Siem Reap, Cambodia – Towering above the Cambodian jungle, Angkor Wat is still the largest religious structure on Earth, nearly 900 years after it was built. Since the 12th century, the huge temple has enshrined 1,780 stone portraits of Khmer goddesses, but for more than two years the most exquisite images at the highest levels have been off-limits to visitors. On January 15th, a Buddhist holy day, the sacred area reopens so visitors can once again experience the sublime Khmer vision of heaven on earth.

Eastern view of Angkor wat in Siem Reap, Cambodia.

Angkor Wat is located in an immense archeological district managed by the APSARA National Authority (APSARA), a Cambodian agency responsible for preserving hundreds of temples built by the Khmer civilization.  With nearly two million annual visitors, APSARA constantly works to protect both visitors and their country’s priceless national heritage.

The most sacred level of Angkor Wat is called the "Bakan" in Khmer.

Diagram of the Bakan level from "Angkor Vat, description graphique du temple" by Guy Nafilyan, 1969.

For two years, experts have been working to make visits to the top of Angkor Wat safer for tourists and for the delicate stone portraits of the Khmer goddesses who reside there. Madame Chau Sun Kérya, the Director of Department of Cultural Development, Museums and Heritage Norms for the APSARA National Authority, summarized the situation in her statement to Devata.org:

“Angkor Wat had become so popular that it was too busy, especially at the top level we call the Bakan. The ancient stone staircase was not safe. Uncontrolled crowding combined with difficult walking conditions created a danger, especially for older visitors. APSARA has made a number of improvements to protect our guests, our history and to restore the dignity of this place that is sacred to all Khmer people.”

The most delicate images of sacred Khmer women, called by the Sanskrit terms apsaras or devata, are preserved in the Bakan of Angkor Wat. Photo Kent Davis

Working with international conservators, APSARA first determined Angkor Wat’s capacity to accommodate tourists in the Bakan without burdening the structure. They then constructed new stairs to improve access, added flat wooden walkways over the rough stone surfaces, and installed railings to protect the delicate carvings. But the final steps are perhaps the most important:

“The Bakan is a sacred place for Khmer people, and we want to share this experience with visitors in the best way,” Chau Sun explained. “For this reason the APSARA National Authority will now provide trained guides to explain the history of the Bakan and we will limit visits to groups of 100 persons at a time.”

A Khmer goddess facing West on the central tower in the Bakan. Photo Kent Davis.

In recent years APSARA has also improved tourist access policies at other key temples including the Bayon, Phnom Bakheng and Banteay Srey. Following the re-opening of the Bakan at Angkor Wat, APSARA plans to monitor the situation and adjust policies as necessary.

To learn more about conservation activities in the Angkor archeological park please visit the APSARA Authority Official Website.

NOTE – I was first alerted to this breaking story thanks to Andy Brouwer’s exceptional blog with the latest news and views on all things Cambodian.

SUMMARY FOR ANGKOR WAT VISITORS

(Courtesy APSARA National Authority)

• Angkor Wat temple in Cambodia, the largest religious structure in the world, has been a pilgrimage location for Hindu and Buddhist visitors for nearly 900 years.
  
• On January 15, 2010, the APSARA National Authority re-opened the top level of Angkor Wat, called the “Bakan” in the Khmer language. This area enshrines hundreds of lifelike portraits of Khmer goddesses, known by the Sanskrit terms apsaras or devata.
  
• To provide safer access to the Bakan, APSARA has constructed new wooden staircases, benches and handrails. The agency will also provide trained guides to share the history and significance of this sacred location.
  
• Visitors must wear be dressed modestly and respectfully to visit the Bakan.
  
• Access is now limited to 100 persons and a stay of 15-30 minutes.
  
• On the four Buddhist holy days of each month, the Bakan will only be open to Cambodian visitors to allow them to worship the Lord Buddha in this sacred location.

The restored temple of Chau Say Tevoda. Note the new stone sections in lighter color.

Between 1,120-1,150AD, Angkor Wat’s sponsor, King Suryavarman II, also began building the elegant Hindu temple of Chau Say Tevoda. Yasovarman II is credited with additional work during his brief reign (1,160-1,166AD). Finally, Jayavarman VII (ruling 1,181-1,215 AD) added new decorative elements to harmonize with the religious transformation he initiated converting the state from Hinduism to Buddhism.

