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Angkor Wat, the largest monument of the Angkor group and the best preserved, is an architectural masterpiece.Its perfection in composition, balance, proportions, relief's and sculpture make it one of the finest monuments in the world.
Wat is the Khmer name for temple (the French spelling is "vat "), which was probably added to "Angkor "when it became a Theravada Buddhist monument, most likely in the sixteenth century. After 1432 when the capital moved to Phnom Penh, Angkor Wat was cared for by Buddhist monks.
Originally built as a Hindu temple dedicated to the god Vishnu, it was converted into a Buddhist temple in the 14th century, and statues of Buddha were added to its already rich artwork. Sometime later it was turned into a military fortification. Today it is a UNESCO World Heritage Ssite that scientists are struggling to preserve. Its 213-foot-tall (65 meters) central tower is surrounded by four smaller towers and a series of enclosure walls, a layout that recreates the image of Mount Meru, a legendary place in Hindu mythology that is said to lie beyond the Himalayas and be the home of the gods.
Within the largest city in the world
The city where the temple was built, Angkor, is located in modern-day Cambodia andwas once the capital of the Khmer Empire. This city contains hundreds of temples.The population may have been over 1 million people. It was easily the largest city in the world until the Industrial Revolution. Angkor had an urban core that could easily have held 500,000 people and a vast hinterland that had many more inhabitants airborne laser scanning (lidar) research has shown. Researchers have also identified a "lost" city called Mahendra parvata, which is located about 25 miles (40 kilometers) north of Angkor Wat. A moat, towers, spiral structure and hidden paintings Angkor Wat itself is surrounded by a 650-foot-wide (200 m) moat that encompasses a perimeter of more than 3 miles (5 km). This moat is 13 feet deep (4 m) and would have helped stabilize the temple's foundation, preventing groundwater from rising too high
or falling too low.Angkor Wat's main entrance was to the west (a direction associated with Vishnu) across a stone causeway, with guardian lions marking the way. Recently, archaeologists found the remains of eight towers made of sandstone and laterite by the western gateway. These towers may be the remains of shrines that were in use before Angkor Wat was fully constructed. To the east of the temple was a second, more modest, entrance. The heart of the temple was the central tower, entered by way of a steep staircase, a statue of Vishnu at top. This tower "was at once the symbolic center of the nation and the actual center where secular and sacred power joined forces," writes researcher Eleanor Mannikka in the book "Angkor: Celestial Temples
of the Khmer Empire" (Abbeville Press, 2002). "From that unparalleled space, Vishnu and the king ruled over the Khmer people."Hidden paintings have been discovered in the central tower. One chamber in the tower has a scene showing a traditional Khmer ensemble of musical instruments known as the pinpeat, which is made up of different gongs, xylophones, wind instruments and other percussion instruments. In the same chamber, there's also an intricate scene featuring people riding horses between two structures, which might be temples. These two paintings are among 200 that have been discovered in Angkor Wat since 2010. A mile long sand structure containing a variety of spiral designs was recently discovered beside Angkor Wat by archaeologists using lidar. It would have existed for a brief period during the mid-to-late 12th century. Archaeologists are not certain what it was used for, and it's possible that the structure was never completed. The remains of homes and ponds used by workers who lived near Angkor Wat, and serviced the temple, were also found recently during lidar research.
SYMBOLISM
Angkor Wat is a miniature replica of the universe in stone and represents an earthly model of the cosmic world. The central tower rises from the center of the monument symbolizing the mythical mountain, Meru, situated at the center of the universe. Its five towers correspond to the peaks of Meru. The outer wall corresponds to the mountains at the edge of the world, and the surrounding moat the oceans beyond.
Wat is the Khmer name for temple (the French spelling is "vat "), which was probably added to "Angkor "when it became a Theravada Buddhist monument, most likely in the sixteenth century. After 1432 when the capital moved to Phnom Penh, Angkor Wat was cared for by Buddhist monks.
Originally built as a Hindu temple dedicated to the god Vishnu, it was converted into a Buddhist temple in the 14th century, and statues of Buddha were added to its already rich artwork. Sometime later it was turned into a military fortification. Today it is a UNESCO World Heritage Ssite that scientists are struggling to preserve. Its 213-foot-tall (65 meters) central tower is surrounded by four smaller towers and a series of enclosure walls, a layout that recreates the image of Mount Meru, a legendary place in Hindu mythology that is said to lie beyond the Himalayas and be the home of the gods.
