Angkor wat temple-Angkor Wat-7th Wonder of the World

 Angkor Wat-7th Wonder of the World 

angkor-wat-temple

 ANGKOR WAT 

- World Wonder List 

 Angkor Wat, in its beauty and state of preservation, is unexampled. Its mightiness and nobility bespeak a pomp and a luxury surpassing that of a Pharaoh or a Shah Jahan, an impressiveness lesser than that of the Conglomerations, an cultural distinctness as fine as that of the Taj Mahal. Angkor Wat is located about six kilometers (four country miles) north of Siem Reap, south of Angkor Thom. Entry and exit to Angkor Wat can only be access from its west gate. 

Angkor Wat was erected in the first half of the 12th century (113-5BC). Estimated construction time of the tabernacle is 30 times by King Suryavarman II, devoted to Vishnu (Hindu), replica of Angkor Thom style of art.

 

 Angkor wat 

angkor-wat-temple

 BACKGROUND 

 Angkor Wat, the largest monument of the Angkor group and the stylish saved, is an architectural masterpiece. Its perfection in composition, balance, proportions, relief's and form make it one of the finest monuments in the world. 

Wat is the Khmer name for tabernacle (the French spelling is" handbasket"), which was presumably added to"Angkor"when it came a Theravada Buddhist monument, most probably in the sixteenth century. After 1432 when the capital moved to Phnom Penh, Angkor Wat was watched for by Buddhist monks. 

 It's generally accepted that Angkor Wat was a funerary tabernacle for King Suryavarman II and acquainted to the west to conform to the symbolism between the setting sun and death. The bas- reliefs, designed for viewing from left to right in the order of Hindu funereal ritual, support this function. 

 ARCHITECTURAL PLAN 

 The plan of Angkor Wat is delicate to grasp when walking through the monument because of the hugeness. Its complexity and beauty both attract and distract one's attention. From a distance Angkor Wat appears to be a colossal mass of gravestone on one position with a long causeway leading to the center but close up it's a series of elevated halls, covered galleries, chambers, galleries and yards on different situations linked by stairways. 

The height of Angkor Wat from the ground to the top of the central palace is lesser than it might appear 213 measures (699 bases), achieved with three blockish or square situations (1-3) Each bone is precipitously lower and advanced than the one below starting from the external limits of the tabernacle. 

 Covered galleries with columns define the boundaries of the first and alternate situations. The third position supports five halls – four in the corners and one in the middle and these is the most prominent architectural point of Angkor Wat. This arrangement is occasionally called a quincunx. Graduated categories, one rising above the other, give the halls a conical shape and, near the top, rows of lotuses taper to a point. 

 Apsara 

 Apsara Statue at Angkor Wat 

The overall profile imitates a lotus cub, Several architectural lines stand out in the profile of the monument. The eye is drawn left and right to the vertical aspect of the situations and upward to the soaring height of the halls. The ingenious plan of Angkor Wat only allows a view of all five halls from certain angles. They aren't visible, for illustration, from the entrance. Numerous of the structures and yards are in the shape of a cross. The. Caller should study the plan on runner 86 and come familiar with this dominant layout. A twisted leaning roof on galleries, chambers and aisles is a hallmark of Angkor Wat. From a distance it looks like a series of long narrow crests but close up from identifies itself. It's a roof made of gracefully arched gravestone blocks placed end to end. Each row of penstocks is limited with an end pipe at right angles the crest of the roof. 

 The scheme culminates in decorated tympanums with elaborate frames. Way give access to the colorful situations. Helen Churchill Candee, who visited Angkor in the 1920s, allowed their utility surpassed their architectural purpose. 

 The way to Angkor Wat are made to force a halt at beauteous inhibition that the mind may be prepared for the atmosphere of saintship, she wrote In order to come familiar with the composition of Angkor Wat the caller should learn to fete the repetitious rudiments in the armature. Galleries with columns, halls, twisted roofs, tympanums, way and thecross-shaped plan do again and again. 

