Fourteen young Khmer girls, dressed in flowing white garb with coconut flowers in their hair, danced sinuously to the rhythm of traditional classical music. The Preah Ang Chiek Preah Ang Chhorm Shrine in Siem Reap, next to the Royal Residence, was the venue enlightened by their sashays.

As the girls went through their paces on the evening of January 26, a growing band of lucky tourists gathered, gob-smacked, to watch this ritual unfold. The looks of delight on the crowd’s faces proved they knew they were seeing something special, but of course they were unaware of the significance of the proceedings.

They were unaware that the shrine where the ritual was taking place was the most sacred site in Siem Reap and that the images of the divinities within the shrine are considered the most powerful in the town.

They were unaware, too, that the ritual was unfolding in the presence of royalty and that two of the three women sitting on a prayer mat among the dancers were princesses, including one of Cambodia’s most legendary classical dancers, Her Royal Highness Princess Bopha Devi, and her daughter, Princess Norodom Sisowath.

The third woman was the “mother” of the tribe of little dancers, Lady Ravynn Karet-Coxen, although she was quick to tell 7Days, “You can drop the lady bit and just call me Ravynn Karet-Coxen as it is more in tune with the work I do with the most destitute, thank you.”

The dancing girls were part of a troupe that had been lovingly trained by Ravynn Karet-Coxen, the founder of the Nginn Karet Foundation for Cambodia (NKFC) Conservatoire Preah Ream Bopha Devi dance school, of which Coxen is chairperson.

Princess Bopha Devi, the patron of the school, had come to the sacred shrine on the evening of January 26 to partake in the ritual and to pray for the good health of the King Father and the King, to pray for the government so that it can lead the country well, and to pray to the dance divinity and the dance spirit of ancient Angkor.

But more importantly, the ritual at the shrine was the culmination of a day of celebration marking the third anniversary of Ravynn Karet-Coxen’s dance school at nearby Banteay Srei, the first and only in the Angkor Archaeological Park and the only school of its kind in the Kingdom.

The onlooking tourists were lucky to see the performance because usually the dancers are hidden and protected from the prying eyes to “preserve their purity” as Ravynn Karet-Coxen put it.

She said her school was not intended to train dancers to entertain people for money.

She claimed the dancing taught in her school helps the children learn to respect their god and divinities, and explained that the little dancers usually perform in temples and sacred areas for the gratification of the Gods and the King, and that last year the dancers performed their first royal private performance for the king’s birthday.

She added that her dancers are never allowed to wear heavy costumes, jewellery or make-up on their faces, like the so-called traditional dancers who perform in public for tourists. Her dancers are also instructed to dance in bare feet on Mother Earth, and not on carpets and stages.

“We do not dance just for happiness or money,” Ravynn Karet-Coxen emphasised. “And certainly not to entertain tourists in the hotels. We don’t need them. We are dancing for our God.”

In 2010, NKFC initiated a program allowing supporters to sponsor young dancers and musicians. The cost is only $5 per week but even that small amount of money can change a child’s life and future.

Can India’s vibrant goddess traditions help us decipher the mysteries of the women of Angkor Wat?

By Kent Davis

The Hindu temple of Angkor Wat in Siem Reap, Cambodia

Siem Reap, Cambodia - Angkor Wat, the renowned 12th century Hindu temple now located in the jungles of Cambodia, is much more than the largest religious structure in the world. This Khmer temple also has a human side: for nearly 1,000 years, it has enshrined the images of more than 1,780 sacred women.

Angkor Wat devata from the bakkan, the highest, most sacred level of the temple. Photo: Kent Davis

The puzzling fact is that no one knows who the women of Angkor Wat were and what principles of spirituality or government they represent. Why these female were chosen to dominate this magnificent structure with their prominent presence remains a mystery.

Each female portrait at Angkor Wat is distinctly different, with myriad varieties in their pose, hand positions (mudras), ethnicity, jewelry, clothing, hair style, accoutrements and location.

Almost no written records detailing the Khmer civilization have survived through the ages. The best account we have is from the Chinese diplomat Zhou Daguan, who visited 150 years after Angkor Wat was built.

Daguan makes no secret of his interest in Khmer women. He comments in detail about the importance of women in conducting business, the huge numbers of women who live in the palace and even to ogling women as they bathed topless. Despite his fascination, one of many questions Daguan does not answer is: Why did the Khmers populate their greatest temples with respectful images of women?

Devata.org is dedicated to understanding these women, and to paying tribute to them in the context of their contributions to the greatness of the Khmer civilization. Some clues may be found in India, where many aspects of the Khmer civilization originated.

This article considers Indian Yogini traditions, which involve both female worshipers and female divinities. It is unknown if the Khmer religion at the time of Angkor Wat had similar female-centric traditions. However, it is quite clear that Khmer temples prominently featured sacred women to the near exclusion of men.  A handful of Indian Yogini temples exhibit this same trait.

This article examines one Indian temple that, like Angkor Wat, predominantly features female images: the Chaunsat Yogini Temple of Bheraghat Jabalpur.

What is a Yogini?

The word Yogini in Devanagari Sanskrit script

The term Yogini, used in both Hindu and Buddhist traditions,  has multiple meanings. These aspects are drastically simplified for this article and readers are encouraged to investigate more specialized sources.

First, it can refer to a human woman dedicated to pursuing spiritual knowledge and enlightenment through the practice of Yoga. A male practitioner is called a Yogi. Through her practice, a Yogini may acquire certain supernatural powers including the power to control bodily functions (i.e. heartrate, fertility, resistance to pain or cold and metabolism), or even the ability to fly.

Lakshmi (wealth/material fulfillment), Parvati (Power/love/spiritual fulfillment), and Saraswati (learning and arts/cultural fulfillment) joined in a single manifestation of Devi. Painting by V.V. Sagar.

A Yogini’s path may include the practice of Tantra (Sanskrit=weave), a religious philosophy focusing on the interplay between the male and female forces of the universe embodied by Shakti and Shiva.

Yogini can also refer to personifications of aspects of nature, manifested from the Divine Mother Goddess, or Devi. These Yoginis include the ten Mahavidyas (also called the Great Wisdoms or dakini) who represent the spectrum of feminine divinity, from beautiful and gentle to violent and terrifying.

In some branches of Yoga and Tantra, these powerful manifestations serve as models for human Yogini practitioners to emulate.

Another definition characterizes Yoginis as aspects of the Hindu goddess Durga, who is another form of Devi. During a battle to save the universe, Durga emanated eight Yoginis to achieve her goal. In some systems they are called Matrikas. Later texts multiplied these 8 into 64 Yoginis representing the full range of forces in the world, controlling fertility, disease, abundance, vegetation, life and death itself.

The variety,  complexity and power of the Yogini traditions are such that the final understanding of this concept is best left to the individual. For the purposes of this discussion we will summarize by broadly stating that Yoginis are range of women, from human to divine, who represent, control or seek to control powerful forces of nature, including life itself.

The images in the Yogini temples of India and the spiritual practitioners who have worshiped there for more than a millennium are all somehow connected to the Yogini tradition.

Yoginis, Goddesses or…Goblins?

Early Yogini accounts by Europeans focused on their horrific aspects. For broader understanding consider Buddhist Goddesses by Miranda Shaw and Kiss of the Yogini by David Gordon White.

