The Tapestry Reliefs of Angkor Wat
by
Vittorio
Roveda
(@copyright
text and pictures)
Introduction
In
2002 I was exploring the tapestry walls of Angkor Wat. I had my
trusted Nikon 100 and was taking numerous photos mostly with flash.
I spent so many hours shooting flash in the inner and dark corners of
the temple that a guard stopped me. I had to phone Dr. Kerya Chau
Sun, a director of APSARA and a great supporter of researchers, who
kindly gave me permission to continue. Unfortunately most of the
photographs were out of focus. To compound things even more, I ended
up loosing the few that were readable during my transfer to Bangkok.
I only have pictures of the large tapestry from the elephant door
guard-chamber which is well lit and easy to photograph (see here
Fig.18-22 that I took in 2002-2005). To my great fortune, there is
the paper written on tapestry reliefs by George
Coedès in
1913 (BEFEO, 13, 1913, Vol.1: 1-5) that is still unsurpassed for its
content, supplemented by an EFEO map and 9 illustrations. He used an
old technique (ink squeezed rubbing) commonly used for ancient
inscriptions, where by he placed damp paper on the wall and then
gently tampered it into the incision with a soft brush. This is
followed by ink being patted onto the raised surfaces. In this way
the raised part becomes black and the incision remains white. Without
the genius and knowledge of the great master George Coedès this
paper would not have been possible. Coedès also coined the name
‘décor
en tapisserie’
in French that corresponds to tapestry decoration; it may also be
translated as wallpaper.
Overview
The
tapestry reliefs of Angkor Wat may seem of little individual
significance, but together, en
masse,
they add to the importance and beauty of the Vishnu temple. For a
long time overlooked as merely decorative, they actually contain
narrative elements. Clearly they are not comparable to the stunning
large-scale narrative reliefs such as those of the 3rd
enclosure’s
galleries or of the Western Corner Pavilions. The latter are the
basis from which we define the religious-mythological elements of
the sacredness of Angkor Wat. Nonetheless tapestry reliefs provide an
additional narrative element and so are contributors to the sacred
discourse of Angkor Wat. Finally, it is interesting to note that this
type of tapestry relief is unique in the arts of Southeast Asia
making it significant cultural and artistic contribution.
Tapestry
reliefs
Reliefs
of this kind are shallow carved on the walls of some edifices of
Angkor Wat, revealing humor
and artistic finesse. The Angkor Wat tapestries are composed of
medallions ranging in diameter from 12-20cm, interlaced with each
other to compose a characteristic pattern simulating a tapestry. Each
medallion contains a single image that often serves as reference to a
specific figure belonging to a myth or legend. The Khmers designed
and executed a rich sculptural ornamentation covering architectural
elements and walls like a wallpaper or tapestry to give a more divine
look to the temple.
The themes
There
is considerable variety in the themes represented in the medallions
of the reliefs. The following subjects are the most commonly found: a
man with a spear or a bow running after an animal; an un-armed man
running; a crowned man holding his sword or axe; or more identifiable
figures of Vishnu, Krishna, Rama and Lakshmana, Brahma, Indra and
Airavata.
Also
depicted are rishis
and
cowherds, the latter sometimes close to their animals. Horses, lions,
deer, foxes, mongooses, rabbits, boars, squirrels, rats, dogs, birds
(parrots and phoenixes) can also feature, either fleeing, charging or
more statically posed.
A
miraculous flower or a lotus is also often depicted with a figure
seated on it or popping out of its blossom. The medallions carved on
the side walls of the so-called Elephant Doors of the Western Gopura
are
larger and typically feature a man fighting a large snake with
dragon’s head (Fig18-19).
On
the walls surrounding a window’s baluster, the tapestry reliefs are
often composed of pairs of birds – parrots or phoenixes – in
circular movement holding each other’s beaks. When the figures in a
medallion combine to tell stories, they are short, humorous anecdotes
(a man pursuing an animal or an animal chasing the man), or fragments
of a well-known myth.
The
best preserved and the most commonly illustrated are the legends of
Vishnu and Krishna from the Purana
and
Harivamsa.