The central shrine is encircled by sacred female images called devata.

Two of the Khmer civilization’s greatest kings, Suryavarman II and Jayavarman VII, also installed the greatest number of sacred female images, or devata, in their temples. The style and unique qualities of the devata at Chao Say Tevoda make this small temple well worth a detour on any visit to Angkor.

The Khmer kings Suryavarman II and Jayavarman VII enshrined images of more than 4,000 sacred women in their temples. No one knows exactly why.

Chau Say Tevoda includes a central sanctuary, two libraries and four gopura (gateway) structures, one for each cardinal point. Directly to its north sits Thommanon temple, which was also built by King Suryavarman II based on a similar design.

Thommanon also features prominent devata in fine condition (see Devata.org’s Thommanon photo gallery here) but there are significant stylistic differences in the women populating the two temples. For years, Thommanon was in far better condition thanks to extensive restoration done by the EFEO in the 1960’s under the direction of Bernard Philippe Groslier.

Many of the women at Chao Say Tevoda express strength in their beauty.

Unfortunately, Chao Say Tevoda had been devastated by centuries of natural erosion, and all that remained were 4,000 pieces of stone masonry, many of which had tumbled down an embankment into the Siem Reap River.

On March 29, 2000, H.R.H. Princess Buppha Devi with APSARA Authority and other Cambodian dignitaries welcomed H.E. Yang Tin Ai, Ambassador for the People’s Republic of China as his government initiated a massive restoration project of the temple that included both Chinese and Cambodian workers. Tim Tye’s Asia Explorers website offers a few excellent photos taken while the restoration.

The Chinese restoration project was controversial because they chose to totally reconstruct the temple buildings by including newly fabricated stones. While American and Japanese teams rejected this approach it conformed to UNESCO and ICOMOS guidelines allowing for their use of 2-9% of modern replica stones in heritage reconstruction.

The Chinese restoration team included replicas of missing stone sections (seen above in lighter colors).)

The results are dramatic. The new sections are easy to identify and, while the replicas do not equal the artistic quality of the original Khmer sections, they do help visitors experience the temple in a condition closer to what was originally built.

The Chinese team completed their work in 2009, when the improved temple again began receiving visitors.

May the devata of Chao Say Tevoda bestow blessings on the Chinese for their important contribution of restoring this Khmer cultural treasure.

NOTE: A complete photo gallery of all the unique Chau Say Tevoda devata is in preparation. The link will be posted here in the future. In the meantime a trinity of devata appears below:

This devata's crown, with central element, is unusual. None of the symbolic attributes that devata display have yet been interpreted.

This alert looking devata is crowned by her long, thick, braided hair dressed in coils.

This graceful crowned devata is similar to her sisters at Angkor Wat. Note that she holds a "rooted bud" (Devata.org terminology) exactly like the sacred women surrounding the central sanctuary on the top level of Angkor Wat.

Siem Reap, Cambodia – This huge temple city, once filled with as many as 100,000 acolytes, now rests peacefully in the lush jungle of northern Cambodia.

Today acolytes are few, but sacred images of Khmer women still abound, protecting the temple with their auspicious presence.

The sacred woman in this photo gallery have been exposed to harsh tropical sun for more than 700 years but still retain their charm and mystery. For comparison, be sure to visit the other devata temple photo galleries.

The brilliant colors of the friendly Preah Khan devata pictured at the right are natural, but enhanced by increasing the camera’s color saturation.

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Preah Khan Photos – Devata of Light

Angkor Wat's builder, King Suryavarman II built Athvea temple in the 12th century.

The Buddhist wat next to the temple features scenes from the Reamker.

Siem Reap, Cambodia - Wat Athvea is an active Buddhist temple about 6 km. south of Siem Reap that, like many others, is built next to an ancient Hindu temple. It’s on the west side of the road to the Tonle Sap and it’s well worth a short detour to see this peaceful and relatively un-touristed Khmer monument.

The temple’s design and distinctive style of the devata (sacred female images) inside indicate that it was built in the 12th century, during the reign of King Suryavarman II (circa 1,115-1,150 AD), who also built Angkor Wat.