In his report for the Archeological Survey of India 1862-65, Director General Alexander Cunningham had this to say about the yogini temple at Khajaraho:

Sri Dhanendri - Photo by Raju-Indore.

“Chaonsat Yogini, or the “64 female goblins,” appears to be the most ancient temple at Khajaraho.

“It is the only one of all the temples that is not placed due north and south. It is also the only temple that is built of granite, all the others being of a fine light coloured sandstone from the quarries on the east bank of the Kane River. The Joginis, or Yoginis, are female goblins who attend upon Kali, the goddess of slaughter.

“When a battle takes place, they are said to rush frantically to the field with their bowls to catch the blood of the slain, which they quaff with delight. In the Prabodha Chandrodaya they are called the “spouses of demons who dance on the field of battle.”

“From their connection with the blood-drinking goddess Kali, it is probable that the temple may have been originally devoted to Siva — a suggestion which is partly confirmed by the position of a small shrine of Ganesha on the same rocky ridge immediately in front of the entrance. But as the Brahmans on the spot assert that the dedication of a temple to the Yoginis ensures victory to the dedicator, it is possible that this temple may still retain its original name.

“Vans Kennedy’s Hindu Mythology (p. 490) mentions the names of six Yoginis — Brahmi, Maheswari, Kaumari, Vaishnavi, Varahi, Mahendri — who were all called by Siva to devour the flesh and drink the blood of the great Daitya Jalandhara.

“Under this view, however, we might expect to find the temples of the Yoginis rather numerous, as many generals would be willing to purchase victory at so cheap a rate. But as this is the only shrine of these goddesses that I have yet met with, I am inclined to doubt the tradition, and to assign the temple to Durga or Kali, the consort of Siva.”

Could the Women of Angkor Wat be Yoginis?

In direct contrast to the women of Angkor Wat, a considerable amount of written information has been passed down regarding the sacred women depicted in India’s Yogini temples. While much is known about Indian Yoginis, next to nothing is known about the women of Angkor Wat, also known as devata or apsaras. Could they represent Yoginis, too?

Angkor Wat devata from the east wall of the West Gopura.

If they are Yoginis, they are all certainly quite reserved in their demeanor and seem to represent only the gentler aspects of the Yogini pantheon.

The women of Angkor Wat display no horrific or supernatural attributes or abilities. In fact, they appear quite normal, lacking fangs, halos, multiple eyes, wings or other fantastic features.

No woman at Angkor Wat appears as a sakti, the manifestation of the female aspect of a god, sometimes seen with the animal head of a boar, bull, horse or lion.

Nor do the Angkor Wat women possess necklaces or cups made from human skulls, skeletons or weapons among their accouterments.

All of the devata at Angkor Wat are standing in dignified poses with both feet firmly on the ground. None are seated. Only a few assume kinetic positions that can be associated with dance.

Still, portrayed in a temple, the women of Angkor Wat do share a divine residence with their Yogini sisters. Some also display similar hand positions (mudras), jewelry adornments and an association with plants and flowers from nature. As admirers have noted for centuries they are frequently quite attractive, but there are many exceptions.

The women of Angkor Wat only seem to only represent an harmonious relationship with nature, while Indian Yoginis evoke more the full range of creation, including violent aspects.

Perhaps there is a connection between these two extraordinary groups of women but it is not immediately obvious. A good place to start is by examining IndianYogini temples, using the specific example of the Chaunsat Yogini Temple of Bheraghat Jabalpur.

Yogini Temples – Natural, Circular and Hypaethral

In India, Brahmins have long held that sangam, the confluence of two rivers, are especially sacred because the mingling waters of two streams are considered more effective at washing away sins. This is why Bheraghat, where the Narbada and Saraswati rivers meet, is an especially holy bathing spot.

Site plan showing the 84 cloisters of the yogini temple at Bheraghat and the central Gauri Sankara temple dedicated to Lord Shiva in the center..

High on a hill near the river junction we find one circular yogini temple, whose courtyard protects the Gauri Sankara temple devoted to Lord Shiva (see details at the bottom of this article).

The circular form is unusual for Brahmin enclosures ; but it is the correct form for temples dedicated to the Chaunsat Yoginis (i.e 64 yoginis). Two other Yogini temples of this form are in Hirapur and Ranipur-Jharial. A fourth yogini temple at Khajaraho is oblong. All of them are hypaethral, or open to the sky.

The circular Yogini temple of Bheraghat is 130 feet in diameter (its inner diameter is 116 feet 2 inches, and the outer diameter 130 feet 9 inches). Using 84 pillars, its perimeter is divided into as many spaces. Each of the 84 cloisters or alcoves constitutes a separate shrine measuring 4 feet 9 inches wide and 5 feet 3 1/2 inches high under the eaves. Three niches—two to the west, and the other to the south-east—remain open as entrances. The remaining 81 spaces are fitted with pedestals for statues of sacred women. Only two male statues appear in the temple.

The Yogini Temple Statues at Bheraghat

Among the statues at Bheraghat two poses are seen: sitting and standing. Many are damaged and a few are missing entirely. Most are four-armed goddesses who, early writers noted, “are especially remarkable for their breast size.”

Early reports characterized most of these images as “Yoginis or female demons who serve Durga.” The temple is, therefore, commonly known as the Chaunsat Yogini, or “sixty-four yoginis.”

The yogini temple of Bheraghat, circa 1875.

Eight figures are identified as ashta sakti, or female energies of the gods. Three seem to be personified rivers. All the sitting figures are taken to be Yoginis. Each one is highly ornamented and made of a grey sandstone.

Four dancing female figures are not inscribed (Nos. 39,44, 60 and 78]. These are made of a purplish sandstone and are much less ornamented. One of them, No. 44, is thought to be the goddess Kali. The others seem to be other forms of that deity.

Siva and Ganesha [Nos. 15 and 1] are the only two male figures.

The result of this examination shows that the statue set up in this circular cloister may be divided into five distinct groups as follows:

Saktis, commonly known as ashta-sakti………….8 statues

Rivers: Ganges, Jumna, and Saraswati………….3

Dancing goddesses: Kali, etc……………………..4

Gods: Siva and Ganesha……………………………2

Yoginis, or chaunsat yogini, 57 intact, 7 lost…..64

Total………………………………………………….81

Two entrances [= 3 spaces]………………………3

Total…………………………………………………..84

For a complete detailed inventory of the Chausath yogini temple goddesses and gods please visit this page. This article is based on Archeological Survey of India reports from 1873-75.

NOTE: The inventory is entirely based on the Archeological Survey of India reports from 1873-75. Unfortunately, modern photos of the site vary from some names and locations originally cited. Please contact me (kentdavis@gmail.com) if you can help clarify these discrepancies. Ideally I would like to include a clear photo of every statue on this website.

OTHER RESOURCES

Complete Inventory of Yogini Statues at Bheraghat

This page includes a detailed list of all the images recorded in the Chausat Yogini temple in 1875.

Indian Temples and Iconography

Kavitha offers an excellent collection of more than 200 well-written articles about Indian spirituality, many of which directly relate to understanding the sacred women of the Khmer race. A few of her fascinating articles are about Gandharvas and Apsaras in the celestial world, the Chaunsat Yogini Shrine, Tripura Sundari, the Goddess Chamundeshwari…and so many more.

Yogini temple of Hirapur

This article describes yogini temples that were active between 9th and 13th centuries.

