CAMBODIA
Prepared by : Mrs.S.H.R.Jawahar Benazir, School Of Architecture & Interior Design
Location
L
ti
off
Cambodia
Cambodian
Provinces
C
A
M
B
O
D
I
A
N
S
T
Y
L
E
2
• Cambodia is a land of culture,
tradition and ethnic civilization.
• Cambodia records a prosperous and
diverse history which has its influence
f
from
th Indian
the
I di continent.
ti t
• The land of Cambodia is even influenced
by the customs of Thailand ad Laos .
• The Culture of Cambodia is subjected to
Indian customs, which developed its
way of life from the religions of
Buddhism and Hinduism.
• The language and art of Cambodia is
believed to have been brought in the
land by the seafaring merchants around
the 1st century A.D., via the gulf of
Thailand and the Pacific port during
while operating business with China.
• Cambodia is a land of enriching heritage
which has its own set of racial or cultural tie
ups.
• The natives are restricted to a set of rules and
protocols which define the culture of
Cambodia .
• The ancient capital of the Khmer Empire was at
Angkor close to present
Angkor,
present-day
day Siem Reap.
Reap
• In the fifteenth century, the capital was moved
to the area of the intersection of the Sap and
Mk
Mekong
rivers,
i
near present-day
t d Phnom
Ph
Penh, perhaps to enhance trade.
• The most densely populated areas now are
along the rivers in the provinces near Phnom
Penh.
3
LOCATION
• Cambodia
C b di lies
li between
b
Th il d
Thailand
and Vietnam in mainland
southeast Asia, with a smaller
stretch of the northern border
adjoining Laos.
LANGUAGE
• Khmer is the official language
off Cambodia
C b di - which
hi h is
i
immensely influenced by
Sanskrit and Pali.
• Cambodians from different
regions of the country speak
variant accents,.
accents,
GEOGRAPHY
DEMOGRAPHICS
&
• The majority of the world's
Khmer live in Cambodia, the
population of which is 80%
Khmer
Khmer.
• There are also significant Khmer
populations native to Thailand
andd Vietnam.
Vi t
• Due to the Cambodian Civil War,
thousands of Khmer now reside
in the United States, Canada,
Australia and France as well.
4
• The Culture of Cambodia is
hierarchical in nature and follows
certain guidelines.
• As per the tradition of Cambodia one
is supposed to show respect to their
elders.
• At times, the elder of the family are
d
denoted
d with
i h their
h i family
f il title
i l as per
their higher rank or seniority
• Greeting is an important aspect of
Cambodian Etiquette wherein
natives address to one other with
palms folded as if in prayers.
prayers
• One is supposed to raise their folded
hands and bow slightly in front of any
guests or friends.
f i d This
Thi way off greeting
i
is known as “Som Pas” in Cambodia.
KHMER
• Khmer as a noun or adjective refers
to the Cambodian language, people,
or culture and thus suggests an
ethnic and linguistic identity.
• Khmer people are the
predominant ethnic group in
Cambodia,
accounting
for
approximately 90% of the
14.8 million1 people in the country.
• They speak the Khmer language.
• The majority
j y of the Khmer follow
the Khmer style of Buddhism, which
blends elements of Theravada
Buddhism Hinduism,
Buddhism,
Hinduism animism and
ancestor-spirit worship.
5
• Cambodian Civilization primarily believes in
the Buddhist culture wherein about 95
percent practice the traditions of Theravada
Buddhist.
• While the rest of the population follow the
principles of Islam, atheism, or animism
• The Culture of Cambodia initiated from the
monarchy of Angkor, which was a
prosperous empire that thrived along the
northwestern provinces.
provinces
• The Angkor kingdom once controlled most
of the areas of the present Thailand, Laos
and Vietnam.
• The ancient Angkor Monarchy left
p
on the fields of
behind its impression
art, architectures, music, and dance,
which is still retained today.
• Cambodia has had a rich and varied
history dating back many centuries.
• Throughout Cambodia's long history, a major
source of inspiration was from religion.
• Throughout nearly two millennium,
millennium
Cambodians developed a unique Khmer
belief from the syncreticism of indigenous
animistic
i i ti beliefs
b li f andd the
th Indian
I di religions
li i off
Buddhism and Hinduism.
• Indian culture and civilization, including its
language and arts reached mainland
Southeast Asia around the 1st century A.D.
