Cambodia: The Temples of Angkor - Approach Guides

ContentsIntroductionANGKOR IN CONTEXTFrom Trade to AgricultureThe Importance of WaterFoundingRulers and MonumentsSoutheast Asia in ContextThe FallKHMER ARCHITECTURECosmology Shapes Temple DesignsDefining FeaturesSanctuary PlanSanctuary Tower ProfileSanctuary Tower FeaturesKHMER ARTRelief StyleRecurring DepictionsHindu DeitiesHindu Sacred TextsSerpents, Garuda and the Creation StoryChurning of Sea of MilkApsaras and DevatasMakaras and KirtimukhaBodhisattva Avalokitesvara and IconoclasmMAP OF ANGKOR TEMPLESANGKOR THOM *PREVIEWCOPY

Layout and Tour Itinerary1. South Gate2. Phimeanakas3. Elephant Terrace4. Leper King TerraceANGKOR WAT ***Approaching The TempleCore Temple ZoneTour Itinerary1. West Entrance Gate (Gopuram)2. First Level Relief Galleries2a. Battle of Kurukshetra2b. Armed Procession of Suryavarman II2c. Churning of Sea of Milk2d. Winning of Sita2e. Battle of Lanka2f. Summary of Remaining Reliefs3. Second Level4. Third LevelBAKONG **LayoutTour of Decorative HighlightsBAKSEI CHAMKRONG *Layout and DecorationBANTEAY KDEI *Layout and DecorationBANTEAY SAMRE ***LayoutPREVIEWCOPY

Tour of ReliefsBANTEAY SREI ***Outer Area’s Layout and DecorationLayout of Core Temple ZoneDistinguishing Architectural FeaturesTour of Reliefs of Inner EnclosureBAPHUON **LayoutTour of ReliefsBAYON ***LayoutSanctuaryFace TowersTour of Relief GalleriesOuter GalleriesInner GalleriesBENG MEALEA *LayoutCHAU SAY TEVODA *PREVIEWCOPYLayout and DecorationEAST MEBON *LayoutTour of Decorative DetailsLOLEI *Layout and DecorationNEAK PEAN *LayoutSymbolism

Decorative HighlightsPHNOM BAKHENG *Layout and DecorationPRASAT KRAVAN **LayoutReliefsPREAH KHAN ***LayoutTouring the Temple1. Processionway2. Bridge and Fourth Enclosure Wall3. Naga Terrace and Gopuram4. Hall of Dancers5. Sanctuary6. Pediment of Vishnu Reclining7. Pediment of KrishnaPREAH KO **LayoutDecorative HighlightsPRE RUP **LayoutDecorative HighlightsTA KEO *Layout and DecorationTA PROHM **LayoutTour of Decorative HighlightsTA SOM *PREVIEWCOPY

Layout and DecorationTHOMMANON *Layout and DecorationSTAR RATINGS OF ANGKOR TEMPLESPREVIEWCOPY

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Fig. 1. China-India maritime trade routes: 1st-6th centuries (red dots), post-6th century (yellow dots).Indianization BeginsPREVIEWCOPYÓc Eo was the site of the earliest and most meaningful contacts with early traders, particularlyIndians, who would contribute meaningfully to the cultural and religious heritage of SoutheastAsia as a whole.With the opening up of trade routes in the 1st century CE, a process of “Indianization” began inwhich the region was exposed to India’s influential indigenous religions: Hinduism and Buddhism.Prior to this exposure, the people of Cambodia practiced animism, which included worship of ancestorspirits and natural forces, such as the earth, rain, water, and the sun. As trade intensified, theregion’s animistic program was subsumed (although not erased) by these dynamic foreign faiths.The Indian religions, however, brought more than a belief system; they naturally carried advancedlinguistic, social, and political traditions that supported them. India’s advanced cultural fabricwas absorbed during this seminal period and leveraged to rapidly build a sophisticatedcivilization centuries later in Angkor. Viewed from this perspective, the Indianization process was anecessary precondition for Angkor’s future development.