 It was by combining two or further of these aspects that a sense of height was achieved. This arrangement was used to link one part of the monument to another. Roofs were constantly concentrated to add height, length or dimension. A lower replica of the central halls was repeated at the limits of two prominent areas-the galleries and the entry belvederes. The long causeway at the entrance reappears on the other side of the entry kiosk. 

SYMBOLISM 

 Angkor Wat is a atomic replica of the macrocosm in gravestone and represents an fleshly model of the cosmic world. The central palace rises from the center of the monument emblematizing the fabulous mountain, Meru, positioned at the center of the macrocosm. Its five halls correspond to the peaks of Meru. The external wall corresponds to the mountains at the edge of the world, and the girding culvert the abysses beyond.

 

 LAYOUT 

 Indeed though Angkor Wat is the most mugged Khmer monument, nothing approaches the factual experience of seeing this tabernacle. Frank Vincent grasped this sensation over 100 times agone. 

The general appearance of the wonder of the tabernacle is beautiful and romantic as well as emotional and grand it must be seen to be understood and appreciated. One can noway look upon the ensemble of the handbasket without a exhilaration, a pause, a feeling of being caught up onto the welkin. Maybe it's the most emotional sight in the world of edifices. 

Angkor Wat occupies a blockish area of about 208 hectares (500 acres) defined by a laetrile wall. The first substantiation of the point is a culvert with a long sandstone causeway ( length 250 measures, 820 bases; range 12 measures, 39 bases) crossing it and serving as the main access to the monument. The culvert is 200 measures (656 sense) wide with a border of5.5 kilometers (3.4 country miles). 

 

 The west entrance begins with way leading to a raised sandstone sundeck in the shape of a cross at the bottom of the long causeway. Giant gravestone Napoleons on each side of the sundeck guard the monument. Looking straight ahead, one can see at the end of the causeway the entry gate with three halls of varying heights and with collapsed upper portion. This entry palace hides the full view of the five halls of the central group. A long covered failure with square columns and a twisted roof extends along the culvert to the leftism and right of the entry palace. This is the majestic facade of Angkor Wat and a fine illustration of classical Khmer armature. 

Helen Churchill candee must have been standing on this sundeck nearly 70 times ago when she wrote Any mastermind would exhilaration at the harmony of the fasade, an unbroken stretch of repeated pillars leading from the far angles of the structure to the central opening, which is dominated, by three assessing halls with broken summits. This facade firstly had another row of pillars with a roof. Substantiation of this remains in a series of round holes set in forecourt grounded in front of the standing pillars. 

 

 Tip Before pacing along the causeway turns right, go down the way of the sundeck and walk along the path a many measures for a view of all five halls of Angkor Wat. Return to the center of the sundeck and walk down the causeway towards the main part of the tabernacle. The left- hand side of the causeway has further original beach gravestone than the right- hand side, which was restored by the French. 

In the 1920 when RJ Casey walked on this causeway he noted it was an oddity of engineering The crossbeams were cut in irregular shapes, which meant that each had to be chiseled to fit the one adjoining. The effect as seen under the noonsun.is like that of a long strip of doused silk'10 On the left side just before the interior point in the causeway two large bases are sculpted in a block of sandstone. They belong to one of the numbers at the entrances to Angkor Thom and were brought to Angkor Wat in this century the causeway was repaired with reused monuments. 

The upper portions of the three sections on this palace-one each at the center and the two ends – have collapsed. The galleries on each end of the gallery may have served as passages for mammoths, nags and wagons as they're on ground position. 

When Helen Churchill Candee saw these entrances in the 1920 she remarked that armature made to fit the passage of mammoths is an idea most inspiriting. A figure of a standing Visnu (eight arms) is in the right inside the entry palace. Traces of original color can be seen on the ceiling of the entry palace at the leftism. Continue westward along a alternate raised walkway ( length 350 measures, bases; range 9 measures, 30 bases). 

