Preah Pithu (or Prasat Preah Pithu), a group of five temples (in fact, they were, in all probability, not designed as a group) identified by letters: T, U, V, W and X, are located north-east of the Bayon and the Terrace of the Leper King and in front of Tep Pranam. Except for Temples “T” and “U,” they weren’t built in the same period so there is no apparent order. The first four temple letters are Hindu while “X” is a Buddhist temple that remained unfinished and is probably the latest.

Check out “Bayon Temple” and “Terrace of the Leper King”

Preah Pithu

Not much is known about the Preah Pithu temple group. It’s thought that they were built, in the art style of Angkor Wat,  in the first half of the 12th century (parts of the 13th century) during the reign of kings Suryavarman II (reigned 1113-1150) and Jayavarman VIII. It’s thought that Preah Pithu was abandoned in the 16th century, along with the other temples in the area.

Check out “Angkor Wat“

Quite for sure, they were built together as they are on the same W-E axis and are oriented to the west.  They have a cruciform terrace on two levels, with nāga balustrades as entrance. An often dry single moat surrounds some of the temples.

From Bayon, Violet, Osang and I headed north. Continuing past the Terrace of the Elephants and the Terrace of the Leper King  heading towards the North Gate, we saw a small group of market stalls on the right sidel. Heading between the two groups of market stalls, we first saw Temples “T.” and “U.”  Temples “T” and “U” were on the same east-west axis, share a single moat and are both oriented to the west which is unusual for Khmer temples. To the north is Temple “V” and to the east we saw Temples “X” and “Y.”

The temples were first cleaned by Jean Commaille in 1908, then by Henri Marchal from 1918 to 1920. Only recently, the Preah Pithu complex has been cleared, made safe and opened to visitors. However, the five temples are in a bad condition, their upper levels ruined, but their interesting, decorative carvings are good and the site is rather peaceful, semi-wooded and scarcely crowded.

Temple “T” has a 45 by 40 m. sandstone enclosure with two gopuras (entrance buildings) on the main W-E axis. The sanctuary, on a 3-level, 6 m. high ornated platform, has a chamber which shelters a large linga on its pedestal. The walls are decorated with Bayon-style devatas and floral motifs. On the ground, the fragments of the lintel of the western door show a stylized depiction of the “Churning of the Sea of Milk.”

The author. Behind him is a glimpse of Temple “T”

Temple “U,” very similar in design to Temple “T”(but smaller and simpler), has a 35 by 28 m. enclosure with no gopura (entrance buildings). The lintel of the west door shows the Trimurti, with Shiva dancing on a kala-head between Vishnu and Brahma. The internal walls are sculpted with dvarapalas. The blind arches, at the base of pillars, are typical of Angkor Wat period. The northern lintel has another depiction of the “Churning of the Sea of Milk.”

Temple “V,” outside the residual moat and north of Temple “U,” is oriented to the east, where it opens with a double vestibule and has no enclosure. On the west side is a causeway which ends with a 40 m. long cruciform terrace, leading into the northeast corner of the Royal Square. Its sanctuary chamber, standing on two-tier sculpted basement, is the largest of the group, having a square side of 3.80 m. and hosting a large 1.5 m linga. Its external decorations, in the Angkor Wat style, are incomplete. The sanctuary tower, sitting on a two-tiered platform, has decorations in the Angkor Wat style.

Temple “Y,” standing on an earthen platform, north of Temple “V,” has no basement or stairways. Dated between Angkor Wat and Bayon, it is oriented to the east.  The temple has a long mandapa as entrance linked by a vestibule to a 3.5 by 3.0 m. sanctuary chamber, which hosted a 0.95 m. tall linga. The larger, mostly collapsed chamber has two remarkable half-frontons, on its western side, which depict the defeat of the asura Bana by Hindu god Krishna to the north and the three giant steps of Vamana to the south. Temple “Y” was also unfinished.

Temple “X,” a Buddhist temple, may have even been built as late as the 14th century.  It is similar in design to the other temples but its carvings are incomplete. Inside the sanctuary tower are carvings of Buddha and Buddhist motifs.

Though nothing compared to the more popular temples in the area, Preah Pithu does get quite a lot of visitors because of its beautiful carvings, some of the finest found in the Angkor Archaeological Park.  The surrounding forest also makes for a very pleasant and peaceful experience.

Preah Pithu: Angkor Thom, Cambodia

Located in the northwest corner of the Royal Square of  Angkor Thom and immediately north of the Terrace of the Elephants, we accessed this U-shaped structure from the main road.  This is thought, by some, to have been used as a royal cremation site.

