Angkor Wat Western Corner Pavilions of the Third
Enclosure
By
Vittorio Roveda (@ copyright text and pictures)
In this paper I want to call the attention of scholars
and non-scholars to the extreme refinement and beauty of the reliefs carved in
the West Corner pavilions of Angkor Wat,
usually visited quickly after been mesmerized by one of the long reliefs of the gallery
bringing to the pavilion. This is the
first approach by a western art historian to read in images [of the reliefs]
elements that refers to personal views ant not only to historical and
rhetorical interpretations.
I start by presenting here, the drawings
on the Southwest corner pavilions showing the distribution of carved reliefs. Then
I have selected my preferred relief and explained it in great detail. I highlighted its most elegant and
delicate carving - in my opinion - unique and unsurpassed in all Angkor Wat,
made during the rule of Jayamarman II (1113-1150).
Needless to
say that I published all details, comments and conclusions in my book SACRED
ANGKOR of 2002, published by River Books, Bangkok,
I believe that if the god Indra and the
divine architect of Angkor Vishvaakarman would challenge me to choose the best
carved relief of Angkor Wat’s corner pavilions I would without any hesitation indicate
the scene of the Water Festival because it shows two majestic boats floating
slowly on the river of dreams, exciting the concept of happiness, distance from
daily life problems, peace and equality. The dreams float on the river of an
archaic time, giving me a subconscious pleasure and awareness of my life’s
flowing. Going beyond my oneiric phantasies, I need to come back here and talk
of ‘my’ reliefs.
Introduction
Very little has been written since the 1960s on the
reliefs on Angkor Wat’s corner pavilions. C. Bhandari (1995) view them with the
background of Indian scholarship, and E.Mannikka included the reliefs of the
corner pavilion in her study on the architectural-cosmological study of Angkor
Wat. Both Coedès (1911) and A. Le Bonheur (1989) were concerned about a
thematic logic and concluded that each individual pavilion has its own panel’s
arrangement which is independent from that of the Large Panels of the
galleries. These illustrious authors were concerned of the apparent lack of
‘logic’ in the arrangement of the various panels, a concerned shared by myself
(2002), and discussed here below.
I was the first to describe the western corner pavilions in detail in my
2002 book SACRED ANGKOR (available from River Books, Bangkok).
Technical features of
the reliefs
Each
pavilion – having a cruciform plan – has 8 large carved panels on the 4 walls,
and 4 on pseudo-lintel over the doors) Same of the large panels occupying the
full wall (circa 4.5 m high and 3.5 m wide), others only part of it (circa 3 m
high and 3.5 m wide) and the pillar at the side of the window (circa. 2 m high
and 2-2.30 m wide; see figs. 2, 3, and 4).
The lintel, which in a door in all Khmer temples has
the function of spreading the weight of the overlying structure on the
doorjambs, does not exist in the corner pavilions, but is carved well over the
normal position of a linter, carved on the wall of the pavilion. Having the elongate
shape of a lintel I have named them pseudo-lintel,
each standing high over the four doors of the corner pavilions of the average
size (c. 2 - 2.5 m high and 3 m wide), composed of a flat tympanum framed by an
arch made by an undulating naga, as
in all Khmer lintels and pediments.
Khmer sculptors made use of the most common pictorial
device, the ground line, or base line,
on which the figures appear to stand. This was probably in order to supplement
a weak concept of picture space and the lack of a systematic perspective system.
The use of ground lines allows to a stack horizontal arrangement of the
elements of the relief.
Sequential and logical order?
I have
mentioned above there is a problem in searching a “logical” arrangement of the
reliefs in each corner pavilion and with other reliefs of Angkor Wat. No such
thing I can see, but perhaps there was an order of cosmological type or a
scheme that followed the pattern of a mandala that elude us at present.
Khmer Brahmins may have follow an old Vedic tradition by which the content
of the narrative chanted (narrative from a text) was superseded by the sheer
ritual act of chanting or whispering or mentally reciting the texts. Relevance
was on the ritual of reciting these stories, not on the arrangement of such
stories on walls. Therefore, the arrangement’s order of mythological themes in each corner pavilion may have been induced by the most
important Hindu/Vaishnava ceremonies, or ancestors ingratiating ceremonies, or agricultural
propitionary rites, to be held/chanted each year in specific order and in a specific
corner pavilion.
Even the arrangement of the famous long carved panels of the galleries
of the third enclosure are subject to controversy and some scholars suggested
to start the visiting Angkor Wat from galleries from the eastern side and
specifically from the relief of the Churning of the Ocean of Milk, charged of
symbolic meanings, erroneously taken as the Creation myth (Maxwell, 2002: 16).
The Dvaravati Water festival (Roveda 2002: 122)
I presenting here only some features of
my preferred reliefs of the southern Gallery. The relief of the so-called
Dvaravati Water Festival because It depicts a Krishn’s event when he attending
a water pilgrimage - as written in the Harivamsa
- from the city of Dvaravati to Pindaranca. The relief is carved very shallow
and is highly polished, difficult to see in most light conditions. The best
photographs attached here were taken in 1995 by Jaro Poncar at night with light
close to the wall. The pictures in colour were taken by me in daytime (1996-2001)
when scaffolding was made available to me by Mr Long Nari, head of the GAPCO
restoration team.