The temple is unusual because it lacks all but the most basic decorative carvings…with the exception of some exceptional Angkor Wat style devata. Originally at least six women were planned to preside over the west interior chamber of the main structure but only four were completed and of those only three remain in good condition.

Upon entering from the west, devata #1 stands south of the door in fine condition. To the left is #2, however she has deteriorated to the point that only her headless torso with parts of both arms and a section of her sampot (a traditional Khmer wrap worn around the waist) remain.

Directly ahead two more completed devata stand at the far left and far right (#3 and 6) of the facing opening to the central sanctuary. There are also two uncompleted devata outlines etched onto this wall (#4 and 5). As a final note, this chamber does feature inscriptions on the columns, but these may have been added at a later date.

All three remaining devata are exquisitely adorned with lotus crowns, heavy necklaces and belts, armbands, finger rings and rich sampots (Khmer style waist wrap) made with floral patterned fabric.

Their attributes are comparable to the most sacred women found at the highest level of Angkor Wat, implying that this temple was founded for an important reason.

The Buddhist wat next door is quite charming, with hand carved gilded wood window panels featuring scenes from the Reamker. There are also a number of colorful and well maintained burial stupas on the wat grounds.

Wat Athvea Photo Album

Special thanks to Nicole Groslier for providing original photos and for her kind permission to translate this draft of her father’s article, which later appeared in L’Illustration magazine, April 3, 1937. The translator assumes all responsibility for errors. Serious researchers should consult M. Groslier’s final article in the original French.

Banteay Meanchey, Cambodia - If one ventures to the north-western borders of Cambodia, one arrives in a region surrounded at right angles by the extreme western end of the Dangrek mountain chain. Beyond them lies Siam. Occupying 2 or 3,000 square kilometers, this area is nearly deserted. Consisting of soil made of clay and sand, crossed by some dry rivers six months of the year, it offers nothing to the traveler but uncultivated plains and sparsely wooded forests whose trees remain stunted due to fires that rage in the dry season.

Villages become increasingly rare, finally disappearing completely. In the summer, there is no game and torrid heat; in winter, the area is subjected to violent storms deflected by the mountains. This is the most desolate place in Cambodia. Still, however, ruins are found there; an imposing array of monuments from an ancient empire. Among these ruins is not only one of the largest Khmer temples that we know of (including those of the Angkor group), but also one of largest temples in the world. This temple is known as Banteay Chhmar.

What series of events inspired the builders eight centuries ago, at the height of Angkor’s power, to choose to settle in such a desolate region? And why did they later abandon the site that presents itself to us in the ruinous state that we now find it today? Here is one of the most intriguing puzzles in the history of Cambodia. We cannot address this issue here, but to understand the facts, it is helpful to know that the Khmers organized the places they inhabited bit by bit, and that their irrigation works, which we will examine in depth, made them livable and perhaps prosperous.

Banteay Chhmar temple plan.

Today, the temple of Banteay Chhmar is almost entirely collapsed. The two authors who previously published descriptions of it — Etienne Aymonier around 1883, then Lunet de Lajonquière around 1903 — both noted that of all the Khmer monuments that they had explored Banteay Chhmar was the most ruined, the largest, the most chaotic…and the most indecipherable.

In their summaries Aymonier and de Lajonquière also gave contradictory sketches and descriptions of many pages. This attracted us to reexamine this remote group of temples. We had to make four visits over the course of several years because the temple is only accessible for two months per year. After three campaigns, we still had not even been able to reach the foundations of the walls. Despite our efforts and best intentions we risked only adding to the questions, and augmenting the work of our predecessors by very little. It was then that Mr. George Cœdès, Director of the French School of the Far East (EFEO), helped us with appropriations to support our project. We were able to immediately dispatch a team of forty coolies who gave us fifteen days of labor. But their work was only enough to enable us to probe about a third of the essential areas inaccessible in our former research.

Banteay Chhmar's main temple (small grey square at left) is encircled by 8 secondary temples and a vast artificial reservoir with the Mebon temple built on an island in the center.

