Lost in Bayon: a collection of stone courtyards enclosed by pillared galleries decorated with bas-relief. Despite being symmetrically arranged in the shape of a square, I lose my sense of direction amidst the identical pillars and similar galleries. Different landings throw me off even more. And everywhere I look, I see the smiling face of Jayavarman II on any of the four sides of towers crowning the galleries, shrines, corners and centres - all leading to the central circular edifice. There's nothing enigmatic about his smile: he knows the secret of immortality.
***
These fxckxng huge edifices of stone towering towards the heavens are simply astounding. Built to honour the gods, they're truly something.
Towering towards the heavens, they leave men behind and their insignificant puny little lives behind. A testimony of the greatness of their gods and the blessings they've bestowed upon mankind.
Up here, the constant cool wind is a blessing, a respite from the merciless and oppressive heat. Up here, I see and know all.
***
Cycling around Angkor Wat and its immediate surroundings within the inner circuit, its immense size yet minuscule detail is stupefying. To give you an idea: the moats here are as wide and long as rivers and distances are measured in kilometres; each pillar, wall and ceiling are methodically decorated with bas reliefs depicting religious themes or mythical creatures and floral motives. I can't help but imagine how this place must've been at the height of the Khmer civilization. Its glory during the Angkorian period must've rivalled that of the Old Kingdom of Ancient Egypt.
To have built such magnificent monuments, the Khmers must've been very rich and powerful. Just think of the many labourers conscripted to clear the land, dig the moat, work the quarries and cart everything to this site before putting them in place. Such numbers only occur during times of peace. With such great numbers, the Khmers could take advantage of the Tonle Sap's potential to irrigate other wide fields. The kings must've been very rich as well to be able to support these labourers together with the stonemasons and artisans including sculptors and artists and painters. Resources would be brought from the far reaches of its empire or imported from distant lands. And such high form of art could only have developed in times of long peace.
***
These fxckxng huge edifices of stone towering towards the heavens are simply astounding. Built to honour the gods, they're truly something.
Towering towards the heavens, they leave men behind and their insignificant puny little lives behind. A testimony of the greatness of their gods and the blessings they've bestowed upon mankind.
Up here, the constant cool wind is a blessing, a respite from the merciless and oppressive heat. Up here, I see and know all.
***
Cycling around Angkor Wat and its immediate surroundings within the inner circuit, its immense size yet minuscule detail is stupefying. To give you an idea: the moats here are as wide and long as rivers and distances are measured in kilometres; each pillar, wall and ceiling are methodically decorated with bas reliefs depicting religious themes or mythical creatures and floral motives. I can't help but imagine how this place must've been at the height of the Khmer civilization. Its glory during the Angkorian period must've rivalled that of the Old Kingdom of Ancient Egypt.
To have built such magnificent monuments, the Khmers must've been very rich and powerful. Just think of the many labourers conscripted to clear the land, dig the moat, work the quarries and cart everything to this site before putting them in place. Such numbers only occur during times of peace. With such great numbers, the Khmers could take advantage of the Tonle Sap's potential to irrigate other wide fields. The kings must've been very rich as well to be able to support these labourers together with the stonemasons and artisans including sculptors and artists and painters. Resources would be brought from the far reaches of its empire or imported from distant lands. And such high form of art could only have developed in times of long peace.
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