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- Convenor:
-
Durga Basu
(University of Calcutta)
- Chair:
-
Radha Madhav Bharadwaj
(Deen Dayal Upadhyaya College, University Of Delhi, India)
- Location:
- 1. Salle de cours rez-de-jardin MAE
- Start time:
- 9 July, 2015 at
Time zone: Europe/Paris
- Session slots:
- 3
Short Abstract:
The session invites discussions on religious and secular representations in Cambodian art , cultural link with India and sustainability -- new trends
Long Abstract:
Visiality of heritage remains is an important mode of interpreting and appreciating the cultural and aesthetic approaches of any country in different times. Visuality gives a proper understanding of social contents, religious concepts and the perception of artists of a particular period. Through visual representations one can analyse the cognitive foundations of art and architecture as a product of a complex society. Cambodia has produced a rich cultural heritage through the ages. The country has some of the well-known world heritage sites which need a re-appraisal through multi-disciplinary approaches. The artistic and religious perceptions had their genesis in the neighbouring countries at their initial stage. The study of cultural connectivity with India and other countries will provide an insight to understand the growth and development of art and architecture and its cultural heritage.
Culture has been considered as an important aspect of sustainable development in the context of indigenous culture, regional developments and tourism. Cultural sustainability requires the recognition of local / regional values. For sustainable development of any archaeological or heritage site, preservation of both tangible and intangible aspects along with the application of heritage management policies are necessitated. This session will probe various religious and secular representations on ancient monuments, individual iconic representations, cultural link with India and other countries through archaeological remains and sustainability of heritage sites.
Accepted papers:
Session 1Radha Madhav Bharadwaj (Deen Dayal Upadhyaya College, University Of Delhi, India)
Paper short abstract:
This paper, apart from Indian influence, attempts to discuss the neglected history of the role of the genius of the local Khmer people in the Angkorian empire-building and also the taxation of the labouring classes in maintaining them.
Paper long abstract:
The Angkorian Civilization of Cambodia, during the 9th-14th centuries AD, display pervasive Indian influence in the field of language, religion, polity and architecture. Their kings got their inscriptions inscribed in Sanskrit as well as Khmer. The architectural remains of Angkor depict Hindu and Buddhist gods like Siva, Visnu and the Buddha. The brick-built temples, the building designs and the bas reliefs depicting scenes from the Ramayana and the Mahabharata owed much to Indian inspiration. The influence of Indic elements on the language, religion, polity and architecture of the Angkorian state systems is so dominant that many historians have concluded that the flow of Indian culture was at the root of this development. RC Majumdar talked of 'Indian Colonies' in SE Asia, George Coedes said that Indianization involved a steady flow of immigrants who founded Indian kingdoms to a people 'still in the midst of late Neolithic Civilization'. Leonid Sedov said that the Indians 'acquainted the aborigines with various new techniques, including land reclamation, handicrafts and art of war. But these are simplistic explanations of the birth of the great Angkorian civilization and overshadow the contribution of the native Khmers to their own civ. This paper will be a humble attempt at tracing the legacies of the indigenous population, the genius of local men of calibre and also the role of the farming and fishing community in sustaining the grand show that was 'Angor'.
Katsura Sato (National Research Institute for Cultural Properties, Tokyo)
Paper short abstract:
Introduction of a trial 3D photogrammetry that we conducted at the site of Ta Nei Temple in Angkor, Cambodia. The technique used is SfM. This is a simple and feasible method for the local staff, permitting them to continue to document the state of the site as part of their everyday operations.
Paper long abstract:
A 3D photographic survey was conducted at the site of Ta Nei Temple in Angkor, Cambodia, as part of the cooperation project between National Research Institute for Cultural Properties, Tokyo (NRICPT) and ASPARA National Authority. The survey attempted a technique known as Structure from Motion (SfM), using open-source software and Total Station for measuring. After several proceeding steps using Visual SfM, SfM_georef and Meshlab as software, a 3D model of the site including scattered stones around the buildings could be obtained with sufficient precision to be used as basic data for research, conservation and management of the site. We tried to establish a simple and feasible way for documentation of the site, so that the local staff could continue to research and document the state of the site as part of their everyday operations without any special budgets nor equipment.
Rana Purushottam Kumar Singh (Nava Nalanda Mahavihara)
Paper short abstract:
The paper will examine influence of Dravidian and Nagara style of temple art on Cambodian temple architecture.
Paper long abstract:
India and Cambodia has long history of cultural relations. The cultural reciprocation started in Gupta age and matured in later gupta age on Cambodian temples. Impact of both Nagara and Dravidian architectures of India could be visualized. The paper will try to examine some significant borrowings of Indian art on Canbodian temples.
Banani Bhattacharyya (Ramkrishna Mission Institute of Culture)
Paper short abstract:
Cambodia has a long history of dance and theatre. Performances of ‘the Reamker’ date back to the 13th century.Mask making and the theatre are intrinsically linked in Cambodia. The masks transform the performers into their characters.
