREAH KHAN

PREAH KHAN

Connecting the Hall of Dancers and the wall of the second enclosure is a courtyard containing two libraries. The second eastern gopura projects into this courtyard; it is one of the few Angkorian gopuras with significant internal decoration, with garudas on the corners of the cornices. Buddha images on the columns were changed into hermits under Jayavarman VIII.

STATUE ON CAUSEWAY

STATUE ON CAUSEWAY

West of the third eastern gopura, on the main axis is a Hall of Dancers. The walls are decorated with apsaras; Buddha images in niches above them were destroyed in the anti-Buddhist reaction under Jayavarman VIII. North of the Hall of Dancers is a two-storeyed structure with round columns. No other examples of this form survive at Angkor, although there are traces of similar buildings at Ta Prohm and Banteay Kdei. Freeman and Jacques speculate that this may have been a granary. Occupying the rest of the third enclosure are ponds (now dry) in each corner, and satellite temples to the north, south and west. While the main temple was Buddhist, these three are dedicated to Shiva, previous kings and queens, and Vishnu respectively. They are notable chiefly for their pediments: on the northern temple, Vishnu Reclining to the west and the Hindu trinity of Vishnu, Shiva and Brahma to the east; on the western temple, Krishna raising Mount Govardhana to the west.

PORTAL

PORTAL

Halfway along the path leading to the third enclosure, on the north side, is a House of Fire (or Dharmasala) similar to Ta Prohm's. The remainder of the fourth enclosure, now forested, was originally occupied by the city; as this was built of perishable materials it has not survived. The third enclosure wall is 200 by 175 m. In front of the third gopura is a cruciform terrace. The gopura itself is on a large scale, with three towers in the centre and two flanking pavilions. Between the southern two towers were two celebrated silk-cotton trees, of which Glaize wrote, "resting on the vault itself of the gallery, [they] frame its openings and brace the stones in substitute for pillars in a caprice of nature that is as fantastic as it is perilous." One of the trees is now dead, although the roots have been left in place. The trees may need to be removed to prevent their damaging the structure. On the far side of the temple, the third western gopura has pediments of a chess game and the Battle of Lanka, and two guardian dvarapalas to the west.

THEY ARE ONE

THEY ARE ONE

The outer wall of Preah Khan is of laterite, and bears 72 garudas holding nagas, at 50 m intervals. Surrounded by a moat, it measures 800 by 700 m and encloses an area of 56 hectares (138 acres). To the east of Preah Khan is a landing stage on the edge of the Jayatataka baray, now dry, which measured 3.5 by 0.9 km. This also allowed access to the temple of Neak Pean in the centre of the baray. As usual Preah Khan is orientated toward the east, so this was the main entrance, but there are others at each of the cardinal points. Each entrance has a causeway over the moat with naga-carrying devas and asuras similar to those at Angkor Thom; Glaize considered this an indication that the city element of Preah Khan was more significant than those of Ta Prohm or Banteay Kdei.

STUPPA

STUPPA

Preah Khan was built on the site of Jayavarman VII's victory over the invading Chams in 1181. Unusually the modern name, meaning "holy sword", is derived from the meaning of the original — Nagara Jayasri (holy city of victory). The temple's foundation stela has provided considerable information about the history and administration of the site: the main image, of the boddhisatva Avalokitesvara in the form of the king's father, was dedicated in 1191 (the king's mother had earlier been commemorated in the same way at Ta Prohm). 430 other deities also had shrines on the site, each of which received an allotment of food, clothing, perfume and even mosquito nets; the temple's wealth included gold, silver, gems, 112,300 pearls and a cow with gilded horns.The institution combined the roles of city, temple and Buddhist university: there were 97,840 attendants and servants, including 1000 dancers and 1000 teachers.

PREAH KHAN

PREAH KHAN

Preah Khan is a temple at Angkor built in the 12th century for King Jayavarman VII. It is located northeast of Angkor Thom and just west of the Jayatataka baray, with which it was associated. It was the centre of a substantial organisation, with almost 100,000 officials and servants. The temple is flat in design, with a basic plan of successive rectangular galleries around a Buddhist sanctuary complicated by Hindu satellite temples and numerous later additions. Like the nearby Ta Prohm, Preah Khan has been left largely unrestored, with numerous trees and other vegetation growing among the ruins.

ROOT WORK

ROOT WORK

CANDLEWAX

CANDLEWAX

CARVINGS

CARVINGS

ALVINA

ALVINA

FRAMED

FRAMED

ENTER

ENTER

The basic layout of Ta Prohm is that of a typical "flat" Khmer temple, with five rectangular enclosing walls around a central sanctuary. Like most Khmer temples, Ta Prohm is oriented to the east, so the temple proper is set back to the west along an elongated east-west axis. The outer wall of 1000 by 650 metres encloses an area of 650,000 square metres that would have been a substantial town, but which is now largely forested. There are entrance gopuras at each of the cardinal points, although access today is now only possible from the east and west. Each gopura had face towers (similar to those at the Bayon) added during the 13th century, although some of these have collapsed. There were moats inside and outside the fourth enclosure. The three inner enclosures of the temple proper are galleried, while the corner towers of the first enclosure form a quincunx with the tower of the central sanctuary. This basic plan is complicated for the visitor by the circuitous access necessitated by the temple's partially collapsed state, as well as by the large number of other buildings, some being later additions. The most substantial of these other buildings are the libraries in the southeast corners of the first and third enclosures; the satellite temples on the north and south sides of the third enclosure; the Hall of Dancers between the third and fourth eastern gopuras; and a House of Fire east of the fourth eastern gopura.

TREE SPRINGS FROM ROOF

TREE SPRINGS FROM ROOF

COURTYARD

COURTYARD

The temple was used as a location in the film Tomb Raider. Although the film took visual liberties with other Angkor temples, its scenes of Ta Prohm were quite faithful to the temple's actual appearance, and made use of its eerie qualities.

HEADS HAVE IT

HEADS HAVE IT

Ta Prohm was one of the first temples begun in Jayavarman VII's massive building program. The temple's modern name means "old Brahma", but the original name was Rajavihara (royal temple). It was centred on veneration of the king's family: the main image was modelled on his mother, while the two satellite temples in the third enclosure were dedicated to his guru (north) and his elder brother (south ). Expansions and additions continued as late as the rule of Srindravarman at the end of the 13th century. The temple's stele recorded that the site was home to more than 12,500 people, with a further 80,000 in surrounding villages helping to supply the institution. The temple amassed considerable riches, including gold, pearls and silks.

TA PROHM

TA PROHM

Ta Prohm is a temple at Angkor, built in the Bayon style largely in the late 12th and early 13th centuries. Located approximately one kilometre east of Angkor Thom and on the southern edge of the East Baray, it was built by King Jayavarman VII as a Mahayana Buddhist monastery and university. Unlike most of the other Angkor temples, Ta Prohm has been left in much the same condition in which it was found with the photogenic and atmospheric combination of trees growing out of the ruins and the jungle surroundings.

Day 5

Wednesday morning we left early on tuk tuks.
First stop Ta Prohm followed by Preah Khan and Preah Neak Pean before lunch.
The busy day continued with Angkor Thom and later, Eastern Mebon for sunset.


















I was given this drawing by a Cambodian kid at East Mebon. There's alot of kids selling guide books and they're very clued in. One girl asked me where I was from and spoke some Irish to me, I was impressed.