Vishnu and the king
The builder of Angkor Wat was a king named Suryavarman II. A usurper, he came to power in his teenage years by killing his great uncle, Dharanindravarman I, while hewas riding an elephant. An inscription says that Suryavarman killed the man "as Garuda [a mythical bird] on a mountain ledge would kill a serpent."Suryavarman's bloodlust would continue into his rule; he launched attacks into Vietnam in an effort to gain control over the territory. He also made peaceful diplomatic advances, re-opening relations with China.He venerated the god Vishnu, a deity often depicted as a protector, and installed a statue of the god in Angkor Wat's central tower. This devotion can also be seen in one of the most remarkable reliefs at Angkor Wat, located in the southeast of the temple. The relief shows a chapter in the Hindu story of creation known as the "churning of the sea of milk."As archaeologist Michael Coe writes, the relief "describes how the devas (gods) and the asuras (demons) churned the ocean under the aegis of Vishnu, to produce the divine elixir of immortality," ("Angkor and the Khmer Civilization," Thames & Hudson, 2003). Scholars consider this relief to be one of the finest art pieces at Angkor Wat. Suryavarman's devotion to Vishnu is also shown in the
posthumous name he was given, "Paramavishnuloka" which, according to researcher Hélène Legendre-De Koninck, means "he who is in the supreme abode of Vishnu." ("Angkor Wat: A Royal Temple," VDG, 2001).
Construction techniques
Building Angkor Wat was an enormous undertaking that involved quarrying, careful artistic work and lots of digging. To create the moat around the temple, 1.5 million cubic meters (53 million cubic feet) of sand and silt were moved, a task that would have required thousands of people working at one time.The buildings at Angkor Wat posed their own challenges. To support them a tough material called laterite was used, which in turn was encased with softer sandstone that was used for carving the reliefs. These sandstone blocks were quarried at the Kulen Hills, about 18 miles (30 km) to the north. A series of canals were used to transport the blocks to Angkor Wat, research shows.
Beneath the central tower was a shaft that leads to a chamber where, in 1934, archaeologists found "two pieces of crystal and two gold leaves far beneath where the Vishnu statue must have been," Coe writes, adding that deposits like these "spiritually 'energized' a temple, much as a battery will provide power to a portable electronic device."
Purpose
Although Angkor Wat is dedicated to Vishnu, the full purpose of the temple is still debated. One question is whether the ashes of Suryavarman II were interred in the monument, perhaps in the same chamber where the deposits were found. If that were the case it would give the temple a funerary meaning.Eleanor Mannikka has noted that Angkor Wat is located at 13.41 degrees north in latitude and that the north-south axis of the central tower's chamber is 13.43 cubits long.
This, Mannikka believes, is not an accident. "In the central sanctuary, Vishnu is not only placed at the latitude of Angkor Wat, he is also placed along the axis of the earth," she writes, pointing out that the Khmer knew the Earth was round.In addition, in her writing, Mannikka notes a dozen lunar alignments with Angkor Wat's towers, suggesting that it served an important astronomical role. "During the long and clear Cambodian nights, when the stars filled every inch of the black sky, the astronomer-priests stood on the long western
causeway ... and recorded the movements of the moon against the towers in the top two galleries of the temple."
WEST GALLERY - BATTLE OF KURUKSHETRA
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 riv al 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. The scene builds up gradually and climaxes in a melée. 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.
Corner pavilion (southwest)
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.
EAST
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.
E- Left: Siva sits with his wife Paravati on Mount Kailasa
F- Center, above the door: Krisna uproots trees with a stone he is tied to.
G- Right: Ravana, disguised as a chameleon, presents himself at the palace of Indra.
NORTH
H- Left: The Churning of the Ocean of Milk.
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.
This gallery depicts a splendid triumphal procession from a battle between the Khmers and their enemies. 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. The central figure of this gallery is King Suryavarman II, the builder of Angkor Wat, who appears twice. 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.
JUDGMENT BY YAMA; HEAVEN AND HELL
Three tiers recount the judgment of mankind by Yama and two tiers depict Heaven and Hell. 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 1947 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.
This is the most famous panel of bas-reliefs at Angkor Wat and derives from the Indian epic Bagavata-Pourana. The Ocean of Milk is churned by gods and demons to generate Amrta, the elixir of life. the purpose of the churning is to recover lost treasures such as the sourer of immortality, Laksmi the goddess of good fortune, the milk white elephant of Indra, and the nymph of loveliness. 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. Then by pulling it rhythmically back and for th they cause the pivot to rotate and churn the water.The gods and demons are directed by three persons (identified by their larger size). Indra is on top of Visnu. On the extreme right Hanuman, ally of the gods, tickles the serpent. Upper tier: During the churning various female spirits emerge. Visnu appears in this scene again in yet another reincarnation-as a human being-to preside over the "churning "which, according to legend, lasted more than 1,000 years.Numerous other beings are depicted such as the three-headed elephant mount of Indra, Apsaras and Laksmmi, the goddess of beauty. They churning provoke the serpent to vomit the mortal venom, which covers the waves. Afraid the venom may destroy the gods and demons, Brahma intervenes and requests Siva to devour and drink the venom, which will leave an indelible trace on Siva's throat. He complies and, as a result, he Amtrak pours forth. The demon rush to capture all the liquid. Visnu hurries to the rescue and assumes yet another reincarnation in the form of Maya, a bewitching beauty, and is able to restoremuch of the coveted liquid.