The second site plan that we present here introduces the identification of the temples and hydraulic works that remain from the ancient city. The “Baray” is a reservoir formed by a rectangular seawall, 3 meters high on average, that encloses an area of 1,276,450 square meters (1,526,621 sq. yards). Inside edges are entirely lined with laterite blocks, which gave easy access to the water. Originally a river, now dried out, fed this vast reservoir that also collected rain water.

Ruins of the boat landing terrace on the Baray. Excavations by the EFEO revealed carved lotus flowers and sacred geese with wings spread.

Close to the center, the Khmers created an artificial island where they constructed a “Mebon” temple (i.e. a temples situated in the center of a Baray). On the Baray’s west seawall, the Khmers built an embarkation terrace for boat traffic to the central temple (photo above). Its foundation stones, originally submerged in water, are sculpted with open-winged aquatic birds among lotuses. The dimensions of this architectural element, the style of its décor, its bold position, dominated by the imposing mirror of water and the sacred Mebon temple island, prove to us from our first steps the collective viewpoint and theatrical taste of the builders of Banteay Chhmar.

The central temple is entirely encircled by a rectangular moat 65 meters wide (213 feet) with a depth of 3.6 meters (11.8 feet). One crosses to the main temple by four axial causeways, each originally edged by balustrades consisting of two rows of stone giants and supporting a Naga parapet, an ornamental motif seen at the gates of Angkor Thom, as well as at Angkor’s Baray and its Mebon temple.

View of the south side of the moat surrounding Banteay Chhmar, with the causeway linking it to the mainland.

Before entering the boundaries of this huge temple, let us note that on its north-south and east-west axes are found seven satellite temples, with an eighth located near the southeast angle of the moat (see diagram above). These buildings, of secondary artistic interest because of the similarities among them, each include one or two surrounding walls, a tower with four faces forming a central shrine and a system of moats and basins, lined with stone banks like the Baray. On the 8 or 9 square kilometers covered by the Banteay Chhmar group, more than a sixth of the area was therefore excavated — sometimes up to depth of 6 meters (20 feet) — with the intention of creating reservoirs of water and, as a result, very clear liquid surfaces to complement the architecture.

South exterior gallery of Banteay Chhmar's main temple. These galleries originally surrounded the temple covering nearly 700 meters of bas relief carvings of Khmer life.

Here, in a few words, are the main guiding principles of the plan: all galleries and colonnaded walkways join together or cross in right angles. The majority of these junctions feature a tower shrine, tapering towards the center with four faces in some areas of the temple (the same type of the towers seen in The Bayon of Angkor Thom). As they approached the central shrine, the towers increases. From 6-7 meters (20-23 feet) tall at the periphery, they attained a height of about 20 meters (66 feet) in the center. In total, there were 56 towers.

One of the courtyards of Banteay Chhmar leading to the central labyrinth.

The two main axes of this group are clear at first glance. The point where they intersect is occupied by the central shrine, the Holy of Holies. Thus the architectural center and ritual center of the temple coincide. By passing through the temple from East to West, one encounters six distinct sections, each closely dependent on the others:

1 – A rectangular gallery enclosing the entire temple measuring 250 meters by 190 meters (820 x 623 feet). This consists of an arch roof built against a wall supported by pillars on the outside edge. The outside face of the covered wall features bas-relief carvings that, in their entirety, cover an area of 1,090 square meters (11,733 sq. feet). The interpretation of the historical and legendary stages pictured on the bas-reliefs is still impossible. Each side of the gallery is penetrated at the central axis by a monumental door with triple entry passages and three towers. One reaches these entry gates by crossing a Terrace of Honor, lined with Naga parapets and staircases flanked by lions (only the eastern terrace is shown on our plan);

2 - A rectangular gallery surrounding a courtyard, which is occupied by a crucial gallery. This beautifully proportioned building was, originally, independent of the temple itself. To the north and south it is associated with two water basins with steps and two additional buildings set upon 4 meter (13 feet) tall foundations. These are flanked by 1.7 meter (5.6 feet) tall standing monsters that act as caryatids;

3 - The main section of the temple. This “checkerboard” of galleries divides itself into three complexes that connect, one to another, from east to west, as three complete temples joined end to end. Each includes, in effect, a central tower sanctuary preceded by an entry pavilion, with towers and ceremonial gates set to the north and south. These sections are simultaneously united and independent;

As one advances west, the composition tightens; the towers and entry pavilions multiply as one reaches the principal sanctuary. Then one emerges in an open air courtyard that is mostly occupied by a group of three isolated towers. This transition achieves a remarkable contrast. These provisions obviously correspond to religious constraints imposed on the architects by the multiple divinities who were worshipped in this immense temple. The problem to be solved was therefore made much more difficult.