Check out “Terrace of the Elephants” 

The Terrace of the Leper King

It was built at the end of the 12th century, in the Bayon style, by Jayavarman VI who reigned from 1181 to 1220.  Its modern name is derived from a 15th-century sculpture, discovered at the site (now replaced by a replica) called the “Leper King.” The original statue now sits in the courtyard of the National Museum in Phnom Penh.

Osang beside the replica of the now shrouded statue of the Leper King

The  statue, with thick lips, energetic chin, full cheeks, slightly open mouth, aquiline nose and clear brow,  sits in the Javanese fashion (with his right knee raised) on a platform on the terrace. The position of its missing hand suggests it was holding something. Its nakedness and teeth being shown in a smile are absolutely and strangely unique in Khmer art.

Detail of bas reliefs

Mystery and uncertainty surround the origin of its name. Some say it was so called because of its discoloration and the lichen and moss growing on it, reminiscent of a person with leprosy.  It  also said to depict Yama (the Hindu god of death or judgement), Kubera (the god of wealth, an alleged leper) and also fits in with the Cambodian legend of Yasovarman I (Dharmaraja), an Angkorian king who had leprosy.

The false corridor which allows visitors to inspect the bas relief on the first wall

The terrace is faced with dramatic bas-reliefs, both on the interior and exterior. During clearing, the EFEO (Ecole Française d’Extreme-Orient) found a second, 2 m. wide laterite wall, faced with sandstone, with bas-relief similar in composition to those of the outer wall. EFEO recently created a false corridor which allows visitors to inspect the bas relief on the first wall.

Terrace of the Elephants

The 350 m. long Terrace of Elephants, part of the walled city of Angkor Thom, is named for the carvings of elephants on its eastern face. We entered this ruins from the road at the east. The terrace, dedicated to Buddhist and replica to the Bayon style of art, was built at the end of the 12^th century.

Check out “Bayon Temple”

Detail of bas relief

Attached to the palace of Phimeanakas, the terrace was used by Angkor‘s King Jayavarman VII as a giant reviewing platform from which to view his victorious returning army, for public ceremonies and also served as a base for the king’s grand audience hall.

Check out “Royal Palace and Phimeanakas Temple” 

The author and Jandy at the terrace

As most of its original structure was made of organic material that has long since disappeared, most of what remains are the foundation platforms of the complex. It has five outworks extending towards the Central Square; three in the center and one at each end. The retaining wall’s middle section is decorated with life-size garuda and lions. Towards either end are the two parts of the famous parade of elephants, complete with their Khmer mahouts and princes

Bayon Temple

The richly decorated,  mesmerizing and slightly mind-bending Bayon (Prasat Bayon) Khmer temple was built, as a state temple (the last state temple to be built at Angkor), by the creative genius and inflated ego of the Mahayana Buddhist King Jayavarman VII (Cambodia’s most celebrated king) in the late 12th or early 13th century.  Later Hindu and Theravada Buddhist kings, following Jayavarman’s death, modified and augmented the temple in accordance with their own religious preferences.

The multitude of serene, enigmatic and smiling stone faces on the many towers, the temple’s most distinctive feature, jut out from the upper terrace and cluster around its central peak. Two sets (totaling 1.2 kms.) of extraordinary bas-reliefs, incorporating more than 11,000 figures, present a combination of mythological, historical, and mundane scenes.

A Buddha shrine at the western side of temple

Though the only Angkorian state temple to be built primarily as a Mahayana Buddhist shrine dedicated to the Buddha, a great number of minor and local deities were also encompassed as representatives of the various districts and cities of the realm.  The Bayon was the centerpiece of Jayavarman VII‘s massive program of monumental construction and public works (which was also responsible for the walls and nāga-bridges of Angkor Thom and the temples of Preah Khan, Ta Prohm  and Banteay Kdei).

Check out “Ta Prohm Temple” and “Banteay Kdei” 

The 216 gargantuan faces decorating the temple’s towers are similar to other statues of Jayavarman VII, leading many scholars to conclude that the faces are representations of the king himself, the 54 (some say that the Khmer empire was divided into 54 provinces at the time of Bayon’s construction) pairs of his all-seeing eyes making him hold sway over such a vast empire and ensuring the disparate and far-flung subjects yielded to his magnanimous will. Others have said that the faces belong to Avalokitesvara or Lokesvara, the bodhisattva of compassion.

The author with son Jandy

Since the time of Jayavarman VII, subsequent monarchs have made numerous additions and alterations at the Bayon. In the mid-13th century, during the reign of Jayavarman VIII , the Khmer empire reverted to Hinduism and this state temple was altered accordingly. Theravada Buddhism became the dominant religion in later centuries, leading to still further changes.  Eventually, the temple was abandoned to the jungle. Current features that were not part of the original plan include the libraries, parts of the upper terrace, the terrace to the east of the temple and the square corners of the inner gallery.