 

 A low banister suggesting the body of a serpent borders each side. Short columns support the banister. Looking west one sees the celebrate view of Angkor Wat that appears on the Cambodian flag. Standing at this point one teels impelled to get to the stupendous group of the five polls, companions of the sky, sisters of the shadows, and determine whether or not one lives in a world of reality or in a fantastic dream. Six dyads of conventional stairs with platforms on each side of the walkway lead to the yard. 

A durability of the serpent balustrade along the walkway frames the stairs. This arrangement is occasionally called a wharf platform. The banister terminates with the body of the serpent making a turn at right angles towards the sky and gracefully spreading its nine heads to from the shape of a addict. Two structures, so- called libraries stand in the yard on the left and right, just past the middle of the causeway. These' jewel-boxes Khmer art'are impeccably formed. 

 

 A large central area, four galleries, columns and way present a symmetrical plan in the shape of a cross. Some of the columns have been replaced with cement clones for support. An original pillar lies on the ground before the library on the leftism. In front of the libraries are two basins ( length 65 measures, 213 bases, range 50 measures, 164 bases) the bone on the leftism is filled with water whereas the other lone is generallydry.Tip Turn left at the first way after the library and before the receptacle and follow the path for about 40 measures (131 bases) to a large tree for a superb view of the five halls of Angkor Wat, particularly at daylight. The walkway leads to a sundeck kin the shape of a cross, known as the Terrace of Honor, Just in front of the top entry palace of Angkor Wat. 

 Supporting columns and vertical sculpted molding around the base accentuate the form of the sundeck. Steps adjoined by Napoleons on pedestals are on three sides of the sundeck. Ritual balls were performed then and it may have been where the king viewed processions and entered foreign dignitaries. R Casey tasted similar exertion in the 1920s One can not but feel that only a many hours ago it was pulsating with life. The firebugs were burning about the stages. 

 

 Companies of preachers were in the galleries chanting the rituals. Dancing girls were darting up and down the way. that was only an hour or two agone,monsieur.it can not have been more. From the top of the sundeck there's a fine view of the gallery on the first position, known as the Gallery of Bas- reliefs (215 by 187 measures, 705 by 614 bases). The external side, closest to the caller, comprises a row of 60 columns whereas the inner side is a solid wall decorated with bas- reliefs. 

 Cock At this point the caller has the choice of continuing straight to the central halls or turning right to see the Gallery of Bas- reliefs ( see runners 96-108 for a description of the bas- reliefs). The unit furnishing a link between the first and alternate situations is theCross-shaped Galleries. This unique architectural design consists of two covered galleries with square columns in the shape of a cross and a yard divided into four equal corridor with paved basins and way. The system used by the Khmers to form corbel bends is visible in the vaults. Several ornamental features in these galleries stand out windows with balusters turned as if they were made of wood, trophies on the vaults, a frieze of Apsaras under the cornices, and Cyrenaics at the base of the columns. 

 

 Tip Some of the pillars in the galleries of this yard have eulogies written in Sanskrit and Khmer. On either side of the yard there are two libraries of analogous form but lower than the bones along the entrance causeway The Gallery of Buddha's, on the right, formerly contained numerous images dating from the period when Angkor Wat was Backlist. Only a many of these numbers remain moment. The gallery on the leftism is the Hall of Echoes, so named because of its unusual acoustics. 

Tip To hear the resonance in the Hall of Echoes walk to the end of the gallery, stand in the left- hand corner with your reverse to the wall, thump your casket and hear precisely. Those who want to visit the library should leave the door at the end of this gallery. There's a good view of the upper position of Angkor Wat from this library. 

 

 Return to the center of thecross-shaped galleries and continue walking toward the central halls. Another set of stairs cautions one to the continuing ascent. The external wall of the gallery of the alternate position, closest to the caller, (100 by 115 measures, 328 by 377 bases), is solid and unvarnished, presumably to produce an terrain for contemplation by the preachers and the king. 