Also, from an architectural viewpoint, it is of great interest to follow diversity of the plan, despite the repetition of similar motifs that can be deduced within. This long rectangular area of 40 meters (131 feet) wide by 170 meters (558 feet) from east to west is divided by rows of towers — sometimes three, sometimes five, sometimes on elevated foundations and sometimes with four divine faces — joined end to end without a gap, leaving no doubt in one’s mind that no section of the system of axes that govern the design was neglected. NOTE: It is this aspect that, not escaping the eye of Cambodians, inspired the modern name of the temple: Banteay Chhmar which means “narrow citadel”;

4 and 5 - To the north and south, the temple’s main section is flanked by two similar groups that are symmetrical and independent of the main structure. Both of these two shrines are topped with face towers and encircled with a rectangular gallery;

6 - Finally, completing in the west, we find the same composition style as both precedents. But, here, the central shrine is built on a foundation 3.7 meters (12 feet) high, decorated with moldings and serrated designs, flanked by staircases on all four sides. This design is different from the rest of the temple which is strictly level, the highest foundation previously encountered not exceeding 80 centimeters (31.5 inches) above the base.

Interior structure of Banteay Chhmar's crucial gallery: winged women with arms raised holding lotus blossoms.

Banteay Chhmar’s plan differs considerably from most of the great Khmer temples now known. Usually, these plans are concentric and consequently develop with similar dimensions based on the four cardinal points. Generally, secondary buildings, or those added at later times, were more haphazard and without symmetry. Here, as we’ve just seen, the group is radically opposite these other designs.

The plan is eccentric, developing from east to west, in a series of successive structures that never break their rigorous symmetry. The surrounding gallery enclosure, like that of traditional temples (but here it is independent), is penetrated, but the architect neglects the north, south and west entries of the central group, even masking them with independent sanctuaries.

The bird-god Garuda combined with the multi-headed serpent Naga decorates the balastrades of the terraces.

If the builders first undertook a rigorous staking of their construction sites, the disparity among almost all the Khmer monuments is that the lines of the architect are often remarkable, but the construction itself is often mediocre; this also exists at Banteay Chhmar, one of the largest of all their temples.

One of the innumerable devata nymphs who appear on the walls of Banteay Chhmar.

Given the technique of shaping the stones and stacking them one on top of the other, it was necessary to create axes 7 meters apart for three lines of towers, so there were surprises. After all was said and done, this vast monument, perfectly composed in every section by the architects, was built “approximately” and as well as the circumstances allowed.

Despite these mistakes that the workforce was powerless to change, they compensated with true will, true intelligence and a boldness that made it certain that they could accomplish building the main temple of Banteay Chhmar. Its horizontal development on a single axis precluded it from creating a massive impression as a group, but as the Khmers experienced it, proceeding through each impressive section, the small defects that we have just noted disappeared.

One of the towers with four divine faces at Banteay Chhmar.

The 5-6,000 measurements we took of these ruins have us allowed us to calculate the cubic volume and carved surfaces. We met too many unknown factors in our research to calculate the total time spent in the construction and decoration of Banteay Chhmar. However, we were able to determine the minimum time required for such a project by determining the maximum number of workers the site could accommodate. The final answer was about sixty years, provided that there was no interruption of work.

Goddess from the Buddhist pantheon at Banteay Chhmar.

On the other hand, inscriptions discovered from of the reign of Jayavarman VII (1180-1201 AD) indicate that the large temple was already finished at that time. One can therefore postulate that the ancient city of Banteay Chhmar was a prosperous religious center during the twelfth century, and that construction of the central complex of this temple was begun by about 1140 AD at the latest. As for the religion practiced there, the most anyone can say is that there was Vishnuism at the beginning. The temple later appears to have been affected by Buddhism, at least in its most recent sections. In any case, its iconography belongs to these two religions.

