Skip to main content

Súryavarman I (1001-1050)

An inscription found at the Preah Khan temple at Kampong Svay mentions, ‘He took the kingdom for himself amidst a crowd of other kings’.

He had the civil servants’ oath and his achievements engraved on the doors of the Royal Palace entrance avilion. The same inscription also mentions the completion of the Phimean Akas temple amd the Royal Palace entrance door, as well as the costruction (left unfinished) of Takeo temple.

The king also commissiioned a great number of hildings in the provinces. He can be credited with the construction of Phnom Chisor temple in Takeo province, parts of Preah Vihear temple, Preah Khan at Kampong Svay, as well as Vat Baset, Phnom Thom, Snoeung and Ek Phnom temples. Súryavarman I and his family contined to practice Devarája cult.

This king might have been open to Buddhism. He was named Preah Nirvánapada after his death.
Phnom Chisor temple, view from the southeast

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...

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.