CHAPTER XII.
DESCRIPTION OF THE TEMPLE OF ONGCOR--OBSERVATIONS ON THESE RUINS, AND ON OTHERS IN THE PROVINCES OF ONGCOR AND BATTAMBONG.
PRELIMINARY REMARKS.
Nokhor, or Ongcor, was the capital of the ancient kingdom of Cambodia, or Khmer, formerly so famous among the great states of Indo-China, that almost the only tradition preserved in the country mentions that empire as having had twenty kings who paid tribute to it, as having kept up an army of five or six million soldiers, and that the buildings of the royal treasury occupied a space of more than 300 miles.[23]
[23] Sic in orig.--_Tr._
In the province still bearing the name of Ongcor, which is situated eastward of the great lake Touli-Sap, towards the 14th degree of north lat., and 104° long. east of Greenwich, there are, on the banks of the Mekon, and in the ancient kingdom of Tsiampois (Cochin-China), ruins of such grandeur, remains of structures which must have been raised at such an immense cost of labour, that, at the first view, one is filled with profound admiration, and cannot but ask what has become of this powerful race, so civilised, so enlightened, the authors of these gigantic works?
PRELIMINARY REMARKS.
One of these temples--a rival to that of Solomon, and erected by some ancient Michael Angelo--might take an honourable place beside our most beautiful buildings. It is grander than anything left to us by Greece or Rome, and presents a sad contrast to the state of barbarism in which the nation is now plunged.
Unluckily the scourge of war, aided by time, the great destroyer, who respects nothing, and perhaps also by earthquakes, has fallen heavily on the greater part of the other monuments; and the work of destruction and decay continues among those which still remain standing, imposing and majestic, amidst the masses of ruins all around.
One seeks in vain for any historical souvenirs of the many kings who must have succeeded one another on the throne of the powerful empire of Maha-Nocor-Khmer. There exists a tradition of a leprous king, to whom is attributed the commencement of the great temple, but all else is totally forgotten. The inscriptions, with which some of the columns are covered, are illegible; and, if you interrogate the Cambodians as to the founders of Ongcor-Wat, you invariably receive one of these four replies: “It is the work of Pra-Eun, the king of the angels;” “It is the work of the giants;” “It was built by the leprous king;” or else, “It made itself.”
The work of giants! The expression would be very just, if used figuratively, in speaking of these prodigious works, of which no one who has not seen them can form any adequate idea; and in the construction of which patience, strength, and genius appear to have done their utmost in order to leave to future generations proofs of their power and civilisation.
It is remarkable that none of these monuments were intended for habitations; all were temples of Buddhism. The statues and bas-reliefs, however, curiously enough, represent entirely secular subjects--monarchs surrounded by their wives, their heads and arms loaded with ornaments such as bracelets and necklaces, the body being covered with a narrow _langouti_. On a sort of esplanade is a statue, said to be that of the leprous king. It is a little above the middle height, and the prince is seated in a noble and dignified attitude. The head, particularly, is a _chef-d’œuvre_, the features perfectly regular, and possessing a manly beauty of a description seen now in very rare instances, and only amongst Cambodians of unmixed race, living in seclusion at the foot of the mountains, where the unhealthiness of the climate condemns them to a solitary existence; or among the savage mountaineers who occupy the border country separating Siam and Cambodia from the kingdom of Annam.
This place was probably chosen for the capital on account of its central position. It is situated fifteen miles from the great lake, in an arid and sandy plain, although the banks of the river would appear to have been a preferable site, more fertile, and offering greater facilities for communication.
Although making no pretension whatever either to architectural or archæological acquirements, I will endeavour to describe what I saw, for the benefit of others interested in these sciences, and, as well as I can, to draw the attention of Eastern _savans_ to a new scene. I shall commence with the temple of Ongcor, the most beautiful and best preserved of all the remains, and which is also the first which presents itself to the eye of the traveller, making him forget all the fatigues of the journey, filling him with admiration and delight, such as would be experienced on finding a verdant oasis in the sandy desert. Suddenly, and as if by enchantment, he seems to be transported from barbarism to civilisation, from profound darkness to light.
But, ere I proceed with my description, I must express my gratitude to the excellent missionary of Battambong, the Abbé E. Silvestre, who, with exceeding courtesy and indefatigable energy, accompanied me everywhere, guided me through the thick forest which covers a portion of the site of the original building, and by whose assistance I was enabled to accomplish so much in a limited time.
