Phnom Penh National Museum

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 ...

Angkorian art starts under the reign of Jayavarman II (early 9 th century) and ends under the reign of Jayavarman VII (first half of the 13 th century). This era is marked by the assertion of a truly Khmer art form, which manifests itself through a personalized style that rejects all foreign influences. Thus, the Brahmanic and Mahayana Buddhism characters, which are shown from the front and in a hieratic attitude, display an indigenous personality through their typically Khmer smile, softness and featyres. We already emphasized that works of art reflect the artist’ thinking, but that they are also portrait-statues that express an ideal, beauty and serenity. All these achievements reveal the richness of the diadems’ ornaments, the jewels and the exquisite embroideries of the sampot, which are no doubt Khmer. They also present the art of inlaying precious stones for the necklaces, earrings and the eyes of the statues to make them seem alive.

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...

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...