The starkness of the surface of the alternate position gallery is neutralize by the decoration of the interior. Over Apsaras ( elysian hop) line the walls of the gallery offering endless visual and spiritual enchantment. These graceful and beautiful ladies delight all callers. They were crated by the Churning of the Ocean of Milk. 

 

 When one first walks into the yard the multitude of womanish numbers on the walls and in the niches may feel repetitious but as one moves closer and looks precisely one sees that every one of these elysian nymphs is different, the elaborate coiffures, hats and jewellery befit, yet noway overpower, these' ethereal occupants of the welkin'Apsaras appear at Angkor Wat for the first time in twos and threes. These groups break with the traditional of decoration kin other part of the tabernacle by standing with arms linked in kittenish postures and always in anterior view except for the bases, which appear in profile. 

 Pang, a Cambodian minstrel, in a homage to the Khmer ideal of womanish beauty wrote of the Apsaras in the seventeenth century. These millions of gracious numbers, filling you with similar emotion that the eye is noway wearied, the soul is renewed, and the heart sated! They were noway sculpted by the hands of men! They were created by the gods living, lovely, breathing women! Only the king and the high clerk were allowed on the upper or third position of Angkor Wat, it lacks the stately covered galleries of the other two but is the base of the five central halls, one of which contains the most sacred image of the tabernacle. 

The square base (60 measures, 197 bases long) of the upper position is 13 measures (43 bases) high and raises over 40 measures (131 bases) above the alternate position. Twelve sets of stairs with 40 way each bone in the center of each side and two at the corners- lift at a 70- degree angle giving access to this position. 

 

 Tip The stairway to the third position is less steep on the west ( center) but those who suffer from vertigo should use the south stairway ( center, which has concrete way and a rail. the way on all sides are exceptionally narrow. the caller should lift and descend sideways. All the repetitious rudiments of the architectural composition of Angkor Wat appear on the upper position. The space is divided into across-shaped area defined with covered galleries and four paved courts. An entry palace with a veranda and columns is at the top of each stairway. Passages supported on both sides with double rows of columns link the entry palace to the central structure. The corners of the upper position are dominated by the four halls. Steps both separate and link the different corridor. A narrow covered gallery with a double row of pillars and windows and balusters on the external side surrounds the third position. The Central sanctuary rises on a tiered base 42 measures (137 bases) above the upper position. The loftiest of the five halls, it's equal in height to the edifice of Notre Dame in Paris. This central sanctuary sheltered the sacred image of the tabernacle. It firstly had four galleries opening to the cardinal directions. The central core was walled up some time after the sacking of Angkor in the middle if the fifteenth century. Nearly 500 times latterly French archaeologists discovered a perpendicular shaft 27 measures (89 bases) below the face in the center of the upper position with a hoard of gold objects at the base. 

GALLERY OF BAS- RELIEF 

 By their beauty they first attract, by their freshness they hold attention, Helen Churchill Candee wrote of the bas- reliefs in the 1920. The Gallery of Bas- reliefs, girding the first position of Angkor Wat, contains square measures ( square bases) of sandstone busts. The relief covers utmost of the inner wall of all four sides of the gallery and extend for two measures (seven bases) from top to bottom. 

 

 The detail, quality composition and prosecution give them an unrivaled status in world art. Columns along the external wall of the gallery produce an interesting 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 dazing rich decoration- always kept in check, noway allowed to run uncontrolled over wall and ceiling retain strength and repose, imagination and power of fantasy, wherever one looks (the) main effect is one of" supreme quality" wrote a caller 50 times agone. 

 

 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 belvederes at the corners of the west Gallery have a variety of scenes. The book doesn't include description of poorly damaged relief. 

 

 Some others are unidentifiable. 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 presumably latterly. The panels run horizontally along the wall and generally correspond of two or three corridor. Occasionally the borders at the top bottom are also decorated. Themes for the bas- reliefs decide 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 applicability to its theme. The relief on the east and west walls, for illustration, depict themes related to the rising and setting sun. The word bas means low or shallow and refers to the degree of protuberance of the relief. The system of creating relief at Angkor Wat was generally to sculpt down the background leaving the design in relief. Eventually, though the system was reversed giving a sunken appearance. of some of the relief have a polished appearance on the face. 