Banteay Chhmar lintel.

George Groslier and his daughter Nicole at the gate of their Phnom Penh home - 1923.

George Groslier (1887-1945) lived, breathed and loved the art and culture of his country of birth: Cambodia.

His work as an historian, curator, educator and author was the motivating force behind much of the revival of interest in traditional Cambodian arts and crafts. He produced a large body of research and, in 1926, began adding fictional works to his oeuvre, depicting Europeans in the context of the exotic Far East.

For a complete list of George Groslier’s work please visit CambodianDancers.com

Special thanks to Nicole Groslier for her kind permission to use her original photos and for allowing Kent Davis to translate this draft of her father’s article, which later appeared in L’Illustration magazine, April 3, 1937.

Sacred female image from Chao Say Tevoda

From the 8th-14th centuries, the Khmer civilization unified most of Southeast Asia, implementing systems of government, religion, education, agriculture and architecture that still color the region today.

Khmer nobility and peasants alike chose to live in homes of wood, bamboo and thatch as they reserved the more permanent materials of stone and brick only for temples to their gods. Today, thousands of their religious structures still dot the landscape of Cambodia and Thailand, offering us clues to understanding the amazing people who built them.

The best photo index of Khmer temples in Cambodia and Thailand is available free thanks to the efforts of “Khmersearch,” a skilled (and generous) German photographer. Panoramio hosts his high resolution photo collection of  ancient Khmer temples, hospitals, dharmasalas, ruins and water features. Each photo is geographically located using Google Earth.

I found this extensive collection while researching the obscure temples of Prasat Mebon and Prasat Toap near Banteay Chhmar. In fact, many of the structures featured are virtually unvisited sites that are difficult to find, making this online resource especially unique.

Note that his photo collection offers only visual verification of the sites and does not include historical details.

We at Devata.org express our gratitude to Khmersearch for the time and effort devoted to creating this important record of Khmer history. The temple list below is organized by country (Cambodia and Thailand).

Temples featuring devata (sacred women) appear in green (note that devata are not necessarily included in Khmersearch images). Links to Devata.org photo sets and related devata articles appear in red.

Cambodia

“All Cambodia Sites”

Thailand

By Cindy Lane – The Anna Maria Island Sun

HOLMES BEACH, FL – Anna Maria Island is home to one of the world’s few researchers working exclusively on Angkor Wat, a Buddhist temple half a world and nine centuries away.

Kent Davis, former owner of Anna Maria’s Siam Garden Resort with his wife Sophaphan, is captivated by the women of Angkor Wat, a temple in Cambodia that he says is the largest religious structure in the world.

Originally a Hindu shrine, now a Buddhist temple, Angkor Wat is five times the size of the Vatican in Rome, he told about 40 members of the Artists’ Guild of Anna Maria Island meeting at the Episcopal Church of the Annunciation.

But while most women portrayed in Vatican art can be identified by contemporaneous writings, the “Daughters of Angkor Wat,” as he calls them, remain unknown.

Angkor Wat devata in the central tower facing north.

The 1,780 very different women are portrayed in stone, scantily dressed and heavily decorated with different jewelry, headdresses, flowers, fruits and other distinctions that have been the subject of his research since his first visit in 2005.

“I was not prepared for the temple’s human side,” said Davis, who coincidentally gave the presentation on the night of a full moon, four years to the day after his first visit to the temple.

Group of devata (sacred women) on Angkor Wat's second level.

With his photographs of each woman to guide him, he is on an Indiana Jones-style quest to track down who the women were, what they represent and why they were so important to the Khmer Empire, which built the moat-enclosed monument between 1116 and 1150 AD. The empire, which disappeared into the remote Cambodian jungle, was not a precursor to the Khmer Rouge, the “red” regime responsible for the genocides of 1.7 million people in the late 1970s, Davis said.

Built to represent the home of the gods in Hindu mythology, Angkor Wat’s architecture contains information on the seasons, the calendar and astronomical events, he said, but the overwhelming presence of the women’s images, with little having been written about them, is a mystery demanding investigation.