They include an overwhelming number of representations of the episode
of ‘Krishna Lifting
Mount Govardhana’ symbolic as it is of divine protection and of
Vishnu / Krishna fighting on the shoulders of Garuda. Less common is
the story of Arjuna and the kirata
being
a favorite of Shaivites,
and
in one instance a
tapestry relief seems to narrate the story of Shiva Bhikshatanamurti.
Often the same topic recurs at a different site of the temple,
revealing they were mass produced and beneficial.
Other
myths, in descending order of frequency, are those recalling the
Ramayana
(‘Rama
Killing
Marica’, ‘Rama Killing
Valin’, the duel between Valin and Sugriva, ‘The Alliance
between Rama and Vibhishana’, ‘The Battle of Lanka’). A few
tapestries are dedicated to Sita, her abduction, her captivity in
Lanka, the meeting with Hanuman and Trijata, the exchanging of jewels
with Hanuman and her ordeal by fire. The ever popular ‘Churning of
the Ocean of Milk’ appears five times high-lighting its popularity
and meaning for the devotee.
Combination
of themes
The
images composing a tapestry can often be combined horizontally and
vertically in a logical way creating a word/picture like a phrase
Some
designs of the tapestry reliefs must have been produced through the
use of stencils, as I have demonstrated with my discovery (1997) of a
wall with unfinished medallions (Roveda, 2001 Fig.1 and 2). From that
I deduced that stencils must have been done using thick paper or thin
copper sheets cut out with the figures to be reproduced (as with
modern stencils), and their design transferred to the stone by
rubbing them with black ink, thus defining a basic outline for the
sculptors to follow when carving. In this way, the carving could
proceed quickly, especially in the wall areas and door jambs with
much standardized patterns and guaranteeing a homogeneity of the
reliefs.
From
the use of stencils in general, I assume
that
the same technique, but at a larger scale, may have been used for the
making of the Large Panels of the northeastern quadrant of the 3rd
enclosure,
sculpted in the 16th
century
but based on 12th
century
drawings on paper.
In
tapestry, the depth of carving of the medallions depended on the
individual sculptor or workshop. Sometimes the tapestry is packed
with circles and the story hardly readable; other times it is with
loose circles and images, as in the case the Bhikshatanamurti,
where the figures are scattered on the thin background of foliage,
and the circular border of the medallions have almost completely
disappeared.
Tapestry
decoration in Khmer temples was first introduced at Angkor Wat. It
continued to be carved in temples of the Bayon’s period. At Banteay
Kdei it was executed on the ceiling of half-galleries in imitation of
wood coffered decoration with rosace carvings, and later, in the
temples of Vat Nokor, Ta' Prohm of Bati, on the blinds of the false
windows. Not all the medallions of a tapestry combine into a
narrative: the same image, or pairs of images (such as a man on a
lotus-flower that I call ‘flower-man’) can be repeated hundreds
of times.
Even
by using stencils, tapestry decoration must have been extremely
labor-intensive and thus very expensive. Only powerful kings like
Suryavarman II and Jayavarman V, could use this sort of decoration
for their main temples.
Tapestry types
I
have distinguished three main types of tapestries at Angkor Wat:
-
Medallions with Hindu legends and deities (Fig.2 -11)
-
Medallions with images of athletic figures of men (Fig.12-22)
-
Medallions with Floral design (Fig.23-26) and flower-men
Not
in tapestry format are the heroic warriors of the Northern Elephant
Door (Fig.28-32) and Apsara of the top sanctuary (Fig.33-34).
The
first type is composed by a circular frame including a man with
spread legs and one arm fully raised holding a weapon of some kind.
The other hand is free with fingers bent as if in a classic dance: a
narrow thick belt holding a loincloth terminating in a descending
double tail to cover the private parts. He wears a crown or helmet,
and has armlets and anklets. The torso is robust and muscular, with
nipples and a belly button, and legs of an athletic man. The figure
is in a decorative frame following the contour of the naga
around
pediments; in fact it is always associated to the large figure of a
winged animal (a mythic goose or Garuda) on which rest the feet of
the human figure.