 

 There are two propositions as to why this passed. The position of the luster and its circumstance in important corridor of the relief suggest it may have redounded from callers rubbing their hands over them. Some art chroniclers, however suppose it was the result of lacquer applied over the relief. Traces of gilt and makeup, particularly black and red, can also be plant on some of the relief's. They're presumably the remains of an hair or a fixative. Several primitive cultural conventions are seen in the bas- reliefs. A swash is represented by two resemblant perpendicular lines with fish swimming between them. As in Egyptian art, a person's rank is indicated by size. The advanced the rank the larger the size. In battle scenes, broken shafts on the conventional screens of a chief signify defeat. Perspective is shown by aeroplanes placed one above the other. The advanced up the wall, the further down is the scene. Numbers with legs far piecemeal and knees flexed are in a flying posture. 

 

 INVITING THE GALLERY OF BAS- RELIEFS 

 Those who like to loiter in this awful gallery of bas- reliefs will always be made happy by new discoveries will return as other mannas of Angkor will allow. 

 

 Tip As the bas- reliefs at Angkor Wat were designed for viewing from to liberalism the caller 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 yourleft.However, the following bas- recommended, If one's time at Angkor is limited. 

 

 Position THEME

 Description of the bas- reliefs in this guidebook follows the normal route for viewing Angkor Wat. They begin in the middle of the West Gallery and continue athwart clockwise. The other half of the West Gallery is at the end of the section. Relating characteristics are in gap and the locales of scenes on the bas- reliefs are in bold type. 

 

 WEST GALLERY-BATTLE OF KURUKSHETRA 

 This battle scene is the main subject of the Hindu grand Mahabharata. It recalls the major was wars in Kurukshetra, a fiefdom in India, and depicts the last battle between rival adversaries who are relatives ( see runner 54 for a description of this legend). The armies of the Kauravas and the Pandavas march from contrary ends towards the center of the panel where they meet in combat. Headgears separate the soldiers of the two armies. The scene begins with army marching into battle and musicians playing a metrical meter. The battleground is the scene of hand-to- hand combat and numerous dead dogfaces. 

 

 Principal officers and generals ( represented on a larger scale) oversee the battle in chariots and on mammoths and nags. The scene builds up gradationally and climaxes in a melée. Bisma (near the morning of the pane), one of the icons of the Mahabharata and commander of the Kauravas, pierced with arrow, is dying and his men compass him. Arjuna ( holding a guard decorated with the face of the demon rahu) shoots an arrow at Krsna, his half- family, and kills him. After death, Krisna (four arms) becomes the charioteer of Arjuna. 

 Corner kiosk (southwest) 

 

 Enter the kiosk and view the scenes facing you. Also continue clockwise around the kiosk. The bas- reliefs in this kiosk depict scenes from grand the Ramayana. 

 

 EAST 

 

 A- Left, Water jubilee; two vessels (superimposed) with Apsaras, chess players ( top boat) 

. B- Center, above the door A god entering immolations. 

 

 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 woman (three pointed headgear); monkeys mourn his death 

. D-Center, above the door Murder of a demon; Krsna extinguishes a fire west. 

 E- Left Siva sits with his woman Paravati on Mount Kailasa 

 F-Center, above the door Krisna uproots trees with a gravestone he's tied to. 

 G-Right Ravana, disguised as a trimmer, 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 hijacking of Sita. 

 J-Right Krisna lifts Mount Govardhana to shelter their goatherds and their herds from the storm burned by the wrathfulness of Indra. 

 

 SOUTH ( Literal) GALLERY- ARMY OF KING SORYAVAMAN II 

 This gallery depicts a splendid triumphal procession from a battle between the Khmers and their adversaries. The relief's show styles used in warfare, substantially hand-to- hand combat, as they no ministry and no knowledge of arms. 