Cosmology Shapes Temple DesignsPREVIEWCOPYFig. 4. Temple design recreates three-staged cosmological journey (Angkor Wat layout).The Khmer temple was designed as a microcosm of the Hindu cosmological universe. In makinghis way from the temple’s entrance to the sanctuary at its center, the visitor undergoes a symbolicthree-staged journey to salvation through enlightenment.Stage 1: Moat as Cosmic SeaThe outermost boundary of a Khmer temple was often surrounded by a moat, a body of watersymbolic of the Cosmic Sea (blue highlights in Fig. 4). For Hindus, the Cosmic Sea is the source ofcreative energy and life, the starting point for the journey toward salvation.

The temple visitor begins his journey by crossing the sea on causeways lined with serpents, beastssimilarly intimately associated with both Hindu and Khmer myths of creation (we explore the serpentin greater detail in a subsequent section).Stage 2: Enclosure Walls as Sacred Mountain RangesContinuing on his way to the center of the temple, the visitor passes through a series of massiveenclosure walls; these walls recreate sacred mountain ranges, symbolic of obstacles that must beovercome on the path to enlightenment (green highlights in Fig. 4). Monumental tower gateways,called gopurams, grant the visitor passage through the walls, each successive one revealinga more sacred area, farther removed from the outside world.The combination of concentric enclosure walls with large gateways was derived directly fromSouth Indian Hindu architectural precedent. Enclosure walls make their first appearancevery early in the Khmer building tradition — at the late 9th century pre-Angkor site of Roluos in thetemples of Preah Ko, Bakong, and Lolei — and are a constant feature in all subsequent temples.PREVIEWCOPY

taintop residence of the gods carried particular symbolic resonance for the Khmer people.• God’s cave. The sanctuary proper, located directly under the tower, is where an image ofthe deity resides. Its dark interior is designed to represent the cave into which god descendsfrom his mountain home and becomes accessible to human beings.• The sacred intersection. At the Hindu temple’s sanctuary, the worlds of the divine andliving connect: the god’s vertical axis (mountaintop to cave) intersects with the visitor’s horizontalaxis (temple entrance to cave). The entire universe emanates from this intersection,as unity with god is the goal of earthly existence. In Hinduism, god is believed to temporarilyphysically inhabit his representation in the sanctuary; the Hindu temple is arranged to enablethe direct devotee-to-deity interaction that necessarily follows. Unlike other faiths, thereis no religious intermediary and no abstraction; god is manifest before the devotee’s eyes, aprofound encounter.It is here, among the peaks of Mount Meru, that the visitor’s symbolic journey ends in nirvana: thepairs of opposites characteristic of worldly existence (e.g., good versus bad, right versus wrong) fuseinto a single infinite everythingness beyond space and time.PREVIEWCOPY

Defining FeaturesBeyond the most fundamental, cosmologically-driven building blocks — moats, enclosure walls, andsanctuary towers — Angkor’s temples reveal a distinctive set of trademark characteristics.Temple OrientationFor the most part, the primary entrances to Angkor’s temples are on their east sides, facing therising sun, consistent with Indian temple prototypes. A particularly noteworthy exception to thisrule is Angkor Wat, which is oriented toward the west; the reason for this exception is reviewed inthe sections devoted to the temple.Author Tip: To make reading the temple layouts in this Approach Guide as easy as possible,the direction of north is always positioned at the top; accordingly, temple entrances are typicallyon the right side of the plan.Ascending PlatformsConsistent with the concept of the temple as mountaintop residence of the gods, many Khmersanctuaries sit on a pyramidal base, consisting of an ascending series of rectangular platforms. Theuse of multiple platforms to form soaring temple-mountains marks a break from Indian Hindutemple precedent, where sanctuaries typically sit on a single modest platform. The first Khmertemple to employ ascending, pyramid-like platforms was Bakong, built in 881.PREVIEWPlatforms are accessed via particularly steep stairways, set at angles of 45-70 degrees, perhapsin imitation of the wooden steps and ladders that provide access to Khmer timber houses. The difficultyassociated with ascending these stairways — progressively sharper as one gets closer to thecentral sanctuary — confirms that many were likely designed not for use by the general public, butrather for a select group of religious and political officials.COPYCovered Galleries Lining Enclosure WallsIn Khmer temples, the enclosure walls are often lined with continuous covered galleries.The transition from the earlier Angkor practice — a series of individual long halls encircling temples— to single continuous covered galleries began at the start of the 11th century in the templesof Phimeanakas, Ta Keo, and Baphuon. Their emergence facilitated a new type of relief decorationat Angkor that employed an advancing continuous narrative; this is discussed in moredetail in the section entitled “Khmer Art - Relief Style.”