As
already discussed, the temple complex is oriented to the West – the
direction of Vishnu – making the Western Gopura
the main entrance to Angkor Wat, a fact emphasized in its grand
architecture which overshadows that of other enclosure gopuras. It is
also the only gopura to have lateral doors at ground level to allow
access of heavy loads by cart to the larger temple compound. These
are commonly known as Elephants Doors, since they were meant to allow
the passage of these animals. The long galleries were windowless on
their western face, but formed an open terrace on the east with two
parallel rows of pillars.
The
entire decoration of the inner walls of the gallery of the Second
Enclosure, as well the external walls of the gallery of the First
Enclosure surrounding the sanctum
sanctorum of
the temple are quite extraordinary. It is composed of thousands of
large medallions featuring running or dancing men with raised arms
(my Fig.35).
In total contrast, the walls, and in particular the ceiling, of the
gallery of the First Enclosure (top shrine) have a delicate
tapestry-type relief composed of interlacing thin ribbons, while
those on the doorjambs are of the floral type, with the exception of
the doorjambs of the main doors of the central sanctuary, which, like
the outer walls, have medallions with mythological figures. Most of
the pillars along the four corridors leading from the galleries to
the central shrine carry reliefs of devatas.
The
ones around the central shrine are slightly smaller in size than the
ones on the outer walls and of a greater refinement.
They
are probably of late making (my Fig.33
and
34).
The balusters of the windows of the Third Enclosure are beautifully
chiseled as if they had been turned on a lathe (my Fig.3
a and b).
It is probable that the Apsara and the pillars with floral decoration
were carved by a workshop of great ingenuity and delicate touch.
Furthermore, since tapestry reliefs are of the narrative and not the
decorative type, they also function as contributors to the sacred
discourse of Angkor Wat.
Reading
the tapestries
The
tapestry reliefs compose a thick decorative mesh of medallions on
most of the inner pillars and passage doors of the temple. Their
exceptional narrative elements were identified by comparisons with
textual narratives and sometimes with the larger reliefs of the
temple (Churning, Vishnu Govardhana, Battle of Lanka, Sita’s
torments, etc.).
Each
image, or medallion of the tapestry is like a word which when
combined in a logical way creates a phrase. For example, consider 3
medallions in a row: two with a distressed monkey followed by a man
pointing a bow and arrow towards one of the monkeys. These are
decoded as Rama killing Valin in the presence of the latter’s
brother Sugriva.
The
way in which the reading takes place respects certain rules – a
syntax, with the more important element of the story in the center of
the tapestry. Often this can be the lynch-pin between a vertical and
horizontal reading (eg Vishnu at the center of the Churning).
The
decoding of medallions combined horizontally and vertically, becomes
a unique mental and visual exercise, like a crossword.
Comparisons
with George Coedès plates
To
read a particular tapestry relief, I have used the same principle as
Coedès. In a photograph of the tapestry with many medallions, I
established a grid with horizontal letters (A, B, C, etc.) and
vertical numbers (1, 2, 3, etc.). By combining the two references, we
have a coordinate system to reference the exact medallion. I like to
think of it much like a crossword puzzle.
For
the understanding how the reading of medallions brings to a story, I
start from the seminal work of the great George Coedès. I have
highlighted in various colors the small scenes that Coedès and
myself were able to decode.
Coedès Plate I - The Churning of the Ocean of Milk.
I
start with the representation of the best and most recognizable
story. This scene appears on the doorway leading into the
southwestern corner pavilion from the gallery with the Large Panel of
‘The Battle of Kurukshetra’.
The
tapestry relief includes the horizontal Vasuki being pulled by devas
and asuras.
The vertical pole is Mount Mandara on which hangs Vishnu (C3) with
Brahma sitting on the top (C2). The lot is supported by the turtle
Kurma (C5) behind whom appears the head of the goddess Shri (Lakshmi)
and of the horse Ucchaihshravas. A row of medallions with dancing
apsaras
lines
the top
while medallions with seated worshipers fill the lower part of the
composition.
C2
Brahma
C3
Vishnu
C4
the centre of churning around Vasuki pulled by devas and asuras
C5
the turtle Kurma
2 – I found a less complete depiction of this event (my Fig.4) in the wall flanking the staircase landing from the Cruciform Pavilion to the gallery of the second enclosure. This tapestry shows Vishnu hanging on a short pole standing over the turtle Kurma from which exits the head of the goddess Shri (Lakshmi) and the horse Ucchaihshravas. Exceptionally the snake Vasuki shows its cobra’s head and his thin tail. He is pulled by devas and asuras pulling in pairs.
