Skip to main content

The Pre-Angkorian era

The Fu-Nan era


The kingdom of Fu-Nan, also named Nokor Phnom, was located southwest of the Kingdom of Champa and stretched all the way to the Malay Peninsula.

George Coedes wrote, In the 2nd Century, Fu-Nan’s conquests extended all the way to the Malay Peninsula to form a sort of empire ruled by a sovereign considered to be a universal monarch and referred to by the dynastic title of ‘king of the mountain’. This region was influenced by Indian civilization, probably as early as the beginning of the Christian era. This influence expressed itself through Brahmanism and Buddhism. Numerous works of art from the Fu-Nan era attest to the presence of these two major religious trends.

One of the capital cities of Nokor Phnom was probably located in the Ba Phnom region, present-day Prey Veng province. It is identified with ‘Vyádhapura’, the City of the Hunters, which the Chinese named ‘To-mou’. The capital was later transferred to Angkor Borei, Takeo province, and renamed ‘Na-fu-na’ by the Chinese. The ‘Asiam Mahá Rsí’ temple remains, as evidence of the greatness of this capital city.

The site of Oc-éo, now on South Vietnamese soil, in the west of the Camau peninsula, was once the great sea port of Fu-Nan.

The art of the Fu-Nan era is now known as the Phnom Da style.

Legend has it that a local princess, Princess Lieou-Ye, also known as Somá, married Brahman Kaundinya from India and thus founde4de the dynasty that would rule over the kingdom of Fu-Nan until the 6th century. Indeed, in 550, a new name emerges in the Chinese records, Tchen-la (now spelt Zhenla) which will be used to designate Cambodia.

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 ...

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...

Sambor Prei Kuk style (600-650)

Figure1. Durga Mahisasuramardini Samnor Prei Kuk, Located approximately 30km from the city   of Kampong Thom, is an ancient capital city where the king commissioned the construction of numerous brick temples, classified into three groups, the northern, central and southern groups. This sculpture of Durga is broken into three parts. The two upper fragments were found in the same location, close to sanctuary N1, northern group. About fifty years later, the lower fragment was discovered inside sanctuary N9, in the same group. After studying the front side of the badly-damaged plinth, which most certainly represents a buffalo head, and the tip of the left shoulders, which shows the beginning of two arms, it is generally admitted that this is a statue of Durga. In spite of the missing head and arms, this magnificent piece, characterized by a suppleness of the body, a slightly round stomach and harmonious proportions, is typical of the Sanbor Prei Kuk style. She we...