Three devata facing east on the top level of Angkor Wat.

Davis says their importance is evident, especially considering that the image of King Suryavarman II who commissioned the building of the temple is in a location far more inconspicuous than most of the women. But few have studied the subject, with only a handful of books written on the women, who may represent goddesses, priestesses or members of the royal court.

Davis is compiling a database tracking the characteristics of every woman portrayed at the temple, and plans to publish it his initial finding in the book, Daughters of Angkor Wat, due in early 2010…but the ending of what he calls “the world’s greatest archaeological mystery” has not yet been written.

His research can be found at www.devata.org.

The Angkor Guide website offers a free download of this high quality guidebook.

First published in 1944, “The Monuments of the Angkor Group” remains one of the most comprehensive guidebooks with suggested itineraries, maps, photos and, in the words of  Georges Cœdes (1886-1969), a master of Khmer studies and former director of the École Française d’Extrême-Orient, the guidebook includes:

“…the fundamental ideas concerning the history of the country, its religions, the meaning and evolution of the monuments, their architecture and their decoration, the sculpture, and finally to the work of the Conservation d’Angkor, gives an initiation to Angkor that until now has been lacking.”

Tremmel’s online English version, based on the 4th edition introduced by Jean Boisselier,  is professionally translated and designed. Tremmel supplemented this new edition with more than 80 illustrations, including his own high quality photos that surpass those in the original edition (see examples below). The book also includes numerous diagrams and maps from the EFEO.

To download your free copy of this exceptional Angkor guidebook visit The Angkor Guide website. On his personal site, Nils Tremmel also offers beautiful guides to Haiti and to the Wonderland Trail circling Mt. Rainier in Washington state.

Modern Cambodia with the Angkor region circled in red.

Angkor Wat devata.

Angkor Wat devata on the second level.

Stucco detail at Prah Ko.

Bayon site plan

The face towers on The Bayon in Angkor Thom.

Angkor Wat, Siem Reap, Cambodia

By Kent Davis

Indiana Jones just needed a whip and a machete when he headed to the jungle in search of lost temples. As a modern explorer,  I use a digital set of tools to bring my Khmer treasures back from Cambodia. The truth is, I learn more about the devata (images of Cambodia’s sacred women) reviewing high resolution photos at my desk in Florida than I ever do in the field. The beauty and the complexity of Angkor Wat and other Khmer monuments is overwhelming…better to explore each image and view at length at my desk.

I took all the photos in my Khmer temple photo gallery with the equipment below.

But first a disclaimer…my skill as a photographer is pretty much limited to Point…and Shoot…I count on technology to do the rest! If you want to see what truly gifted photographers do in Cambodia, please visit the exceptional online photo galleries of Jaro Poncar and  John McDermott for images of Angkor Wat and other Khmer temples. For Cambodian dance and performance arts visit the galleries of photographers Anders Jiras and Andrew Page. And don’t miss Gary Ng’s beautiful shots of an Angkor sunrise on his first visit to Cambodia.

Camera Review

Pentax K20D 14.6MP Digital SLR Camera with Shake Reduction

I bought my K20D to do research photography in rough environments in Cambodia, Thailand and Laos. I’m not a technical equipment expert but I have plenty of experience using cameras as a tool of my trade. This review relates a few tips and personal impressions about this terrific camera.

I actually bought a K10D in January 2007 for a series of research trips in Southeast Asia. I took about 15,000 trouble-free photos with that camera when it was, unfortunately, destroyed in an accident (a fire, incidentally, and I think it would have survived just about anything else).

In November 2008 I bought a K20D as a replacement. I bought my K10D with the standard lens. This time I bought the body and lens separately, which gave me a much better camera for my application. I decided on a Sigma 18-50mm f/2.8 EX DC SLD ELD Aspherical Macro Lens for Pentax and Samsung Digital SLR Cameras, which I’ll review separately.

After my experience with the K10D it was a no-brainer to buy the K20D. Features are similar so there was no learning curve, and all my accessories (Pentax BG2 Battery Grip, Tamron AF 70-300mm f/4.0-5.6 Di LD Macro Zoom Lens, Pentax AF540FGZ Flash were compatible. The K20D is an even better camera with higher image resolution, color enhancement and (I think) improved image stabilization.