PREVIEWCOPYFig. 11. Layout, core, Banteay Srei (built 967 CE). Highlights added.The Break with Tradition: Cruciform SanctuariesIn a definitive break with Indian Hindu temple precedent, later Angkor sanctuary plans transitionfrom square to cruciform, beginning in the early 11th century with Ta Keo, Phimeanakas, andBaphuon, and reaching a climax at Angkor Wat. The cruciform sanctuary plan is a trademarkof the Angkor style; it is one of a select number of features that make the ancientcity’s architecture unique.• In this arrangement, the temple sanctuary sits at the center of a cross, that is, at the intersectionof two intersecting transverse axes aligned with the cardinal directions.• The earlier square is not abandoned entirely, however, as it is the shape of the platform thatsupports the cruciform sanctuary.• In Fig. 12 of Angkor Wat, the central cruciform sanctuary is highlighted with yellow; thesquare upper platform (encircled by the first enclosure wall) with green.


Sanctuary Tower FeaturesPREVIEWCOPYFig. 19. Khmer lotus bud tower. Highlights added.Defining Features of the Khmer Lotus Bud Tower• Lotus bud top (light blue highlights in Fig. 19; and Fig. 20). The tower is topped with alotus bud, signifying purity and conjuring up an association with the lotus that rose fromVishnu’s navel to create the universe; this Hindu creation story is discussed later in the sectionentitled “Khmer Art - Recurring Depictions.”• Redentations. The tower’s corners are cut out in slices or redentations; the redentationsserve to smooth the transition from the square plan of the base to the round plan of thetower (Fig. 20).• Portal to core sanctuary (green highlights in Fig. 19). The sanctuary — where an image ofthe resident deity is held — sits directly underneath the tower, accessed through doors on thecardinal directions. The primary door, usually the only one that opens, is on the east side.• Niche shrines (red highlights in Fig. 19). The cardinal points on each ascending level of the

tower have medial arched niches that typically contain reliefs of deities or guardian figures.• Flame-shaped pediments (yellow highlights in Fig. 19; and Fig. 20). Portals and nicheshrines are topped with flame-shaped pediments — often grouped in pairs — that carry narrativerelief decoration.• Flame-shaped antefixes (dark blue highlights in Fig. 19; and Fig. 20). Antefixes sit in thecorners of the tower and serve dual purposes: (a) they smooth out the redentations, therebyaffording the tower the appearance of an even more perfectly round plan; and (b) they providesimple decoration. Antefixes typically hold standing guardian figures framed in miniatureflame-shaped niches.• Square base (grey highlights in Fig. 19). The tower sits on a square base, often consisting ofseveral stepped terraces with cutout corners.PREVIEWCOPY


