Skip to main content

The Tchen-la era (late 6th -8th centuries)


The inscriptions, archaeological evidence and Chinese records help better define and understand this era, as compared with the Nokor.

Many capital cities were founded during this era. We will therefore mention only the main ones:

Sresthapura, in Ba Dom, east of present-day Stung Treng, under the reign of Sresthavarman (545-565); Bhavarman, in Ampil Rolum, on the northwest of Kampong Thom, under the reign of Bhavarman I (565-705); Sambhypura, in Sambor, on the banks of the Mekong River in Kratie province, under the reign of King Mahendravarman (late 6th century-610); and lastly, Isanapura (present-day Sambor Prei kuk), in Kampong Thom province, under the reign of Isanavarman I (c.610-c.635), where many brick temples remain to this day.

Works of art from this era are referred to as from the Sambor Prei Kuk style.

Bhavavarman II succeeded his father King Isanavarman I.

In the 8th century, Tchen-la splits into two kingdoms, the ‘Inland Tchen-la’, north of the Dangrek Mountains in a region of mountains and valleys, and the ‘Water Tchen-la’, south of the Dangrek range, in a region of plains and lakes.

The 8th century is a time of upheavals in Cambodia. In 713, Jayadeví succeedes her father Jayavarman I to the throne and rules the country.

Popular posts from this blog

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

Prei Khmeng style (635-700)

Figure4. Durga Tuol Kamnap, Krasaing Char, Ponhea Lieng, Kampong Trabek, Prey Veng H: 97 cm Ka. 1631 B. 819 B. 42, 7 Acquired by the museum on 22 April 1953   All works of art, whether they are made of stone or bronze, are almost always simplified and stylized. The item of clothing worn by this Durga (Ka. 1631) shows pleats between the legs, suggested by softly carved strokes and lines radiating from the knot. The presence of the four arms, the upper one holding a conch, proves that it is a statue of a Durga. Standing stop a plinth featuring a buffalo head, the deity is slightly bent on one hip. She displays many signs of her beauty: slender hips, breasts close together, which each nipple represented by two concentric circles, folds under her breasts and three folds under her neck. She has a long face that shows intelligence and strength, rounded cheeks, slightly prominent eyes, perfect arch of the eyebrows and long earlobes. Here, the artist has dressed...
Read more

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