Skip to main content

The evolution of the Preah Neang Deví


Under the combined influence of Brahmanism and Buddism, Khmer art became a religious art that focuses essentially on two mediums, architecture and statuary.

To better understand the evolution of the Preah Neang Devi, it is necessary to study them in both these fields.

Jean Boisselier demonstrated that, ‘Khmer architectural design evolved along different lines than Indian conception’. The same goes for the statuary. Khmer artists did not slavishly imitate Indian art, but rather they developed their own art form based on their own sensibility, language and canons of beauty.

A number of works from this exhibit have already been displayed abroad, in Australia, France, the USA and Japan; the other works exhibited have been taken out of the storerooms for the first time.

The objects have been listed by style. However, there are no female statues from the Phnom Da and Kuken styles.

Some of the female deities, such as Queen Rajendradevi and the kneeling Prajnaparamita, presented some slight damages on their faces. They were restored to their original appearance to maintain their status as queens.

The Preah Neang Devi is listed into two categories, the adorned ones and the ones that are not. The adorned Preah Neang Devi wears necklaces, bracelets, bangles and anklets and wears a mukuta on their head.

During the Pre-Angkorian and Angkorian eras, the image of Preah Neang Devi wear full-length sampots (skirts), while the male deities were the ‘sampot changkhbin’, a rectangular piece of cloth that covers the lower part of the body, from the hips down. The sampot is tied at the front and the cloth is then rolled and slid between the legs before it is attached at the back.

There are some exceptions. In the style of Sambor Prei Kuk, Vsnu wear a full-length sampot and the Vat Ang Khna lintel male characters from the Prei Khmeng style wear short clothes.

All the sculptures of female deities are bare-breasted. It is likely that, beyond the fashion requirements, the artists wanted to show the beauty of the breasts, the folds underneath the breasts, the stomach and the navel.
Labels:

Popular posts from this blog

Preah Ko style (875-893)

Figure13. Rajendradevi or Gauri Western sanctuary, southern side, Lolei temple, Roluos, Siem Reap H: 150 cm Ka. 1645 B. 289 B. 42, 4 Acquired by the museum in October 1920 The Khmer language inscription carved on the pier of one of Lolei temple’s sanctuaries tells us that King Yasovarman erected statues of Siva and his wife as representations of his maternal grandparents. The sculpture of Siva’s wife located in the western sanctuary is commonly called Rajendradevi. But according to another inscription, written in Sanskrit, this deity is Siva’s wife Gauri, goddess of beauty. Some researchers have suggested it might be a 12 th copy of Queen Rajendradevi. The artist copied the original 9 th century-style of the body and followed 12 th century fashion for the hairstyle. Indeed, the diadem and the chignon cover are similar to 12 th century designs. The cylindrical chignon cover is adorned with trabak chhouk, or lotus petals, in five concentric and decreasing ...
Read more

Kampong Preah style (706-800)

This art form reflects a dark period in the history of Cambodia caused by the dislocation of Tchen-la into two kingdoms. The style of Kampong Preah is similar to that of Prei Khmeng, although an increasing number of statues are carved in a plainer fashion, in particular the folded edge of the sampot and the lengthwise fold. Figure11. Durga(?) Unknown origin H: 141 cm Ka. 318 The presence of the supporting arch, evidence of which can be seen in the marks at the back of the head, and the two-armed shoulders indicate that this deity is Durga. The almond-eyes, sharp curved eyebrows, breasts, folds beneath the breasts, slender hips and, lastly the cylindrical mitre are characteristics of a classic Kampong Preah style sculpture. The simplified fold and pleats of the garment show great elegance. The face expresses natural beauty, with its curved upper lip and dimple in the chin. On her forehead, that the statue has probably already been consecrated. Fig...
Read more

Bakheng style (893-925)

Before the items from the Angkor Conservation were transferred to the Royal Palace, the Phnom Penh Museum did not own any example of female deity from the Bakheng style. Figure19. Body of female deity Unknown origin. Property of the Conservation d’Angkor H: 115 cm Ka. 2985 DCA:3338 In spite of its badly poor condition, this piece is interesting as an example of Bakheng style art. The style of the sampot worn by the goddess is called ‘sampot bat’, folded sampot. It is tied with a belt adorned with rosettes and pendants and the triangle fold from the Preah Ko style has disappeared; the fold at the front spreads from one hip to the other. In must be noted that from this style onwards, all the deities wear pleated sampots.
Read more