One of the gargantuan heads of Bayon

In the first part of the 20th century, the École Française d’Extrême Orient (EFEO) restored the temple in accordance with the technique of anastylosis. Since 1995, the Japanese Government team for the Safeguarding of Angkor (the JSA) has been the temple’s main conservatory body, holding symposia annually.

Bayon’s original name was Jayagiri (or “Victory Mountain”) but, after the French occupation, it was later named Banyan Temple due to its religious significance and Buddhist imagery (the Buddha is said to have attained enlightenment under the Banyan tree). During the renovation of the Banyan Temple, the local Khmer workers mispronounced Banyan as Bayon and the name stuck.

The author with Violet

Oriented towards the east, the temple’s buildings are set back to the west, inside enclosures elongated along the east-west axis. The temple sits at the exact center (it took researchers some time to realize this as it was shrouded in jungle) of Angkor Thom, Jayavarman’s capital, and roads lead directly to it from the gates at each of the city’s cardinal points. The temple has no wall or moats, these being replaced by those of the city itself.  The city-temple arrangement has an area of 9 sq.  kms., much larger than that of Angkor Wat to the south (2 km²).

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Jandy with Osang

Bayon’s basic structure comprises a simple three levels corresponding, more or less, to three distinct phases of building because Jayavarman VII began construction of this temple at an advanced age.  Never confident it would be completed, each time one phase was completed, he moved on to the next. The first two, square levels are and adorned with bas-reliefs while the third, circular level houses the towers and their faces.

Within the temple are two galleried enclosures (the third and second enclosures) and an upper terrace (the first enclosure), all crowded against each other, with little space between.

Bas-relief of an apsara dancer

The outer gallery’s outer wall features a series of famous, highly detailed and informative bas-reliefs, on the outer wall of the first level not accompanied by any sort of epigraphic text, that depict historical events and vivid scenes from the Angkorian Khmer’s everyday life in 12th-century Cambodia.

The second level bas-reliefs do not have the epic proportions of those on the first level and tend to be fragmented. There is considerable uncertainty as to which historical events are portrayed and how by the bas-reliefs and, if at all, the different reliefs are related.  From the east gopura , the subjects are (in clockwise order assuming you enter the Bayon from the east):

• Chams on the Run – a three-level panorama. On the first tier, a Khmerarmy (including some Chinese soldiers) marching off to battle, with musicians, horsemen, and officers mounted on elephants, followed by oxcarts of provisions (southern part of the eastern gallery). The second tier depicts coffins being carried back from the battlefield. The third tier depicts Jayavarman VII on horseback in the center, shaded by parasols, followed by legions of concubines (to the left).
• A procession, followed by domestic scenes depicting Angkorian houses, some of the occupants of which appear to be Chinese merchants (eastern gallery, on the other side of the doorway leading into the courtyard).
• Hindus praying to a linga(phallic symbol) – an unfinished temple scene with towers, apsaras, and a lingam. This image was probably originally a Buddha, later modified by a Hindu king. (first panel north of the southeast corner pavilion)
• The Naval Battlepanel (eastern part of the southern gallery), with some of the best-carved reliefs, depicts a naval battle on the Tonle Sap between Khmer and Cham (with head coverings) forces, underneath which are more scenes of everyday civilian life around the Tonlé Sap lake depicting a market, open-air cooking, people picking lice from each other’s hair, hunters, and women tending to children, an invalid and, towards the western end of the panel, a woman giving birth.
• Chams Vanquished (southern gallery, past the doorway leading to the courtyard) – scene from daily life with boats and fisherman (including a Chinese junk), below which is a depiction of a cockfight; then some palace scenes with princesses, servants, people engaged in conversations and games (including two people playing chess), women selling fish in the market, wrestlers, and a wild boar fight; then a battle scene with Cham warriors disembarking from boats along the shore of Tonlé Sap lake and engaging Khmer warriors whose bodies are protected by coiled ropes, followed by a scene in which the Khmer dominate the combat and soundly thrashed the Chams, followed by a scene of meals being prepared and served in which the Khmer king celebrates a victory feast with his subjects.
• The most western relief of the south gallery, depicting a military procession, is unfinished, as is the panel showing elephants being led down from the mountains. Brahmans have been chased up two trees by tigers.
• A military procession including both Khmers and Chams, elephants, war machines such as a large crossbow and a catapult (western part of the southern gallery).
• Unfinished reliefs showing an army marching through the forest, then arguments and fighting between groups of Khmers (southern part of the western gallery).
• All-Seeing King (western gallery, past the doorway to the courtyard, just north of the civil war panel) – a scene depicting continued fighting, on a smaller scale, between Khmer warriors, then a scene in which warriors pursue others past a pool in which a gargantuan fish swallows a small antelope (among the smaller fish is a prawn, under which an inscription proclaims that the king will seek out those in hiding),then a royal procession, with the king standing on an elephant, preceded by the ark of the sacred flame.
• Khmer circus (western part of the northern gallery) – scene of royal entertainment including athletes, jugglers, acrobats. Here, you can see a strongman holds three dwarfs, a man on his back is spinning a wheel with his feet above which is a group of tightrope walkers, ascetics sitting in a forest, and more battles between Khmer and Cham forces. To the right of the circus, the royal court watches from a terrace, below which is a procession of animals. Some of the reliefs in this section remain unfinished.
• The Sacking of Angkor(northern gallery, past the doorway to the courtyard) – scene during the war of 1177 when the Khmers were defeated by the Chams, fleeing from Cham soldiers advancing in tight ranks, and Angkor was pillaged. The wounded Khmer king is being lowered from the back of an elephant while a wounded Khmer general is being carried on a hammock suspended from a pole. Directly above is a scene where despairing Khmers are getting drunk. The Chams (on the right) are in hot pursuit of the vanquished Khmers.
• Another marching Khmer army (northeast corner pavilion).
• The Chams Enter Angkor (eastern gallery)depicts a land battle between the Khmer and Cham armies, both of which are supported by elephants. Notice the flag bearers among the Cham troops (on the right). The Chams were defeated in the war, which ended in 1181, as depicted on the first panel in the sequence.