Voyage au Cambodge: l’architecture khmer

Based on his 1866 journey to Cambodia with Doudart de Lagrée, Louis Delaporte noted the similarity of Khmer design to the yogini temple of Khajaraho, and others:

“…enfin le temple Chauonsat Jogini Khajurao dont les soixante-quatre niches en forme de petites préasats sont terminées par des cercles décroissants cannelés semblables aux couronnes de lotus des sommets khmers.” (p. 425)

Details about the Gauri Sankara Temple at Bheraghat (1875)

In the center of the Chaunsat Yogini shrine is Gauri Sankara temple, the top of which is a comparatively modern structure. It was the personal temple of Rani Durgavati (1524-1564) of Kalchuri dynasty. Directly in front of the shrine a heavy stone slab covers a tunnel that led from Rani Durgavati’s chambers in his Madan Mahal palace-fort to the temple.

Gauri Sankara shrine. Photo by Raju-Indore.

This central shrine is made up of old carved stones as well as bricks. For unknown reasons, it is asymmetrical and is not located in the center of the enclosure, nor does its mid-line correspond with the mid-line of the enclosure. The shrine’s basement, however, is ancient and undisturbed so this seems to correspond with the original plan.

Gauri Sankara Temple at Bheraghat.

The original central shrine was erected in 1,155 AD, making it exactly contemporaneous with Angkor Wat (1,116-1,150 AD). It was built by the Kalachuri Queen Alhanadevi during the reign of her son Narasimhadeva. The front wall of the sanctum still bears an inscription referring to the daily worship of the deity Gauri-Sankara by Gosaladevi, the mother of the Kalachi King Vijayasimhas (1,180-1,195 AD).

Inside, there are a group of five images. Between 1863-65, Indian Archeological Survey of Indian noted that the group is 4 feet 1 1/2 inches high and 2 feet 7 1/2 inches wide. These measurements corresponded exactly with the cloisters outside suggesting that the group was were originally there.

The images are:

1. Vishnu and Lakshmi on Garuda in dark-blue stone.
2. Surya, standing with Arun, driving the seven horses of the sun (this one is 3 feet 6 inches high by 1 foot 10 inches broad).
3. A small Hara-Gauri, (Siva and Parvati).
4. A Small figure of Ganesha.
5. A figure of Dharmma, a 4-armed female, 1 foot 10 inches high, with a small figure of Buddha in the head-dress. Flying figures with garlands above, and the traces of the Buddhist creed inscribed on the base.

To some, the presence of this Buddhist figure suggests that the circular cloister may have once surrounded a Buddhist stupa. The letters of the inscription, however, are of a later date than those inscribed on the statue pedestals, which appear to be an integral part of the original structure.

Details about the Chaunsat Yogini Temple Dimensions (1875 notes)

The cloister’s inner diameter is 116 feet 2 inches, and the outer diameter 130 feet 9 inches. The cloister consists of a circular row of 84 square pillars, with the same number of full pilasters arranged opposite to them against a back wall. The actual cloister is only 4 feet 9 inches wide and 5 feet 3 1/2 inches high under the eaves, with a rise of 8 1/2 inches above the ground. The back wall is 2 feet 7 1/2 inches thick. The eaves are formed by a 10-inch projection of the architrave, which is sloped away in a graceful curve, as shown in the section of the cloister.  The whole is roofed with large slabs of stone from 8 to 9 inches thick, which are molded on both front and back, and form a graceful finish to this fine colonnade.

Cross section of the yogini temple showing how the alcoves are build.

The number of pillars being 84, the cloister is divided into as many spaces or intervals. Three of these—two to the west, and the other to the south-east—are left as entrances; while the remaining 81 spaces are fitted with pedestals between the pilasters for the reception of statues. Each of these pedestals is 3 feet 5 inches long, 1 foot 8 inches broad, and 1 foot high. The pillars are 10 1/2 inches square, and the intervals between them 3 feet 5 1/2 inches. But the intervals between the back pillars is 3 feet 7 1/2 inches, so that the pedestals just fit in between them ; and they were no doubt an integral part of the original structure.

Sitting statues are generally 4 feet 2 inches tall, and 2 feet 5 1/2 inches broad.

Site plan showing the 84 cloisters of the yogini temple at Bheraghat and the central Gauri Sankara temple dedicated to Lord Shiva in the center..

The Chaunsat Yogini Temple of Bheraghat Jabalpur enshrines 64 yoginis and 15 other female goddesses. Shiva and Ganesha are the only two male gods.

The temple and its possible relevance in relation to Angkor Wat are discussed in this article.

The yogini temple of Bheraghat Jabalpur, circa 1875.

The cloister’s inner diameter is 116 feet 2 inches, and the outer diameter 130 feet 9 inches. This ring is divided into a circular row with 84 square pillars so that each cloister is only 4 feet 9 inches wide and 5 feet 3 1/2 inches high under the eaves.

Using 84 pillars, the cloister is divided into as many spaces. Three niches—two to the west, and the other to the south-east—remain open as entrances. The remaining 81 spaces are fitted with pedestals between the pilasters for the statues.

Site plan showing the 84 cloisters of the yogini temple at Bheraghat.

Among the statues two poses are seen: sitting and standing. Most are four-armed goddesses who are especially remarkable for their breast size. Most images are yoginis (Sanskrit), or female demons who serve Durga. The temple is, therefore, commonly known as the Chaunsat Yogini, or “sixty-four yoginis.”

Eight figures are identified as ashta sakti, or female energies of the gods. Three seem to be personified rivers. All the sitting figures are taken to be yoginis. Each one is highly ornamented and made of a grey sandstone.

Four dancing female figures are not inscribed (Nos. 39,44, 60 and 78]. These are made of a purplish sandstone and are much less ornamented. One of them, No. 44, is thought to be the goddess Kali. The others seem to be other forms of that deity.

Siva and Ganesha [Nos. 15 and 1] are the only two male figures.

NOTE: The inventory below is based on the Archeological Survey of India reports from 1873-75. Unfortunately, modern photos of the site show variations to the names and numbering system originally cited. Please contact me  (kentdavis@gmail.com) if you can help clarify these discrepancies.

Complete detailed inventory of the Chausath yogini temple goddesses and gods:

1. Sri Ganesha — Sitting god.

2. Sri  Chhattra Samvara — A Sambar deer, with deer decorating this seated yogini’s pedestal. The allusion to chhattra is not understood..

3. Sri Ajita — This seated goddess is the feminine form of Ajita-Siva, “the unconquered” with a fabulous lion as her symbol.

4. Sri Chandika — Durga-Maheswari, “ the furious,” featuring skeletons and a prostrate man. A standing sakti goddess who is known as one of the “eight powers of Durga.”

5. Sri Mananda — Probably named for Ananda, the  happy, or joyful. The symbol with this seated yogini is the lotus.

6. Sri Kamadi — The seated feminine form of Kamada, the fabulous cow of plenty that sprang from the Sea of Milk. Kamadi is therefore the goddess who grants all desires; her symbol of the yoni suggests that the desires are sexual. Two males are worshipping her.

7. Sri Brahmani —The goose on the pedestal indicates that this goddess is the sakti, or female energy, of Brahma.

8. Sri Maheswari —The bull Nandi on the pedestal shows that this goddess is the sakti, or female energy, of Maheswara, or Siva.

