ANGKOR WAT was listed in World Wonder List
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 Khmer name for temple (the French
spelling is "vat "), which was probably added to "Angkor 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.
Apsara Statue at Angkor
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
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. 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. 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 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. 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 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).
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 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) 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 Angkor
Wat .
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). 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. 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 The Gallery of 1,000 Buddha's, on the right,
once contained many images dating from the period when Angkor Wat was Backlist.
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.
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 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.
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 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, 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 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 Angkor
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 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.
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. 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-RELIEFS
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
LOCATION THEME
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
This battle scene is the main subject of the
Hindu epic Mahabharata. It recalls the historic was wars in Kurukshetra, a
province in India
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, Krisna (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. 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: Krisna uproots
trees with a stone he is tied to.
G- Right: Ravana, disguised as a chameleon,
presents himself at the palace Indra .
NORTH
H- Left: The Churning of the Ocean Milk .
I - Center, above the door: Rama kills Marica,
who, disguised as a golden stag, helped in the abduction of Sita.
J- Right: Krisna lifts Mount Govardhana
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 Louvo
JUDGMENT BY YAMA;
HEAVEN AND HELL
Three tiers recount the judgment of mankind by
Yama and two tiers depict Heaven and Hell. Inscriptions have identified 37
heavens where one sees leisurely pursuits in palaces and 32 hells with scenes
of punishment and suffering. Draperies and Apsaras separate the two and a row
of Garudas borders the tier in the bottom. The roof was destroyed by lightning
in 1947 and subsequently the ceiling of this gallery was restored by the
French. Traces of gilt can be on riders on horses at the beginning of the
panel. The lower section of the panel was badly damaged and liter filled with
cement.
Lower tier: Yama, the Supreme Judge (multiple
arms, wields a staff and rides a buffalo), points out to his scribes the upper
road representing heaven and the lower one of hell. Departed spirits a wait
judgment. Assistants to Yama shove the wicked through a trap door to the lower
regions where torturers deliver punishments such as sawing a body in half for those
who overeat. Lawbreakers have their bones broken. Some of the punished wear
iron shackles or have nails pierced through their heads. Upper tier: A
celestial palace is supported by a frieze of Garudas with Apsaras in the skies.
EAST GALLERY - CHURNING OF THE OCEAN MILK
This is the most famous panel of bas-reliefs
at Angkor Wat and derives from the Indian epic Bagavata-Pourana. The Ocean Milk
The scene is decided into three tiers. The
lower tier comprises various aquatic animals, real and mythical, and is
bordered by a serpent. The middle tier has, on one side, a row of 92 demons
(round bulging eyes, crested helmets) and, on the other side, a row of 88 gods
(almond-shaped eyes, conical headdresses). They work together by holding and
churning the serpent. Hanuman, the monkey god, assists. Visnu, in his
reincarnation as a tortoise, offers the back of his shell as a base for the
mountain Mandara, and as a pivot for the churning. He sits on the bottom of the
Ocean. A huge cord in the form of the body of the serpent Vasuki acts as a
stirring instrument to churn the sea.
To begin the motion the gods and demons twist
the serpent's body; the demons hold the head and the gods hold the tail of the
serpent. Then by pulling it rhythmically back and for th they cause the pivot
to rotate and churn the water.
The gods and demons are directed by three
persons (identified by their larger size). Indra is on top of Visnu. On the
extreme right Hanuman, ally of the gods, tickles the serpent. Upper tier:
During the churning various female spirits emerge. Visnu appears in this scene
again in yet another reincarnation-as a human being-to preside over the
"churning "which, according to legend, lasted more than 1,000 years.
Numerous other beings
are depicted such as the three-headed elephant mount of Indra, Apsaras and
Laksmmi, the goddess of beauty. They churning provoke the serpent to vomit the
mortal venom, which covers the waves. Afraid the venom may destroy the gods and
demons, Brahma intervenes and requests Siva to devour and drink the venom,
which will leave an indelible trace on Siva's throat. He complies and, as a
result, he Amtrak pours forth. The demon rush to capture all the liquid. Visnu
hurries to the rescue and assumes yet another reincarnation in the form of
Maya, a bewitching beauty, and is able to 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.
The bas-reliefs in this section of the Wast Gallery and the south part of the North Gallery were probably completed at a later date, perhaps the fifteenth or sixteenth century. The stiffness of the figures and the cursory workmanship reveal this change. An army of demons marches towards the center of the panel. Center: Visnu (four arms) sits on the shoulders of a Garuda.
A scene of carnage follows. Visnu slaughters
the enemies on both sides and disperses the bodies. The leaders of the demons
(mounted on animals or riding or riding in chariots drawn by monsters) are
surrounded by marching soldiers. Another group of warriors (bows and arrows)
with their chiefs (in chariest of mounted on huge peacocks) follows.
NORTH GALLERY
VICTORY OF KRISNA OVER
BANA THE DEMON KING
At the beginning of the panel Visnu in his
incarnation as Krsna (framed by two heroes) sits on the shoulders of a Gruda.
Agni, the god of Fire (multiple arms), sits on a rhinoceros behind him. This
scene appears several times. A wall surrounding the city is on fire and
prevents the advance of Krsna (mounted of a Garuda) and his army of gods. This
Krsna scene also appears several times in the panel. The Garuda extinguishes
the fire with water from the sacred river Ganges Mount Kailasa
A procession of 21 gods of the Brahmanic
pantheon march in procession carrying classic attributes and riding traditional
mounts. One-god battles against a demon while warriors on both sides battle in
the background. A series of adversaries follow, the Kubera, God of riches (with
bow and arrow), Appears on the shoulders of a Yaksa; followed by Skanda, Goe of
war (multiple heads and arms), mounded on a peacock; Indra stands on his mount
the elephant; Visnu (four arms) sits on his mount, a Guard; a demon (tiered
heads) shaking swords; Yama, God of Death and. Justice (sword and
shield), stands in a chariot pulled by horses; and Varian, God of the Water,
stands on a five-headed serpent harnessed like a beast of burden.
CORNER PAVILION
(NORTHWEST)
Enter the pavilion and walk counter-clockwise.
Several of the scenes are in good condition.
NORTH
A- Right: The women's quarters of a palace.
B- Center, above the door: An attempt to
abduct site in the forest.
C- Left, badly damaged: A scene from the
Ramayana.
Above: Tiers of monkeys and a pyre
WEST
D- Right: rama in his chariot (drawn by geese)
returns victorious to Ayodhya
E- Center, above the door: Rama and Laksmana
surrounded by monkeys.
F- Left: A conversation between Sita and
Hanuman in the forest; Hanuman gives Rama’s ring to Sota.
SOUTH
G- Right Visni (seated, four arms) surrounded
by Apsaras.
H- Center, above the door: Rama and Laksmana
battle a monster (headless, face on stomach)
I- Left: Rama wins an archery
competition; Rama and Sita sitting together.
EAST
J- Right: Visnu (four arms) on a Garuda; Krsna
(mounted on a Garuda) bring back Mount Maniparvata
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
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
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.
