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?
[Illustration:
Drawn by M. Guiaud, from a Sketch by M. Mouhot
FAÇADE OF THE TEMPLE OF ONGCOR-WAT.]
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.
[Illustration:
Drawn by M. Thérond, from a Sketch by M Mouhot
STATUE OF THE LEPROUS KING.]
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.
[Illustration:
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.
[Illustration:
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.
[Illustration: 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.
[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.
[Illustration:
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.
_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.
ALBEMARLE STREET,
_January, 1864_.
MR. MURRAY’S QUARTERLY LIST OF NEW WORKS.
Charles the Bold.
HISTORY OF CHARLES THE BOLD, DUKE OF BURGUNDY.
BY JOHN FOSTER KIRK.
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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.