9. Sri Tankari — Probably derived from tanka, a sword or axe, both weapons which are carried in two of the ten hands of this yogini. Her symbol is a fabulous lion.

10. Sri Jayani — The “conquering” goddess is featured seated. Her symbol is a feline.

11. Sri Padma-hansa — This seated goddess is not known. Her symbol is flowers.

12. Sri Ranajira — Seated goddess of the “battle field” symbolized with an elephant.

13. Name lost — This seated goddess is symbolized by “Nagni” (?).

14. Sri Hansini , or Hansinira. — Unknown seated goddess with the symbol of the goose.

15. Not inscribed — A 16 armed 3-eyed Siva (male).

16. Sri Iswari — This seated yogini represents sakti, or female energy, either Durga or Lakshmi.

17. Sri Thani — The immovable goddesss. Sthanu is a name of Siva meaning “firm” or “immovable.” Derived from stha to stay, or sthd to stand still. Her appropriate symbol is the mountain peak.

18. Sri Indrajali — She is a seated “deceiving” goddess. Her elephant symbol suggests the name of Indra, with perhaps an allusion to his well-known deceits.

19. Broken — A seated yogini with a bull and skeletons among her symbols.

20. Statue missing.

21. Sri Thakini — Unknown seated goddess, however due to the camel symbol on her pedestal, linguists suggest Ushtrakini, or the cameline goddess.

22. Sri Dhanendri —Dhan means to “sound” but it is spelt with the dental dh. The name may simply mean the “sounding goddess.” She is depicted seated with a prostrate man worshipping her.

23. Statue missing.

24. Sri Uttala may mean the “swift goddess,” as implied by the antelope symbol. She is seated.

25. Sri Lampata — The “courtesan goddess” depicted seated with a prostrate male worshipper.

26. Sri Uha — This seated goddess may be the personification of the Saraswati River. Yogini 29 and 68 personify the Ganges and Jumna. The name may be derived from Uha, “to reason” meaning the “reasoning goddess” — an appropriate name for Saraswati, the goddess of speech and eloquence. This theory is supported by the peacock on her pedestal, which is the symbol of the Saraswati river.

27. Sri *tsamada — Seated goddess with a boar on her pedestal. The initial letter unknown.

28. Sri Gandhari — A winged goddess, with the symbol of a horse or ass. The name may be connected with gandharvva, “a horse,” associated with swiftness, which is also implied by her wings.

29. Sri Jahnavi —This is a well-known name of the Ganges; and as her symbol is a makara, or “crocodile,” it is certain that this is the river goddess herself.

30. Sri Dakini —This seated yogini is characterized by the Hindi term, dakin, the common name for a witch or she-demon. She has the symbols of a man and a skeleton.

31. Sri Bandhani — This seated goddess’s name is derived from bandh, to bind, or bandhan, hurting, injuring, killing. Historians suggest that the man on the pedestal may be a prisoner.

32. Sri Darppahari — Probably a mistake for Darbbahari. Darbba means a rakshasa, or demon, from dri, to “tear;” and darbbahari would be the “tearer,” — a title confirmed by the lion on the pedestal, and by the seated goddess’s lion head.

33. Sri Vaishnavi is the name of the sakti, or personified energy of Vishnu. She is seated on Vishnu’s mount garuda on the pedestal.

34. Sri Danggini — First letter doubtful. A seated yogini also featuring garuda.

35. Sri Rikshini — A crocodile is featured on the pedestal of this yogini. The value of the first letter is uncertain (see No. 27). The symbol of the crocodile seems to point to a river goddess; and Rikshini would be the name of the Narbada, which rises in the Riksha mountain. A female figure at Tewar, standing on a crocodile, is called Narbada mai, or “Mother Narbada.”

36. Sri Sakini — Wilson describes sakini as “a female divinity of an inferior character, attendant equally on Siva and Durga.” Others remark that “in the Baital Pachisi sakinis are mentioned in connection with cemeteries.” They are, in fact, the female goblins whom Raja Vikram saw eating the dead bodies. The symbol of a vulture on the pedestal of this seated goddess is, therefore, appropriate.

37. Sri Ghantali — The “bell” yogini, with a bell or ghanta on her pedestal.

38. Sri Tattari — The name implies a kettle-drum, or any musical instrument. We presume that name refers to the “trumpet,”’ as the seated goddess has an elephant’s head, and there is an elephant on the pedestal. Tatta is the imitative sound of the trumpet, like tantarara in English.

39. Not inscribed — A dancing female.

40. Sri Ganggini — The first letter is doubtful. The symbol seen is a bull.

41. Sri Bhishani — The “terrific goddess”…as in “terror”  is seated with a rayed headdress. Bhishana is a name of Siva.

42. Sri Satanu Sambara —Sambara refers to the Sambar deer, which is also seen on the pedestal of this seated goddess.

43. Sri Gahani — Ram on pedestal of this seated goddess. The first letter is doubtful. The name may mean the destroying goddess, from gah, to destroy.

44. Not inscribed — A dancing female in the style of Kali.

45. Sri Duduri — The derivation is not clear: du means “bad,” and also “to give pain.” Perhaps it is only a duplication of dur = pain, which would imply the “pain-giving” yogini. The symbol of the saddled horse remains puzzling on this seated yogini.

46. Sri Varahi — One of the saktis of Vishnu, as the Varaha Avatara. There is a boar on the pedestal, and this seated sakti goddess has a boar’s head.

47. Sri Nalini—perhaps from nal, “to bind.” There is a bull and cow on the pedestal, and the seated yogini has a cow’s head.

48. SE Entrance

49. Statue missing.

50. Sri Nandini is the title of this seated goddess Parvati. The lion on the pedestal implies that Nadini, or “roarer” may be her true name.

51. Sri Indrani —As there is no Aindri in this collection, this seated goddess Indrani must be intended as the sakti, or female energy, of Indra.

52. Sri Eruri, or Ejari — The first reading seems preferable. The yogini has a cow’s head, and there is a cow on her pedestal.

53. Sri Shandimi — Shanda means a bull; but the animal on the pedestal of this broken figure appears to be a donkey.

54. Sri Ainggini — An elephant-headed goddess, with an elephant-headed man on her pedestal. The name seems to refer to ingga, “movable,” which is itself derived from igi, “to go.”

55. Name lost — A seated goddess with a boar’s head and a boar on her pedestal.

56. Sri Teranta, or perhaps Techanta — This 20-armed seated goddess has a figure of Mahesasura on her pedestal, so her title must relate to a name of Durga, who is also called Mahishasuramardini (mardini = killer, fem.), the destroyer of Mahishasura.

57. Sri Paravi — Perhaps a mistake for Parvati, as the seated goddess has 10 arms, which point to Durga.

58. Sri Vayuvena — This broken figure’s name means “Swift as the wind.” The antelope on the pedestal may allude to her swiftness.

59. Sri Ubhera Varddhani — “The increaser of light” is the name of this broken goddess image. There is a class of 64 demi-gods named abhaswaras who, from their number, appear to have a connection with the 64 yoginis. The bird on the pedestal gives no assistance towards the meaning of the name.

60. Not inscribed — A dancing female with an elephant symbol on her pedestal.

61. Sri Sarvvato-mukhi — This goddess has 12 arms and 3 heads, with a head also between her breasts. The number of heads explain the name of  “Facing everywhere.” Her pedestal displays the leaves of the lotus and six points of a double triangle which may allude to her name.