6
HISTORY
• The
Th golden
ld age off Cambodia
C b d was
between the 9th and 14th century,
during the Angkor period, during
which it was a powerful and
prosperous empire that flourished and
dominated almost all of inland
Southeast Asia.
• Many temples from this period
h
however,
lik Bayon
like
B
andd Angkor
A k Wat
W
still remain today, scattered
throughout Thailand, Cambodia, Laos
and Vietnam as a reminder of the
grandeur of Khmer arts and culture.
• Cambodia's
unparalleled
achievements
in
art,
architecture,, music,, and dance
during this period have had a
great influence on many
neighboring kingdoms,
kingdoms namely
Thailand and Laos.
• The effect of Angkorian culture
can still be seen today in those
countries, as they share many
close characteristics with
current-day Cambodia.
7
Cambodian
C
wedding
Cambodian
Festival
8
RELIGIONS OF CAMBODIA
• Historically,
Historically Buddhism has been
the dominant Religion in
Cambodia, however before its
introduction Hinduism also
flourished.
• Roman
Catholicism
was
introduced
by
French
missionaries beginning in the
eighteenth century.
century
• Islam is practiced among the
Chams.
• Among
the
Sino-Khmer
population
Mahayana
Buddhism,, Confucianism and
Chinese folk religions remain
popular.
9
BUDDHISM IN CAMBODIA
• Buddhism has existed in Cambodia
since at least the 5th century AD.
• Theravada Buddhism has been the
Cambodian state religion since the
13th century AD.
• The historyy of Buddhism in
Cambodia spans nearly 2000
years, across a number of
successive kingdoms and empires.
empires
• Buddhism entered Cambodia through
two different streams.
• The earliest forms of Buddhism,
along with Hindu influences, entered
the Funan kingdom
g
with Hindu
merchants.
• In later history, a second stream of
Buddhism entered Khmer culture
during the Angkor empire.
• For the first 1000 years of Khmer
history Cambodia was ruled by a
history,
series of Hindu kings with an
occasional Buddhist king, such as
Jayavarman I and Suryvarman I.
10
HINDUISM IN CAMBODIA
• Being the very oldest and the first religion to
be followed in Cambodia, Hinduism was made
the main religion of the Khmer Empire.
• Hinduism was one of the Khmer Empire's
official
ffi i l religions.
li i
• Cambodia is the home to one of the only two
temples dedicated to Brahma in the world.
• Angkor Wat Hindu temple is the biggest
Hindu temple in the world and it is located in
Cambodia.
11
SYMBOLS OF SOCIAL STRATIFICATION
• There is a general assumption that degrees of wealth can and should be publicly
known.
• Folk categorization distinguishes between the poor family
family'ss house of bamboo and
thatch, the more economically secure family's traditional wood house on
stilts, and the richer family's house of stone or cement.
• In Phnom Penh, the wealthiest families live in villas as opposed to apartments or
wood houses.
12
TYPOLOGY OF KHMER HOUSES
SYMBOLISM
• The most important
cultural symbol is the
ancient Khmer temple
Angkor Wat, along with the
ancient Khmer Empire and
its
monumental
antiquities.
• Pictures and bas-relief
carvings of the four-faced
four faced
tower of the Bayon at
Angkor Thom and of
âpsâras (celestial dancing
girls) are ubiquitous in
ppublic
homes
and
buildings.
• Classical dance, also an important national
symbol, consciously tries in costume and
gesture to recreate Angkorean bas-reliefs.
14
ARCHITECTURE OF CAMBODIA
• Several religious and secular
architectures witnessed its
development in the region of
C b di during
Cambodia
d i the
th ancient
i t times.
ti
• During the period of Angkor, only
temples and other religious buildings
were constructed of stone. Nonreligious buildings such as dwellings
were constructed of perishable
materials such as wood, and as such
have not survived.
• The
Th Architecture
A hit t in
i Cambodia
C b di during
d i
the Angkor period was quite
defined and specific, those which
are still in use till date.
• The Khmer temple is a brilliant example of
architecture, which is confined on all ends
b the
by
h concentric
i series
i off walls.
ll
• The central sanctuary is the main attraction
of the temple which is based in the middle.
• The gallery is a passageway along the
enclosed wall with an opening to one or both
sides
sides.
• The temple is comprised of an entrance
building which was once known as GOPURA.
• The
Th pediments
di t off gopura are adorned
d d with
ith
guardian figures (dvarapalas) inscribed along
its entryway.
