Bas Relief at Angkor Wat
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The bas-reliefs cover the back wall of the gallery of the third enclosure for two metres in height and a total area of more than 1,000 square metres - excluding the two corner pavilions. Limited to the zone that would have been accessible to the public, they represented legendary and historic scenes for the enlightenment of the faithful. Cut directly into the surface of the wall and having suffered minimal decay, they are more graphic than sculptural. Their inconsistent workmanship - excellent while the artist proceeds to clearly define without tending towards sculpture in the round, but only mediocre when the exaggerated contours is due no doubt to the hands of differing craftsmen.
The hurried visitor will be content with a tour of the galleries to the south of the central axis, together with its western gallery up to the north-west pavilion - which are particularly remarkable. The north-east quarter, on the other hand, though showing no particular shortcoming in composition, has been hurried in execution. Some suspect the late intervention of Chinese artisans charged with finishing a work that had previously only been outlined.
The order of the panels reveals, apart from anything else, two different conceptions; - the first, in a single composition, represents a veritable profusion of figures in the various stages of frenzied combat - the others, perhaps slightly later in execution and more restrained in style, are arranged in registers according to the formula which was to prevail during the second half of the 12th century.
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WEST GALLERY, SOUTHERN PART.
The battle of Kuruksetra between the Kauravas (advancing from the left) and the Pandavas (from the right), depicting four divisions of the Mahabharata, one of the major Hindu epics.
The composition is in a single panel and lined along its base with a procession in which one can distinguish some musicians, some foot-soldiers leading warriors marching to combat and their chiefs carried by elephants or horse drawn chariots. It is only in the centre that the struggle turns into a furious scrum where certain details - such as the wounded horse collapsing lanced with arrows - are treated with a striking realism.
One can identify with some certainty; - to the left, Bhisma, the chief of the army of the Kauravas, dying pierced with arrows, - and Drona, no longer wearing the conical head-dress of the devas and other heroes, but with the classical chignon of the Brahmans; - to the right is Arjuna, whose four armed driver is none other than Krishna. One will notice that in places the rubbing of the reliefs by visitors’ hands or the remains of some ancient lacquer has given the stone the appearance of bronze or of polished granite, clarifying them distinctly.
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SOUTH WEST CORNER PAVILION.
The four branches of the cross-planned pavilion are decorated with sculpted scenes, unfortunately decayed in places by water infiltration through the loose-jointed vaults.
1. above the north door.
A scene from the Ramayana, where Rama kills the enchanted gazelle Marica, so enabling the abduction of Sita by Ravana.
2. north branch, east wall.
Krishna, accompanied by Balarama, raising mount Govardhana (conventionally represented by a pattern of small diamonds) with his right arm in order to shelter the shepherds and their flocks from the storms unleashed by the fury of Indra.
3. north branch, west wall (above the opening)
A scene from the legend of Vishnu - the churning of the Sea of Milk that extracts the elixir of immortality over which the gods and the demons dispute. On the upper part are two discs, each containing a figure, representing the sun and the moon.
4. west branch, north wall (above the opening).
Ravana, taking the form of a chameleon, enters the women’s chamber in the palace of Indra.
5. above the west door.
The child Krishna dragging the large stone mortar to which he had been tied by his adoptive mother, Yasoda, felling two arjuna trees in passing.
6. west branch, south wall (above the opening).
Ravana with multiple heads and arms tries to shake the mountain on which Shiva and his wife Uma are throned.
7. south branch, west wall (above the opening).
Shiva meditating on a mountain top with Uma at his side is sighted by Kama, the god of love, who shoots him with his sugar-cane arrow. The god, furious at being troubled, strikes the fool who dies in the arms of his wife Rati.
8. above the south door.
The murder of Pralamba and the extinction of a fire by Krishna.
9. south branch, east wall (above the opening).
A scene from the Ramayana. Above is a duel between the two enemy brothers, Valin and Sugriva, the king of the monkeys. Rama, intervening in the struggle assures the victory of his ally by killing Valin with an arrow. Below, Valin dies in the arms of his wife, Tara, who wears a three pointed mukuta. The panel, which adjoins the window and shows on several registers the monkeys mourning Valin, is remarkable in the variety of their attitudes and expressions.
