This combination of four Buddhas occurs frequently among the ruins of Cambodia. The natives call it P'hra Mook Bulu ("Lord of Four Faces"), though not only the face, but the whole body, is fourfold.
A four-faced god of majestic proportions presides over the principal entrance to the temple, and is called Bhrama, or, by corruption, Phrâm, signifying divine protection.
As the four cardinal points of the horizon naturally form a cross, called "phram," so we invariably find the cross in the plan of these religious monuments of ancient Cambodia, and even in the corridors, intersecting each other at right angles. [Footnote: The cross is the distinctive character and sign for the Doctors of Reason in the primitive Buddhism of Kasyapa.] These corridors are roofed with great blocks of stone, projecting over each other so as to form an arch, and, though laid without cement, so accurately adjusted as to leave scarcely a trace of the joinings. The galleries of the temple also form a rectangle. The ceilings are vaulted, and the roofs supported by double rows of columns, cut from a single block.
There are five staircases on the west side, five on the east, and three on each of the remaining sides. Each of the porticos has three distinct roofs raised one above the other, thus nobly contributing to the monumental effect of the architecture.
In some of the compartments the entire space is occupied with representations of the struggle between angels and giants for possession of the snake-god, Sarpa-deva, more commonly called Phya Naghk. The angels are seen dragging the seven-headed monster by the tail, while the giants hold fast by the heads. In the midst is Vishnu, riding on the world-supporting turtle.
The most interesting of all the sculptures at Naghkon Watt are those that appear to represent a procession of warriors, some on foot, others mounted on horses, tigers, birds, and nondescript creatures, each chief on an elephant at the head of his followers. I counted more than a thousand figures in one compartment, and observed with admiration that the artist had succeeded in portraying the different races in all their physical characteristics, from the flat-nosed savage, and the short-haired and broad-faced Laotian, to the more classic profile of the Rajpoot, armed with sword and shield, and the bearded Moor. A panorama in life-size of the diverse nationalities, it yet displays, in the physical conformation of each race, a remarkable predominance of the Hellenic type—not in the features and profiles alone, but equally in the fine attitudes of the warriors and horsemen.
The bass-reliefs of another peristyle represent a combat between the king of apes and the king of angels, and if not the death, at least the defeat, of the former. On an adjoining slab is a boat filled with stalwart rowers with long beards,—a group very admirable in attitude and expression. In fact, it is in these bass-reliefs that the greatest delicacy of touch and the finest finish are manifest.
On the south side we found representations of an ancient military procession. The natives interpret these as three connected allegories, symbolizing heaven, earth, and hell; but it is more probable that they record the history of the methods by which the savage tribes were reclaimed by the colonizing foreigners, and that they have an intimate connection with the founding of these monuments.
One compartment represents an ovation: certain personages are seen seated on a dais, surrounded by many women, with caskets and fans in their hands, while the men bring flowers and bear children in their arms.
In another place, those who have rejected the new religion and its priests are precipitated into a pit of perdition, in the midst of which sits the judge, with his executioners, with swords in their hands, while the guilty are dragged before him by the hair and feet. In the distance is a furnace, and another crowd of "infidels" under punishment. But the converted (the "born again") are conducted into palaces, which are represented on the upper compartments. In these happier figures the features as well as the attitudes denote profound repose, and in the faces of many of the women and children one may trace lines of beauty and tender grace.