THE TEMPLE OF ONGCOR.
TEMPLE OF ONGCOR.
Before arriving at Ongcor from Battambong, having previously crossed the great lake from the mouth of either of the currents which traverse both those localities, you come upon a stream, which, in the dry season, you ascend for a couple of miles, and reach a spot where it becomes somewhat larger, forming a small natural basin, which serves the purpose of a kind of harbour. From this place a raised causeway, still passable at the present day, and extending as far as the limit which the waters attain at the period of the inundations, that is to say, over a space of three miles, leads to New Ongcor, an insignificant little town, the capital of the province, and situated fifteen miles to the N.N.W. of the shores of the lake.
If, starting from this point, you follow for about a couple of hours in the same direction a dusty sandy path passing through a dense forest of stunted trees; and having also frequently crossed the river, which is exceedingly sinuous in its course, you will arrive at an esplanade about 9 metres wide by 27 long, parallel to the building. At each angle, at the extremity of the two longer sides, are two enormous lions, sculptured out of the rock, and forming, with the pedestals, only a single block. Four large flights of steps lead to the platform.
From the north staircase, which faces the principal entrance, you skirt, in order to reach the latter, a causeway 230 metres in length by 9 in width, covered or paved with large slabs of stone, and supported by walls of great thickness. This causeway crosses a ditch 220 metres wide, which surrounds the building; the revetment, 3 metres high by 1 metre thick, is formed of ferruginous stone, with the exception of the top row, which is of freestone, each block being of the same thickness as the wall.
_Principal Entrance._--The edifice forms a long gallery with a central tower, and two others, of rather less altitude, about 30 metres distant from the former. The portico of each tower is formed of four projecting columns, with a staircase. At each extremity are similar porticoes, beyond which, but immediately contiguous thereto, is a high door or gateway, on the same level, which serves for the passage of vehicles. From constant use the wheels have worn two deep ruts in the massive flagstones with which the ground is paved.
Upon the west side the gallery is supported by two rows of square columns; on the east, blank windows have been let into the wall, with stone railings or balconies of twisted columns 14 centimetres in diameter. The whole of this side, within one metre of the ground, and half a metre of the cornice, is covered with sculptures executed with marvellously artistic skill.
The roof--and in this respect it resembles all the other buildings--is a double one, constructed externally of sculptured stone, the blocks in the interior being plain; they were formerly hidden by a ceiling, also sculptured, of which some remains may still be remarked. The edifice divides the wall into two equal parts; upon the other sides, and facing the monument, are three pavilions, 33 metres in length.
This imposing colonnade, which, from its great length and beautiful proportions, attracts the attention from a distance, forms a fitting entrance to the great monument.
_The Temple._--Commencing from the building which forms the principal entrance, is a second causeway, 9 metres wide by 342 metres in length; it is raised 1 metre from the level of the ground. It is covered with huge blocks of stone, carefully joined together throughout its entire length, and is surrounded by a balustrade, partially in ruins, about 10 centimetres high, composed of long stones, with bevelled edges, very massive, and covered with sculptures. On each side are six platforms of earth, ascended by several steps, upon each of which is a serpent with seven heads, some erect, others thrown back.
In the centre of the causeway are two elegant pavilions, one on each side, having at each extremity a portico 33 metres 66 centimetres in length. At the end of the causeway, and at the foot of the terrace, are, on each side of the latter, two ponds or sheets of water. A balustrade, like that of the causeway, and resting like it upon a sculptured basement, springs from the foot of the terrace, and runs all round the monument. At certain intervals there are large staircases of several steps each.
_The Terrace._--The terrace is 2 metres 30 centimetres in height, and is surrounded by 112 fluted columns, surmounted by capitals, formed in each case of one single block of stone. The basement, like that of the whole building, is ornamented with very beautiful sculptured cornices, varied in style, and entirely covered with delicate carvings representing roses and arabesques, worked with the chisel, with a taste and skill equally wonderful.
This terrace forms a cross, each arm of which is 122 metres in length, and 12 metres 16 centimetres wide. There are three flights of steps, upon each of which are four lions reclining upon their pedestals.
_The Portico._--This is 6 metres in length, and is supported by six columns, four of which are detached from the monument.
The temple is formed of three distinct parts raised in the form of terraces one above the other.
_The Galleries._--The galleries form a rectangle, the façade of which is 180 metres in length; the sides 216 metres 16 centimetres by 4 metres 16 centimetres.