3
– I found a third tapestry illustration of the Churning on a
doorjamb of the western gate of the second enclosure. It is
very damaged by water, but one can see Vishnu holding a short
thin pole standing over the turtle Kurma characterized by its
reticulate carapace. The deva and asura are
only 2 pulling the thin Vasu reduced from a normal snake to an
extremely thin rope! Only the head of the horse Ucchaihshravas
seems to emerge from the top right side. Once recognised, this
composition stands out from the remaining unspecified decoration of
the wall.
4
– Coedès identifies a further Churning scene in Plate IV. In the
upper part of this picture, he recognized a very schematic scene of
the Churning while in the lower part is Krishna lifting Mount
Govardana. At the center of the upper part is Vishnu with four arms
and bent legs squatting over a medallion with Kurma, from which
emerges the head of the goddess Shri (Lakshmi) and of the horse
Ucchaihshravas. At the same level, there are 5 medallions containing
the devas and asuras making
the churning. Over Vishnu is Brahma and worshipers.
Components
of Coedès’ Churning on Plate IV:
C4
Brahma
C5
Vishnu at the center of the churning pole
C6
the turtle Kurma on which lies the churning pole, and at his sides
(and not of Vishnu) are the performers of the churning (devas
and
asuras)
Coedès
Plate II -
Arjuna and the Kirata
I
credit Coedès (his Plate II and my Fig.8)
who was able to recognise this scene sculpted on the southern jamb of
the highest central stepped doorway of the Cruciform Pavilion. The
action is sculpted on the second and third rows from the top where
Arjuna and Shiva, as a kirata
(a
common hunter), are depicted when they dispute over who was the first
to kill the boar that is carved at the centre between them. They are
flanked by rishis recognisable
by their high chignons. In the row above, probably Arjuna and Shiva
face each other to engage in hand-to-hand combat. This episode, taken
from the Mahabharata
(Vanaparvan,
Kairataparvan),
has
been illustrated several times in a few Khmer temples (Bapuon and
Bayon).
Below
this event is a row of five dancing apsaras
with
the three-pointed crowns.
Below
them is another row with a dancing Shiva (central medallion, second
row from bottom) with many arms (Natakeshvara),
flanked on the left by Vishnu and on the right by the multi-headed
Brahma followed by Ganesha (extreme right of the row). At the top of
the relief is a row of rishis,
of which the one at the centre (C1) is seated cross-legged in
meditation, while another at the right is carrying goods on a pole.
The first medallion on the left represents an ascetic upside-down,
probably in some form of yoga position - unless the sculptor used
the stencil upside-down!
C2 Shiva kirata (with the cap of a hunter)
C3
the dead boar - the subject of dispute
C4
Arjuna
A3
and E3 rishis
All
row 1 and 2 are composed of rishis
All
row 4 is composed of dancing Apsaras.
B5
Vishnu
C5
Shiva
D5
Brahma
E5
Ganesha
Coedès
Plate III - Shiva in the Pine Forest.
This
scene is located on the eastern jamb of the doorway leading from the
western gopura
into
the gallery with the Large Panel of ‘The Battle of Kurukshetra’.
Although Coedès interpreted this relief as the story of Ravana
transforming himself into a lizard in order to penetrate Indra's
harem, I interpret this relief as the story of Shiva Bhikshatanamurti
appearing
in the Pine Forest (Fig.9 and Plate III).
Shiva
is at the centre (C2) with worshipers seated in meditation on the
medallions above. The god Shiva appears a personage within the frame
of a door that has a small crocodile or a lizard over the lintel. The
scantily dressed figure is Shiva Bhikshatanamurti and
is represented upside down. Coedès interpreted this peculiarity as
an attempt to illustrate a less important image of the ascetic Shiva
appearing in a physical-sensual form (naked in the original myth).