10. east branch, south wall (above the opening)
A badly ruined and unidentified panel. One can distinguish a seated figure in the centre, conversing with many others, above figures of ascetics.
11. above the east door.
Krishna receiving offerings destined for Indra.
12. east branch, north wall.
The Dvaravati nautical festival where one can see two superposed junks mounted with apsaras. The vessel above carries some chess players while the lower one has some figures playing with children. To the right is a cock fight.
SOUTH GALLERY, WESTERN PART.
This is the “historical gallery”, where a single panel of 90 metres in length is dedicated to king Suryavarman II, the builder of Angkor Wat, consecrated under the name of Paramavishnouloka. The section to the left starts on two tiers; - above is the royal audience, just to the throne of the sovereign, installed on the mount Shivapada and recognisable by his large size and the gilding - although of a later date – which covers him. Below are women of the palace in procession.
From here is the rallying of the army; - the chiefs, descending from the upper register, rejoin their troops who pass a crowd of infantry-men at the base with the riders represented abreast in a sort of rudimentary perspective. The chiefs, whose rank is marked by the number of parasols that surround them, are all set against a verdant background and can be identified by the 28 small inscriptions engraved beside them. Standing on elephants with their trunks coiled or dressed, they encircle the king, Paramavishnouloka – the twelfth from the left - who is superior in stature, wears a conical mukuta with a diadem, and reaches the upper edge of the panel with his 15 parasols. He is armed with a sort of long-handled knife which is similar to the “coupecoupe” still used by the Cambodians today.
A little further on, the parade losses its military character to give way to a religious pageant of Brahmins with chignons who ring small bells. This is the procession of the rajahotar or royal sacrificial priest, whom one can see carried in a palanquin behind the ark containing the sacred flame, itself preceded by musicians, standard bearers and jesters.
The parade continues, finishing at the extreme right with the Siamese - then allies of the Khmer - with their strange bell-shaped dresses and hair styles decorated with feathers, giving them the air of Oceanian warriors and for a long time mistaken for “barbarians”.
SOUTH GALLERY, EASTERN PART 8
For this panel of 60 metres in length - dedicated on three registers to the judgement of the dead by Yama and then on two registers to the representation of heaven and hell - one is further guided by 36 short inscriptions which reveal that there are 32 hells and 37 heavens - these last remaining without much appeal and of a dull monotony. They are but sky borne palaces in which the elected, surrounded by their servants, lead a life of leisure, the joys of which remain singularly earthbound.
The tortures are far more varied and are but transitory - the Hindu religions knowing nothing of eternal damnation - and it is worth noting that the executioners, generally large in stature and aided by ferocious beasts, are themselves also damned.
From the left lead the two paths, one to the heavens (above), and the other to hell (below). Yama, the supreme judge with multiple arms, mounted on a buffalo, indicates to his two assessors - the registrars Dharma and Sitragupta - those unfortunate souls who are to be thrown down to hell to suffer a refined cruelty which, at times, seems to be a little disproportionate to the severity of the crimes committed. So it is that people who have damaged others’ property have their bones broken, that the glutton is cleaved in two, that rice thieves are afflicted with enormous bellies of hot iron, that those who picked the flowers in the garden of Shiva have their heads pierced with nails, and thieves are exposed to cold discomfort.
Running along the length of the composition and separating hell from the rich palaces of the elected above, with their lavish draperies and sumptuous flying apsaras, is a frieze of garudas standing “as atlantes”.
EAST GALLERY, SOUTHERN PART
Taken from the Bhagavata-Pourana this shows the grand scene, known universally and often represented in Khmer art, of the churning of the Sea of Milk. The registered panel extends for nearly 50 metres and has an axial symmetry. Consequently it is far more stylised than the others – the figures all having the same attitude of concentrated exertion in their rhythmical hauling.