The vaulted ceilings of the galleries are raised 6 metres from the ground; those of the second roof are 4 metres 30 centimetres high. The two roofs are supported by a double row of columns, the first being 3 metres 18 centimetres and the second 2 metres 25 centimetres high by 48 centimetres broad. The columns are square, and, like all other buildings in the province, are formed of single blocks.
There are five staircases on the west side, the same number on the east, and three on each of the remaining sides.
The basement is 3 metres 90 centimetres in height, the length externally forming a terrace of 1 metre 67 centimetres.
Each portico is composed of three roofs raised one above the other, which contribute materially to give to the architecture of these long galleries a monumental appearance, producing a singularly beautiful effect.
The opposite side of the wall to the double colonnade is, from the lowest row of cornices to one metre above its base, covered inside with bas-reliefs, having externally blank windows with balustrades.
There are two rows of cornices, the first part immediately above the columns; and the space, to the extent of nearly one metre, which lies between them, is filled up by roses and other sculptured designs.
BAS-RELIEFS.
The bas-reliefs represent the combat of the king of the apes with the king of the angels:[24] in the centre is the king of the angels, drawn by two griffins; he has seven heads and twenty arms, with a sabre in each hand. Some of the chiefs are seated in cars drawn by fabulous animals, while others are mounted on elephants. The soldiers are armed with bows, javelins, or sabres, but the apes have generally no weapons except their formidable claws: a few of them have clubs, sabres, or branches of trees.
[24] These sculptures probably represent the story of the Hindu Ramdyana, of great reputation among Buddhist nations. The _angel_ is Ramana, Tyrant of Ceylon; and the King of the Monkeys, Hanuman, Rama’s General.
_Peristyle No. 1._--Here is represented the march of warriors mounted on birds, horses, tigers, and fabulous animals; the horses of the chiefs are led by the bridle. On the right the soldiers are advancing towards the scene of combat in the centre; but here there are no fantastic animals.
_Peristyle No. 2._--The bas-reliefs of this peristyle represent the combat between the king of the apes and the king of the angels, and the death of the former. Close by is a boat filled with rowers, all with long beards, and some of them attired in the Chinese fashion: the group is admirable for the natural positions and for the expression given to the faces. A cock-fight, and women at play with their children, are also represented. It is in these bas-reliefs that the highest degree of skill is shown. Other subjects follow, the meaning of which I could not discover.
On the south side, to the left hand, is a military procession--bodies of soldiers headed by chiefs, some mounted on elephants, others on horseback, and each corps carrying different arms, lances, halberds, javelins, sabres, and bows. On the right are two series, one representing the Hindu Paradise Swarga, the other the Hindu infernal regions Naralma. A crowd of persons are entering Paradise, and are received in palanquins: they have with them banners, fans, parasols, and boxes for holding betel, without which even Paradise would not be perfect happiness to a Cambodian.
A triumphal march. Paradise.--The elect seated on a magnificent dais, surrounded by a great number of women, with caskets and fans in their hands, while the men are holding flowers and have children on their knees. These appear to be all the joys of Paradise.
The punishments of the infernal regions, on the contrary, are varied and numerous; and while the elect, who are enjoying themselves in Paradise, are all fat and plump, the poor condemned beings are so lean that their bones show through their skin, and the expression of their faces is pitiful and full of a most comic seriousness. Some are being pounded in mortars, while others hold them by the feet and hands; some are being sawn asunder; others are led along, like buffaloes, with ropes through their noses. In other places the _comphubal_ (executioners) are cutting men to pieces with sabres; while a crowd of poor wretches are being transfixed by the tusks of elephants, or on the horns of rhinoceros. Fabulous animals are busy devouring some; others are in irons, and have had their eyes put out.
In the centre sits the judge with his ministers, all sabre in hand, and the guilty are dragged before them by the hair or feet. In the distance is visible a furnace and another crowd of people under punishment, being tortured in divers ways--impaled, roasted on spits, tied to trees and pierced with arrows, suspended with heavy weights attached to their hands and feet, devoured by dogs or vultures, or crucified with nails through their bodies.
These bas-reliefs are perfect; the rest are inferior in workmanship and expression.
On the east side, a number of men, divided into two equal groups, are represented as attempting to drag in contrary directions the great serpent or dragon with seven heads, while, in the centre, an angel stands looking on. Many angels are seen floating in the sky above, while fishes, aquatic animals, and marine monsters swim about in a sea visible beneath. The angel is seated on the celebrated mountain of Thibet, Pra Soumer, and in different places angels with several heads give assistance to those pulling the serpent. The king of the apes, Sdach Soa, appears also here.