Narrative highlightsFig. 27. The Mahabharata’s Arjuna and Krishna (west gallery), Angkor Wat.PREVIEWCOPY• The story centers on the Battle of Kurukshetra, a mythical battle over dynastic successionthat occurred between two groups of cousins descended from the great king Bharata: theKauravas (the sons of darkness, who usurped the throne) and the Pandavas (the sons oflight, who were exiled).• The heroes of the story, the Pandavas, are led by the archer Arjuna, who is counseled byhis charioteer, Krishna; Krishna is an incarnation of Vishnu, one of the three primaryHindu gods (Fig. 27).• Krishna convinces Arjuna that it is his duty to destroy his evil cousins (most importantly,Bhishma, the Kaurava leader). Krishna’s philosophical counseling is recorded in the famousportion of verses from the Mahabharata known as the Bhagavad Gita (the sixth book). Inarguing for cosmic harmony, Krishna in the Bhagavad Gita stresses the importance of actionconsistent with divine-ordained duty (dharma); in order to act in such a way, the individualmust necessarily break from his worldly attachments, in this case, Arjuna’s desire to do noharm to his cousins on the opposing side.


MAP OF ANGKOR TEMPLESPREVIEWCOPYFig. 39. Map of Angkor temples (double tap to zoom).


ANGKOR WAT ***Quick Profile• History: Built from approximately 1120-1150, under ruler Suryavarman II (ruled 1113-1150). Angkor Wat, meaning “the city [Angkor] that became a pagoda [Wat],” appropriatelyfunctioned as both the capital of the Khmer Empire and the state temple.• Religious orientation: Hindu, dedicated to the god Vishnu. It is interesting that SuryavarmanII chose Vishnu, rather than the prevailing deity in Angkor, Shiva. Although the reasonfor this change of allegiance is unknown for sure, one possibility seems particularly apt:Vishnu is the Hindu god who intervenes on earth (in the form of an avatar) to restore universalorder; perhaps Suryavarman II (for reasons discussed later in the review of the temple’sfirst floor relief galleries) wished to portray himself as presiding over a similar restorationthat would bring prosperity to his people, perhaps even as an avatar of the great god.Tips for Touring the Site• Location: 5.5 kilometers (3.5 miles) north of Siem Reap, Angkor Wat is the southernmostof the great collection of temples that comprised the ancient Khmer city of Angkor.• Suggested starting point: west entrance; ending point: west entrance. Although there isa secondary entrance on the east side, we advocate beginning at the primary west entrance.• Length of visit: Minimum 2-3 hours. We recommend trying to visit more than once, ideallyat both sunrise and sunset.• Crowd level rating: High. As you’d expect, Angkor Wat is a busy temple, packed with visitors.That said, it is large enough that you still can find some isolated spots. Expect to runinto the greatest congestion while touring the first level relief galleries. To beat the crowds,the best times to visit are very early in the morning (near sunrise), early afternoon (the hottesttime of day), and the very end of the day (near sunset).• Visit nearby: For visitors on a very limited time schedule, we recommend combining AngkorWat with visits to the Bayon (***) and Preah Khan (***).PREVIEWCOPYHighlights• The premier site in Angkor, rivaled only by the Bayon.• The largest single monument in the ancient city, Angkor Wat represents the apex of theKhmer architectural style.• Exceptional carved decoration, with extensive narrative reliefs in the first level galleries anddancing apsaras throughout.• The famous five lotus bud towers of the temple’s third level, representing the sacred peaks ofMount Meru.


Third LevelFig. 54. Third level arrangement, Angkor Wat. Highlights added.PREVIEWCOPYAngkor Wat’s third and highest level supports five enormous towers that give Angkor Wat itsdistinctive profile. The center tower rises over the temple’s core sanctuary, which originally held animage of the resident deity, Vishnu.Two quintessential features of Khmer architecture — quincunx and cruciform sanctuary — are ondisplay.• Quincunx. The five towers (red highlights in Fig. 54) are arranged in the typical Khmerquincunx arrangement: a central tower surrounded by four smaller towers in the corners.They are symbolic of the five sacred peaks of Mount Meru, the residence of the gods. This isthe supreme example of this arrangement, first pioneered nearly 250 years earlier at nearbyPhnom Bakheng (built in 907).• Cruciform sanctuary. Angkor Wat employs a cruciform sanctuary (yellow highlights inFig. 54), continuing the break from earlier Indian-inspired square sanctuaries initiated atthe very start of the 11th century at Phimeanakas and Ta Keo. The earlier square plan is notabandoned entirely, however, as it is the shape of the platform (green highlights in Fig. 54)