The churning produces an elixir of immortality, over which the gods (devas) and the demons (the asuras) are in dispute. Resting on a tortoise - one of the forms of Vishnu - the mount Mandara serves as a pivot while the cord is represented by the serpent Vasuki. The asuras hold the head and the devas the tail. On the bas-relief, the asuras, to the left, number 92 and wear a sort of helmet, while the 88 devas on the right wear the diadem with mukuta. Each are directed by three larger figures, fortunately breaking the monotony, and, to the extreme right, by the monkey Hanuman, ally of the gods. Vishnou, represented again but this time in human form as Caturbhuja, presides over the operation which, according to the legend, lasted for more than a thousand years. Hundreds of various beings appear successively, including the white elephant Airavana, the mount of Indra, - the horse Uccaihshravas, - countless hordes of delectable apsaras (running here as a frieze along the length of the panel) - and Lakshmi, the goddess of beauty. The serpent then spits the halahala, the deadly venom which covers the waves, risking the annihilation of the gods and demons - particularly those near the head. At the demand of Brahma, Shiva sacrifices himself and drinks the scalding poison, that scars his throat.
Finally the elixir which flows is seized by the asuras - but Vishnu appears before them in bewitching beauty as Maya (the illusion), to regain the coveted cup. On the bas-relief, where this part of the story is not in fact related, one can also see again at the base - framed by two registers of guards and servants waiting near some chariots, elephants and the horses of the drama’s players - an image of the serpent Vasuki, slithering in an aquatic background before participating in the churning. Close to the pivot, various fish and maritime monsters writhe in the turbulent current.
EAST GALLERY, NORTHERN PART
One will notice on the wall, while traversing the east gopura, a large inscription - although of a later date (beginning of the 18th century) – which relates to the placing of the funerary monument or “cedei” that one can still see, half ruined, to the exterior of the gallery.
The panel of the bas-reliefs is here quite mediocre in execution and, with an axis of symmetry, represents the victory of Vishnou over the asuras. From the two sides, on two barely distinguishable registers, the army of the asuras moves towards the centre, where mounted on the shoulders of Garuda, the four-armed god - whose face is turned to the south - sends his enemies running after having wreaked carnage. All the warriors have the characteristic mask of the demons, and the same crested head-dress. One will notice, slightly to the right of the central motif, a group curiously mounted
on gigantic birds.
NORTH GALLERY, EASTERN PART
Here, in a terrific scrum framed by parades of armies, is the victory of Krishna over the asura Bana. The workmanship is at its worst. One can identify, successively from left to right; - mounted on Garuda, Krishna with eight arms and tiered heads framed by two heroes, - Garuda extinguishing the defensive wall of flames which protects the enemy city and behind whom stands Agni, the god of fire, on a rhinoceros, - four replicas of the initial motif where, on the second, the god has only four arms, - the meeting with the god Bana, with multiple arms, coming from the opposite direction and mounted on a chariot pulled by grimacing lions, - once again on Garuda, Krishna and his two victorious companions, - and finally, to the extreme right, Krishna kneeling in front of Shiva who, throned on the mount Kailasa with Parvati and Ganesha, asks him to spare Bana his life.
NORTH GALLERY, WESTERN PART
Another combat scene - devas against asuras - in a single panel and with no division of registers. Here the workmanship improves. One can recognise, from left to right - after the seven first groups of adversaries; - Kubera, the god of wealth, on the shoulders of a Yaksha, then, two groups further on, Skanda the god of war with multiple heads and arms mounted on his peacock, - Indra standing on the elephant Airavana with four tusks, - Vishnu with four arms on Garuda, who separates with each of his limbs the four rearing horses of two enemy chariots, - the asura Kalanemi, with four tiered heads, whirling his sword-wielding arms, - Yama, the god of the dead and supreme judge on a chariot drawn by oxen, - Shiva drawing a bow, - Brahma on the sacred goose Hamsa, - Surya, the god of the sun, standing out on his disc, - and finally Varuna, the god of the waters, standing on a five headed naga harnessed like a beast of burden.
NORTH WEST CORNER PAVILION.
Entirely ornate like its symmetrical image on the south west, this pavilion has some remarkably well preserved scenes of the highest order.
1. above the eastern door.
A scene from the Ramayana shows mount Malaya and the meeting between Rama, his brother Lakshmana and Sugriva, the king of the monkeys, in order to settle a pact of alliance.
2. eastern branch, north wall (above the opening).
Vishnu sleeps, reclining on the serpent Ananta, his feet held by his wife, under a flight of apsaras. Above are some fine examples of sculpture showing the procession of the nine gods coming to request incarnation on earth; - Surya on his horse drawn chariot, set on his disc, - Kubera on the shoulders of a Yaksha, - Brahma on the Hamsa, - Skanda on the peacock, - an unidentified god on a horse, - Indra on an elephant, - Yama on the buffalo, - Shiva on the bull Nandin - and another unidentified god on a lion.