Churning of the Ocean of Milk Bas Relief INSCRIPTION
Just past the middle of the East Gallery there is an interesting inscription of the early eighteenth century when Angkor Wat was a Buddhist monastery. It tells of a provincial governor who built a small tomb where he deposited the bones of his wife and children. The structure is in poor condition but recognizable in its original location, directly in front of the inscription in the gallery.VICTORY OF VISNU OVER THE DEMONS The bas-reliefs in this section of the Wast Gallery and the south part of the North Gallery were probably completed at a later date, perhaps the fifteenth or sixteenth century. The stiffness of the figures and the cursory workmanship reveal this change. An army of demons marches towards the center of
the panel. Center: Visnu (four arms) sits on the shoulders of a Garuda.A scene of carnage follows. Visnu slaughters the enemies on both sides and disperses the bodies. The leaders of the demons (mounted on animals or riding or riding in chariots drawn by monsters) are surrounded by marching soldiers. Another group of warriors (bows and arrows) with their chiefs (in chariest of mounted on huge peacocks) follows.
NORTH GALLERY
VICTORY OF KRISNA OVER BANA THE DEMON KING
At the beginning of the panel Visnu in his incarnation as Krsna (framed by two heroes) sits on the shoulders of a Gruda. Agni, the god of Fire (multiple arms), sits on a rhinoceros behind him. This scene appears several times. A wall surrounding the city is on fire and prevents the advance of Krsna (mounted of a Garuda) and his army of gods. This Krsna scene also appears several times in the panel. The Garuda extinguishes the fire with water from the sacred river Ganges. The demon Bana (multiple arms, mounted on a rhinoceros) approaches from the opposite direction. Extreme right: Krsna (1,000 heads,hands across his chest) kneels in front of Siva who sits enthroned on Mount Kailasa with his wife Parvati and
their son ganesa (head of an elephant) as they demand that Siva spare the life of Bana.
BATTLE BETWEEN THE GODS AND THE DEMONS
A procession of 21 gods of the Brahmanic pantheon march in procession carrying classic attributes and riding traditional mounts. One-god battles against a demon while warriors on
both sides battle in the background. A series of adversaries follow, the Kubera, God of riches (with bow and arrow), Appears on the shoulders of a Yaksa; followed by Skanda, Goe of war (multiple heads and arms), mounded on a peacock; Indra stands on his mount the elephant; Visnu (four arms) sits on his mount, a Guard; a demon (tiered heads) shaking swords; Yama, God of Death and. Justice (sword and shield), stands in a chariot pulled by horses; and Varian, God of the Water, stands on a five-headed serpent harnessed like a beast of burden.
CORNER PAVILION (NORTHWEST)
Enter the pavilion and walk counter-clockwise. Several of the scenes are in good condition.
NORTH
A- Right: The women's quarters of a palace.
B- Center, above the door: An attempt to abduct site in the forest.
C- Left, badly damaged: A scene from the Ramayana. Above: Tiers of monkeys and a pyre
WEST
D- Right: rama in his chariot (drawn by geese) returns victorious to Ayodhya
E- Center, above the door: Rama and Laksmana surrounded by monkeys.
F- Left: A conversation between Sita and Hanuman in the forest; Hanuman gives Rama’s ring to Sota.
SOUTH
G- Right Visni (seated, four arms) surrounded by Apsaras.
H- Center, above the door: Rama and Laksmana battle a monster (headless, face on stomach)
I- Left: Rama wins an archery competition; Rama and Sita sitting together.
EAST
J- Right: Visnu (four arms) on a Garuda; Krsna (mounted on a Garuda) bring back Mount Maniparvata which he took from a demon he killed; his army carries the remains of the demon.
K- Center, above the door: Discussions on an alliance. Left: Rama and his brother
Laksmana. Right: Suryva, the monkey king L- Left: Visnu reclines on the serpent Anent.
Below: A group of nine gods with their mounts
(1) Surya in a chariot pulled by horses
(2) Kubera standing on the shoulders of a Yaksa
(3) Brahma riding a goose
(4) Skanda on a peacock
(5) An unidentified god on a horse
(6) Indra on a three-headed elephant
(7) Yama riding a buffalo
(8)Siva on a bull
(9) An unidentified god on a lion
WEST GALLERY - BATTLE OF LANKA
This scene from the Ramayana is a long and fierce struggle between Rama and the demon king Ravana (10 heads and 20 arms), near the center. It is among the finest of the bas-reliefs at Angkor Wat. The battle takes place in Lanka (Sri Lanka) and ends with the defeat of Ravana, captor of Sita, the beautiful wife of Rama. The central figures are the monkey warriors who fight against the raksasas on Rama's side.The brutality of war is juxtaposed with a graceful rendition of lithesome monkeys. Past the center: Rama stands on the shoulders of Sugriva surrounded by arrows; Laksmana, his brother, and an old demon, stand by Rama. Nearby, the demon king Ravana (10 heads and 20 arms) rides in a chariot drawn by mythical lions.Further on, Nala, the monkey who built Rama's bridge to Lanka, is between them leaning on the heads of two lions. He throws the body of one he has just beaten over his shoulder. A monkey prince tears out the tusk of an elephant, which is capped with a three-pointed headdress and throws him and the demona to the ground.
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