2a. Battle of KurukshetraOur counterclockwise tour begins with the Battle of Kurukshetra, located in the first level’s west gallery,just south of the primary west entrance (Fig 60).StoryThe Battle of Kurukshetra was a mythical battle over dynastic succession that occurred betweentwo groups of cousins descended from the great king Bharata: the Kauravas (the sons of darkness,who usurped the throne) and the Pandavas (the sons of light, who were exiled). For a more detailedreview of the battle as recounted in the Mahabharata epic, see the section entitled “Khmer Art - RecurringDepictions.”PREVIEWCOPYFig. 61. Bhishma riddled with Arjuna’s arrows (west gallery), Angkor Wat.

What to Look ForThe intensity of the battle is given powerful form in this relief, as figures overlap and are tightlypacked together. The scene has been divided into two halves, playing out in a single large register;the narrative advances from left to right.Author Tip: For our close readings of Angkor Wat’s panels, we provide the columns in thecolonnade that runs along the gallery between which a key figure is rendered. For example, ifwe indicate that a specific figure lies between columns 8 and 9, simply count the columns fromeach gallery’s entrance in order to find it.• The forces of the Kauravas greet you as you enter the hall from the main entrance: they aremarching toward the right; the forces of the Pandavas appear midway along the wall, marchingtoward the left to meet their foes. Each wears the same distinctive conical headgear, thatof Khmer royalty.• The opposing forces clash at the center of the panel, where the leaders from each side dobattle. Notice that these figures, given their importance, assume greater-than-average size.The dead and wounded have fallen to the bottom of the register.• Immediately upon entering the gallery (specifically, between columns 1 and 2 of the 18-columncolonnade), look for Bhishma, the leader of the Kauravas (Fig. 61). He lies on hisback, preparing to die, having been struck by hundreds of arrows shot by Arjuna (the heroand leader of the Pandavas).• Roughly midway along the wall (specifically, between columns 10 and 11 of the 18-columncolonnade), look for Arjuna (green highlights in Fig. 62). He is shown with his bow drawntight, ready to fire; he is counseled by his charioteer, Krishna (yellow highlights in Fig. 62),whose divine status and identity as Vishnu is revealed by his four arms. It is impressive howwell integrated these two figures are: Krishna’s rear left arm is raised, appearing to supportArjuna’s left arm as he takes aim at his enemies; Krishna’s front left arm is raised, appearingto rest on Arjuna’s right knee.• The bases of the square columns running along the outer edge of the gallery hold delicate lowrelief images of Hindu holy men, called rishis.PREVIEWCOPY

Fig. 62. Arjuna and Krishna (west gallery), Angkor Wat. Highlights added.PREVIEWCOPYMeaningOccupying as it does the first panel visible to the visitor in his clockwise rotation around the monument,the Battle of Kurukshetra likely held great significance to the temple’s designers.• From a religious standpoint, the slaying of Bhishma is the key event of the tale: Arjunaabandons his attachment to his evil cousin and acts in accordance with his duty (dharma) asa warrior, which assures universal harmony, consistent with Krishna’s advice. Symbolically,this is the path to enlightenment that all must follow.• In addition to its religious meaning, the relief might have carried a deeply political associationfor Suryavarman II. Suryavarman II could be implying that he had functionedas Arjuna, acting out of devotion to god Vishnu’s (Krishna’s) counsel in killing his great uncleand predecessor, Dharanindravarman I, to assume the throne. This act, and his subsequentrule, would return cosmic order.