3. eastern branch, south wall.
Krishna regains mount Maniparvata. Mounted on Garuda with his wife Satyabhama, the god is accompanied by his army and servants carrying the spoils of the vanquished asura Naraka. The mountain, the cause of the struggle, is shown behind Krishna.
4. north branch, eastern wall (above the opening)
A conversation in a palace, where one can see, under the two talking figures, the bodies of two men lying on their bellies, and then, on a number of registers, some charming scenes from the ladies chambers.
5. above the north door.
A scene from the Ramayana - the attempted abduction of Sita by the giant Viradha, at whom Rama and Lakshmana shoot arrows, in a forest setting.
6. north branch, western wall (above the opening).
A scene from the Ramayana, badly deteriorated by water infiltration, showing the ordeal of Sita who is put to the test of fire after her deliverance in order to prove her innocence and purity. Only the stake and the silhouette of some figures - probably Rama, Lakshmana, Sugriva and Hanuman - remain, above numerous registers of monkeys treated with particular vitality. The princess has completely disappeared.
7. western branch, north wall (above the opening).
A scene from the Ramayana. Rama returns on the chariot Pushpaka that served as his transport in Ayodhya after his victory. This chariot, magnificently decorated and pulled by Hamsas (sacred geese) belonged to Kubera and was stolen by Ravana. Here again some deteriorated figures end a long vertical panel of jubilant monkeys, represented with some humour.
8. above the western door.
A scene from the Ramayana. In the middle of a group of monkeys, Rama, accompanied by Lakshmana, forms an alliance with the rakshasa Vibhisana, who betrays his brother Ravana.
9. eastern branch, south wall (above the opening)
A scene from the Ramayana. The discussion between Sita, captive of Ravana, and Hanuman in the asoka grove. The princess, with the tender hearted rakshasi Trijata at her side, gives Hanuman the ring that is to prove the success of the mission to Rama. Below are tiers of rakshasis.
10. south branch, eastern wall (above the opening).
An unidentified scene where, on the upper part, one can see Vishnu sitting with four arms receiving homage from some gracious apsaras who crowd up to him.
11. above the south door.
A scene from the Ramayana. Rama and Lakshmana fighting with Kabandha, “a rakshasa with an enormous body, a large chest and no head but with a face on his belly”.
12. south branch, eastern wall.
A scene from the Ramayana. The archery contest which Rama, in the centre, wins. In the court of King Janaka, beside a richly clothed Sita, Rama, in a powerful draw, shoots his arrow at the target (represented here by a bird perched on a wheel) while below are aligned the defeated pretenders.
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WEST GALLERY, NORTHERN PART
An inextricable entanglement of monkeys and rakshasas hitting and tearing at one another with tree trunks or lumps of rock. On this busy and confused background - some details of which are not without humour - a series of duels show the main chiefs of the two parties.
In the centre of the panel, a large rakshasa with ten heads and ten pairs of arms is attacked by a god mounted on a large monkey - one need look no further to recognise the battle of Lanka, whose story occupies, almost entirely, the penultimate division of the Ramayana.
The battle of Lanka that enables Rama, with help from his allies the monkeys, to recapture the lovely Sita, constitutes an outstanding piece of narrative sculpture which, besides some superb modelling, merits a detailed examination by the extraordinary vitality of the figures, represented in full action.
The principal adversaries can be seen towards the middle of the panel; - to one side, Rama standing on the shoulders of Hanuman surrounded by a hail of arrows, with, behind him, his brother Lakshmana and the renegade rakshasa Vibhisana. Both stand, their calm attitude in contrast to the chaos around them. On the other side is the giant Ravana with multiple arms and tiered heads, on his war chariot pulled by curiously stylised lions.
Between the two, Nila, the furious monkey, straddles two strange lions pulling chariots, presented head-on. He carries the body of his recently vanquished enemy on his shoulders. Another, Angada - the son of Valin - pulls the tusk from an elephant who is coiffed with a three pointed mukuta, somersaulting both it and the rakshasa it carries. Further to the right is a lively group with another monkey brandishing, by holding their rear legs, two enormous monsters that he has just unharnessed - as well as many other duels too numerous to mention...