khmer temple: Koh Ker

Koh Ker is an Angkorian site in northern Cambodia. 100 km northeast of Angkor itself, it was briefly the capital of the Khmer empire between 928 and 944 under king Jayavarman IV and his son Hasavarman II.After the Khmer empire had been established in the Angkor area (Roluos), Jayavarman IV moved the capital in 928 almost 100km northeast to Koh Ker. Here a vast number of temples were built under his reign, until his successor returned to the Angkor area about twenty years later.

The Koh Ker site is dominated by Prasat Thom, a 30 meter tall temple mountain raising high above the plain and the surrounding forest. Great views await the visitor at the end of an adventurous climb. Garuda, carved into the stone blocks, still guard the very top, although they are partially covered now.

Across the site of Koh Ker there are many prasat or tower sanctuaries. A couple still feature an enormous linga on a yoni that provides space for several people. The outlet for the water that was sanctified by running it over the linga can be seen in the outside wall of one of them. In other cases, three prasat stand next to each other, dedicated to Brahma, Shiva and Vishnu. Most of them are surrounded by libraries and enclosures, many also had moats. At that time, the roofs were still made of wood. Today, only the holes for the beams remain in the stone structures.

The site is still 3 hours away from Siem Reap, the area has been demined only recently and basic visitors’ facilities are just being built. This makes Koh Ker very attractive for anyone who would like to experience lonely temples partially overgrown by the forest and inhabited only by birds, calling to each other from the trees above.

Koh Ker is not the easiest temple to get to as involves an early start and a long journey to get there from anywhere. The site is about 100 km north of Siem Reap and the road, repaired in 2004, is in decent condition (by Cambodian standards). There are no public transport or tourist facilities; other than makeshift tables near the police camp at the entrance to Prasat Thom.

‘What to see:

The ancient Khmer city is in a distant jungle location with up to a hundred ruined temples including a huge stepped pyramid; the largest in the region. More ancient temples are being found in the jungle; so there is a true sense of discovery here. Many of the temples were built in brick using a mortar made from tree sap. It is quite remarkable how well they have stood up to the test of time

The Entry fee is $10 payable at the booth near the entrance to Beng Mealea temple 60 km to the south west. If you are heading from Tbeang Meanchey and Preah Vihear there is no means if getting a ticket … Yet but no doubt a facility will be set up in the not too distant future.

There are temples in abundance , most are brick built and all are in a picturesque state of ruin with many being overgrown. The Prang is the largest structure here, it is a 7 stepped pyramid approx 40metres high the views from the top encompass a lonely landscape of forest with the distant Dangrek Mountains on the Thai Border to the north and the Koulen Mountain Range 70 km to the south. Prasat Thom is the name of the temple that lies directly at the bottom of the Prang and one must negotiate this to gain entrance to the pyramid enclosure. In 2007 Prasat Thom was cleared of vegetation and the moats cleaned out by villagers working for the APSARA Authority that now manages the site. Tickets are sold by the Kham Samet Company that built the road to Koh Ker.

If you want to stay over night there is a simple guest house at the village of Sray Young 1 km to the south. Camping is not permitted in the temple areas.

Khmer classical

Cambodian Dance can be divided into three main categories: classical dance, folk dances, and vernacular dances.

Khmer classical dance is a form of Cambodian dance originally performed only for royalty. The dances have many elements in common with Thai classical dance. During the mid-20th century, it was introduced to the public where it now remains a celebrated icon of Khmer culture, often being performed during public events, holidays, and for tourists visiting Cambodia.Provided as repeating a golden age in 1960s, Khmer Classical Dance which know as The Royal Ballet of Cambodia after select as UNESCO's Masterpieces of the Oral and Intangible Heritage of Humanity, has lead one of its dance to be a outstanding dance of all for culture and society. Apsara Dance, a khmer dance that has survived since the Angkor Era, has been singled out to attract foreign tourists and to make the richness of khmer culture known to the world. Apsara Dance was promoted by Princess Norodom Bopha Devi before the Khmer Rouge times and recently has received an award as one of the main symbols of Cambodia.

