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Symbolism of Angkor Wat

The casual visitor to Angkor Wat is struck by its imposing grandeur -and, at close quarters, its fascinating decorative flourishes and extensive bas-reliefs; but a scholar at the time of its construction would have rebelled in its multilayered levels of meaning in much the same way as a contemporary literary scholar might delight in James Joyce's Ulysses.

David Chandler, drawing on the research of Eleanor Moron, points out in his book History of Cambodia that the spatial dimensions of Angkor Wat parallel the lengths of the four ages, or Yuga, of classical Hindu thought. Thus the visitor to Angkor Wat who walks the causeway to the main entrance and through into the courtyards to the final main tower, which once contained a statue of Vishnu, is metaphorically traveling back in time to the first age of the creation of the universe.

Of course, like the other temple mountains of Angkor, Angkor Wat also replicates the spatial universe in miniature. The central tower is Mt Meru, with its surrounding smaller peaks, surrounded in turn by continents (the lower courtyards) and the oceans (the moat). In the central tower, the king prefigures the heaven that awaits him after death, the lofty peak where apsara (heavenly nymphs) frolic with boundless amorous desire.

Architectural Layout

Angkor Wat is surrounded by a moat, 190m wide, that forms a giant rectangle measuring 1.5km by 1.3km. From the west, a sandstone causeway crosses the moat; the holes in the paving stones held wooden pegs that were used to lift and position the stones during construction, after which the pegs were sawn off. The sandstone blocks from which Angkor Wat was built were apparently quarried many kilometers away (perhaps at Phnom Kulen and Kobal Spien) and floated down the Siem Reap River on rafts.

The rectangular outer wall, which measures 1025m by 800m, has a gate on each side, but the main entrance, a 235m-wide porch richly decorated with carvings and sculptures, is on the western side. In the gate tower to the right as you approach is a statue of Vishnu, 3.25m in height and hewn from a single block of sandstone. Vishnu's eight arms hold a mace, a spear, a disk, a conch and other items. You may even see locks of hair lying about. These are cut off as an offering by both young women and men preparing to get married or by people who seek to give thanks for their good fortune (such as successfulrecovery from an illness).

An avenue, 475m long and 9.5m wide and lined with naga balustrades, leads from the main entrance to the central temple, passing between two graceful libraries and then two pools.

The central temple complex consists of three storey each made of late rite, which enclose a square surrounded by intricately interlinked galleries. The corners of the second and third storey are marked by towers, each of them topped with pointed cupolas. Rising 31 m above the third level and 55m above the ground is the central tower, which gives the whole ensemble its sublime unity. At one time, the central sanctuary of Angkor Wat held a gold statue of Vishnu mounted on a garuda (half eagle, half human) that represented the deified god-king Suryavarman II.

Angkor Wat Bas-Reliefs

Stretching around the outside of the central temple complex, which is enclosed by an esplanade framed by a naga (mythical serpent) balustrade, is an 800m-long series of extraordinary bas-reliefs. The carvings were once sheltered by the cloister's wooden roof, which long ago rotted away (except for one original beam in the western half of the northern gallery; the other roofed Ejections are reconstructions). The following is a brief description of the epic events depicted on the panels in the Gallery of Bas Relief’s. They are described in the order in which you'll come to them if you begin on the west side and keep the bas-reliefs to your left.

Battle of Kurukshetra

The southern portion of the west gallery depicts a battle scene from the Hindu Mahabharata epic, in which the Karakas (coming from the north) and the Panda as (coming from the south) advance in serried ranks towards each other, meeting in furious battle. Infantry are shown on the lowest tier, officers on elephant-back and chiefs on the second and third tiers. Among the more interesting details (from left to right): a dead chief lying on a pile of arrows and surrounded by his grieving parents and troops; a warrior on an elephant who, by putting down his weapon, has accepted defeat; and a mortally wounded officer, falling from the conveyance in which he is riding into the arms of his soldiers. Over the centuries, some sections have been polished by the millions of hands that fall upon them to look like black marble. The portico at the south-west corner is decorated with sculptures representing subjects taken from the Ramayana (Sanskrit epic poem).

Army of Suryavarman II

The remarkable western section of the south gallery depicts a triumphal battle-march of Suryavarman II's army. In the south-west corner about 2m from the floor is Suryavarman II on an elephant, wearing the royal tiara and armed with a battle-axe; he is shaded by 15 umbrellas and fanned by legions of servants. Farther on is a procession of well-armed soldiers and officers on horseback; among them are elephants carrying their chiefs, who appear bold and warlike. Just west of the vestibule is the rather disorderly Thai mercenary army, at that time allied with the Khmers in their conflict with the Chams. The Khmer troops have square breastplates and are armed with spears, the Thais wear headdresses and skirts and carry tridents. The rectangular holes were created when, long ago, pieces of the scene - reputed to possess magical powers - were removed. Part of this panel was damaged by an artillery shell in 1971.

Heaven & Hell

The eastern half of the south gallery, the ceiling of which was restored in the 19305, depicts the punishments and rewards of the 37 heavens and 32 hells. On the left, the upper and middle tiers show fine gentlemen and ladies proceeding towards 18 armed Yama, judge of the dead, seated on a bull; below him are his assistants, Dharma and Sitragupta. On the lower tier is the road to hell, along which the wicked are dragged by devils. To Yama's right, the tableau is divided into two parts separated by a horizontal line of goudas above, the elect dwell in beautiful mansions, served by women, children and attendants; below, the condemned suffer horrible tortures.

Churning of the Ocean of Milk

The south section of the east gallery is decorated by the most famous of the bas-relief scenes at Angkor Wat, the Churning of the Ocean of Milk. This brilliantly executed carving depicts 88 asura (devils; on the left) and 92 deva (gods) with crested helmets, churning up the sea to extract the elixir of immortality, which both groups covet. The demons hold the head of the serpent and the gods hold its tail. At the centre of the sea, the serpent is coiled around Mt Mandala, which in the tug of war between the demons and the gods turns and churns up the water. Vishnu, incarnated as a huge turtle, lends his shell to serve as the base and pivot of Mt Mandala. 8rahma, Shiva, Hanuman (the monkey god) and Lakshmi (the goddess of beauty), all make appearances, while overhead a host of heavenly female spirits sing and dance in encouragement

Elephant Gate

This gate, which has no stairs leading to it, was used by the king and others for mounting and dismounting elephants directly from the gallery. North of the gate is a Khmer inscription recording the erection of a nearby stupa in the 18th century.

Vishnu Conquers the Demons

The northern section of the east gallery shows a furious and desperate encounter between Vishnu, riding on a garuda, and innumerable danava (demons). Needless to say, he slays all comers. Scholars conjecture that this gallery was executed at a later date, perhaps in the 15th or 16th century

Krishna & the Demon King

The eastern section of the north gallery shows Vishnu incarnated as Krishna riding a garuda. He confronts a burning walled city, the residence of Bana, the demon king. The Garuda puts out the fire and Bana is captured. In the final scene Krishna kneels before Shiva and asks that Bana's life be spared.

Battle of the Gods & the Demons

The western section of the north gallery depicts the battle between the 21 gods of the Bra manic pantheon with various demons. The gods are featured with their traditional attributes and mounts. Vishnu, for example has four arms and is seated on a garuda, while Shiva rides a sacred goose.

Battle of Lanka

The northern half of the west gallery shows scenes from the Ramayana. In the Battle of Lanka, Rama (on the shoulders of Hanuman), along with his army of monkeys, battles 10-headed Ravana, seducer of Rama's beautiful wife Sita. Ravana rides on a chariot drawn by monsters and commands an army of giants.