The theory that Shiva is upside down because the god is acting as the
erotic-Shiva and not as the ascetic-Shiva is unconvincing. Shiva
seems to be surrounded – on the same row and on two rows below by
the wives of the Brahmins joyfully dancing, as written in the
original text where the women were scantily dressed, unfolding their
sarong and with disorderly hair, mesmerized by the beautiful sudden
appearance of Shiva. Even the horses seemed to be excited by the
event. Three medalions below Shiva are two unidentified personages
(C5), one apparently playing a musical instrument (vina or sitar),
surrounded
by working ascetics. The remaining underlying rows depict forest
animals actively hunted by the ascetics.
Plate
3, upper part:
C1
rishi
in
meditation with crossed legs
C2
Shiva
Bikshatanamurti
All
row 3 is composed of the excited wives of the rishis.
All
row 4 is composed of rishis
C5
2 figures playing musical instruments, flanked by working rishis.
All
row 7 and 8 has animals being actively hunted
PlateIV
– Three
different
episodes are carved on this tapestry.
The
upper part (purple highlight)
shows the main deities of the Hindu
Pantheon:
A1
Ganesh
A2
Brahma
A3
Shiva dancing
A4
Vishnu
Central part of Plate IV (yellow highlight) has medallions that for Coedès represented very summary depiction of the renowned Churning of the Ocean of Milk.
C5
Vishnu holding Mount Mandara
B5
and D5devas and asuras churning
(?)
C3
Brahma
C4
has the turtle Kurma from which emerges Lakshmi and the head of the
horse Uccharavishvaras.
Lower
part of Plate IV (blue highlight)
shows a series of medallions connected with Krishna
lifting Mount Govardhana, where
Krishna is shown with his left arm lifting Mount Govardhana to create
shelter for his gopas
(cowherds)
from the torrential rain sent by Indra. All other medallions
(highlighted blue), show frightened squatting cowherds (gopas) and
shepherds with their animals.
C7
Krishna lifting Mount Govardhana with one arm.
Rows
7 and 10 gopas
and
their animals.
Coedès
Plate V
It
represents two events taken from the Ramayana
and
its variants. The upper part of the tapestry illustrates Lakshmana in
a medallion opposite Rama (C1) who is about to release, from his
stretched bow, the fatal arrow aimed at Valin in the medallion above
(not on the plate). The dying Valin is seen below (D2), recumbent in
the arms of his affectionate spouse Tara. In surrounding medallions,
agitated monkeys express their grief while others are crouched in
dismay. Quite moving is the scene on the second row from the top,
where Sugriva (Valin’s brother) extends his arm out from the
medallion to touch the feet of the dying Valin, perhaps repenting to
have caused the death of his brother. Valin’s many wives are
depicted below him, wearing the three-pointed crowns.
Plate
V upper part (pink):
C1
Rama shooting an arrow at Valin (on above panel)
D1
Lakshmana
D2
Valin dying in the arms of his wife Tara
E2
perhaps Sugriva trying to help his dying brother.
All
row 3 is composed of the wives of Valin
Plate
V middle part (blue):
B4
Rama
C4
an ogre
D4
Lakshmana
The
lower part of Plate V has the scene of Ravana attacked by monkeys
(Highlighted green),and then the event of Hanuman Exchanging Jewels
with Sita (Highlighted yellow). Sita (D8) is shown seated in the
ashoka
grove,
in the traditional pose of despair, holding her head with one arm.
She is, surrounded by Ravana's rakshini
of
whom the benevolent Trijata is represented with a human face. Hanuman
is depicted twice in this row: first as a small monkey on the ashoka
tree,
and later squatting or sleeping on it before descending to Sita to
present her the ring of Rama.
Plate
V lower part:
C6
Ravana with multiple arms and heads.
D7
Hanuman thinking how to discover Sita in the asoka garden.
C7
Hanuman descending from a tree to give Sita the ring of Rama
D8
Sita in despair, supporting her head with one arm, prisoner of the
female rakshasas
C8
The benevolent rakshini Trijata
E8
Hanuman presenting the ring to Sita.
Coedès
Plate VI -
Alliance between Rama and Vibhishana (Coedès,
plate VI):
Detail
of this relief is displayed in the southern jamb of the lateral
southern entrance of the 3rd enclosure’s
western gopura.
Coedès
interpreted this scene as Rama facing Vibhishana to plan a war
alliance. Vibhishana is squatting close to a monkey, possibly
Hanuman. The latter possibly is also represented in the row below
(A3) where the badly preserved scene seems to illustrate another
moment of the same meeting.