To the right is a military procession and a combat, the chiefs being mounted on elephants, unicorns, griffins, eagles with peacocks’ tails, and other fantastic animals, while winged dragons draw the cars.
On the northern side is portrayed a combat, and procession, with drums, flutes, trumpets, tam-tams, and organs said to be Chinese; a king, mounted on the shoulders of a hideous giant, who holds in each hand by the foot a fighting giant. All the chiefs take part in the combat, standing, some on tigers, others in cars.
Near the central peristyle is a figure of the king, with a long beard; on each side are courtiers with clasped hands.
To the right appears a military procession, a combat, griffins, eagles with peacocks’ tails, a dragon with seven heads and a tower on his back--the king letting fly an arrow, standing on the back of a giant with tail, claws, and beak.
_Second Story._--The first gallery on the west side is connected with the second by two other smaller galleries, 40 metres long, and which are themselves connected by two colonnades in the form of a cross, and supporting two vaulted roofs.
Four rows of square columns, each hewn out of a single block of stone, those in the inside row being 4 metres 14 centimetres high and 45 centimetres thick; those on the outside being 3 metres 10 centimetres high, and rather smaller at the top than at the base. The little gallery on the right is filled with statues representing persons in the act of worshipping idols, some of these being of wood, others of stone. Many of the statues are 4 metres in height, and the greater number of them must be of great age, to judge from their state of dilapidation, in spite of the hardness of the stone. In the centre is a statue of the famous leprous king, and by his side, in a posture of adoration, are two statues of priests, with faces full of expression. These are real chefs-d’œuvre. At no great distance is a small statue of his queen.
Here are found two pavilions of extremely elegant architecture, with porticoes and staircases at each end.
There is a second gallery, with four towers at each end and three porticoes and staircases on each side. This gallery is raised on a base 5 metres 10 centimetres high, the ledge of which forms a terrace 74 centimetres broad.
There are neither columns nor bas-reliefs here, but the walls have imitation windows with twisted bars; the gallery is half dark, receiving very little light except through the doors. There are idols, both of stone and bronze, on pedestals, with their hands held out to receive gifts from their worshippers.
_Central part._--A raised terrace leads to the foot of the great staircase, and forms a cross, the arms of which lead to two small pavilions with four porticoes and staircases. The base of this part is admirably executed, both as to general effect and in detail. There are twelve staircases, the four in the middle being 6 metres wide, and having 39 steps.
The building forms a square, each side of which is 56 metres 60 centimetres, and at each angle is a tower. A central tower, larger and higher, is connected with the lateral galleries by colonnades covered, like the galleries, with a double roof; and both galleries and colonnades are supported on a base one metre from the floor of the interior courts.
Opposite each of the twelve staircases is a small portico with four columns, 4 metres 50 centimetres high, and 47 centimetres in diameter. Windows, similar in form and dimension to those of the other galleries, are on each side, and have twisted bars carved in stone.
In front of each colonnade, with an entrance in the tower, is a dark and narrow chapel, to which there is an ascent of eight steps. These four chapels do not communicate with each other. Each contains an idol 4 metres in height, sculptured in the solid wall, at whose feet is another nearly 2 metres long, representing Samanakodom sleeping. The central tower is 33 metres high from the pavement of the gallery, and 50 from the basement of the building.
What strikes the observer with not less admiration than the grandeur, regularity, and beauty of these majestic buildings, is the immense size and prodigious number of the blocks of stone of which they are constructed. In this temple alone are as many as 1532 columns. What means of transport, what a multitude of workmen, must this have required, seeing that the mountain out of which the stone was hewn is thirty miles distant! In each block are to be seen holes 2-1/2 centimetres in diameter and 3 in depth, the number varying with the size of the blocks; but the columns and the sculptured portions of the building bear no traces of them. According to a Cambodian legend, these are the prints of the fingers of a giant, who, after kneading an enormous quantity of clay, had cut it into blocks and carved it, turning it into a hard and, at the same time, light stone by pouring over it some marvellous liquid.
RUINS IN ONGCOR.
