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Angkor Wat
The Cardamom Sanctuary
Angkor Wat, in its beauty and state
of preservation, is unrivaled. Its
mightiness and magnificence bespeak
a pomp and a luxury surpassing that
of a Pharaoh or a Shah Jahan, an
impressiveness greater than that of
the Pyramids, an artistic
distinctiveness as fine as that of
the Taj Mahal.
Angkor Wat is located about six
kilometers (four miles) north of
Siem Reap, south of Angkor Thom.
Entry and exit to Angkor Wat can
only be access from its west gate.
Angkor Wat was built in the first
half of the 12th century (113-5BC).
Estimated construction time of the
temple is 30 years by King
Suryavarman II, dedicated to Vishnu
(Hindu), replica of Angkor Thom
style of art.
Background
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 Thai 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 (for the etymology
of the name 'Angkor' see page 17)
After 1432 when the capital moved to
Phnom Penh, Angkor Wat was cared for
by Buddhist monks.
It is generally accepted that Angkor
Wat was a funerary temple for King
Suryavarman II and oriented to the
west to conform to the symbolism
between the setting sun and death.
The bas-reliefs, designed for
viewing from left to right in the
order of Hindu funereal ritual,
support this function.
Architectural Plan
The plan of Angkor Wat is difficult
to grasp when walking through the
monument because of the vastness.
Its complexity and beauty both
attract and distract one's
attention. From a distance Angkor
Wat appears to be a colossal mass of
stone on one level with a long
causeway leading to the center but
close up it is a series of elevated
towers, covered galleries, chambers,
porches and courtyards on different
levels linked by stairways.
The height of Angkor Wat from the
ground to the top of the central
tower is greater than it might
appear: 213 meters (699 feet),
achieved with three rectangular or
square levels (1-3) Each one is
progressively smaller and higher
than the one below starting from the
outer limits of the temple. Covered
galleries with columns define the
boundaries of the first and second
levels.
The third level supports five towers
–four in the corners and one in the
middle and these is the most
prominent architectural feature of
Angkor Wat. This arrangement is
sometimes called a quincunx.
Graduated tiers, one rising above
the other, give the towers a conical
shape and, near the top, rows of
lotuses taper to a point. The
overall profile imitates a lotus
bud,
Several architectural lines stand
out in the profile of the monument.
The eye is drawn left and right to
the horizontal aspect of the levels
and upward to the soaring height of
the towers. The ingenious plan of
Angkor Wat only allows a view of all
five towers from certain angles.
They are not visible, for example,
from the entrance. Many of the
structures and courtyards are in the
shape of a cross. The. Visitor
should study the plan on page 86 and
become familiar with this dominant
layout. A curved sloping roof on
galleries, chambers and aisles is a
hallmark of Angkor Wat. From a
distance it looks like a series of
long narrow ridges but close up from
identifies itself. It is a roof made
of gracefully arched stone
rectangles placed end to end. Each
row of tiles is capped with an end
tile at right angles the ridge of
the roof. The scheme culminates in
decorated tympanums with elaborate
frames.
Steps provide access to the various
levels. Helen Churchill Candee, who
visited Angkor in the 1920s, thought
their usefulness surpassed their
architectural purpose. The steps to
Angkor Wat are made to force a halt
at beauteous obstruction that the
mind may be prepared for the
atmosphere of sanctity, she wrote
In order to become familiar with the
composition of Angkor Wat the
visitor should learn to recognize
the repetitive elements in the
architecture. Galleries with
columns, towers, curved roofs,
tympanums, steps and the
cross-shaped plan occur again and
again. It was by combining two or
more of these aspects that a sense
of height was achieved. This
arrangement was used to link one
part of the monument to another.
Roofs were frequently layered to add
height, length or dimension. A
smaller replica of the central
towers was repeated at the limits of
two prominent areas-the galleries
and the entry pavilions. The long
causeway at the entrance reappears
on the other side of the entry
pavilion.
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.
Layout
Even though Angkor Wat is the most
photographed Khmer monument, nothing
approaches the actual experience of
seeing this temple. Frank Vincent
grasped this sensation over 100
years ago.
The general appearance of the wonder
of the temple is beautiful and
romantic as well as impressive and
grand it must be seen to be
understood and appreciated.
One can never look upon the ensemble
of the vat without a thrill, a
pause, a feeling of being caught up
onto the heavens. Perhaps it is the
most impressive sight in the world
of edifices.
Angkor Wat occupies a rectangular
area of about 208 hectares (500
acres) defined by a laetrile wall
(4). The first evidence of the site
is a moat with a long sandstone
causeway (length 250 meters, 820
feet; width 12 meters, 39 feet)
crossing it and serving as the main
access to the monument (5). The moat
is 200 meters (656 feel) wide with a
perimeter of 5.5 kilometers (3.4
miles).