A courtyard, enclosed by the outer gallery, has two libraries, one on either side of the east entrance. Originally, the courtyard contained 16 chapels, all subsequently demolished by the Hindu restorationist Jayavarman VIII.

The inner gallery, raised above ground level, has doubled corners, with the original redented cross-shape later filled out to a square.  Its bas-reliefs, later additions of Jayavarman VIII, are in stark contrast to those of the outer gallery.

Rather than set-piece battles and processions, the inner gallery’s smaller canvases are decorated, for the most part, with scenes from Hindu mythology and some of the figures depicted are Siva, Vishnu, and Brahma, the members of the trimurti or threefold godhead of Hinduism, Apsaras or celestial dancers, Ravana and Garuda.

However, there is no certainty as to what some of the panels depict or their relationship with one another. For example, one gallery, just north of the eastern gopura, shows two linked scenes which have been explained as either the freeing of a goddess from inside a mountain or an act of iconoclasm by Cham invaders.

Another series of panels, connected with the legend of the Leper King (who contracted leprosy from the venom of a serpent with whom he had done battle), shows a king fighting a gigantic serpent with his bare hands, then having his hands examined by women and, finally, lying ill in bed.

Depictions of the construction of a Vishnuite temple (south of the western gopura) and the Churning of the Sea of Milk (north of the western gopura) are less obscure.  The inner gallery, raised one level higher again, is nearly filled by the upper terrace.

Scholars were led to conclude, due to the lack of space between the inner gallery and the upper terrace, that the upper terrace did not figure in the original plan for the temple but that it was, following a change in design, added shortly thereafter. Originally, it is believed that the temple had been designed as a single-level structure similar, in that respect, to the roughly contemporaneous foundations at Ta Prohm and Banteay Kdei.

The famous “face towers” of the Bayon, at the upper terrace, each supports two, three or four (most common) gigantic smiling faces.  In addition to the mass of the central tower, smaller towers are located at the corners and entrances along the inner gallery and on chapels on the upper terrace. At one point, the temple hosted 49 towers (now only 37 remain).  The number of faces numbered approximately 200 but there can be no definitive count since some are only partially preserved.

Like the inner gallery, the central tower, rising 43 m. above the ground, was originally cruciform but, later, was filled out and made circular. At the time of the temple’s foundation, the principal religious image was a 3.6 m. tall statue of the Buddha (depicted seated in meditation, shielded from the elements by the flared hood of the serpent king Mucalinda) located in the sanctuary at the heart of the central tower.

Another Buddha shrine

The Buddha was removed from the sanctuary and smashed to pieces during the reign of Jayavarman VIII (Hindu restorationist monarch).  In 1933, after being recovered from the bottom of a well, it was pieced back together and is now on display in a small pavilion at Angkor.

Most people to visit in the morning due to the temple’s eastward orientation but even around late afternoon, the time of our visit, Bayon looked equally good.  From a religious standpoint, the temple is a definitive political statement about the change from Hinduism to Mahayana Buddhism.