 

 The natural definition of trees and creatures 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 doubly. An necrology on the panel identifies him by his postmortem name, suggesting it may have been done after his death. The blockish holes aimlessly cut n this gallery may have contained precious objects of the tabernacle. On the upper league the king ( seated with traces of gilt on his body) holds an followership on a mountain. Below of the place walk down a mountain in the timber. 

 

 The army gathers for examination and the commander mounted on mammoths join their colors who are marching towards the adversary. The commander's rank is linked by a small necrology near the figure. King Suryavarman II stands on an giant (conical headgear, brand with the blade across his shoulder) and retainers around him hold 15 conventional screens. Visnu stands on a Garuda on a Garuda on a flagpole in front of the king's giant. The lively and loud procession of the Sacred Fire ( carried in an ark) follows with standard liaisons, musicians and jesters. Brahmans chant to the incident of cymbals. The royal immolation in a palanquin. 

 

 Towards the end of the panel The military procession resumes with a troop of Thai dogfaces (pleated skirts with flowery pattern; belts with long pendants; plaited hair; hats with awards; short moustaches) led by their commander who's mounted on an giant. The Thai colors were presumably either mercenaries of a contingent from the fiefdom of Louvo ( moment called Lopburi) drafted to the Khmer army. A number of the Khmer soldiers wear helmets with cornucopias of beast heads (deer, steed, raspberry) and some of their securities are stretched with monsters for the same purpose. 

 

 JUDGMENT In YAMA; HEAVEN AND HELL 

 Three categories relate the judgment of humanity by Yama and two categories depict Heaven and Hell. Eulogies have linked 37 welkin where one sees tardy hobbies in palaces and 32 miseries with scenes of discipline and suffering. Curtains and Apsaras separate the two and a row of Garudas borders the league in the bottom. The roof was destroyed by lightning in 1947 and latterly the ceiling of this gallery was restored by the French. Traces of gilt can be on riders on nags at the morning of the panel. The lower section of the panel was poorly damaged and liter filled with cement. 

 

 Lower league 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 delay judgment. Sidekicks to Yama shove the wicked through a trap door to the lower regions where persecutors deliver corrections similar as sawing a body in half for those who gormandize. Culprits have their bones broken. Some of the penalized wear iron impediment or have nails pierced through their heads. 

 

 EAST GALLERY- CHURNING OF THE OCEAN OF MILK 

 This is the most notorious panel of bas- reliefs at Angkor Wat and derives from the Indian grand Bagavata-Pourana. The Ocean of Milk is churned by gods and demons to induce Amrta, the catholicon of life. the purpose of the churning is to recover lost treasures similar as the sourer of eternity, Laksmi the goddess of good fortune, the milk white giant of Indra, and the nymph of fairness. The reclamation of these objects symbolizes substance. It takes place during the alternate ascent of Visnu, when he's expressed as a tortoise. 

 

 The scene is decided into three categories. The lower league comprises colorful submarine creatures, real and fabulous, and is framed by a serpent. The middle league 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 hats). They work together by holding and churning the serpent. Hanuman, the monkey god, assists. Visnu, in his reincarnation as a tortoise, offers the reverse 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 shifting instrument to churn the ocean. 

 

 To begin the stir the gods and demons twist the serpent's body; the demons hold the head and the gods hold the tail of the serpent. Also by pulling it rhythmically back and for th they beget the pivot to rotate and churn the water. 

 

 The gods and demons are directed by three persons ( linked by their larger size). Indra is on top of Visnu. On the extreme right Hanuman, supporter of the gods, tickles the serpent. Upper league During the churning colorful womanish spirits crop. Visnu appears in this scene again in yet another reincarnation-as a mortal being-to preside over the" churning"which, according to legend, lasted more than times. 