The west entrance begins with steps
leading to a raised sandstone
terrace (6) in the shape of a cross
at the foot of the long causeway.
Giant stone lions on each side of
the terrace guard the monument.
Looking straight ahead, one can see
at the end of the causeway the entry
gate with three towers of varying
heights and with collapsed upper
portion (7). This entry tower hides
the full view of the five towers of
the central group. A long covered
failure with square columns and a
curved roof extends along the moat
to the left and right of the entry
tower. This is the majestic facade
of Angkor Wat and a fine example of
classical Khmer architecture. Helen
Churchill candee must have been
standing on this terrace almost 70
years ago when she wrote
Any architect would thrill at the
harmony of the fasade, an unbroken
stretch of repeated pillars leading
from the far angles of the structure
to the central opening, which is
dominated, by three imposing towers
with broken summits.
This facade originally had another
row of pillars with a roof. Evidence
of this remains in a series of round
holes set in square based in front
of the standing pillars. Tip Before
proceeding along the causeway turns
right, go down the steps of the
terrace and walk along the path a
few meters for a view of all five
towers of Angkor Wat. Return to the
center of the terrace and walk down
the causeway towards the main part
of the temple. The left-hand side of
the causeway has more original sand
stone than the right-hand side,
which was restored by the French. In
the 1920 when RJ Casey walked on
this causeway he noted it was an
oddity of engineering The slabs were
cut in irregular shapes, which meant
that each had to be chiseled to fit
the one adjoining. The effect as
seen under the noonday sun...is like
that of a long strip of watered
silk'10
On the left side just before the
midway point in the causeway two
large feet are carved in a block of
sandstone. They belong to one of the
figures at the entrances to Angkor
Thom and were brought to Angkor Wat
in this century the causeway was
repaired with reused stones.
The causeway leads to the
cross-shaped entry tower (7)
mentioned earlier. The upper
portions of the three sections on
this tower-one each at the center
and the two ends – have collapsed.
The porches on each end of the
gallery may have served as passages
for elephants, horses and carts as
they are on ground level. When Helen
Churchill Candee saw these entrances
in the 1920 she remarked that
architecture made to fit the passage
of elephants is an idea most
inspiriting. A figure of a standing
Visnu (eight arms) is in the right
inside the entry tower. Traces of
original color can be seen on the
ceiling of the entry tower at the
left.
Continue westward along a second
raised walkway (length 350 meters,
1,148 feet; width 9 meters, 30 feet)
(8). A low balustrade resembling the
body of a serpent borders each side.
Short columns support the
balustrade. Looking west one sees
the celebrate view of Angkor Wat
that appears on the Cambodian flag.
Standing at this point one teels
compelled to get to the wondrous
group of the five domes, companions
of the sky, sisters of the clouds,
and determine whether or not one
lives in a world of reality or in a
fantastic dream.
Six pairs of ceremonial stairs with
platforms on each side of the
walkway lead to the courtyard. A
continuation of the serpent
balustrade along the walkway frames
the stairs. This arrangement is
sometimes called a landing platform.
The balustrade terminates with the
body of the serpent making a turn at
right angles towards the sky and
gracefully spreading its nine heads
to from the shape of a fan.
Two buildings, so-called libraries
(9) stand in the courtyard on the
left and right, just past the middle
of the causeway. These 'jewel-boxes
Khmer art 'are perfectly formed. A
large central area, four porches,
columns and steps present a
symmetrical plan in the shape of a
cross. Some of the columns have been
replaced with cement copies for
support. An original pillar lies on
the ground before the library on the
left.
In front of the libraries are two
basins (length 65 meters, 213 feet,
width 50 meters, 164 feet) (10) the
one on the left is filled with water
whereas the other lone is usually
dry. Tip Turn left at the first
steps after the library and before
the basin and follow the path for
about 40 meters (131 feet) to a
large tree for a superb view of the
five towers of Angkor Wat,
particularly at sunrise.
The walkway leads to a terrace kin
the shape of a cross, known as the
Terrace of Honor, Just in front of
the principal entry tower of Angkor
Wat (11) Supporting columns and
horizontal carved molding around the
base accentuate the form of the
terrace. Steps flanked by lions on
pedestals are on three sides of the
terrace. Ritual dances were
performed here and it may have been
where the king viewed processions
and received foreign dignitaries. R
Casey sensed such activity in the
1920s
One cannot but feel that only a few
hours ago it was palpitating with
life. The torches were burning about
the altars. Companies of priests
were in the galleries chanting the
rituals. Dancing girls were flitting
up and down the steps... that was
only an hour or two ago,
monsieur....it cannot have been
more..
From the top of the terrace there is
a fine view of the gallery on the
first level, known as the Gallery of
Bas-reliefs (215 by 187 meters, 705
by 614 feet) (1). The outer side,
closest to the visitor, comprises a
row of 60 columns whereas the inner
side is a solid wall decorated with
bas-reliefs.