As we walked around this “face temple,” a dozen or more of the huge, iconic heads, with a hint of humanity, are visible at any one time, full face or in profile, sometimes level with our eyes but mostly staring or glaring down from on high and from every angle, exuding power and control.

Unlike Angkor Wat which looks impressive from all angles and impresses with the grand scale of its architecture and open spaces, Bayon “gives the impression of being compressed within a frame which is too tight for it,” looking rather, from a distance, like a glorified pile of rubble. However, when we entered the temple and made our way up to the third level, its magic became apparent.

Bayon (Prasat Bayon):  Angkor Thom, Angkor Archeological Park, Krong Siem Reap, 17000, Cambodia

Angkor Wat

After paying admission fees at the ticket office, we approached Angkor Wat via its main entrance –  a 350 m. (1,150 ft.) long sandstone causeway (a later addition which possibly replacing a wooden bridge) to the west which connects the western gopura to the temple proper.

Angkor Wat ticket office

Along the way are three ruined towers, naga balustrades and six sets of steps leading down to the city on either side. The western entrance is, by far, the largest.  To the east, access to the temple is via an earth bank.

The author, Jandy, Violet and Osang at the causeway

Each side of the causeway also features a library with gopuras (entrances) at each of the cardinal points, in front of the third set of stairs from the entrance, and a pond (later additions to the design) between the library and the temple itself. The cruciform terrace (also a later addition), guarded by lions, connects the causeway to the central structure.

Northern Library

The Southern Library

Angkor Wat, lying 5.5 kms. (3.4 mi) north of the modern town of Siem Reap and a short distance south and slightly east of the previous capital (which was centered at Baphuon), was built by the Khmer King Suryavarman II in the early 12th century in Yaśodharapura (present-day Angkor), the capital of the Khmer Empire, as his state temple and eventual mausoleum.

Guardian lion statues

The temple is admired for the grandeur and harmony of the architecture, its decoration and for the numerous  devatas (there are more than 1,796 depictions of devata in the present research inventory) adorning its walls. Above all, the temple has drawn praise for the harmony of its design.

Gallery with bas-reliefs

Larger devata images, all full-body portraits measuring approximately 95 cms. (37 in.) to 110 cms. (43 in.), are incorporated more prominently at every level of the temple from the entry pavilion to the tops of the high towers. Small, 30 cm. (12 in.) to 40 cm. (16 in.) apsara images were used as decorative motifs on pillars and walls.

Devatas

Angkor Wat’s extensive decoration, one of the causes for its fame, is integrated with the architecture of the building and predominantly takes the form of bas-relief friezes. Virtually all of its surfaces, columns, lintels and even roofs are carved, with miles of reliefs illustrating scenes from Indian literature including unicorns, griffins, winged dragons pulling chariots as well as warriors following an elephant-mounted leader and celestial dancing girls with elaborate hair styles.

Bas relief

One gallery wall alone is decorated with almost 1,000 sq. m. of bas reliefs.  Besides the temple proper, its outer wall also enclosed three rectangular galleries (each raised above the next), the city and, to the north of the temple, the royal palace. Inside the temple, ropes and wooden steps have been introduced to protect the bas-reliefs and floors.

Corridor

Here are some interesting trivia regarding this temple complex:

• It is the largest religious monument in the world
• Angkor Wat is the prime example of the high classical style of Khmer architecture—the Angkor Wat style to which it has given its name. Architecturally, the elements characteristic of the style include: the ogival, redented towers shaped like lotus buds; half-galleries to broaden passageways; axial galleries connecting enclosures; and the cruciform terraces which appear along the main axis of the temple. Typical decorative elements are devatas (or apsaras), bas-reliefs, and on pediments extensive garlands and narrative scenes.
• A powerful symbol of Cambodia and a source of great national pride, a depiction of Angkor Wat has been a part of Cambodian national flags since the introduction of the first version circa 1863.
• It is the country’s prime attraction for visitors. Since the 1990s, Angkor Wat has become a major tourist destination. In 1993, there were only 7,650 visitors to the site but, by 2004, (according to government figures) 561,000 (approximately 50% of all foreign tourists in Cambodia) foreign visitors had arrived in Siem Reap province, most of whom visited Angkor Wat, increasing to over a million in 2007 and over two million by 2012. In 2013, Angkor Wat received over two million foreign tourists.
• The temple’s original name is unknown as neither the foundation stela nor any contemporary inscriptions referring to the temple have been found.  It may have been known as “Varah Vishnu-lok” (Barom Visnulōk, which means the sacred dwelling of Vishnu) or Parama Vishnuloka (Sanskrit), after the presiding deity. The modern name, Angkor Wat (alternate name: Nokor Wat) means “Temple City” or “City of Temples.”  In Khmer; Angkor meaning “city” or “capital city.” It is a vernacular form of the word nokor (which comes from the Sanskrit word nagara). Wat is the Khmer word for “temple grounds,” also derived from Sanskrit vāṭa, meaning “enclosure.”
• Constructed by Khmer King Suryavarman II for the Khmer Empire, it was originally, in a break from the Shaiva tradition of previous kings, a Hindu temple dedicated to the god Vishnu but was gradually transformed, towards the end of the 12th century, into a Buddhist
• As the best-preserved temple at the site, Angkor Wat is the only one to have remained a significant religious center since its foundation.
• The entire city of Angkor used up far greater amounts of stone than all of the Egyptian pyramids combined.
• Angkor occupied an area significantly greater than modern-day Paris.
• Sandstone, rather than brick or laterite, was used as the main building material. Sandstone blocks were used for most of the visible areas while laterite was used for the outer wall and for hidden structural parts. Sandstones, as smooth as polished marble, were laid without mortar, with very tight joints that were sometimes hard to find. In some cases, the blocks were held together by mortise and tenon joints while, in others, they used dovetails and gravity. Presumably, the blocks were put in place by a combination of elephants, coir ropes, pulleys and bamboo scaffolding.
• Unlike the Egyptian pyramids which use limestone quarried barely 0.5 km. (0.31 mi.) away all the time, the entire city of Angkor was built with sandstone quarried 40 kms. (25 mi.) or more away. This sandstone had to be transported from Mt. Kulen, a quarry approximately 40 kms. (25 mi.) to the northeast.
• It was designed to represent Mount Meru, home of the devas(gods) in Hindu mythology. The central quincunx of towers symbolizes the five peaks of the mountain while the walls and moat symbolize the surrounding mountain ranges and ocean.
• Angkor Wat is a unique combination of two basic plans of Khmer temple architecture – the temple mountain (the standard design for the empire’s state temples) and the later concentric  galleried temple.
• Compared to earlier work, the statuary of Angkor Wat is considered conservative, being more static and less graceful.
• Unlike most Angkorian temples, Angkor Wat is oriented to the west and scholars are divided as to the significance of this. Angkor Wat may relate to the Greek and Roman architecture record in terms of the west rather than east orientation of the temple.
• It is the southernmost of Angkor’s main sites.
• The temple’s bas-reliefs proceeds in a counter-clockwise direction (prasavya in Hindu terminology), the reverse of the normal order.
• Among the Angkor temples, Angkor Wat is unusual in that, although it was largely neglected after the 16th century, it was never completely abandoned.
• According to legend, the construction of Angkor Wat was ordered by Indra to serve as a palace for his son Precha Ket Mealea. According to Zhou Daguan, a 13th-century Chinese traveler, some believed that the temple was built by a divine architect in a single night.
• Japanese Buddhist pilgrims who established small settlements, alongside Khmer locals, thought that Angkor Wat was the famed Jetavana garden of the Buddha, which originally located in the kingdom of Magadha, India. Fourteen inscriptions (the best-known tells of Ukondafu Kazufusa, who celebrated the Khmer New Year at Angkor Wat in 1632) discovered in Angkor area, dated from the 17th century, testifies to this.
• As with most other ancient temples in Cambodia, a combination of plant overgrowth, fungi, ground movements, war damage and theft have extensively destroyed many elements of the temple’s design including gilded stucco on the towers, gilding on some figures on the bas-reliefs, and wooden ceiling panels and doors. Around 20% of the devatas are in very poor condition, mainly because of natural erosion and deterioration of the stone but, also in part, due to earlier restoration efforts.  However, compared to the rest of Cambodia’s temple ruins, it has also received the most attentive restoration. So far, other than some graffiti, the influx of tourists has caused relatively little damage.
• Some additional funds for the temple’s maintenance has been provided by tourism. As of 2000, approximately 28% of ticket revenues across the whole Angkor site was spent on the temples (although most work is carried out by teams sponsored by foreign governments rather than by the Cambodian authorities).
• A number of countries such as France, Japan, Germany and China are currently involved in various Angkor Wat conservation projects. The German Apsara Conservation Project (GACP) is working to protect the devatas, and other bas-reliefs which decorate the temple, from damage.
• Angkor Wat the location for some key scenes from the 2001 film Lara Croft: Tomb Raider (the first major motion picture to be shot in Cambodia since Lord Jim in 1964), when Angelina Jolie arrives in a floating village in front of the temple. She exits the village and then enters the temple to meet a holy monk who heals her injured arm and lends her a phone.
• Angkor Wat was also the setting for the final scenes of the 2000 In the Mood for Love, a classic Hong Kong romantic drama from Wong Kar-wai,.

