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Arts in Southeast Asia Database
SculptureAvalokiteshvara Bodhisattva
The Avalokiteshvara Bodhisattva is standing on a square base. The face is square. The eyebrows are sharp and the eyes are widely open. The nose and the mouth are well balanced. The image wears pointed round shape earrings and there is a crown that is composed with a visor and a tiara in a cone shape that can be compared to idols in Nakon Wat style. At the center of the tiara appears a trace of an image that its detail was cracked out. The Buddha image on the tiara is a feature of Avalokiteshvara Bodhisattva, so it is believed that this is his sculpture. The image at the center of the tiara isAmitabha Buddha who gave life to Avalokiteshvara Bodhisattva. The upper part of the body is bare and the lower part is wearing shorts engraving straight lines and the hem under the stomach is curved. In the middle appears the hem in a shape of a fish tail. This is a style of sculptures in Nakorn Wat Arts. All 4 hands are holding onto an object that belongs to him. The lower right hand is holding a lotus flower. The upper right hand is holding beads, the lower left hand is holding a scripture, and the upper left hand is holding a conch shell.
ArchitecturePrasat Sikhoraphum
There are 5 prasats located on the same base. The Principal prasat is the largest and the other 4 are surrounding the Principle prasat in each corner. Except the east side which is an entrance, the prasat is surrounded by a ditch.This prasat was built in the 17th century B.E. which was the time of mixed arts in Nakhon Wat style. The date can be judged by the patterns on the door frame and the lintel of the principle prasat. However, this prasat was built with bricks while other prasats built in the Nakhon Wat style found in Cambodia always use sandstone. The diagram of Prasat Sikhoraphum is different than other prasats in Thailand because there are 5 prasats located on the same base with the principle prasat in the middle surrounded by other 4 prasats in each corner. Generally, there are only 3 prasats located next to one another on the same base found in Thailand.Each of the prasats are not connected; they all are stand- alone prasats. The walls are plain and the main material are bricks. The engraved areas such as lintels, door frames, and door frame’s pillars were done using sandstone. The mix of these two materials had appeared before since Prasat Wat Sa Kamphaeng Yai that is located nearby and it is a local style of Khmer prasat in Thailand because prasats built in the Nakhon Wat style found in Cambodia always use sandstone to engrave. Since there is an image of Shiva Nataraja appeared on the lintel of the principle prasat, it is highly possible that this prasat was built in Shaivism. These 5 prasats might be the places where the Shiva lingam, the symbol of Shiva, used to be located. Later on, this prasat was transformed into a religious place in Theravada Buddhism by people who immigrated from Laos. Important evidences include door frames inscriptions, and the restoration of the top of the prasat that is located in the southwestern area of the prasat, to make it resembling to the relics in Lan Chang Arts in Buddhism. It has been reconstructed to mimic the castle’ spire in Khmer Arts, but its style is clearly different from its prototype. The jackfruit petals have been rearranged as well.
ArchitecturePrasat Ku Suantang
Prasat Kusuantang is a group of 3 prasats located on the same laterite base. There is only one stairway in front of the central prasat. These 3 prasats are made of bricks. They all are facing east and they were lined up in a north-south line. The central prasat is larger than the other two prasats. The prasat is in the added corners diagram with the principle corner being the largest. The eastern side of the prasat appears two bases which are assumed to be Banalai.The prasat has been restored. The prasat at the center is in perfect condition. The bottom base is a lotus base made of laterite. Next to it is the whole brick prasat with a porch protruding to the east. Nowadays, the protruding part of the porch has collapsed and only a door frame made of sandstone remains. The layout of the top part up until the peak still exist but not much detail can be seen.The top of the prasats on the side has almost completely collapsed. The northern prasat has a low laterite base. Next to that is a prasat the the whole building was made of bricks. There is an entrance and exit on the east side. Its roof partially collapsed and not much details left to study. The peak of the prasat in the south collapsed more The diagram of each prasat with an added corner pattern was popular during the 16th century B.E. onwards, but from the discovery of the lintel and the decoration of the Naga on the peak determined the age of this prasat that it should be around the 17th century B.E.
ArchitecturePrang Srithep
Prang Srithep archaeological site consists of the principle prasat, Banalai or repositories for scriptures, Gopuras, walls, a platform or the cross-shaped walkway, the Naga Bridge, and a rectangular building that runs parallel to the Naga Bridge.The Principal prasat is a brick prasat in a square plan with corners added. It is located on a two-story lotus petal base made of laterite. The entrance is on the east, the other three entrances are false doors and inside the false doors are holes made to place sculptures of idols.Currently, there are no traces or decorations on the prasat. The original architecture might have a wooden roof at the front of the building since traces of a large round pole and a lot of clay roof tiles on the floor of the lotus petal base.From the antiquities found in the area of Prang Srithep, an image of Shiva with four arms included, therefore the age of Prang Srithep is determined to be around the 16th-17th B.E.
SculptureReplica of Angkor Wat
The replica of Angkor Wat was built in a square plan. The main tower, the highest building at the centre of the plan, was built on three descending levels in a cloistered enclosure order. Each cloister or gallery consists of columns and connecting roof. A gopura or entrance is in the middle of each side of the galleries, the 4 corners feature superimposed pediments. Since it is not an exact replication, the proportion and details of the replica are different from the original sanctuary: the tired roofs of the main tower and subordinate towers are those of pagodas in Thai arts.
ArchitectureAngkor Wat
The temple complex is surrounded by the one-kilometer moat. In the front there is the causeway leading to the main temple. The main temple rests on the triple stepped platforms, each of them is enclosed by the connected gallery. The galleries are punctuated with the gateway in the middle and the tower at the corners. The complex on the top of the platform comprises five towers. This temple is the culmination of the architectural accomplishment as the architects have combined the previous successes of two previous temples, Takeo and Baphoun. While the five set of towers on the top of the platform is the accomplishment of Takeo, the triple galleries are the accomplishment of Baphoun.
ArchitecturePrasat Banteay Samre
There is no inscription mentioning the name of the patrons. Architecturally, this temple is datable to Angkor Wat period as the temple is wholly constructed of stone. The sanctum is enterable through the four-sided doors which is the normal character during the late Angkor Wat period. The superstructure of the main tower is decorated with the antefixes while the body of the tower is in redent plan. The front hall, or Maṇḍapa, is the character of the temple which emphasizing the axis. This temple is similar to Prasat Phimai in Thailand which is datable to the same period.
ArchitectureMain Tower: Prasat Bayon
Bayon, the temple constructed by Jayavarman VII, is the last stepped-pyramid temple in Angkorian tradition. This temple was dedicated to the supreme Buddha in Mahayana Buddhism. The towers of the temple are decorated with faces which are still iconographically problematic. Some scholars presume that the face is of Jayavarman himself while other do not belief in this theory. The multiplication of the towers increases the complexity of Prasat Bayon beyond the temple of Angkor Wat. Some scholars consider, however, that the temple of Bayon indicates the architectural declining period because the symmetrical idea has been forgotten by the architects who constructed the temple of Bayon.The central tower of Bayon is interestingly in circular shape with multi-chambered lkyaout, reminiscent of “Maṇḍala” or the diagram in Mahayana Buddhism.