Tip: At this point the visitor has
the choice of continuing straight to
the central towers or turning right
to see the Gallery of Bas-reliefs
(see pages 96-108 for a description
of the bas-reliefs).
The unit providing a link between
the first and second levels is the
Cross-shaped Galleries (12). This
unique architectural design consists
of two covered galleries with square
columns in the shape of a cross and
a courtyard divided into four equal
parts with paved basins and steps.
The method used by the Khmers to
form corbel arches is visible in the
vaults. Several decorative features
in these galleries stand out windows
with balusters turned as if they
were made of wood, rosettes on the
vaults, a frieze of Apsaras under
the cornices, and ascetics at the
base of the columns.
Tip: Some of the pillars in the
galleries of this courtyard have
inscriptions written in Sanskrit and
Khmer. On either side of the
courtyard there are two libraries of
similar form but smaller than the
ones along the entrance causeway
(13)
The Gallery of 1,000 Buddha's, on
the right, once contained many
images dating from the period when
Angkor Wat was Backlist (14). Only a
few of these figures remain today.
The gallery on the left is the Hall
of Echoes, so named because of its
unusual acoustics (15).
Tip: to hear the resonance in the
Hall of Echoes walk to the end of
the gallery, stand in the left-hand
corner with your back to the wall,
thump your chest and listen
carefully.
Those who want to visit the library
(16) should leave the door at the
end of this gallery. There is a good
view of the upper level of Angkor
Wat from this library. Return to the
center of the cross-shaped galleries
and continue walking toward the
central towers. Another set of
stairs alerts one to the continuing
ascent. The outer wall of the
gallery of the second level, closest
to the visitor, (100 by 115 meters,
328 by 377 feet), is solid and
undecorated, probably to create an
environment for meditation by the
priests and the king (2)
The starkness of the exterior of the
second level gallery is offset by
the decoration of the interior. Over
1,500 Apsaras (celestial dancers)
line the walls of the gallery
offering endless visual and
spiritual enchantment. These
graceful and beautiful females
delight all visitors. They were
crated by the Churning of the Ocean
of Milk. When one first walks into
the courtyard the multitude of
female figures on the walls and in
the niches may seem repetitive but
as one moves closer and looks
carefully one sees that every one of
these celestial nymphs is different,
the elaborate coiffures, headdresses
and jewellery befit, yet never
overpower, these 'ethereal
inhabitants of the heavens'
Apsaras appear at Angkor Wat for the
first time in twos and threes. These
groups break with the traditional of
decoration kin other part of the
temple by standing with arms linked
in coquettish postures and always in
frontal view except for the feet,
which appear in profile.
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 (3) 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, 197 feet
long) of the upper level is 13
meters (43 feet) high and raises
over 40 meters (131 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 70-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. the steps on all
sides are exceptionally narrow. the
visitor should ascend and descend
sideways.
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 (17) rises on
a tiered base 42 meters (137 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 500 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 [summit] 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.
Gallery of Bas - Relief
By their beauty they first attract,
by their strangeness they hold
attention, Helen Churchill Candee
wrote of the bas-reliefs in the 1920
.The Gallery of Bas-reliefs,
surrounding the first level of
Angkor Wat, contains 1,200 square
meters (12,917 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.
Parts of some of the relief have a
polished appearance on the surface.
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.
Inviting The Gallery of Bas
- Relief
Those who like to linger in this
wonderful gallery of bas-reliefs
will always be made happy by new
discoveries will return as other
joys of Angkor will allow.
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 (the
numbers refer to pan page 97)
Location Theme
1
West gallery
Battle of Kurukshetra
3 South Gallery
Army of king Suryavarman II
4 South Gallery
Judgement by Yama heaven and Hell
5 East Gallery
Churning of the Ocean of Milk
11 West Gallery
Battle of Lanka
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.
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 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. 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.
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, Krsna (four arms) becomes the
charioteer of Arjuna.
Corner pavilion (southwest)
Enter the pavilion and view the
scenes facing you. Then continue
clockwise around the pavilion (see
insert page 97). 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.
South
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: Krsna
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 (see pages 52-4 for a
description of this legend).
J- Right: Krsna lifts Mount
Govardhana to shelter their
shepherds and their herds from the
storm ignited by the anger of Indra
(see page 57 for a detailed
description of this legend)
South (Historical)
Gallery - Army of King Soryavaman
II
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.
Judgement 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.
East Gallery - Churning of
The Ocean of Milk
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 forth 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
restore much of the coveted liquid.
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 Krsna 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 (see inset page
97). 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
demon to the ground.
Leaving Angkor Wat; "One looks upon
it through misty eyes and with an
odd constriction of the throat, for
there is only one Angkor. There is
no such monument to vanished people
anywhere else in the world. |