All the mouldings, sculptures, and bas-reliefs appear to have been executed after the erection of the building. The stones are everywhere fitted together in so perfect a manner that you can scarcely see where are the joinings; there is neither sign of mortar nor mark of the chisel, the surface being as polished as marble. Was this incomparable edifice the work of a single genius, who conceived the idea, and watched over the execution of it? One is tempted to think so; for no part of it is deficient, faulty, or inconsistent. To what epoch does it owe its origin? As before remarked, neither tradition nor written inscriptions furnish any certain information upon this point; or rather, I should say, these latter are as a sealed book for want of an interpreter; and they may, perchance, throw light on the subject when some European savant shall succeed in deciphering them.
RUINS IN THE PROVINCE OF ONGCOR. MOUNT BAKHÊNG.
RUINS IN ONGCOR.
A temple, about 100 metres in height, built of limestone has been erected on the top of Mount Bakhêng, which is situated two miles and a half north of Ongcor-Wat, on the road leading to the town. At the foot of the mountain are to be seen, among the trees, two magnificent lions, 20 centimetres in height, and each formed, with the pedestals, out of a single block. Steps, partly destroyed, lead to the top of the mountain, whence is to be enjoyed a view so beautiful and extensive, that it is not surprising that these people, who have shown so much taste in their buildings, should have chosen it for a site.
On the one side you gaze upon the wooded plain and the pyramidal temple of Ongcor, with its rich colonnades, the mountain of Crome, which is beyond the new city, the view losing itself in the waters of the great lake on the horizon. On the opposite side stretches the long chain of mountains whose quarries, they say, furnished the beautiful stone used for the temples; and amidst thick forests, which extend along the base, is a pretty, small lake, which looks like a blue ribbon on a carpet of verdure. All this region is now as lonely and deserted as formerly it must have been full of life and cheerfulness; and the howling of wild animals, and the cries of a few birds, alone disturb the solitude.
Sad fragility of human things! How many centuries and thousands of generations have passed away, of which history, probably, will never tell us anything: what riches and treasures of art will remain for ever buried beneath these ruins; how many distinguished men--artists, sovereigns, and warriors--whose names were worthy of immortality, are now forgotten, laid to rest under the thick dust which covers these tombs!
The whole summit of the mountain is covered with a coating of lime, forming a vast smooth surface. At regular intervals are four rows of deep holes, in some of which still stand the columns that formerly supported two roofs, and formed a gallery leading from the staircase to the principal part of the building, and the transverse branches of which were connected with four towers, built partly of stone, partly of brick. Judging from the details of the work, and the state of the stone, which in many places crumbles at a touch, this building belongs to a period much anterior to that of many of the other monuments. Art, like science, was then in its infancy; difficulties were surmounted, but not without great efforts of labour and intelligence; taste was of a grand description, but genius was not in proportion; in a word, the temple of Mount Bakhêng appears to have been the prelude to civilization, while that of Ongcor-Wat was probably its climax.
In the two towers, which are least dilapidated, and which the modern worshippers have covered with a thatched roof, the old one having fallen in, are large idols rudely fashioned, and bearing marks of great age. In one of the other towers is a large stone, the inscription on which is still visible; and on the exterior wall is carved the figure of a king with a long beard, the only portion of bas-relief remaining.
A wall surrounds the top of the mountain. Bakhêng has also its Phrâbat, but it is a facsimile of recent origin. The building is quadrangular, and composed of five stories, each 3 metres high. That at the base is 68 metres square. They form so many terraces, which serve as bases to seventy-two small but elegant pavilions; and they are enriched with mouldings, colonnades, and cornices, but no sculpture. The work is perfect; and from its good state of preservation would seem to be of a more recent date than the towers. It is evident that each of these little pavilions formerly contained an idol.
Each side of the square has a staircase 2 metres wide, with nine steps to each story, and lions on each terrace. The centre of the terrace formed by the last story is only a confused mass of ruins from the fallen towers. Near the staircase are two gigantic blocks of very fine stone, as polished as marble, and shaped like pedestals for statues.
END OF VOL. I.
LONDON: PRINTED BY W. CLOWES AND SONS, STAMFORD STREET, AND CHARING CROSS.
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MR. MURRAY’S QUARTERLY LIST OF NEW WORKS.
Charles the Bold.
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Transcriber's Note
Page headers have been converted to headings.
The following apparent errors have been corrected:
p. 119 "blackene" changed to "blackened"
p. 122 "disagreeeble" changed to "disagreeable"
p. 293 (note) "Hanuman" changed to "Hanuman,"
p. 298 "colums" changed to "columns"
Advertisement p. 15 "8vo" changed to "8vo."
Other variant spellings and inconsistent punctuation have been left as printed.