Here is the historical timeline of the temple:

• In the first half of the 12th century, the initial design and construction of the temple took place during the reign of Suryavarman II (ruled 1113 – c. 1150).
• Shortly after the king’s death, work seems to have ended, leaving some of the bas-relief decoration unfinished.
• In 1177, approximately 27 years after the death of Suryavarman II, Angkor was sacked by the Chams, the traditional enemies of the Khmer.
• Thereafter, King Jayavarman VII restored the empire and established a new capital and state temple (Angkor Thom and the Bayon respectively) a few kms. to the north.
• Towards the end of the 12th century, Angkor Wat was gradually transformed, from a Hindu centre of worship, to Buddhism, which continues to the present day.
• In 1586, António da Madalena, a Portuguese friar visited the temple, one of the first Western visitors to do so.
• In the mid-19th century, French naturalist and explorer Henri Mouhot effectively rediscovered the temple and popularized the site in the West through the publication of travel notes.
• On August 11, 1863, the splendid artistic legacy of Angkor Wat and other Khmer monuments in the Angkor region led directly to France adopting Cambodia as a protectorate, invading Siam to take control of the ruins. This quickly led to Cambodia reclaiming lands in the northwestern corner of the country that had been under Siamese (Thai) control since AD 1351 (Manich Jumsai 2001), or by some accounts, AD 1431.
• Between 1889 and 1937, the original temple site was presented in French colonial and universal exhibitions in Paris and Marseille.
• From c. 1880 to the mid-1920s, Angkor Wat’s aesthetics were on display in the musée Indo-chinois, a plaster cast museum of Louis Delaporte which existed in the Parisian Trocadero Palace.
• By 1885, a French exploration commission (who drew up a list of principal monuments) had worked up a chronology of the rulers and developed the outlines of a description of the civilization that had produced the temple complex. The true history of Angkor Wat was pieced together from stylistic and epigraphicevidence accumulated during subsequent clearing and restoration work. Subsequent missions copied inscriptions written on Angkor buildings so that scholars might translate them and learn something of Angkor’s history.
• In 1898 the French decided to commit substantial funds to Angkor’s preservation.
• The 20th century saw considerable restoration of Angkor Wat. Centuries of neglect had permitted the jungle to recapture many of the more significant structures and, gradually, teams of laborers and archaeologists pushed back the jungle, freed buildings from the embrace of huge banyan and silk-cotton trees (which might have crushed them to destruction) and exposed the expanses of stone, permitting the sun once again to illuminate the dark corners of the temple.
• In 1934, the conservator George Trouvé, excavating the pit beneath the central shrine, finds a sacred foundation deposit of gold leaf, 2 m. above ground level.
• On November 9, 1953, Cambodia gained independence from France and, since that time, has controlled Angkor Wat.
• In the 1960s, a major restoration of Angkor was undertaken
• During the 1970s and 1980s, work was interrupted by the Cambodian Civil War and Khmer Rouge control of the country but, during this period, relatively little damage was done. However, camping Khmer Rouge forces did use, for firewood, whatever wood remained in the building structures plus a shoot-out, between Khmer Rouge and Vietnamese forces, put a few bullet holes in a bas relief.
• In the late 1980s and early 1990s, art thieves, working out of Thailand, claimed almost every head that could be lopped off the structures, including reconstructions.
• Between 1986 and 1992, as France did not recognize the Cambodian government at the time, the Archaeological Survey of India carried out restoration work on the temple .
• In 1992, following an appeal for help by Norodom Sihanouk, Angkor Wat was listed in UNESCO’s World Heritage in Danger (later removed in 2004) and World Heritage Site
• Between 1990 and 2016, the site was managed by the private SOKIMEX group which rented it from the Cambodian government.
• In 1994, zoning of the area was set up to protect the Angkor site.
• In 1995, APSARA was established to protect and manage the area.
• In 1996, a law to protect Cambodian heritage was passed.
• In 2005, a Japanese team completed restoration of the north library of the outer enclosure.
• In 2008, World Monuments Fund began conservation work on the Churning of the Sea of Milk Gallery after several years of studies on its condition.
• In 2012, the main phase of restoration work ended.
• In 2012, at the ASEAN Tourism Forum, it was agreed that Borobudur and Angkor Wat would become sister sites and the provinces sister provinces.
• In 2013, the installation of finials on the roof of the gallery was finished.
• In December 2015, a research team from University of Sydney announced that they had found a previously unseen ensemble of buried towers built and demolished during the construction of Angkor Wat, as well as massive structure of unknown purpose on its south side and wooden fortifications.