62. Sri Mandodari­ — The name of this broken yogini means “slow-belly.” Sri Mandodari was also the name of the daughter of King Mayasura of the Danavas and the celestial dancer Hema. Mandodari was a pious woman who feared nothing but unrighteousness and lies. Her beauty and appeal led her to become the first, and favorite, wife of Ravana, the Lord of Lanka. On her pedestal two men worship her with folded hands.

63. Sri Khemukhi — The long-beaked bird on the pedestal seems to refer to the name, which may perhaps be translated “voracious mouth”” from khed, to eat. Her statue is broken.

64. Sri Jambavi — The “bear goddess,” with a bear on her pedestal, evidently points to Jambavat, the fabulous king of the bears who was the father-in-law of Krishna. This statue probably had a bear’s head; but it is now broken.

65. Sri Auraga — The first letter is not certain, and the statue is broken. A naked man on the pedestal does not offer any more clues about this figure.

66. Statue Missing.

67. Sri Thira-chitta — Probably intended for Sthira-chitta, “the firm or steady minded.” This seated goddess shows a man praying with folded hands on her pedestal.

68. Sri Yamuna — This seated goddess is the river Jumna personified. The tortoise on the pedestal was her symbol.

69. Statue Missing.

70. Sri Vibhasa — Either connected either with vibheshu, “terrible,” or with vibhitsu, “the piercer.” The skeleton and prostrate man on the pedestal suggest an appellation of Durga.

71. Sri Sinha-sinha — This lion-headed goddess, with the lion headed-man on her pedestal, is probably intended for Narasinha, the sakti or female energy of the Narasinha avatara.

72. Sri Niladambara — Probably the same as Nilambara, a female demon. The garuda on this yogini’s pedestal established her connection with Vishnu.

73. Statue worn away — A flame is still seen on the pedestal of this seated goddess.

74. Sri Antakari — A seated goddess, with open mouth, ready to devour — must mean the “death-causer,” from anta, “end or death.” Antaka is a name of Yama, the god of death; but the bull on the pedestal seems to refer to Siva, who, as Pasupati, is also the god of death and destruction.

75. Name lost — This seated goddess displays a long-nosed bull on her pedestal.

76. Sri Pingala — This seated goddess’s name means “tawny, or brownish-red.” The peacock on the pedestal points to Eaumari, the sakti of Skanda Kumara or Karttikeya.

77. Sri Ahkhala — On the pedestal two men with folded hands worship this seated sakti goddess. The reading of the name is clear but the meaning is unknown.

78. Not inscribed — A dancing yogini with a bird pictured on her base.

79. Sri Kshattra-dharmmini — The compound kshattradharmma means the duty of a kshattra, or soldier, i.e. bravery. But as kshattra is derived from kshad, “to eat, to rend, to tear to pieces,” the title of this goddess would mean the “tearer to pieces, or the devourer.” The image shows seated females with skulls in head-dresses. A bull with a chain appears on her pedestal.

80. Sri Virendri — Another images with seated females armed with sword and shield. The pedestal has a horse’s head and skeletons. Perhaps the name should be Vairendri, the “inimical goddess,” rather than Virendri, the “heroic goddess.”

81. Statue missing.

82. Sri Ridhali Devi — The seated “hurtful goddess,” from rih, to “hurt.” The animal, with claws, on the pedestal seems to confirm this derivation.

83-84 – West Entrance.

The result of this examination shows that the statue set up in this circular cloister may be divided into five distinct groups as follows:

Saktis, also called ashta-sakti……………………..8 statues

Rivers: Ganges, Jumna, and Saraswati…………3

Dancing goddesses: Kali, etc………………………4

Gods: Siva and Ganesha…………………………..2

Yoginis (chaunsat yogini) 57 intact, 7 lost……….64

Total……………………………………………………..81

Two entrances [= 3 spaces]…………………………3

Total……………………………………………………..84

Yogini statue inscriptions.

Angkor Wat is fast becoming one of the world's most popular tourist destinations. A South Korean grant will help reduce impact on Angkor's irreplaceable heritage.

By Kent Davis

Siem Reap, Cambodia – The Angkor World Heritage Site is fast becoming one of the most popular exotic tourist destinations in the world. And there lies the problem: too many tourists and too much traffic will damage the irreplaceable heritage of the Khmer civilization. The government of South Korea has just offered to help by funding a new road that will protect the temples from their own popularity.

Between the 9th and 15th centuries the Khmer civilization flourished in northern Cambodia, ruling most of Southeast Asia and building hundreds of magnificent stone temples in the lush jungle. Most famous is the awe-inspiring Hindu temple of Angkor Wat, which has remained the largest religious monument in the world since Khmer King Suryavarman II built it in the 12th century.

Angkor Wat enshrines the portraits of more than 1,780 sacred Khmer women.

Angkor Wat’s long corridors feature complex bas-relief carvings depicting stories of the creation of the universe, the royalty of the Khmers, and ancient legends based on Hindu epics. The temple also protects the largest collection of ancient female portraits in the world: more than 1,780 sacred Khmer women appear on the walls of Angkor Wat with fantastic costumes and accessories proving the Khmer’s cultural sophistication. And Angkor Wat is just one of hundreds of exquisite temples in the area.

In 1992, UNESCO declared the Angkor area a World Heritage Site, as well as including it on the World Heritage in Danger List to save it from further destruction. Tourism remains a vital part of Cambodia’s economy with nearly 1.5 million foreign tourists coming to admire the monuments each year, mostly from South Korea, Japan, China, Australia, Europe and the United States. More than half of these tourists visit Angkor but the impact of tourism has been felt.

The vast site is managed by the APSARA Authority, a Cambodian government body that is constantly working to improve tourist traffic and facilities while protecting their nation’s heritage. International organizations like the Global Heritage Fund, World Monument Fund, Friends of Khmer Culture and Heritage Watch International also contribute to the ongoing effort of keeping this important world history accessible.

The new South Korean grant will provide $9.2 million to Cambodia to build a road that will encircle the Angkor temple complex, thereby reducing traffic in the sensitive temple area. APSARA Authority Vice Secretary General Soeung Kong stated that the 21-kilometer road will be closed to trucks to reduce pollution, noise and vibrations that could damage the ancient ruins. Construction will begin in 2010 and is projected to take three years to complete.

This is the second Angkor area road funded by South Korea, according to South Korean Embassy official Son Sungil. The first road extended south from the temple complex.

Central courtyard of the National Museum of Cambodia. The building was designed by George Groslier, who went on to become its first director in 1920.

By Kent Davis – www.devata.org

After serving as Director and Deputy Director of the National Museum of Cambodia (NMC) since 1996, Mr. Hab Touch has now been appointed to a new position in the Ministry of Culture and Fine Arts.

Mr. Hab will now serve as Director-General in charge of the Department General of Cultural Affairs. This department is responsible for cultivating creativity in Cambodian within a broad range of arts disciplines and Mr. Hab will oversee five departments: the Department of Performing Arts; the Department of Cultural Development; the Department of Cinema and Cultural Diffusion; the Department of Fine Arts and Crafts; and the Department of Publications and Reading.

During his time with the NMC Mr. Hab was responsible for the world’s most magnificent collection of Khmer art managing many important projects protecting, preserving and promoting Cambodian cultural heritage.

