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.
Drawn by M. Guiaud, from a Sketch by M. Mouhot
PRINCIPAL ENTRANCE OF THE GREAT TEMPLE OF ONGCOR WAT.
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.
Drawn by M. Guiaud, from a Sketch by M. Mouhot.
TEMPLE OF ONGCOR WAT, NORTH SIDE.
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.
CARVINGS OF ARMS, UTENSILS, AND ORNAMENTS, AT ONGCOR-WAT
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.
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.
Drawn by M. Thérond, from a Sketch by M. Mouhot.
PAVILION IN THE INTERIOR OF THE TEMPLE OF ONGCOR-WAT.
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.
Drawn by M. Thérond from a sketch by M. Mouhot.
CENTRAL PORTICO OF THE GREAT TEMPLE OF ONGCOR-WAT.
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 2½ 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.