C2
and D2 Rama and Lakshmana with their bow, facing
B2
Vibhishana
A2
Hanuman
Coedès
Plate VII – The
main event represented here is taken from the Ramayana and
its variants.
Located
in the western jamb of the lateral southern entrance of the
3rd enclosure’s
western Gopura,
Lakshmana is depicted in medallion C5 immobilized by
Indrajit’s nagapasas arrows
in the midst of fighting monkeys of rows 1-3. He is surrounded by
friends (B5) and monkeys (A5) in distress; the large figure in
medallion D5 is Vibhishana bringing aid to the wounded man. Hanuman
is the personage sketched in medallion E4, uprooting the top of the
mountain for the magic herbs needed to cure Lakshmana. Below this
scene, is a row of monkeys (row 6) curiously represented in mourning.
On
the upper 3 rows there are monkeys depicted with one leg and one arm
raised very high, almost in an acrobatic position. This pose is also
used for the Hanuman war standards carried by Khmer soldiers in
several occasions, and particularly in the reliefs of the Historic
Procession.
Plate
VII
B2
Indrajit hidden in the clouds shoots his magic nagapas
arrows,
immobilizing Lakshmana
B4
Garuda descending to free Lakshmana from the nagapasa arrows.
E4
Hanuman uprooting the herbs needed to cure Lakshnmana
A5
astonished monkeys
B5
Lakshmana’s friends
C5
Lakshmana laying on the ground immobilized by nagas.
Rama holds his legs.
D5
Vibhishana
Coedès
Plate VIII -
‘The
Fight
of Valin and Sugriva’ and other myths
The
medallions of this door jamb depict a multitude of fighting figures,
most of whom are agitated monkey, one of powerful build being either
Nila, Sugriva's general, or the ubiquitous Hanuman. The
other figures are strange beings most likely the rakshasas but
you say they are Lakshmana,rama,valin and sugriva
Various
myths are decoded in this tapestry:
The
killing of Valin (highlighted orange)
A1
Lakshmana
A2
Rama shooting an arrow
A3
Valin
A4
Sugriva
B2
and C2 monkeys finger pointing to Valin
All
row 3 monkey
Mid
part (highlighted in violet) Shows the Killing of Marika:
D4
Marika
D5
Rama shooting an arrow at Marika
Central
part of the plate (Highlighted green)
shows
Viradha’s attempt to abduct
Sita.
The
gigantic ogre Viradha attempted to kidnap Sita, but the two brothers
quickly defeated him.
C5
Viradha grabbing Sita
B5
and D5 Rama and Lakshmana shooting their arrows
The lover part of this plate depicts a small part of the Battle of Lanka (highlighted yellow).
In
this relief several medallions (highlighted yellow) contain figures
in which only a torso is shown (D6 and E6), as emerging from a
flower. They are so common on tapestries that I named them
“flower-men”.
A8
and B8 Rama and Lakshmana
D8
Ravana
Coedès
Plate IX
-
This
is located in
The
medallions of this tapestry illustrate figures drawn from the
Ramayana.
There are two distinct episodes: Sita’s ordeal of fire in the upper
part and Hanuman giving Sita the ring of Rama in the lower part.
Besides the main protagonists of the stories, all the personages seem
to be popping out from flowers (flower men).
Upper part of the plate illustrates: Sita’s Ordeal by Fire (rows 1-3).
D1
The tree on which animals are climbing, probably an asoka
tree.
C2 Sita
is represented in middle of the fire's flames. A small crowned figure
kneels near her, is probably the god Agni.
A2
and B2 Rama and Lakshmana are observing the ordeal.
On
row 3 are several monkeys with raised arms, greatly agitated;
one (A3) in clearly pointing his arm and finger in the direction of
the ordeal.
The
lower part of the plate illustrates Hanuman
giving Sita the ring of Rama
B4
Hanuman in his smaller form descent to visit Sita
B5
Hanuman in his normal form thinking on how to reach Sita.
C5
Hanuman handing over to Sita the ring of Rama.