Designed by George Groslier, who was born in Cambodia in 1887, the museum was built from 1917-1920 during the period of the French Protectorate in Cambodia (1863-1953). Groslier’s innovative design, with gabled roofs and carved doors reminiscent of ancient Khmer temples, remains a highlight of the fusion of traditional Khmer architecture and French colonial style in Phnom Penh.  On April 13, 1920 the museum was inaugurated under the auspices of His Majesty King Sisowath of Cambodia. In 1920, George Groslier became the museum’s first director, creating the historic position in which Mr. Hab has recently served.

Masterpieces of Khmer Culture - A detailed guide to some of Cambodia's most unique artistic treasures with descriptions in Khmer, English, French and Japanese.

As Director, Mr. Hab’s efforts resulted in significant improvements in the museum’s capacity to accommodate visitors and in its collection management. Important projects have included the establishment of the Conservation Laboratories, the Collection Inventory Projects, the Renewal of the Electrical System and Lighting, and many physical improvement to the gallery displays and refurbishment of the building.  The Museum Research Library has also been upgraded, and new educational programs continue to attract and train new generations of museum professionals in Cambodia.

Most recently, the National Museum of Cambodia hosted the launch of the Red List of Cambodian Antiquities at Risk, helping authorities focus on preventing pillage, theft and illegal export of cultural property.

In 2007, the museum published a multi-lingual museum catalog, Masterpieces of the National Museum of Cambodia, with the help of Friends of Khmer Culture and editor Dr. Helen Jessup.

Mr. Hab also played a large role in organizing the international exhibition of Khmer art, Angkor – Sacred Heritage Of Cambodia, attending its grand opening in Bonn Germany in 2006. The exhibition went on to inspire international audiences in Switzerland and Berlin.

National Museum Director Hab Touch meeting with DatAsia publisher Kent Davis in December 2008. Photo by Anders Jiras.

Journalist Andy Brouwer published three excellent articles on the international exhibit: Museum Pieces on the Move; Angkor’s Sacred Heritage and Hab Touch – Khmer Heritage in his Hands.

The new Director of the National Museum of Cambodia will be Mrs. Oun Phalline, who has served as Deputy Director of the NMC administration office since 1996. She follows in the footsteps of another distinguished woman director, historian Madeleine Giteau.

Devata.org wishes Mr. Hab Touch and Mrs. Oun Phalline great success in their new positions preserving and promoting Khmer culture and Cambodia’s cultural heritage.

To Cambodia With Love

Secrets of the sacred women of Angkor Wat; a tarantula brunch in the remote Cambodian countryside; hikes in the misty Cardamom Mountains; a leisurely cyclo ride through the streets of Phnom Penh…savor these experiences and other insights from savvy expatriates, seasoned travelers, and inspired locals.

To Cambodia With Love is a unique journey of discovery seen through the eyes of more than sixty experienced Asian travelers.

Contributors include Angkor expert Dawn Rooney (Angkor: Cambodia’s Wondrous Temples), acclaimed memoirist Loung Ung (First They Killed My Father), Nick Ray, author of The Lonely Planet Guide to Cambodia, Devata.org researcher Kent Davis (Daughters of Angkor Wat) and may others. According to the editor more than 63 writers contributed to the final edition.

The book pairs each essay with practical facts enabling travelers to follow in the writer’s adventurous and imaginative footsteps.

To Asia With Love

In addition to his personal contributions, the entire collection was edited by Cambodian resident Andy Brouwer, who for years has captivated readers around the world with his detailed accounts of life in Cambodia.

Renowned cultural photographer, Tewfic El-Sawy brings the entire collection of tales to life for readers with vibrant, full-color photographs.

With precious tips on dining, shopping, sightseeing, and culture, To Cambodia With Love is a one-of-a-kind guide for passionate travelers.

Based on the highly praised To Asia with Love: A Connoisseurs’ Guide to Cambodia, Laos, Thailand and Vietnam.

— “… a guide with depth and color that most of [its] competitors lack …” - International Herald Tribune

— “… breaks new ground in the travel writing field …” - Untamed Travel

— “… a refreshing addition to the traveler’s bookshelf … evocative and eclectic …” - Chic Travel Thailand

— “… a delightful introduction to Cambodia and the Mekong region for those looking for some inspiration and adventure.” - Lonely Planet Cambodia

— Honorable Mention - Independent Publisher Book Awards

Earth in Flower: The Divine Mystery of the Cambodian Dance Drama

A wartime twist of fate made Paul Cravath one of the only Westerners in history to gain full access to the formerly sequestered troupe of the Royal Cambodian Ballet. In 1975 he interviewed royal dancers and teachers and gained full access to their theater and archives. Then, war and genocide nearly obliterated the thousand year old tradition.

Over the ages, Cambodia’s sacred dancers have been goddesses, priestesses, queens, concubines, hostages and diplomats. Cravath’s award-winning book Earth in Flower, reveals the complete details of their tradition for the first time. This multilingual newscast from Supreme Master TV documents the book and its awards:

Royal Cambodian Dance Book Wins Awards

Earth in Flower is dedicated to Her Royal Highness, Princess Buppha Devi, the living embodiment of Cambodia’s ancient royal dance tradition. In the video below, the princess performs a dance of offering for Cambodia’s former kings before her grandmother, Queen Sisowath Kossamak Nearirath.

This ritual offering in the Royal Palace is especially significant because it marked the occasion of Queen Kossamak passing responsibility for the unbroken royal tradition to her granddaughter.

With the special permission of Queen Kossamak  in 1961-62, a USIS film crew in Cambodia captured this sacred ritual and other performances. The film disappeared for decades only to reemerge from the US National Archives late in 2008.

In presenting her credentials to Cambodia, the the new US Ambassador Carol Rodley presented His Majesty King Sihamoni with a digital copy of the entire original film showing these historic Cambodian dance performances. This documentary of the Royal Cambodian Ballet is now available in DVD form on Amazon.com.

The DVD first features the troupe performing a dance about the legendary origins of Angkor; it then covers a visit to the school of the Royal Ballet of Cambodia at the Royal Palace in Phnom Penh with scenes showing dance instruction of boys and girls, a dress rehearsal, costume design, and mask-making. Finally, the DVD contains footage of the school’s graduation ceremonies, including a presentation of novices to the school’s patron Queen Kossmak. The conclusion is the solo dance by Princess Norodom Buppha Devi featured in the clip above.

In 2009, Princess Buppha Devi made her first official visit to the only school of dance in music in Cambodia under her royal patronage. Cambodia’s royal tradition now continues and individual donors are invited to sponsor dancers and musicians at the NKFC dance school to maintain this sacred legacy.

Phnom Penh, Cambodia – Google Maps and Google Earth instantly deliver geographical information from anywhere on Earth. But what happens when this trusted source dishes out bad data in a politically sensitive location? One error is now in the news of Cambodia, Thailand, Singapore, China, Australia, the USA and other places.

Thailand's "Thai Rath" newspaper has prominently featured the Preah Vihear controversy with Google.

The Cambodian government registered a formal complaint with Google because a critical border shown with its neighbor Thailand is simply wrong. In fact, the images shown are more than 100 years out of date.

Google's inaccurate rendering of the border cuts Cambodia's sacred temple of Preah Vihear in half.