15
ARCHITECTURAL DECORATION
• The MOTIFS OF APSARAS AND
DEVATAS have always been an
important element as far Architecture
i Cambodia
in
C b di is
i concerned.
d
• Several celestial dancing apsaras,
heavenly nymphs and female
deities adorn the walls of the ancient
temples which seem to be a part of the
Indian mythological figures.
figures
• The dancing apsaras can be witnessed
at the Halls of Dancers while about
2000 devatas
d t are found
f d att the
th Angkor
A k
Wat.
• The patterns of mythical serpents
or nagas are also an important
feature as far as Architecture
• Most of the Cambodia Architecture were fitted
with blind doors and windows which helped in
maintaining
i i i evenness in
i the
h entrance
way.
• The central sanctuary is the place where
the primary deity mainly resides.
• COLONETTES were widely used as an
embellishment along the doorways.
doorways
• The Corbel arch is used as a structural
element – it was made by adding stone layers
t the
to
th walls
ll with
ith eachh layer
l
pointing
i ti towards
t d
the middle. Ex. Angkor Thom
16
BAYON
ANGKOR WAT
17
18
C
A
M
B
O
D
I
A
N
S
T
Y
L
E19
• Angkor Wat is a temple complex at
Angkor, Cambodia, built byy the king
Suryavarman II in the early 12th century
as his state temple and capital city.
• The 12th century temple of Angkor Wat
is the masterpiece of Angkorian
architecturefirst
Hindu,
d di d to the
dedicated
h godd Vishnu,
Vi h then
h
Buddhist.
• It is the world's largest religious
building.
building
• Angkor Wat, means "City Temple";
Angkor is a vernacular form of the
word nokor which comes from the
Sanskrit word nagar (नगर).
• Wat
W is
i the
h Khmer
Kh
wordd which
hi h comes
from Sanskrit word "Vastu”.
• Prior to this time the temple was known as
Preah Pisnulok (Vara Vishnuloka in Sanskrit),
after the posthumous title of its founder.
• Constructed under the direction of the Khmer
king Suryavarman II, it was to serve as the
monarch's ppersonal mausoleum and as a
temple to the Hindu god Vishnu.
• The temple is made of sandstone, and is
intricately decorated with scenes from Hindu
epics (like the Ramayana and Mahabharata) in
bas relief.
20
• Angkor Wat combines two basic plans
of Khmer temple
p architecture: the
temple mountain and the later
galleried temple, based on early
South Indian Hindu architecture,
architecture
with key features such as the Jagati.
• It is designed to represent Mount Meru,
home of the devas in Hindu mythology:
within a moat and an outer wall 3.6
kms longg are three rectangular
g
galleries, each raised above the next.
• At the centre of the temple stands a
quincunx of towers.
towers
• The temple is admired for the grandeur
and harmony of the architecture, its
extensive bas-reliefs, and for the
numerous devatas adorning its walls.
• The temple preserves the style of the Khmer
period, in the form of towers that are
shaped like lotus buds,
buds cruciform terraces
and axial galleries that connect
enclosures.
• Unlike most Angkorian temples, Angkor Wat is
oriented to the west.
• Some believe that this deviation from the usual
orientation of Khmer temples towards the east,
is because it is dedicated to Lord Vishnu, who is
associated with the west direction.
direction
• Some believe that orientation towards the west
direction reflects Suryavarman II's desire to use
the temple for personal funerary purpose.
21
22
SYMBOLISM
• Spread over an area of more than 200
hectares, the Angkor Wat was built using
the two fundamental plans of Khmer
architecture:
hit t THE TEMPLE MOUNTAIN
AND THE GALLERIED TEMPLE
TEMPLE..
• According to the Temple Mountain plan,
the temple is depicted as Mount Meru,
the abode of Hindu Gods.
• The wall and moat enclosing the temple,
represent MOUNTAINS AND OCEANS
respectively.
• Based on Dravidian architecture,
architecture
it was designed as a pyramid
representing the structure of the
UNIVERSE
UNIVERSE.
• The highest level at the center
of the temple represented
MOUNT MERU, the home of
the Hindu gods, with the five
towers on the highest level
representing the five peaks of
the mountain.
23
STRUCTURE
OUTER STRUCTURE
• The temple complex is enclosed
within a 190 m wide moat.
• A stretch of 30 m wide open ground
separates the moat from the 4.5 m
high
g ou
outer
e wall
a that surrounds the
temple on all four sides.
