Skip to main content

Brahmanic section


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. 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 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.
 
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.

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.
 
Boundary post (Ka.1766)   

Lintel (Ka.1820)

 Jayavarman VII (Ka.1703)



 

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

Brahmanism or Hinduism

Brahmanism and Buddhism are two religions from India that were practiced in Cambodia. Before the Christian era, India had four sacred texts, rgveda, yajurveda, sámaveda and later, atharvaveda, which together are named the Veda. Brahmanism is the religious concept derived from these texts. According to Indian philosophy, India is seen as the universe and the great Trimúrti gods, Brahma, Visnu and Siva, represent the three stages of the primitive matter: creation (Brahma), conservation (Visnu) and dissolution (Siva). In the Brahmanic and Buddhist triads found in Khmer art, the supreme god is positioned in the centre. Gods had to be personified for humans to relate to their power. These three gods are the emanations of a unique supreme god and constitute the Trimúrti. The supreme god is sometimes Siva. Visnu and Siva are the more popular Brahmanist gtods; whereas Brahma himself does not seem to have been popular in Khmer art. Certain gods are seen as symbols of India’s n...
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