Angkor Cambodia
>> 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.