• Entry to the temple complex is
guarded by an impressive tower,
tower
which is on each side of the outer
wall, is known as the gopura.
• Inside the walls lies an area of
820,000 square meters that not only
has the temple,
p , but also housed the
entire city and the royal palace.
INNER STRUCTURE
• The inner structure contains the
temple, that stands on a raised
terrace made of three
rectangular galleries, rising to a
central
ce
a tower.
o e.
• The three galleries are believed by
some to represent Brahma - the
creator according to Hindu mythology,
mythology
the moon and Vishnu the Hindu
god who is supposed to be the
preserver of all forms of life.
• The central tower forms a quincunx
with the other towers on the ggalleryy
to represent mount Meru, surrounded
by other peaks.
24
25
26
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1.West Gallery.
y
2. East Gallery.
3. North Gallery.
4. South Gallery.
5. Cruciform
Galleries.
6 .Central Shrine.
7. View from West
8. North "Library”
y
27
The inner sanctuary of Angkor Wat,
Wat, seen from the east
28
• Grand mausoleum-temple complex, the
Angkor Wat was not just centers for
ritual performances and worship, but
also centers for displays of wealth
and magnificence that advertised
andd procuredd the
th king's
ki ' heavenly
h
l status
tt
through the reliance on religious
symbolism (the Hindu & Buddhist
religions) that were then embedded
into the artwork and architecture.
• The temple was built by King
Suryavarman II around the middle of
the twelfth century, at the height of the
Khmer empire
empire'ss power.
po er
• The main temple is built on three
levels.
• The first level consists of AN OPEN
GALLERY, with the inner wall
continuously covered with bas-relief
depicting scenes from the Mahabharata &
the Ramayana.
• A flight
g of stairs leads to the second level
WHICH IS LESS ORNATE.
• A very steep stairway leads up to the
TOP LEVEL WITH ITS CENTRAL
SANCTUARY.
• Its unusual west-facing layout has led
many to believe that it was intended as a
funerary temple for Suryavarman himself. 29
SCULPTURE,RELIEFS & DECORATIONS
• Reliefs such as these are neither
decoration, mere visualizations of
scriptural stories, nor are they even just
parts of the temple
temple'ss ritual processional
'system‘.
• by depicting the glorification of both Vishnu
andd himself
h lf as one off Vishnu's
h '
transformations, they are bringing to light
Suryavarman's
y
desire and concern with
establishing his place in the cosmic scheme.
• Essentially, they are "politically
interpretative versions of mythology
intended to change and unify the existing
worldview to conform with the strategic
programme that
h Survayarman
S
set in motion
for himself and for his subjects”.
30
APSARAS & DEVATAS OF ANGKOR WAT
31
RELIEFS OF ANGKOR WAT
32
SUBJECTS OF THE BASBAS-RELIEFS
Amongg the monument's manyy bas-reliefs are:
• Depictions of Suryavarman seated on his throne,
receiving declarations of loyalty from his top
officials
officials.
• He is shown progressing down a hillside atop an
elephant, accompanied by his generals & the high
priest.
• Heavily-armed soldiers are shown protecting him and
his court.
• Depictions of war elephants were significant because
they were both an impressive and important means
of maintaining power on land--given their height
which was useful for approaching enemy walls, their
adaptability to the terrain and ability to cross moats.
• Thus,
Th a ruler
l who
h possessedd andd controlled
ll d war
elephants was viewed as extremely powerful.
• Apsaras are beautiful,
supernatural female
beings..
beings
• They are youthful and
elegant, and superb in
the art of dancing.
• They are often the wives
of the Gandharvas the
court musicians of
Indra.
• They dance to the music
made
by
the
Gandharvas, usually in
the palaces of the gods,
entertain gods and men.
33
COSMOLOGICAL SYMBOLISM
• "Angkor
Angkor Wat was a temple and
mausoleum, as well as a giant
astronomical observatory.
• At the
th western
t entrance,
t
th sun rises
the
i
over the central lotus tower on the day of
the spring equinox.
• As the sun moves during the seasons, its
rays illuminate the bas-reliefs on the
walls on the third gallery.
• It shines on the creation in summer, on a
bloody battle in autumn, and then leaves
th north
the
th wallll off the
th gallery
ll in
i darkness
d k
during the dry season; then it illuminates
the kingdom of death.
