KHMER BAS-RELIEFS
In the 12th century attention was shifted more to bas-reliefs “Bas” means “low or shallow” are refers to the degree or projection of the reliefs, which are usually made by carving away the background and leaving the behind the design. Occasionally the method is reversed and the design is sunken. Parts of some reliefs have a polished appearance. It is not clear wether polished after they made or developed a polished appearance after being repeatedly touched.
Many of the most memorable works in Angkor are bas-reliefs. Many of scenes from Indian epics. Some are battle scenes, some depict ceremonial events, others, scenes from everyday life.
Richard Stone wrote in National Geographic, “Angkor's daily rhythms also come to life in sculptures that have survived centuries of decay and, more recently, war. Bas-reliefs on temple facades depict everyday scenes—two men hunched over a board game, for instance, and a woman giving birth under a shaded pavilion—and pay homage to the spiritual world inhabited by creatures such as apsaras, alluring celestial dancers who served as messengers between humans and the gods. The bas-reliefs also reveal trouble in paradise. Interspersed with visions of earthly harmony and sublime enlightenment are scenes of war. In one bas-relief, spear-bearing warriors from the neighboring kingdom of Champa are packed stem to stern in a boat crossing the Tonle Sap. The scene is immortalized in stone, of course, because the Khmer were successful in battle. [Source: Richard Stone, National Geographic, July 2009]
Bas-Reliefs at Bayon
The bas-reliefs at Bayon are within two galleries. The inner one is decorated with mythical scenes. The bas-reliefs on the outer gallery are a marked departure from anything previously seen at Angkor. They contain genre scenes of everyday life as well as history scenes with battles and processions.. The relief are more deeply carved than at Angkor Wat but the representation is less stylized. The scenes are presented mostly in two or three horizontal panels.
On the ground level depict scenes from the wars between eth Khmers, Chams and Siamese. Bas-reliefs In the east Gallery depict kings on battle elephants and in war canoes, accompanied by soldiers, armed with javelins and wearing exotic headdresses; ox carts, filled food and supplies; warriors, mounted on horses and flanked by musicians; and commanders, identified by umbrellas, mounted on elephants. The quality of the bas-reliefs is good but not as fine as that at Angkor Wat however they show more humor and wit and give more insight into the everyday life of the ancient Khmers.
In the South Gallery are images of everyday life that depict fortunetellers, hospitals, taverns, markets, fishing, festivals, jugglers, beauty parlors, women giving birth, men fishing in Tonle Sap, bookies taking bets at a cockfight, monks trying to remove the sarong of a young girl, and a man pulling out his whiskers with tweezers. There are also images of wild boar fights, jugglers, wrestlers, chess players, bow hunters and princesses surrounded by suitors. One scenes shows three smiling Cambodian women cheating three Chinese by secretly adding weight to the scales with their fingers.
In the North Gallery a procession of animals includes a deer, rabbit, pig, rhinoceros, and puffer fish. Many of the reliefs in the West Gallery are unfinished. Worth checking are the ones with a holy man escaping from a tiger by climbing a tree and battle scenes with masses of warrior and elephants
On the bas-reliefs in the galleries of the Bayon, H Churchill Candee wrote, “The have homely, human things to tell and they tell them without affectation, View the galleries of bas-reliefs clockwise, always keeping the monument on the right. Do not get so absorbed with the reliefs that you forget to stop at each opening and enjoy the view of the faces on the third level.
Angkor Wat Bas Reliefs
The walls of many of the galleries and halls are inscribed with long, detailed bas-reliefs that together extend for more than half a mile and are believed to have taken hundreds of craftsman decades to finish. The reliefs depict Hindu myths, images of the king and his court, and representation of the Hindu heavens. Many of the most famous ones are in the Gallery of Bas-Reliefs, which contains 1,200 square meters of sandstone carvings. Some of the craftsmanship on the bas-reliefs is quite extraordinary. Some of it is mediocre. Most originally had Hindu themes. Later Khmer kings and Buddhist monks added some Buddhist images.
Many of the walls feature images of ”asparsases” , voluptuous women that inhabited the heavens. The galleries were once filled with thousands of free standing statues of reclining standing, sitting figures. Now only 26 statues are left. Some of the statues were part of fountains and had water coming out of their belly buttons. Many were taken by invaders. Some prize statues were found in Burma.
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. [Source: Tourism of Cambodia]
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 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.
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. 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.
Description of the bas-reliefs here 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. Badly damaged reliefs are not described here. Some others are unidentifiable.
Angkor Wat Bas Reliefs: West Gallery - Battle of Kurukshetra
In the West Gallery is the Battle of Kurukshetra, one of longest bas-relief in the world. Extending for over 160 feet, it combines the Hindu creation myth with images of battling chariots, war elephants, heros and spear-throwing foot soldiers. 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. [Source: Tourism of Cambodia]
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 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. J) Right: Krisna lifts Mount Govardhana to shelter their shepherds and their herds from the storm ignited by the anger of Indra.
Angkor Wat Bas Reliefs: South Gallery - Army of King Soryavaman II
The South 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. [Source: Tourism of Cambodia]
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.
Angkor Wat Bas Reliefs: South Gallery - Judgment by Yama; Heaven and Hell
In the South Gallery is a relief of the Judgment of Yama, showing depictions of 37 different heavens and 32 hells, each with its own set of punishments and sufferings. Yama is the Hindu-Buddhist God of the Underworld. His assistants shove the damned through a trap door into the hells, where the punishments are set in accordance with the sins that have been committed. Law breakers have their bones broken and nails pushed into their heads. Gluttons are sawed in half. [Source: Tourism of Cambodia]
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.
Angkor Wat Bas Reliefs: East Gallery - Churning of the Ocean of Milk
In the East Gallery is one of the most beautiful and exquisitely-produced bas-reliefs, a depiction of a Hindu myth called the "Churning of the Sea of Milk." The vast sea is churned up by a giant serpent pulled from one side by 92 demons and pulled on the other side by 88 minor gods and rows of nymphs watched over by Vishnu. The churning of the sea is believed to be the source of the Hindu elixir of immortality but also contains a nasty poison. Shiva consumes te poison to help the human race. There is an overlapping repetition of figures here that creates a sense of motion, comparable to a multiple exposure action photograph.
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. [Source: Tourism of Cambodia]
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.
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.
Angkor Wat Bas Reliefs: North Gallery
Victory of Visnu over the Demons: The bas-reliefs in this section of the West 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. [Source: Tourism of Cambodia]
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. 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.
Angkor Wat Bas Reliefs: 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. [Source: Tourism of Cambodia]
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.
Angkor Wat Bas Reliefs: 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. [Source: Tourism of Cambodia]
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.
Image Sources:
Text Sources: New York Times, Washington Post, Los Angeles Times, Times of London, Lonely Planet Guides, Library of Congress, Tourism of Cambodia, Compton’s Encyclopedia, The Guardian, National Geographic, Smithsonian magazine, The New Yorker, Time, Newsweek, Reuters, AP, AFP, Wall Street Journal, The Atlantic Monthly, The Economist, Global Viewpoint (Christian Science Monitor), Foreign Policy, Wikipedia, BBC, CNN, NBC News, Fox News and various books and other publications.
Last updated August 2020