The relief
displays two pleasure boats flowing quietly on a large river, frozen in time. The
boats are the typical royal barges with the bow ornate of a very high dragon
head (usually made of bronze) and the back of the elevation simulating the tail
of the dragon. The front boat is that of the male companions with, at the centre,
two dominant figures, Krishna and Balarama or two princes or important courtiers
(?) playing Khmer chequers inside a delicately carved wood pavilion of Khmer
style. They are surrounded by girls having apsara
hairstyle, holding fans. They may be of women of the harem or female bodyguards
of the king.
At the front of
the boat (bow) seated girls are watching some crew-members hunting monkeys with
their blowpipes. The boat is overcrowded; a row of rowers, works hard in
unison. The water is full of fish and crocodiles. Nobody is restless or
worried. However, at the back of the boat (aft) the man at the helm (drunk?)
seems to have his head unusually supported by a crew-number. Local farmers or crew-members
are shown climbing coconut trees.
This scene of
the males boat overlays that of a boat with female figures in a pavilion with curtains,
mothers (queens?) breast-feeding their children, others attend the more grown
up; some young girls are embracing. Around their regal wooden pavilion are only
men, in contrast to that of the princes surrounded by girl in the boat carved
above. Noticeable is the male figure with crossed legs sitting in front of the
queen, raising a child full of affection
Crew-members hold large parasols. The
crew seems to be in disarray with men pointing to the end of the boat (aft)
where a fierce cock-fight is watched by sailors and gamblers. This scene in
probably the centre of attraction of all the rowers, unconcerned of where they
are going. The man at the helm is also looking upwards while a sailor is behind
him is fishing.
Personal
view
I like the
first boat with personages playing chess totally unconcerned of what is going
on. It is for me, symbolic of being able to detach from the noise on society the
ruler playing his game and his life in perilous waters. However, my preference
is for the second boast, the one with women, symbolic of opulence, matriarchal
rule, femininity and life. Also this boat is overloaded, with the waterline
almost at the limit, in danger of sinking and capsize, tragically ending the
pleasure trip, becoming a memory and a myth, like many life events. I see a symbolism for the fleeting moments in
life, the meaningless of attachments and desires.
Altogether I like
the contrast, yin and yen, male-female, power and charm between the two boats.
Both flow silently
on the waters of the myth in an undefinable time.
From the technical point of view, one can
appreciate the refinement of the carving and the life infused in them. The
genteelness of the carving and the mastery of the visual narrative, are outstanding
and unique in all Angkor Wat. I believe that the two western comer pavilions
were carved by a workshop not involved in the large panels of the same third
enclosure
correlaTion of stories carved on wall with the text NARRATING them.
SOUTH-WESTERN CORNER PAVILION
SW.1 – The churning of the Ocean of Milk Bhagavata Purana. 8 (7)
SW.2
– Krishna lifting Mt. Govardhana Bhagavata
Purana 10 (24)
SW.3 – Rama
killing Marica Ramayana VIII
SW.4 –
Shiva in the Pine Forest Linga Purana 2 (9)
SW.5 – Ravana shaking
Mt. Kailasa Ramayana.
VII
SW.6 –
Krishna as a young boy dragging a heavy
mortar Bhaghavata Purana 10 (9)
SW.7 – Shiva reducing
Kama to ashes
Shiva Purana 16
S.W8 – The death of Valin
Ramayana IV
SW.9 – The Murder of ?Pralamba & The dousing of
a fire Bhagavata Purana
S.W10 –
Dvaravati water festival Harivamsa 12
S.W11 – The betrothal of
Shiva and Parvati
Vamana Purana 25 (26)
S.W12 –
Krishna receiving the offerings destined
for Indra Bhagavata Purana 10 (24)
Note. Italics
refer to pseudo-lintels
In hope to be able
to continue the reading of some other relies specifically chosen for my
personal interpretation.
I hope to repeat
soon a similar appreciation for a relief carved in the North-western Corner
Pavilion.
ESSENTIAL BIBLIOGRAPHY
Bhandari
C.M., Saving
Angkor, White Orchid Books, Bangkok, 1995.
Bonheur Le A., Cambodge.
Angkor. Temples
en peril, Paris, Herscher, 1989
Coedès G., Les bas-reliefs d’Angkor-Vat, Bulletin
de la Commission Archéologique de l’Indochine, Paris, 1911, p. 170-220
Glaize M., Le guide d’Angkor,
Flammarion, Paris, reprint 1993
Laur,
J., Angkor Temples et Monuments (in French),
2002, Flammarion, Paris 2002
Mannikka E., Angkor Wat, Time, Space and Kingship, University of Hawai’ Press,
Honolulu, 1996
Philipenko
M., Focusing
on the Angkor Temples, The Guidebook, Amarin Printing, 2011
Poncar
& Maxwell On Gods, Kings, and Men, German Panorama
editions, 2006
Roveda,
Photos by Poncar,
Sacred Angkor, River Books,
Bangkok 2002
Rooney
Dawn., Angkor
Cambodia’s wondrous Khmer temples, Odyssey Books, Hong Kong, reprint 2006
Fig.1 – The boat with the two princes plying the game of chess (my
‘male boat’)
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Fig.2 – The boa with women and children (my ‘female
boat)
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Fig.3 – Detail of the women and children. Notice the
figure of a man fondling a small infant. Inside a small pavilion two girls’ (sisters?)
embrace.
|
Fig.4 - Detail of cock-fighting on board the women’s
boat
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Fig.5 – Detail of the two princes playing chess inside the wooden pavilion decorated with curtains and flowers’ garlands.
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Fig.7 – Detail of the girls, probably courtesans, on
the male boat
|
Fig.8 – Detail of a man climbing a sugar palm tree behind
the male boat
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Fig.9 – Detail of a man fishing at the end of the
female boat.
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