Khmer folk dances, which are performed for audiences, are fast-paced. The movements and gestures are not as stylized as Khmer classical dance. Folk dancers wear clothes of the people they are portraying such as Chams, hill tribes, farmers, and peasants. The folk dance music is played by a mahori orchestra.

Cambodian vernacular dances (or social dances) are those danced at social gatherings. Such dances include ram vong, ram kbach, ram saravan, and lam leav. Some of these dances have much influence from the traditional dances of Laos. But rom kbach, for example, take heavily from the classical dance of the royal court. Other social dances from around the world have had an impact on Cambodian social culture include the Cha-cha, Bolero, and the Madison.

Sankore Mosque - Timbuktu

One of the two historic mosques of Timbuktu (the other being the Jingereber), the Sankore Mosque was built during the declining years of the Empire of Mali, in the early 15th century A.D. Architecturally, it is remarkable for its large pyramidal mihrab. But this is not its real claim to fame -- indeed, it is smaller and less intricate than earlier Malian mosques including the 13th century mosque of Djenne. Instead, it is famous for being the center of the great Islamic scholarly community at Timbuktu during the 16th century A.D.





The medieval "University of Timbuktu," often referred to as the "University of Sankore" was very different in organization to the universities of medieval Europe. It had no central administration, student registers, or prescribed courses of study; rather, it was composed of several entirely independent schools or colleges, each run by a single master or imam. Students associated themselves with a single teacher, and courses took place in the open courtyards of mosque complexes or private residences. The primary focus of these schools was the teaching of the Koran, although broader instruction in fields such as logic, astronomy, and history also took place.

As anyone who wished could establish one of these colleges, standards amongst them are said to have been very uneven. However the imams of the Sankore mosque are known to have been the most respected. The university was adversely affected by the Moroccan invasion of the 1590s and the deportation of its best scholars. It never again regained its 16th century eminence.

Neak Pean Temple

Neak Pean, the coiled nagas, temple is located east of Preah Khan and about 300 meters off the road. The temple is in the center of Jayatataka or Northern Baray and laced on the same axis as Preah Kahan. It was built in the second half of the 12th century by King Jayavarman VII. The temple seems to have served as a place where pilgrims could go and the waters, both physically and symbolically–the Khmer equivalent of a spa. The central pond is a replica of Lake Anavatapta in the Himalayas, situated at the top of the universe, which gives birth to the four great rivers of the earth. These rivers are represented at Neak Pean by sculpted gargoyles corresponding to the four cardinal points. Neak Pean was probably consecrated to the Buddha coming to the glory of enlightenment. Neak Pean temple is set in a large, square, man-made pond which is 70 meters square bordered by steps and surrounded a steeped base of seven laterite tiers, is in the center of the large square pond, and forms the base for the shrine dedicated to Avalokitshavara. Small elephants sculpted in the round originally stood on the four corners of the pond. The bodies of two nagas encircle the base of the island and their tails entwine on the west side which give temple name. the head of the nagas are separated to allow passage on the east. A blooming lotus surrounds the to of the platform, while lotus petals decorate the base. The central sanctuary is cruciform shaped, stands on two recessed levels, opens to the east and is crowned with a lotus. The three other false doors are decorated with large image of the Avalokiteshavara. The fronton depict episodes of the life of the Buddha–the cutting of the hair (east), the great departure (north), Buddha in meditation protected by a naga (west). The principal feature in the pond of the central sanctuary is a three-dimensional sculpted horse swimming towards the east with figures clinging to its sides. The horse, Balaha, is a manifestation of the Bodhisattva Avalokiteshvara, who has transformed himself into a house to rescue Simhala, a merchant, and his companions of misfortune. They were ship-wrecked on an island off Sri Lanka and snatched by female ogresses. The victims are holding on to the horse’s tall in the hope of being carried ashore safely. There are our small chambers which have vaulted roofs and back onto the main pond, then open onto four small ponds with steps leading to the water. The interior of the vault is decorates with panels of lotus and a central waterspout in the form of an animal or human in the center.