A5
the benevolent rakshini Trijata
BIBLIOGRAPHY
Coedès,George, Etudes
Cambodgiennes.VII.-Séconde etude sur les bas reliefs d’Angkor Wat,
B.EFEO,1913, Vol.13, No.6, 1-36, Paris 1913
Roveda,Vittorio,. Khmer
narrative reliefs and Art historical chronology,
Proceedings of the VIII Iinternational Conference of European
Association of Southeast Asian Archaeologist, Sarteano, 2000.
Roveda,Vittorio, SACRED
ANGKOR, the carved reliefs of Angkor Wat,
River Books, Bangkok 2000
***
 |
Fig1 and Fig.2 – Black ink designing unfinished tapestry
carving. This demonstrate the use of some sort of stencils for mass-production
of medallions filled with a figure.
|
 |
Fig1 and Fig.2 – Black ink designing unfinished tapestry
carving. This demonstrate the use of some sort of stencils for mass-production
of medallions filled with a figure.
|
 |
Fig.3 and 3b – a doorjamb ornate with tapestry reliefs
|
 |
Fig.3 and 3b – a doorjamb ornate with tapestry reliefs
|
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Fig.4b – Churning of
the Ocean of Milk, probably corresponding to Coedès Plate 1
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Fig.5x - A man hunting a large bird with a blowpipe and a
woman collecting flowers
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Fig. 6x – A woman collecting flowers unaware that a tiger is
attacking her
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Fig.7 - Medallions with men wrestling
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Fig.8 - Medallion with “flower-man”, because the torso
emerges from a flower. It the most common subject in tapestry reliefs.
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Fig.9 – Rishis at work, corresponding to D5 and E5 of Plate
3
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Fig.10 – Medallions tapestry corresponding to Plate 10, B2
(Rama) and C2 (Sita ordeal of fire)
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Fig.11 - Four medallions with the scene of Hanuman giving to
Sita the ring of Rama. It correspond to Plate ll, B4 and B5, and C5
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Fig.12 - unfinished tapestry in part rubbed away to allow
the carving of unfinished chariot pulled by many horses and probably with a
mythical rider (The Sun? the Ashvins?).
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Fig.13 – Shiva Bikshatanamurti
is depicted upside down, perhaps to indicate his sudden miraculous
appearance naked amongst the wives of the rishis. On the door lintel is the
image of the crocodile often associated with Shiva. Over this door is a rishi with crossed legs in meditation.
Below the door is a medallion with another rishi. The medallion to the left
shows a running figure, perhaps an excited wife of the rishis. The tapestry is
extremely low carved, often invisible.
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Fig. 14 – Medallion with the image of Krishna lifting Mount
Govardhana
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Fig.15 – Medallion depicting Krishna lifting Mount
Govardhana.
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Fig.16 – Medallion depicting Rama holding his bow
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Fig.17, and 18b –The tapestry decorating the elevate walls
of the room for the guards of the north-western elephant door is composed of
vegetal trellises transforming in Hamsa or Garuda). The man inside seems to be
running or going to fight. Each man has a different crown or different
hairstyle. It is doubtful if the orange ochre painting was done at the time of
the construction of the temple in early 12th century or much later. Some
figures are black (?)
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Fig.17, and 18b –The tapestry decorating the elevate walls
of the room for the guards of the north-western elephant door is composed of
vegetal trellises transforming in Hamsa or Garuda). The man inside seems to be
running or going to fight. Each man has a different crown or different
hairstyle. It is doubtful if the orange ochre painting was done at the time of
the construction of the temple in early 12th century or much later. Some
figures are black (?)
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Fig. 19 -21 – High relief tapestry with an athletic man
inside a thin treelike medallions not transforming into a Hamsa or Garuda.
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Fig. 19 -21 – High relief tapestry with an athletic man
inside a thin treelike medallions not transforming into a Hamsa or Garuda.
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Fig. 19 -21 – High relief tapestry with an athletic man
inside a thin treelike medallions not transforming into a Hamsa or Garuda.
