KSA AR-5005

E2 DISSERTATION CHAPTER 1

The History of Angkor Wat and Its Enduring Influence on Modern and Contemporary Cambodian
Architecture
Sovannrathanak Samuel San

k2217808@kingston.ac.uk
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Friday, 23 February 2024

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 The History of Angkor Wat and Its Enduring Influence on Modern and Contemporary Cambodian
Architecture
Sovannrathanak Samuel San

Introduction: From its meticulous crafted and sculpted motifs to its form and structure, it left a mark in
shaping Cambodian architecture. This essay explores the rich history of Angkor Wat and its architecture and
examines how it shaped modern Cambodian architecture as to how it is now.

Architecti est scientia pluribus disciplinis et variis eruditionibus ornata, [cuius iudicio probantur

omnia] quae ab ceteris artibus perficiuntur. Opera ea nascitur et fabrica et ratiocinatione.

—Author, Title

1. The history of Angkor Wat and its two architects

At the heart of the Khmer Empire, Angkor Wat stands as the largest religious monument perfected in all its ways.
During the rule of Suryavarman II, the ruler of the Khmer Empire, in 1113 and 1150 AD, he commissioned the
construction of Angkor Wat. He is known as “the lord of the earth/kingdom,” (Hekene 2001 pp.11-12). It was constructed
as a Hindu Temple dedicated to the sacred god Vishnu filled with Hindu values, beliefs, and principles. Its precise
geometric proportions and symmetrical arrangements relates to its Hindu roots: ritual, iconography, and cosmology. As you
step foot into the beauty of Angkor Wat, there, it is surrounded by a moat representing the Primordial Ocean. There is also
a vernacular aspect as to why Angkor Wat is surrounded by a moat. The Cambodia weather is harsh on the environment
with its dry and monsoon season. The moats hold it together to prevent this sheer size of a monument from collapsing.

“As with other Khmer temples, the main temple is not quite symmetrical. For example, in the western and eastern
frontages, the gallery on the north side has 20 pillars whereas the southern one has 18. This feature cannot be accidental.
The reason for the asymmetry is unclear, although Kak (1999: 119 & 122) has proposed that an asymmetry in the axes of
the central tower relates to the temporal asymmetry of the two parts of the year in Satapatha astronomy. Another proposal
concerning temporal cosmology was made in the 1970s by Robert Stencel and colleagues, suggesting that the divisions
between the sectors of the main western causeway of Angkor Wat correspond to the proportional duration of the
successive yuga, or ages, of the Hindu cosmology (Stencel et al. 1976: 786). On a physically grander scale, the entire layout
of Angkor Wat—as with all the major state temples, a pyramid mountain surrounded by a moat—is considered to
correspond with the cosmology of Mount Meru and the surrounding Sea of Milk from which ambrosia was churned by the
gods and demons (Glaize 1944: 36–38; O’Naghten 2000)” (Fletcher 2015).

The complexity and sophistication of the monument is apparent in many ways, from remarkable visual effects to intensely
abstruse geometry. Such an effect occurs when the late afternoon sun shines through the carved pillars in the windows of
the galleries, producing shadows in the shape of the central towers from the profiles of the pillars, and is repeated
thousands of times down the corridors” (Fletcher 2015).

As you enter the Temple, it takes you on a spiritual journey encountering the bas reliefs of the history, culture, and beliefs
of the ancient Khmer empire. “The quincuncial arrangement of the tower crowning the monument was an original Khmer
style and was meant to evoke five summits of Mount Meru” (Hekene 2001 pp.11-12). Mount Meru being the center of the
universe relates to how Angkor Wat is placed directly in the center of the city and perfectly aligns itself with the cosmic
axis. The builder’s intention is to sough to create a space the bridge the earthly realm with the divine. However, during
King Jayavarman VII, a Buddhist, he added many Buddhist elements to it like statues.

The primary material used to construct the temple complex is sandstone which was transported via an intricate network of
roads and canals after being extracted from nearby quarries. Without any kind of cement, the sandstone was perfected cut
and assembled showing the skill and workmanship of Khmer artisans.

As Angkor Wat is further studied, the relationship between size of it fits into the calendar month.
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2. New Khmer Architecture

Post-colonialism, Cambodia began a new era of architecture. The New Khmer Architecture movement is the combination
of modern architecture and traditional cultures like the Angkorean architecture and the lifestyle of Cambodians. It began in
the era known as “Sangkum Reastr Niyum” refers to the post-independence of the French colonisation of the nationalistic
movement led by Prince Norodom Sihanouk. “It was mostly on display in public buildings which were inspired by Angkorean
architecture and the lifestyle of the Cambodian people” (Sereypagna 2017). There are many elements of Angkor Wat's design,
such as ornate carvings, lotus motifs, and symmetrical layouts, incorporated into modern Cambodian homes. It serves as a
cornerstone to Cambodia’s identity as its national flag portrays the five towers in the center of Angkor Wat.

Leading the charge of this new movement, Vann Molyvann with the help of King Norodom Sihanouk enabled him to
express this movement. He studied in France at Ecole Nationale Supérieure des Beaux-Arts where he was influenced by
modernist architectural movement like Le Corbusier. His design blended modernistic principles with traditional Khmer
architectural elements. He incorporated many aspects of Angkor Wat into his design.

He studied how “the moats were built in order to deal with the agriculture and protect against the annual flooding, whereas
the hills were made for building the temple on the top. Learning from those two ideas, the National Sports Complex was
designed to have moats around the complex to act as reservoirs for rainwater, so that the playing areas would never flood. In
addition, the water can cool down the campus and create a waterscape for the city.” He took in inspiration from Angkor Wat
to fully utilize having bodies of water as both an aesthetic and practical use. “The three main built elements are the indoor and
outdoor stadium and the swimming pools which are conceived as united and integrated facilities. The three main elements
were designed with suitable access for the public and were integrated with the street pattern, so they can be used at one time
or separately. Around the complex, there were moats, a water tower, and the tennis and basketball courts. All Cambodian
temples are square or rectangular in plan. So maybe there is a link between the Indian concept and the Cambodian concept.
Similar to all Khmer temples based on a square plan, the stadium was designed on composition rules which were extremely
rigid and classical, and it was orientated to the cardinal axis points which had a precise symbolism: the symbolism of the four
directions that create the Earth (North, South, East, and West)” (Sereypagna 2017). (explain this quote)

Lastly, his design of the Institute of Foreign Language took in many aspects of Angkor Wat. “The institute is
composed of three buildings connected by a Naga walkway bridge: the main central building, the circular library building
(which is in the position of a Khmer temple’s library), and the teaching rooms building to the west” (Sereypagna 2017).
(Write more about how he was able to blend traditional Cambodian ideals with modern western ideals)

3. Contemporary Architecture (might remove this topic depending on the how much content for the history and modern
architecture)

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Bibliography
Hekene, K. (2001) Angkor Wat. A Royal Temple. None. Weimar : VDG, Verlag und Datenbank für Geisteswissenschaften,
c2001: None. BNonen.

Fletcher, R. et al. (2015) ‘Angkor Wat: an introduction’, Antiquity, 89(348), pp. 1388–1401. doi:10.15184/aqy.2015.178.

Sereypagna, P. (2017) 'New Khmer Architecture: Modern Movement in Cambodia between 1953 and 1970', Docomomo, 57,
pp. 12-19.

Images
Fig. #. Name Surname, Title, Year. Source: Archive/Book.
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