Royal Palace and Silver Pagoda

The Royal Palace and Silver Pagoda are best visited in the morning because these magnificent buildings are seen at their best when illuminated by the early sun. There are several buildings within the precincts of the Palace and one entry ticket will give you access to an interesting morning of sight seeing.

Cambodia, Post-Bayon Angkor Vat Revival style, thirteenth century
Bronze
H. 41 cm
Private collection, New York

This dynamic eight-armed representation of Shiva radiates a powerful blend of calm and restrained inner energy. The great god Shiva, richly jeweled and wearing a sampot can kpin with an ornate girdle, is perfectly balanced on one foot. His pectoral and girdle are decorated with pendants front and back. The long earrings fall to the shoulders. The peaked top of the chignon is decorated with a lotus-flower design. Shiva is shown with ten arms, eight of which are raised on either side, and the other two are held in front of the body with the palms of the hands facing outward. The Shiva image is cast in a post-Bayon Angkor Vat revival style, and reflects Jayavarman VIII’s renewed enthusiasm for Hinduism during the latter half of the thirteenth century, probably as a reaction to the Buddhism of Jayavarman VII.

Shiva’s characteristic third eye is shown on his forehead, and the Sanskrit symbol for the mantra Om is displayed on the front of his chignon. Early in Hindu mythology Shiva was known as a yoga master, and the third eye, crown of hair, and symbol Om combined present Shiva in the guise of a yogin. (1) In its original assemblage, the figure was probably shown dancing on a supine figure on a bronze base, both of which are now lost. So little is known of Khmer Tantric Hindu images that there is no known Khmer mandala with which to associate this figure. His “dance” posture is the same frenzied dance posture in which Hevajra is traditionally depicted. (2).

This Shiva image is lost-wax cast in several parts. The two sets of five arms were each cast separately, and then attached to the pre-cast head and torso. This type of construction is typical of twelfth-and-thirteenth century Khmer bronze sculpture, especially when the deity portrayed is multi-armed.

1. A twelfth-century bronze figure of Visnu-Vasudeva-Narayana in Phnom Penh also displays the character for the mantra Om on the front of his chignon, see Jessup et al. 1997, pp. 260–61.
2. Ibid., p. 316, no. 99

Closure on classical dance

Sam Sathya has been Cambodia’s prima ballerina for more than a decade. She's also a teacher at RUFA

In this my final post from yesterday's introduction to the highest-level of classical Cambodian dance, I hope my posts have given you a thirst for more of this unique art-form and I sign-off with a few remaining photos from the morning's performance. I was able to gain some backstage access though all in the troupe were so friendly and accommodating that everyone was welcome. And the truth be told, I think the girls simply love having their picture taken.

A scene from the performance involving Vicheaka, Limsothea and Mony

The pinpeat orchestra musicians take their bow

All smiles from Vuth Chanmoly (left) and Topla

Thanks to Savin for my invite to the performance

Wat Rong Khun (Thailand)

Temples have been built across nations as places of worship but also as enduring testimonies to the faith of humanities since human settlements.

Throughout Asia you can find some of the most amazing and oldest temples, from the massive Egyptian temples, to the ornate examples in the Indian sub-continent, to the palatial edifices in the Far East.

Here are six spectacular temples that could take your breath away and inspire us in a sense of wonder.

Wat Rong Khun (Thailand)

Wat Rong Khun is in Chiangmai and is not like any other Buddhist temple in the world. It is pristine white, instead of being the signature red, gold and green roofs with multi coloured deities and guardians that you would see as a traditional Thai temple. This temple attracts nearly 1.8 million visitors a year.