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Fig.22 and 23 - Tapestry with phoenixes carved inside the
medallion
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Fig.22 and 23 - Tapestry with phoenixes carved inside the
medallion
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| Fig.24 – Lo reliefs tapestry with small figures of men carved in rhomboidal frames |
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Fig.25 and 26 – Tapestry relief with medallions filled with
wild animals and hunters
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Fig.25 and 26 – Tapestry relief with medallions filled with
wild animals and hunters
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Fig.27 – Tapestry relief with dense vegetal scrolls and
trellises uniting the composition terminating with a flower.
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Fig.28 - Tapestry with a net a loose flower design covering the
walls of exit wall of the Southern Corner Pavilion.
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| Add captionFig. 29 – Decorative geometric tapestry decoration with
circles. of great elegance some pilaster
of the gallery leading from the Cruciform Gallery to the Second Enclosure. |
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Fig.30 – Decoration with flowers in a larger mesh with
flowers at nots, typical of the roof of the gallery of the First Enclosure.
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| Add captionFig.31-36 – Although not belonging to this study of tapestry
reliefs, these elegant figures are carved in very low reliefs following the style
of the medallions. The parsonages stands with spread legs on the wings of the
mythological animal seen in above photographs, a Hamsa or Garuda. Each mythological
hero has different crown and loincloth allowing the display of his powerful
torso. It is easy to see these reliefs with the light of sunset on the wall of
the elephant doors of the gallery of the 4th enclosure or entrance
gallery. |
 |
Fig.31-36 – Although not belonging to this study of tapestry
reliefs, these elegant figures are carved in very low reliefs following the style
of the medallions. The parsonages stands with spread legs on the wings of the
mythological animal seen in above photographs, a Hamsa or Garuda. Each mythological
hero has different crown and loincloth allowing the display of his powerful
torso. It is easy to see these reliefs with the light of sunset on the wall of
the elephant doors of the gallery of the 4th enclosure or entrance
gallery.
|
 |
Fig.31-36 – Although not belonging to this study of tapestry
reliefs, these elegant figures are carved in very low reliefs following the style
of the medallions. The parsonages stands with spread legs on the wings of the
mythological animal seen in above photographs, a Hamsa or Garuda. Each mythological
hero has different crown and loincloth allowing the display of his powerful
torso. It is easy to see these reliefs with the light of sunset on the wall of
the elephant doors of the gallery of the 4th enclosure or entrance
gallery.
|
 |
Fig.31-36 – Although not belonging to this study of tapestry
reliefs, these elegant figures are carved in very low reliefs following the style
of the medallions. The parsonages stands with spread legs on the wings of the
mythological animal seen in above photographs, a Hamsa or Garuda. Each mythological
hero has different crown and loincloth allowing the display of his powerful
torso. It is easy to see these reliefs with the light of sunset on the wall of
the elephant doors of the gallery of the 4th enclosure or entrance
gallery.
|
 |
Fig.31-36 – Although not belonging to this study of tapestry
reliefs, these elegant figures are carved in very low reliefs following the style
of the medallions. The parsonages stands with spread legs on the wings of the
mythological animal seen in above photographs, a Hamsa or Garuda. Each mythological
hero has different crown and loincloth allowing the display of his powerful
torso. It is easy to see these reliefs with the light of sunset on the wall of
the elephant doors of the gallery of the 4th enclosure or entrance
gallery.
|
 |
Fig.31-36 – Although not belonging to this study of tapestry
reliefs, these elegant figures are carved in very low reliefs following the style
of the medallions. The parsonages stands with spread legs on the wings of the
mythological animal seen in above photographs, a Hamsa or Garuda. Each mythological
hero has different crown and loincloth allowing the display of his powerful
torso. It is easy to see these reliefs with the light of sunset on the wall of
the elephant doors of the gallery of the 4th enclosure or entrance
gallery.
|
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Fig.37 and 38– I like to include here also the rare carvings
of apsara on the pillars of the
gallery lading to the northern door of the central tower of Angkor Wat, being noticeable
for their extreme delicacy and refinement not seen elsewhere in the temple.
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Fig.37 and 38– I like to include here also the rare carvings
of apsara on the pillars of the
gallery lading to the northern door of the central tower of Angkor Wat, being noticeable
for their extreme delicacy and refinement not seen elsewhere in the temple.
|
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Fig.39 – Tapestry relief composed by large medallions
decorating all the outer walls of the Second Enlosure, together with small
groups of carved apsaras.
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