The issue is particularly sensitive because it involves one of Cambodia’s most culturally important sacred sites, Preah Vihear. In 2008, UNESCO recognized Preah Vihear as a “World Heritage Site” with “outstanding universal value” to our planet’s heritage. Thailand has unfortunately rejected Cambodia’s legal ownership of the temple and at least seven Thai and Cambodian soldiers have been killed in skirmishes there in the past two years.

The magnificent mountaintop shrine was built by Cambodia’s Khmer kings beginning in the 11th century. Following warfare in the 15th century, Thailand claimed the temple as its own. In the 20th century the tables turned again, reverting the temple to Cambodian ownership, yet unrest continues. While Thailand presently has more military force, the law has a different view; the International Court of Justice awarded the temple to Cambodia on June 15, 1962.

Our modern story begins on March 26, 1907, when King Chulalongkorn or Rama V of Siam (now Thailand) ceded Preah Vihear and other Khmer lands back to Cambodia in exchange for other territory. As a French protectorate, all mapping related to this transfer was carefully done by engineers with the Service Géographique de l’Indochine. Thailand, however, grew unhappy with the exchange and went so far as to reoccupy the temple just as Cambodia gained independence from France in 1953 under the leadership of Norodom Sihanouk.

Before independence, all local mapping was done by France’s Service Géographique de l’Indochine, but Sihanouk clearly saw that his nation needed its own map service. At the time, Cambodia had one qualified Geographical Engineer (Ingénieur Géographe) who Sihanouk charged with establishing the Khmer Geographic Service (Service Géographique Khmer) under the auspices of the Khmer National Armed Forces (Force Armée Nationale Khmère). For years, the agency worked closely with French and US Army mapping services ensuring that their work met world standards. By 1955, the agency finished compiling the national mapping archive and had completely transferred mapping responsibilities from the French government in Saigon to Cambodia.

Preah Vihear temple in November 2007. Photo by Kent Davis.

On Sihanouk’s orders, the Khmer Geographic Service was also assembling evidence to prove ownership of the disputed border temple of Preah Vihear. The Cambodian people were rewarded with a decisive victory when the International Court of Justice decided in their favor on June 15, 1962, clearly establishing Cambodian ownership of the temple.

Prime Minister Hun Sen has continued Cambodia’s struggle to maintain its rightful control of Preah Vihear. All of the original court documents are available for examination on the International Court of Justice.  Google’s world class standing in the information community suggests that they will correct this error soon.

Other Useful Links on Preah Vihear Temple

Preah Vihear on Wikipedia

Preah-Vihear.net – Useful maps and historical information

Google Maps Link to Preah Vihear – +14° 23′ 46.00″, +104° 40′ 49.00″

Khmer Temple Photo Index

UNESCO “World Heritage Site” Status of Preah Vihear

World Court Documentation of the Preah Vihear Case

"A Record of Cambodia: Its Land and its People" by Zhou Daguan. Translated by Peter Harris.

For anyone with more than a passing interest in the great Cambodian empire centered on Angkor, the name of Zhou Daguan is immediately familiar, though for some of a certain age, including the present reviewer, there is still a tendency to think of this obscure but immensely important observer of Angkor in the thirteenth century by the pre-pinyin ren­dering of his name as Chou Ta-kuan. His importance stems, of course, through the fact of his being the only eyewitness chronicler of the city of Angkor and its inhabitants while it was still a major, if fading, power in mainland Southeast Asia.

Until quite recently, it is a fair assumption that most Anglophone readers will have encountered Zhou Daguan in the translation from French of Paul Pelliot by J. Gilman d’Arcy Paul, first published by the Siam Society in 1967. And, since 2001, these same Anglo­phone readers have had the opportunity to consult a more up-to-date and elegant rendering of the French by this journal’s editor, Michael Smithies, published again by the Siam Society. Few readers, whether Anglophone or Francophone, will have gained access to Zhou Daguan by returning to the French translation of this work by Paul Pelliot, published in 1902, let alone the first translation from Chinese into French accomplished by Jean-Pierre-Abel Rémusat in 1819.

A Record of Cambodia - The Land and the People

Now, for the first time in over fifty years, Peter Harris has provided us with a translation of Zhou’s text, work­ing directly from Chinese into English. And he has done so with a very detailed accompanying scholarly apparatus that places Zhou Daguan in his place and time, while explaining his reasons for varying his translation from those offered by his predecessors working from French into English. One point to which the translator gives particular emphasis is the fact that Zhou Daguan’s ‘record’, as we have it, is only part of the document he prepared after spend­ing a little less than a year in Cambodia in 1296-97.

For those not schooled in a deep knowledge of Chinese history, what Harris has to say about Zhou’s back­ground makes for fascinating reading. As Harris says in his introduction, after establishing that Zhou was born near the Chinese port city of Wenzhou in south­eastern China, this ‘is not a place many people outside China have heard of’, but its character as a dynamic and open location, peopled by individuals with a ’strong sense of identity … pleasure seekers and bon vivants‘, gives clues to the sort of person Zhou would have been.

And it is indeed possible to see in reading Zhou’s account of Angkor that he was, as Harris suggests, a man appre­ciative of good living and able to enjoy what he sees. Yet this débrouillard view of the world went hand in hand with a degree of prudishness which some­times intrudes on his account of sexual practices, most of which he reports on hearsay rather than through personal observation.

To what extent does this new trans­lation overtake those previously avail­able? I would suggest that this is a question that can be answered in two ways. At one level the existence of Harris’s version certainly does not mean we should cast previous French into English versions into the outer darkness. A non-specialist reading Paul or Smithies will still come away with a broadly satisfactory understanding of what Zhou Daguan had to say, with the essentials of his account well and truly available. Indeed, at first glance, this new translation appears like a paraphrase of earlier versions of Zhou ’s text. Take, for instance, the ‘chapter’ headed ‘Agriculture’ in the Paul trans­lation and ‘Cultivating the Land’ in Harris. The first sentence of this section in Paul reads:

Generally speaking, three or four crops a year can be counted, for the entire Cambodian year resembles the fifth and sixth moons of China, and frost and snow are unknown.

Whereas in Harris it is:

In general crops can be harvested three or four times a year, the reason being that all four seasons are like our fifth and sixth months, with days that know no frost or snow.

On other occasions there are rather more than minor differences in the rendering provided by Harris. Consider as an example the section dealing with ‘Villages’. In Paul’s version it reads:

Each village has its temple, or at least a pagoda. No matter how small the village may be, it has a local mandarin, called the mai-chieh. Along the highways there are resting places like our post halts; these are called sen-mu (Khmer, samnak). Only recently, during the war with Siam, whole villages have been laid waste.

The Harris rendering of this passage is:

In every village there is a Buddhist temple or pagoda. Where the population is quite dense there is normally an official called maijie who is responsible for the security of the village. Resting places called senmu, like our posting-houses, are normally found along the main roads

As the result of repeated wars with the Siamese the land has been completely laid to waste.

In the lengthy footnote (99) that relates to this passage Harris explains his reasons for doubting that it can be read to suggest Buddhism was by this time ‘paramount in villages’; he expands the role assigned to the maijie, pointing out that it may be a Chinese rendering of the Khmer for a village headman, mai’s’rok; and his translation, with ‘wars’ in the plural contrasts with the singu­lar reference to conflict in Paul. This, as another reviewer, Chris Baker, has suggested, raises unanswerable ques­tions about the extent to which conflict between Angkor and the rising Siamese states to the west was already a feature in the fourteenth century.