BAKONG **Quick Profile• History: Built in 881, under Indravarman I (ruled 877-889); the central tower dates fromlater, likely under Yasovarman II (ruled 1156-1165). The first Khmer temple-mountain, Bakongserved as Indravarman’s state temple when the Khmer capital was based in Hariharalaya(modern-day Roluos). Hariharalaya would remain the capital until 889, when it wasrelocated westward to Yasodharapura, the site of modern-day Angkor.• Religious orientation: Hindu, dedicated to the god Shiva.Tips for Touring the Site• Location: In Roluos, approximately 13 kilometers (8 miles) east of Siem Reap; it sits justsouth of Preah Ko.• Suggested starting point: east entrance; ending point: west entrance. While visitorscan be dropped off on the temple’s east or west sides, we recommend starting on the eastside since it was the intended entrance and offers a more dramatic approach.• Length of visit: 30-60 minutes.• Crowd level rating: Low to medium. For the most part, although the area around thesanctuary on the top level can get a little busy at times, crowds are low at Bakong and touringis peaceful.• Visit nearby: We recommend combining Bakong with visits to the other Roluos grouptemples of Lolei (*) and Preah Ko (**). Further, if you have the energy and the time, considercontinuing eastward another 27 kilometers (17 miles) to the remote site of Beng Mealea (*).HighlightsPREVIEWCOPY• The first Khmer temple-mountain: an Angkor Wat style lotus bud-shaped central sanctuarytower sits atop a five-level pyramid base, symbolic of the five sacred peaks of Mount Meru.• The Khmer Empire’s first narrative relief decoration appears on the fourth level of the pyramid.While only a small bit remains, it gives insight into the origins of a tradition that wastaken to exceptional levels in the later temples of Baphuon, Angkor Wat, and the Bayon.• The towers surrounding the temple-mountain hold exceptional reliefs.• High quality moonstones grace stairways and entrances throughout.• The best-preserved statues of Khmer style lions in Angkor.


LayoutPREVIEWCOPYFig. 73. View from east, inside first enclosure wall, Bakong.Approaching the Temple• While there were originally three enclosure walls and two moats around Bakong,only two walls and one moat remain; the modern road runs along the exterior of the secondenclosure wall.• A naga-lined earthen causeway (Fig. 74) runs over a moat that encircles the temple betweenthe second and first enclosure walls. A massive seven-headed naga — its headsrearing at the far eastern end of the causeway — is in good condition.

Core Temple ZoneFig. 74. Layout, Bakong.PREVIEWCOPY• Bakong was the Khmers’ first attempt at creating a temple sanctuary that powerfully communicatedits symbolic association: mountaintop residence of the gods (Fig. 73). It beganthe quintessential Khmer practice of building temples on ascending levels, the culminationof which was Angkor Wat.• The entire arrangement’s powerful vertical lines — derived from its steep pyramid andtall tower — afford the structure a striking appearance from the first enclosure wall’s ruinedgopurams (yellow highlights in Fig. 74).• At the center of the complex, atop a five-level pyramid mountain, stands a squaresanctuary (red highlights in Fig. 74) with a large Angkor Wat style tower; the tower, withits characteristic curved lotus bud profile, dates from a later period than the rest of the structure.• The fourth level of the pyramid holds twelve small east-facing shrines, each of whichoriginally contained a linga.• The courtyard encircling the pyramid holds eight large secondary sanctuary towers(green highlights in Fig. 74), grouped in pairs along each side. They hold exceptional reliefdecoration, particularly those on the west side (see next section for details).

Tour of Decorative HighlightsFig. 75. Tour of decorative highlights, Bakong. Highlights added.We have a created a brief tour of Bakong’s best decoration, numbered 1-5 in green in Fig. 75.1. MoonstonesPREVIEWCOPYBakong’s moonstones — gracing the bases of stairs and entrances, symbolically transporting thosethat cross from the profane world (circle) to that of the sacred (square) — are some of the best in allof Angkor. Their scalloped edges create the appearance of a lotus leaf (Fig. 76).