Multitudinous other beings are depicted similar as the three- headed giant mount of Indra, Apsaras and Laksmmi, the goddess of beauty. They churning provoke the serpent to heave the mortal venom, which covers the swells. Hysterical the venom may destroy the gods and demons, Brahma intervenes and requests Siva to devour and drink the venom, which will leave an unforgettable 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 deliverance and assumes yet another reincarnation in the form of Maya, a bewitching beauty, and is suitable to restore much of the coveted liquid. 

 

 Bas- Relief of Churning of the Ocean of Milk 

 Churning of the Ocean of Milk Bas Relief 

 Necrology 

 Just past the middle of the East Gallery there's an intriguing necrology of the early eighteenth century when Angkor Wat was a Buddhist friary. It tells of a parochial governor who erected a small grave where he deposited the bones of his woman and children. The structure is in poor condition but recognizable in its original position, directly in front of the necrology in the gallery. 

 Palm OF VISNU OVER THE DEMONS The bas- reliefs in this section of the Wast Gallery and the south part of the North Gallery were presumably completed at a after date, maybe the fifteenth or sixteenth century. The stiffness of the numbers and the gadarene 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 holocaust follows. Visnu slaughters the adversaries on both sides and disperses the bodies. The leaders of the demons ( mounted on creatures or riding or riding in chariots drawn by monsters) are girdled by marching dogfaces. Another group of soldiers ( curvatures and arrows) with their chiefs (in chariest of mounted on huge peacocks) follows. 

NORTH GALLERY 

 VICTORY OF KRISNA OVER BANA THE DEMON KING 

 At the morning of the panel Visnu in his manifestation as Krsna ( framed by two icons) 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 girding the megacity 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 swash Ganges. The demon Bana ( multiple arms, mounted on a rhinoceros) approaches from the contrary direction. Extreme right Krsna ( heads, hands across his casket) kneels in front of Siva who sits ennobled on Mount Kailasa with his woman Parvati and their son ganesa ( head of an giant) 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 soldiers on both sides battle in the background. A series of adversaries follow, the Kubera, God of riches (with arc 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 giant; Visnu (four arms) sits on his mount, a Guard; a demon (tiered heads) shaking brands; Yama, God of Death and. Justice ( brand and guard), stands in a chariot pulled by nags; and Varian, God of the Water, stands on a five- headed serpent exercised like a beast of burden. 

 

 CORNER PAVILION (NORTHWEST) 

 

 NORTH 

 A-Right The women's diggings of a palace. 

B- Center, above the door An attempt to kidnap point in the timber. 

 C- Left, poorly damaged A scene from the Ramayana. 

 Above Categories of monkeys and a barrow 

WEST 

 D-Right rama in his chariot ( drawn by geese) returns victorious to Ayodhya 

 E-Center, above the door Rama and Laksmana girdled by monkeys. 

 F- Left A discussion between Sita and Hanuman in the timber; Hanuman gives Rama’s ring to Sota. 

 SOUTH 

 G-Right Visni ( seated, four arms) girdled 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 Conversations on an alliance. 

 Left Rama and his family 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 nags 

 (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 steed 

 (6) Indra on a three- headed giant 

 (7) Yama riding a buffalo 

( 8) Siva on a bull 

 (9) An unidentified god on a captain 

 

 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's 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, prisoner of Sita, the beautiful woman of Rama. The central numbers are the monkey soldiers who fight against the raksasas on Rama's side. 

 

 The brutality of war is juxtaposed with a graceful rendition of lithesome monkeys. History the center Rama stands on the shoulders of Sugriva girdled by arrows; Laksmana, his family, and an old demon, stand by Rama. Hard, the demon king Ravana (10 heads and 20 arms) rides in a chariot drawn by fabulous Napoleons. 

 Further on, Nala, the monkey who erected Rama's ground to Lanka, is between them leaning on the heads of two Napoleons. He throws the body of one he has just beaten over his shoulder. A monkey Napoleon gashes out the tusk of an giant, which is limited with a three-pointed headgear and throws him and the demon to the ground.