Western gopura

Here are some interesting trivia regarding the temple’s design and construction:

• The monument was made out of 5 million to 10 million sandstone blocks with a maximum weight of 1.5 tons each.
• The temple sits on a site measuring 162.6 hectares (1,626,000 m²; 402 acres).
• The 3.6 km. (2.2 mi.) long outer wall, measuring 1,024 m. (3,360 ft.) by 802 m. (2,631 ft.) and is 4.5 m. (15 ft.) high, is surrounded by a 30 m. (98 ft.) apron of open ground and a moat 190 m. (620 ft.) wide and over 5 kms. (3 mi.) in perimeter. It enclosed a space of 820,000 sq. m. (203 acres) and was built with perishable materials rather than of stone, so nothing remains of them except the outlines of some of the streets. Most of the area is now covered by forest.
• The outer gallery measures 187 m. (614 ft.) by 215 m. (705 ft.)

Outer Gallery

The temple itself, standing on a terrace raised higher than the city, is made of three rectangular galleries (each with a gopura at each of the points) rising to a central tower (aligned to the morning sun of the Spring Equinox), each level higher than the last. The two inner galleries each have towers at their corners, forming a quincunx with the central tower.

Multi-armed Ta Reach statue

A multi-armed statue of Vishnu (known as Ta Reach), under the southern tower, originally have occupied the temple’s central shrine. Galleries, with square pillars on the outer (west) side and a closed wall on the inner (east) side, run between the towers as far as the two “elephant gates,” entrances on either side of the gopura that are large enough to admit these animals.

Northeast Tower

Lotus rosettes decorated the ceiling between the pillars; dancing figures on the west face of the wall; and balustered windows, dancing male figures on prancing animals, and devatas  (including the only one, at the south of the entrance of the temple, showing her teeth) at the east face of the wall.

Headless Buddha statues

Another cruciform terrace, again a later addition, connects the second and inner galleries to each other and to two flanking libraries. Devatas, singly or in groups of up to four, abound on the walls from the second level upwards.

The Bakan

The 100 m. (330 ft.) by 115 m. (377 ft.) second-level enclosure, probably originally flooded to represent the ocean around Mount Meru, has three very steep sets of steps (representing the difficulty of ascending to the kingdom of the gods) on each side leading up to the corner towers and gopuras of the Bakan, the 60 m. (200 ft.) square inner gallery with axial galleries connecting each gopura with the central shrine, and subsidiary shrines located below the corner towers.

View of courtyard from Bakan

The author descending the stairs from the Bakan

The motif of the body of a snake, ending in garudas (heads of lions), decorate the roofings of the galleries while carved lintels and pediments decorate the entrances to the galleries and to the shrines.

The central tower

The tower above the central shrine, rising 43 m. (141 ft.) to a height of 65 m. (213 ft.) above the ground, is unlike those of previous temple mountains as this central tower is raised above the surrounding four. The shrine, originally open on each side and occupied by a statue of Vishnu, was walled in when the temple was converted to Theravada Buddhism (the new walls featuring standing Buddhas).

Outer Gallery

The outer gallery, with pavilions rather than towers at the corners, is open to the outside of the temple, with columned half-galleries extending and buttressing the structure.

Preah Poan (the Hall of a Thousand Gods) (3)

The outer gallery is connected to the second enclosure on the west side via the Preah Poan (the “Hall of a Thousand Gods”), a cruciform cloister.  The cloister, whose north and south have libraries, marks out four small courtyards which may originally have been filled with water.

Preah Poan

A series of large-scale scenes, mainly depicting episodes from the Hindu epics the Ramayana and the Mahabharata, are found at the inner walls of the outer gallery.

Inner courtyard

The western gallery, from the north-west corner anti-clockwise, shows the Battle of Lanka (from the Ramayana), in which Rama defeats Ravana;  and the Battle of Kurukshetra (from the Mahabharata), showing the mutual annihilation of the Kaurava and Pandava clans. The only historical scene at the southern gallery is a procession of Suryavarman II, then the 32 hells and 37 heavens of Hinduism.

Bas-relief gallery

The Churning of the Sea of Milk, one of the most celebrated scenes on the eastern gallery, shows 92 asuras and 88 devas using the serpent Vasuki to churn the sea under Vishnu’s direction, followed by Vishnu defeating asuras (a 16th-century addition). The northern gallery shows Krishna’s victory over Bana.

Bas-relief of Battle of Kurukshetra

Over the centuries, Buddha images have been left in the cloister by pilgrims.  Although most have now been removed, we noticed that some still remain and many inscriptions, mostly written in Khmer but others in Burmese and Japanese, relate the good deeds of these pilgrims.

A Buddha statue

Angkor Wat: Angkor, Siem Reap Province, Cambodia. Coordinates: 13°24′45″N 103°52′0″E.