PREVIEWCOPYFig. 76. Moonstone, Bakong.2. LionBakong gets our vote for having the best preserved Khmer lions in Angkor. Look for our favoriteon the first level’s west side, next to the stairs (Fig. 77); in this position, it functions as a guardian,defending the sanctuary above.Khmer lions are especially interesting as artistic objects, since lions never existed in Cambodia. Thelion motif was most certainly borrowed from Indian prototypes. However, in translation, the lionlost the naturalism of Indian models and took on highly stylized, otherworldly features: bulgingeyes, cropped mane, wide snout, square jaw. Born of a creative reinterpretation, the Khmerlion is incredibly distinctive and a compelling feature of Angkor’s artistic legacy.

PREVIEWCOPYFig. 77. Lion, first level, south side, Bakong.3. Demon ReliefThe fourth level of the temple’s pyramid was originally decorated with reliefs on the inner wall.They are the earliest reliefs at Angkor in which a continuous narrative is conveyed over a seriesof panel-based scenes, a tradition that would continue at Baphuon, Angkor Wat, and the Bayon.Unfortunately, only fragments remain. That said, the best — a good one — is located on the southside, to the right of the stairs that lead to sanctuary above. The relief depicts a scene perhaps drawn

from the Ramayana’s Battle of Lanka: a tightly-arranged group of demons leans backward as if underfierce attack (Fig. 78); the figurative top of the demons’ standard falls, presumably chopped offby Rama’s advancing forces.PREVIEWCOPYFig. 78. Relief of demons, fourth level, south side, Bakong.4. Intricate Detailwork on ShrineThe walls of the central sanctuary — particularly the doorframes — hold small ornate reliefs of prayingfigures and religious scenes. Although the sanctuary’s superstructure dates from the AngkorWat period, they are original. The best preserved examples are on the blind doors on the north andsouth sides.

5. Relief LintelFig. 79. Vishnu atop Kirtimukha, west tower, north side, Bakong.PREVIEWCOPYTo the west of the primary pyramid, the north-facing door of a secondary tower holds a particularlywell-crafted lintel (Fig. 79).• Vishnu — identifiable by the club attribute he holds in his right hand — sits atop the enormoussnarling face of Kirtimukha, the self-consuming monster. As discussed in the introductorysection (“Khmer Art - Recurring Depictions”), Kirtimukha reminds visitors of themonstrous nature of existence (dictated by the attachment to duality, the pairs of opposites)and the resulting need to abandon attachments to the ego (consume the self) in order toreaching enlightenment.• Small figures on elephants fly along a garland that Kirtimukha holds in its mouth.• Garuda, Vishnu’s mount, stands guard on the side.• Finally, deities, shoulder-to-shoulder along the upper edge, look down from heaven, as atPreah Ko.While the detailwork in this lintel is quite impressive, it is important to appreciate a key characteristicthat can easily be missed: the figures do not convey a narrative, but rather function as

eligious symbols, in and of themselves, drawing no direct reference to mythological or historicalevents.PREVIEWCOPY


STAR RATINGS OF ANGKOR TEMPLESIn order to help visitors with limited time efficiently plan their touring itineraries, we have assignedeach of Angkor’s temples a star rating, The rating appears next to each temple’s profile, as well ason the map of Angkor’s temples. While such ratings are necessarily subjective given the abundanceof intangibles, we believe that they accurately represent the quality of each temple’s extant art andarchitecture.3-Star Sites• Angkor Wat.• Banteay Samre.• Banteay Srei.• Bayon.• Preah Khan.2-Star Sites• Bakong (Roluos).• Baphuon.• Prasat Kravan.• Preah Ko (Roluos).• Pre Rup.• Ta Prohm.PREVIEWCOPY1-Star Sites• Angkor Thom: South Gate, Phimeanakas, Elephant and Leper King Terraces.• Baksei Chamkrong.• Beng Mealea.• Chau Say Tevoda.• East Mebon.• Lolei (Roluos).• Neak Pean.• Phnom Bakheng.• Ta Keo.• Ta Som.• Thommanon.

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