• Everything about Angkor Wat had
profound cosmic and religious symbolism“ The deity in the Sanctuary
34
The Churning of the Ocean
NAGA/SERPENTINE MOTIFS OF ANGKOR WAT
35
36
• THE BAYON is a well-known and
richly decorated Khmer temple at
Angkor in Cambodia.
• Built in the late 12th century or
early 13th century as the official
state temple of the Mahayana
Buddhist King Jayavarman VII,
VII the
Bayon stands at the centre of
Jayavarman's capital, Angkor
Thom.
• Following Jayavarman's death, it
was modified and augmented
g
byy
later Hindu and Theravada Buddhist
kings in accordance with their own
religious preferences.
preferences
• The Bayon's most distinctive
feature is the multitude of
serene and massive stone
faces on the many towers
which jut out from the upper
terrace and cluster around its
centrall peak.
k
• The temple is known also for
two impressive sets of basreliefs, which present an
unusual combination of
mythological, historical,
and mundane scenes.
37
• BAYON TEMPLE is a Buddhist temple
but retains elements of Hindu
cosmology and imagery.
• Standing in the exact center of the
walled
ll d city,
it
it represents
t the
th
intersection of heaven and earth.
• It is known for its enigmatic smiling
faces of Avalokiteshvara and its
extraordinary bas-reliefs.
• Bayon is known for its huge stone faces
of
the
bodhisattva
Avalokiteshvara, with one facing
outward and keeping watch at each
compass point.
• The curious smiling image, thought
by many to be a portrait of Jayavarman
himself.
• There are 51 smaller towers
surrounding Bayon, each with four
faces of its own.
38
BAYON TEMPLE - PLAN
N
BAYON TEMPLE VIEW
39
Outer gallery
Central Tower/
Sanctuary
Inner gallery
The Upper terrace
40
• The central sanctuary is a huge mass,
the dark centre of which is
surrounded by a narrow corridor.
• It is a fine big statue of Buddha
sitting on the coils of Naga and in the
shelter of his head.
• The surrounding wall is opened up by
five gates, 4 on the axis of the Bayon,
the fifth is in the axis of
Phimeanakas and the second Angkor.
g
• These entrances are splendid
examples of carving in the very spirit
of the Bayon; their mass is carried by
enormous elephants with three heads
and with trunks touching the ground
in the
h act off picking
k lotuses.
l
• Above, the structure of triple tower
makes the great faces of
Avalokiteçvara casting his benevolent
Avalokiteçvara,
gaze in all directions.
• The doors have the appearance of pointed
bows, before they were high rectangular
bays 7 meter by 3. 50 meter strengthened
with ppowerful leaves.
• The road which crosses the moat was
decorated with two imposing balustrades;
the churning serpent drawn by devils at the
right (on entering) and by Gods on the left.
41
• Bayon Temple is surrounded by two long
walls bearing an extraordinary
collection of bas-relief scenes of
legendary and historical events.
events
• In all, there are total of more than
11,000 carved figures over 1.2km of
wallll which
hi h were probably
b bl originally
i i ll
painted and gilded.
• The bas-reliefs on the outer wall and on
the inner gallery differ completely and
seem to belong to two different worlds.
• On the outside is the world of men,
of events in history which might
actually have taken place, and on the
i id is
inside
i the
th epic
i world
ld off gods
d andd
legends.
• The towers at the Bayon, were enormous
Lingas sculptured with faces, sheltering those
worshipped in the shrines inside.
• This theory was based on the certain belief
that the Bayon was a Hindu temple
d di t d to
dedicated
t Siva
Si .
Siva.
• But this theory had to be abandoned when the
pediment representing Lokeçvara was
discovered, which had formerly been hidden
by the central mass.
• This indicated that the original and basic
character of the Bayon was a Buddhist temple.
• The faces were certainly Buddhist and
probably represented the compassionate
Bodhisattva.
42
THE OUTER GALLERY
DEPICTIONS OF HISTORICAL EVENTS AND EVERYDAY LIFE
• The outer wall of the outer gallery
features a series of bas-reliefs
depicting historical events and
scenes from the everyday life
of the Angkorian
g
Khmer.
• The bas-reliefs are highly detailed
and informative in themselves.
• The outer gallery encloses a
courtyard in which there are two
libraries (one on either side of
the east entrance).
• Originally the courtyard contained
16 chapels,
p , but these were
subsequently demolished.