So, and at a second level, for anyone concerned with the minutiae of transla­tion, the detail of flora and fauna, and the contested nuances in undertaking a translation from the original Chinese text, Harris deserves high praise. His explanations are admirably detailed and informed by references to Chinese historical texts, the abundant French literature on Angkor, and the linguistic work of Michael Vickery and the late Judith Jacobs.

The book is helpfully illustrated with twenty-six photographs chosen to focus on issues raised in the text.

The author and Silkworm Books are to be congratulated for making this important new contribution to Ang­korian scholarship available to a wide audience.

Milton Osborne

Dr. Milton Osborne

About the Reviewer

Milton OSBORNE is an independent scholar based in Sydney. He is also adjunct professor in the Faculty of Asian Studies at the Australian National University, Canberra, and the author of ten books on the history and politics of Southeast Asia including Phnom Penh: A Cultural History, which is nowavailable on Kindle as an instant download.

Acknowledgement

This review originally appeared in the Journal of the Siam Society, Volume 96. Based in Bangkok since 1904 and under Thai Royal Patronage, the Siam Society promotes knowledge of Thailand and the surrounding region, including many profound works relating to Khmer studies.

Devata.org thanks the reviewer and the the Society for kindly allowing the reproduction of this article in our archive.

Devata (sacred female image) defaced at Beng Melea - 2008.

Feature by Erin Linn

Phnom Penh, Cambodia - On February 9, 2010, a number of key government and foundation officials gathered to introduce ICOM’s Red List, defining irreplaceable treasures of Cambodian heritage protected under law. As staff worker with Heritage Watch International, it was my honor to present our organization’s initiatives to counter illicit trafficking of cultural objects.

The creation and publication of the RedList is a true sign of the national and international support for the protection of Cambodia’s outstanding cultural heritage.  Dr. Dougald O’Reilly, the Director of Heritage Watch, was one of many experts who contributed to compiling the RedList.   Heritage Watch is honored to be among the many organizations working to preserve Cambodia’s patrimony.

Heritage Watch was founded in 2003 due to a sharp increase in the destruction of Cambodia’s precious cultural heritage – especially the looting of ancient temples and cemetery sites nationwide.  Heritage Watch’s mission consists of five key elements:

1. To study threats to cultural heritage, including the illicit trade in antiquities, the looting of archaeological sites, and loss of historic architecture;
2. To educate and increase awareness among the public of the profound importance of heritage resources;
3. To increase access to and awareness of national and international law affecting cultural property, while working with the proper authorities to implement, enforce, and improve it;
4. To promote responsible and sustainable tourism practices that further cultural and economic development and encourage the tourism industry to support the arts, culture, heritage and development;
5. To foster communication between relevant governmental and intergovernmental agencies, nongovernmental organizations, academic institutions, and individuals.

Heritage Watch is currently developing and implementing three projects in an effort to achieve the overall mission of the organization and further efforts to counter illicit trafficking of cultural objects.

1. Heritage Development at Banteay Chhmar

In November 2009 Heritage Watch received the Archeological Institute of America’s Site Preservation grant to implement a heritage protection and community development program at Banteay Chhmar.  The project goals are to educate local residents on the benefits of protecting Cambodia’s heritage, to deter looting of archaeological sites, and provide training in tourism practices that protect cultural heritage.

Heritage Watch will be working with a number of dynamic groups there including the Global Heritage Fund, the Community Based Tourism group (or CBT) at Banteay Chhmar, Meanchey University, and local government.

Our methods include implementing English language training, Guide Training, Heritage Protection education for CBT members, and village workshops to educate rural communities about the importance of protecting local heritage.

2. The DHARMA Antiquities Protection Database Project

Stolen devata (sacred female image) at Preah Kahn

In 2008 Heritage Watch began developing the Database of Historical and Archaeological Regulations for the Management of Antiquities (DHARMA).  Cambodia has taken significant and important steps towards protecting its cultural heritage, and a solid framework has been set in place.  There is still much to be done, however, to further develop that framework.

The DHARMA project presents a range of legal reforms to strengthen legal protection of Cambodia’s cultural property. Heritage Watch will work with Cambodian government officials  to compile, publish, analyze and improve the country’s legal framework for heritage management.

DHARMA has won the support of the APSARA Authority; the Ministry of Culture and Fine Arts (MoCFA); the Ministry of Land Management, Urban Planning, and Construction (MoLMUPC), the US Embassy, the American Bar Association, and various legal professionals and academics in the field.  By unifying communications between Cambodian government departments and international organizations and experts, DHARMA will help them to identify and draft the necessary legislation to continue improving Cambodia’s legal protection of its cultural heritage.

3. The Heritage Friendly Tourism Campaign (HFT)

Educating tourists and tour operators with heritage safe practices.

Angkor Wat, the Angkor Heritage Park and other magnificent temples and monuments of the Khmer civilization attract millions of visitors to Cambodia each year, making them one of the country’s most valuable resources.   Although tourism is vital to economic development, it can often have negative impacts on heritage sites, threatening the continuing stream of economic benefits.

The HFT Campaign teaching the importance of protecting Cambodia’s cultural heritage and maintaining sustainable tourism practices at heritage sites. It accomplishes these goals by provides educational resources and training for local communities, tourism operators, and tourists.

In collaboration with the Ministry of Tourism, the APSARA Authority, the Cambodian Community Based Eco-Tourism Network and various other government and non-government  organizations, Heritage Watch is working to implement a Heritage Protection, Guide Training, Development Program for a number of Community Based Tourism  groups associated with or near Heritage sites.

Our project at Banteay Chhmar models many of the objectives of the HFT Campaign: educating local communities about protecting Cambodian heritage, deterring looting of archaeological sites, and providing CBT groups with the training and skills needed to directly benefit from tourism while protecting their cultural heritage.

In 2010, Heritage Watch is working to reinvigorate and strengthen its efforts to protect Cambodia’s cultural heritage.  The Red List is a significant step towards promoting and achieving this objective. This Heritage Watch article on VOA News details exactly how this information is used to stop crime and antiquities trafficking.

Moving forward, Heritage Watch plans to continue collaboration and cooperating with the Cambodian government, international governments, and local and international organizations.  Heritage Watch is proud to contribute to this effort and we sincerely thank all of our partners and associates for their pro-active actions in protecting Cambodia’s rich historic inheritance.

One of the world's most visually stunning heritage museums.

THE RED LIST OF CAMBODIAN ANTIQUITIES AT RISK

Hosted by The National Museum of Cambodia

Welcome address by :
H.E. Chuch Phoeurn
Secretary of State, Ministry of Culture and Fine Arts

Mr. HAB Touch
Director of the National Museum of Cambodia

Presentations by:

H.E. Mr. HIM Chhem
Minister of Culture and Fine Arts of Cambodia

H.E. Ms. Carol A. Rodley
Ambassador of the United States of America to Cambodia

Ms. CHAU SUN Kérya
Director of Angkor Tourist Development Department, ASPARA Authority

Major General KEO Vannthan
Commissariat General of National Police, National Central Bureau of INTERPOL

Erin Lin
Project Officer of Heritage Watch

Mrs. Jennifer Thévenot
International Council of Museums (ICOM) Programme Activities Officer