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ArchitectureA group of Phimanmongkut Throne Hall
A group of Phimanmongkut Throne Hall consists of a two-storey and three-storey buildings with hipped roof and Chinese clay roof tiles. The character is a mixture of traditional Thai art, European Art and Chinese Art. The pediment displays Phra Maha Mongkut on Phan Waenfah surrounded by two parasols, while Visudhivinichai Throne Hall displays a throne under a white nine-tiered parasol surrounded by two parasols.There are many reception halls and a front porticos along with an amphitheatre that has a central staircase. The reception hall can be divided into two parts, the outer part is a big hall for discussing state affairs, while the inner part is smaller which leads to the third-floor veranda and the royal bedchamber. A group of Phimanmongkut Throne Hall was used a mixed technic; the European true-arched technic and a King Narai pointed-arched technic, which made the buildings to be in harmony with other old buildings.
ArchitectureSombor Preikuk S1
Pre-Angkorian temple is characterized by the brick temple decorated with carving. The body of the temple is normally punctuated by series of pilasters at the corners as well as at the middle of the wall. Sombor Preikuk is decorated by six pilasters dividing the wall into five offsets. The central offset is ornamented by the miniature bas-relief temple while the side offsets are decorated by the so-called flying temples. The superstructure follows the South Indian architectural tradition, comprising the miniature superimposing tiers decorated with the miniature temples.
ArchitectureOctagonal temple: Sombor Preikuk
Some of Sombor Preikuk temples are of octagonal plan which is one of the most striking characteristics of Pre-Angkorian period. These octagonal temples are normally decorated with pilasters at each corner and the so-called flying bas-relief temple in each offset. The superstructure comprises series of sloping roofs punctuated by Kudu arches indicating the North Indian affiliation.
ArchitectureSombor Preikuk C1
Normally, most of Pre-Angkorian temples are of brick. The decoration is normally of brick carving. The temple is devoid of being redented. However, the temple is decorated by the series of pilasters at the corners as well as on the wall, typical to the period. Judging from the style of the lintels, because this temple is datable to the transition period between Prei-Kmeng and Kampong Preah, this temple is later than those of the Southern and Northern group. Interestingly, the front staircase and the pair of lions are of monolithic. As the lions are fixed as the guardians, this temple is call “Lion Prasada”
ArchitecturePreah Aram Rong Chen
Preah Aram Rong Chen is the temple constructed during the reign of King Jayavarman II for enshrining the royal Śivalinga in accordance to the Devarājā Cult. The temple, not lost, was erected on the top of the laterite pyramidal bases, connectible to Mount Kailaśa, Śiva’s abode. Thereafter, the temple on the temple on the stepped pyramidal bases would become the normal tradition for the royal temple in accordance with Devarājā cult.
ArchitecturePrasat Damrei Krap
Hoa Lai style of Cham architecture is characterized by the pilasters which are normally arranged in the series of four and the band decoration in the center of these pilasters. These characters are similar to Hoa Lai style in Vietnam. The Garuda decorating the capital is also reminiscent of the same pattern at Hoa Lai. However, this temple is unfinished because the band at the center of the pilasters is devoid of any motifs.
SculptureLintel
Lintel is an architectural element normally installed at the top of the door. Lintel of Sombor Preikuk period is characterized by the couple of inward-facing Makara disgorging four arches punctuated by three medallions. Makara normally stand on the base and is ridden by a person. Inside the medallions exists the figure. Below the arches exists the stings of garlands and the flowery tassels.
SculptureWall Carved: Prasat at Prasat Sombopraikuk
The Prasat is built from bricks located within the square plan. There is the pillar attached to each corner of the Prasat as well as the Ruean Tat (Middle Part of the Prasat). There is only one entrance with three others are seen but clogged. The roof are made in the replica pattern of Ruen Tat stacked up in the style of Vimana of Suthern Indian Art. The Prasat is located on a flat ground with no stacking base.