• The subjects of the reliefs include:
• a naval battle between Khmer and
Cham forces;
• More scenes from civilian life depicting
a market,, open-air
p
cooking,
g, hunters,,
and women tending to children;
• a marching Khmer army with
musicians horsemen,
musicians,
horsemen and officers
mounted on elephants, followed by
wagons of provisions;
• procession followed by domestic scenes
depicting Angkorian houses, some of
the occupants
p
of which appear
pp to be
Chinese merchants.
43
• Unfinished reliefs show an army
marching through the forest,
forest then
arguments and fighting between
groups of Khmers;
• a scene depicting a combat between
Khmer warriors, then a scene in which
warriors ppursue others ppast a ppool in
which an enormous fish swallows a
small deer;
• then a royal procession,
procession with the king
standing on an elephant, preceded by
the ark of the sacred flame;
• a scene in which the Khmer flee from
Cham soldiers advancing in tight
ranks;
• A scene of royal entertainment including
athletes, jugglers and acrobats, a procession of
animals,
i l ascetics
i sitting
i i in
i a forest,
f
andd more
battles between Khmer and Cham forces;
• A land battle between Khmer and Cham forces,
both of which are supported by elephants: the
Khmer appear to be winning.
• a military procession including both Khmers and
Chams, elephants, war machines such as a large
crossbow and a catapult;
44
THE INNER GALLERY
• The inner ggalleryy is raised above
ground level and has doubled corners,
with the original re-dented crossshape later filled out to a square.
square
• Its bas-reliefs, later additions of
Jayavarman VIII, are in stark contrast
to those
h off the
h outer. • .
• The inner gallery are decorated for
the most ppart with scenes from
Hindu mythology.
• Some of the figures depicted are
Siva Vishnu,
Siva,
Vishnu and Brahma,
Brahma the
members of the trimurti or
threefold godhead of Hinduism,
A
Apsaras
or celestial
l i l dancers,
d
Ravana and Garuda.
• The subjects of the reliefs include:
• Freeing of a goddess from inside a
mountain.
• a king fighting a gigantic serpent with his
b hands
bare
h d
• depictions of the construction of a
Vishnuite temple
• The Churning of the Sea of Milk
45
THE UPPER TERRACE - 200 FACES OF LOKESVARA
• The inner gallery is nearly filled by the
upper terrace, raised one level higher
again.
• The
Th lack
l k off space between
bt
th inner
the
i
gallery and the upper terrace suggests
that the upper terrace did not figure in
the original plan for the temple, but
that it was added later following a
change in design.
• Originally, it is believed, the Bayon
had been designed as a single-level
structure.
t t
• The upper terrace is home to the
famous "face towers" of the
Bayon, each of which supports two,
three or four gigantic smiling faces.
• In addition to the mass of the central tower,
smaller towers are located along the inner
ll (at
( the
h corners andd entrances),) andd on
gallery
chapels on the upper terrace.
• The faces of Lokesvara follow and dominate
with their multiple presence in the whole of
upper terrace.
• At one point,
point the temple was host to 49 such
towers; now only 37 remain.
• The number of faces is approximately 200,
b t since
but
i some are only
l partially
ti ll preservedd
there can be no definitive count.
46
THE CENTRAL TOWER & SANCTUARY
• Like the inner gallery,
gallery the central tower
was originally cruciform but was
later filled out and made circular.
• It rises 43 m above the ground.
• At the time of the temple's foundation, the
pprincipal
p religious
g
image
g was a statue of
the Buddha, 3.6 m tall, located in the
sanctuary at the heart of the central tower.
• The statue depicted the Buddha seated in
meditation, shielded from the elements by
the flared hood of the serpent king
Mucalinda.
• During later reigns of Jayavarman VIII, the
figure
g was removed from the sanctuary.y
47
Some of the towers of the Bayon showing faces of Lokeshwara
48
FACES OF AVALOKITESHVARA AT BAYON TEMPLE
49
Reliefs of apsaras
at Bayon
Smiles
of
Avalokiteshvara
50
Stone basbas-relief at
Bayon temple depicting
the Khmer army at war
with the Cham
A scene from the
southern gallery depicts
a navall battle
b ttl ; this
battle;
thi
section shows Cham
warriors in a boat and
dead Khmer fighters in
the water.
water.
51
Reliefs of battle
scenes on Bayon
Temple
A market scene
in the southern
gallery shows
g g
the weighing
of goods;
goods; the
fishes..
fishes
52
BIBLIOGRAPHY
• http://www.wikipedia.org/
• http://whc.unesco.org/
• http://www.google.co.in/
• http://www.angkorwat.com/