During the Angkorian era, Brahmanism played a key
role in the history of Cambodia. Some kings worshipped Siva as their supreme
god while showing respect for the other Brahmanic and Buddhist gods.
a). Siva’s wife
The Preah Ko and Bakheng periods yield numerous
examples of female sculptures of Durga, such as the one from Bakong temple (Ka.
1803); similarly, the museum’s collections contain representations of the
goddess designed in the styles of subsequent periods.
Uma, Siva’s wife, is sculpted in the round or on
bas-reliefs. The sculptures in the round always show her accompanied by Siva;
they may be both seated on the bull Nandin, as per this bronze example (Ga.
5293) or Uma may be seated on her husband’s lap, as per a sandstone sculpture
from the Umamahesvara, in the style of the Banteay Srei period (Ka. 1797).
The sculpted bas-reliefs of Uma are positioned on
the lower part of the inscription steles, always accompanied by her husband
(Ka. 1777), (Ka. 1823) (Ka. 554). Bas-reliefs of the two gods may also appear
on a lintel (Ka. 2581), whose central design shows Siva and Uma mounting the
Nandin bull or a linga (Ka. 1687); the divine couple may also be featured on
the bull Nandin, Siva holding his trident in one hand and his wife in the
other. This example of a boundary stone (Ka. 1751) displays a similar theme.
Stele (Ka. 1777)
Stele (Ka. 1823)
Detail of
figures (Photo 29)
Stele with inscription (Ka. 554)
Detail of Stele with inscription (Ka. 554)
Detail of
central motif
Lintel Ka.3118 depicts a scene in which Visnu is
reclining on Ananta, or Sesa nága andis accompanied by Laksmí massaging his
feet. This scene clearly shows the tenderness felt by the goddess for her
husband.
We can link this work of art to a kneeling
Buddhist statue, Prájnápáramitá, which, according to the inscription carved by
Indradeví at the Phimean Akas temple, is a representation of the same queen who
was Jayavarman VII’s first wife.
Lintel (Ka. 2581)
The scenes portraying Umá and Durgá are essentially
used to adorn temples. A pediment from Preah Pithou sanctuary (13th
century) shows a scene in which Siva agrees to take Umá as his wife (no.
MG.18912); this pediment is now in the Musee national des arts asiatiques
Guimet, Paris.
The Phnom Penh museum owns another triad in which
the male deity is believed to be Siva(?) surrounded by his two wives, each
holding one of his hands. This triad is called Umágangápatisvara.
It must be noted that in Khmer art, the goddess
Gangá does not symbolize her namesake river as in India, but is merely the
goddess of water.
Linga (Ka. 1687)
Boundary (Ka. 1751)
b). Visnu’s wife
The gods’ sakti are the expressions or female
energies of the gods themselves; the god then becomes the sakti’s wife.
As an attribute, the lotus serves to identify
Laksmí (Srí), goddess of beauty and fortune. The museum owns a large number of
statues of Laksmí from the Baphuon, Angkor Vat and Bayon styles. Unfortunately,
these statues are missing their attribute. However, it is possible to identify
the sculptures of the Laksmí, as they are accompanied by statues of Visnu. They
are made of bronze or sandstone. The bronze Ga.5455 Laksmí is adorned and holds
two lotus buds in its hands, as does the sandstone sculpture Ka. 1698.
Brahmanic triad
In the absence of identifying signs and attribute,
we may assume this triad to be a representation of Siva standing between Visnu
and his sakti.
Lintel (Ka. 3118)
The Kok temple (Siem Reap, 12th-13th
century) Brahmanic boundary stone (Ka.1766), decorated with a scene divided
into three sections, shows the forest on the upper section, Visnu’s wives,
Laksmí and Bhúdeví.
These two goddesses appear again, holding a lotus
flower, on an 11th century lintel (Ka.1820) from Chi Kreng temple,
Kampong Thom province.
Under the reign of Jayavarman VII and in spite of
the prevalence of Maháyána Buddhism, Nrahmanic sculptures have been found, such
as a Laksmí (Ka.1698) that likely represents Queen Jayarájadeví standing.
Boundary post (Ka.1766)
Lintel (Ka.1820)
Jayavarman VII (Ka.1703)