Paper long abstract:
Cambodia has a long history of dance and theatre. Performances of 'the Reamker' date back to the 13th century. The Reamker is a Khmer version of the classic Indian Ramayan. It is an epic poem, exploring themes of good and evil, through encounters with monkeys, giants, princes and mermaids. More than just a reordering of the epic tale, the Reamker is a mainstay of the royal ballet's repertoire. Like the Ramayana, it is a philosophical allegory, exploring the ideals of justice and fidelity as embodied by the protagonists, Prince Rama and Queen Sita.. Mask making and the theatre are intrinsically linked in Cambodia. The masks transform the performers into their characters. In the past it was common for artists to make their masks and perform. The finished theatre masks are sacred and are treated with respect.
Kaushik Saha (G. B. H school)
Paper short abstract:
Tamralipta was an ancient city of Bengal, India, The city is very famous for the goddess Bargabhima . This temple is considered as 51 shakti pith of Sati . In thie paper I wanted to represent the story of the temple its architecture , myth and the culture of the region related to it.
Paper long abstract:
Tamralipta was an ancient port - city of Bengal, at present situated in Purba- medinipur district of West-Bengal, India. The city is very famous for the goddess Bargabhima . It is an ancient temple of the region. In many old Indian literature the temple was mentioned several times. The temple is the mixture of cultural combinations of Hindu, Buddhist and Oriyan style of architecture. This temple is considered as 51 shakti pith of Sati where left ankle of Sati fell. In thie paper I wanted to represent the story of the temple its architecture , myth and the culture of the region related to it.
Sayamtara Jash (Visva-Bharati, Santiniketan)
Paper short abstract:
Concept of syncretic form of Harihara [Hari - Visnu and Hara –Śiva] in Cambodian art– its nature, character and cross culture unification in a single image. The eclectic attitude of the artists is further manifested by the representation of varied and vast combined images unearth from this country.
Paper long abstract:
The concept of syncretic form of Harihara in Cambodian Art is a unique representation projecting cross-cultural assimilation and reflection of oneness in the realm of religion. Among the different anthropomorphic forms that have been worshipped in Cambodia, the Harihara image is an extension of Indian origin. To understand the true character, nature and cross-cultural unification of this iconic representation Hari (Visnu) and Hara (Śiva) in a single image forms the theme of this icon.
The paper discusses important Śilpa texts about the rules composition of images. It is stated that right half of the image should have a jaṭamukuṭa on the head and should be adorned with crescent moon and other attributes of Śiva. On the head of Viṣṇu's portion (left side), there should be a kīrīṭa mukuṭa, ornaments and attributes. To the left, there should be sculptured Garuḍa and to the right, that of Nandi.
Iconographic representations of Harihara have been found in Cambodia and other neighbouring countries but the present study portrays traits of plastic representation of Harihara from Phnom Da- Harihara of Prasat Andet (c.7th A.D),Sanbor Prei Kuk (c.7th A.D.) and other places. Salient Characteristics of the male images are incised moustaches- recalling the art of north western India - and a forehead-peak on the MITRE. This particular image has the same squared -off section with deep side recessions, and the same sensuous surface, though the general expression is far more severe.
Dara Phoeung (APSARA Authority)
Paper short abstract:
Angkorian temples are decorated with various forms of bas-reliefs, in large and small sizes, on different parts of the temple. I have conducted surveys on small bas-reliefs depicted on temple pillars, walls, doorframes, and basements. These smaller bas-reliefs are generally overshadowed by their larger relatives adorning the gallery’s walls, pediments, and frontons.
Paper long abstract:
Some of these reliefs are lightly carved on the doorframes, resembling the tapestry designs, and others are artfully embedded in various floral designs. Those small bas-reliefs do not receive much attention from common visitors and some researchers. My subject of research focused on temples built during 12th and 13th centuries CE, particularly in Angkor Wat and Bayon styles. The iconography conveys different aspects of life during this period including religious ideology, daily life activities, as well as the surrounding environment. Therefore, these aspects have a close relationship with two major religions, the Brahmanism and Buddhism, and other mythical scenes related with Ramayana, Mahabharata and a lot of unknown bas-reliefs as well. This data indicates that the themes of these small base-reliefs are not only comparable to those of the larger ones but also provide additional aspects of society of these period. This research suggested that study of the small bas-relief contribute to our understanding of Angkorian society by providing additional information to inscriptions from the same period as well as the craftsmanship of Angkorian artisans.
Durga Basu (University of Calcutta)
Paper short abstract:
The study encompasses the concept and manifestation of a new ideology of snake hood Buddha in Combodia art and religion.
Paper long abstract:
The image of Buddha meditating under the protection of Naga is popularly known as Muchalinda Buddha. The image primarily shows the manifestation of the story connected with the event immediately following the attainment of enlightenment of Buddha. The concept and representations of Muchalinda Buddha were developed in the early medieval India and later on it had spread over a vast region of South-east Asia, especially in the region of Cambodia. Cambodia has produced a large number of sculptures of snakehood Buddha. In the beginnings of the classic period of Khmer art the prolific artistic activities overshadowed the entire region which had witnessed the growth of such images with new ideology. The concept of Muchalinda Buddha perhaps transmigrated to this region and this form of Buddha was widely worshipped in this region. The main Buddha image of Bayon is a 3.6metres high snakehood Buddha, seated on the throne of snake coil. The concept of this form of Buddha , in due course was changed. The transforming concept reflects the transcendental aspect of Buddhahood through the manifestation of snakehood Buddha. The paper aims to highlight the stylistic approaches of these images along with the transformation of new concept.