Battery life is outstanding – Up to 600 shots on one charge, including many with fill in flash and checking each shot in the LCD screen as it’s taken. With an extra battery this camera far exceeds my endurance for a day of shooting.

Two boy scout tips will make life better (or at least more relaxed) with this camera:

1. Buy an extra battery and charger – The uncommon format used in this camera makes these items very difficult to find in local camera stores (impossible to find where I go). No battery or no charger = no pix. I got this inexpensive kit with 2 Replacement Pentax D-LI50 Batteries and Mini Battery Charger for the K10D & K20D Digital SLR Cameras. Good insurance.

2. Take an extra USB cable to download your pix to computer. Like the batteries, the tiny D-shell connection to the K20D body is not a common size. On one trip when I lost this I ended up buying a flashcard USB reader because the cable was nowhere to be found…at least in Cambodia.

November 2008 I shot 7,000 trouble free photos in 9 days. High heat, high humidity and occasional jolts (oops) never slow this rugged piece of equipment down. A great camera that is easy to use in difficult shooting situations.

Lens Review

Sigma 18-50mm f/2.8 Macro Lens for Pentax

In 2007 I bought a Pentax K10D with the standard factory 18-55mm f/3.5-5.6 Lens. In 2008 I upgraded to the Pentax K20D 14.6MP Digital SLR Camera with Shake Reduction (Body Only) and chose to buy this lens separately. A great decision that gave me much better results.

I was worried about losing the extra 5mm of zoom but the lower light f2.8 capability absolutely made this lens the way to go. I’m a research photographer doing work in Khmer temples in Cambodia. My light conditions constantly range from “too much” to “not enough”. This lens performed perfectly in all conditions.

Mechanical motions are smooth and didn’t change in a recent 9 day temple shoot of 7,000 photos in 9 days. The lens feels solid and performed reliably.

I drove myself nuts researching dozens of lenses before deciding on this one. It seemed to offer the best ratio between performance and cost. I am delighted with my choice.

Monopod Review

Manfrotto 681B Professional Aluminum Monopod (Black)

Manfrotto 234RC Monopod Head Quick Release

Taking this on my December 2009 trip to Banteay Chhmar, Angkor Wat and the temples of Siem Reap and will report back soon. Anders Jiras recommended using a monopod when I met him in Phnom Penh in December 2009 — I’ve been looking forward to heading back with one ever since.

In Preah Khan, for example, it was painful to return home only to find less than crisp images of my Khmer goddesses. And this time, a new trick…one can use a monopod to easily elevate your camera another 6′ in the air…so my 6′ + 2′ for my arms + the 6′ monopod and the camera on a timer…wait until you see my next pix of the Hall of Dancers and the Nagini of Preah Khan! (-:

Tripod Review

Manfrotto 715SHB Digi Tripod

I’ve switched from a tripod to the monopod above for easier access to tight locations.

Scanner Review

Canon CanoScan 8800F Color Film/Negative/Photo Scanner

If you need a general all around scanner, this baby is for you. Great features, very versatile and a super price. Hey, an *incredible* price for the features! One immediate benefit is that this scans with instant-on LED light…no waiting a couple minutes for it to warm up like other scanners.

There are plenty of other reviews on Amazon from people smarter than me that will give you loads of technical info about all the features.

But are you looking to scan film?

Did you just have the great idea…”Hey! I’m going to take all my old film and digitize it so I can burn a DVD/post it on my blog/etc.”???

Me, too.

Well buckle up, my friend, it’s going to be a bumpy ride. If you want to digitize that giant pile of 35mm negatives you have in your drawer let me ask YOU a four questions…

• Do you work at home?
• Do you have a *lot* of free time on your hands?
• Do you run 2 computers at the same time?
• Do you have ADD?

If you answered yes, then your analogue past life is about to go glamorously digital. See…here’s the thing…scanning negatives is s……..l………o……….w. And tedious. And low quality

NOTE: I have been taken to task for this last comment…apparently some folks think scans from their 35mm images are better than what they get in this digital age. Hundreds of slides and negatives later, I disagree.

My experience (x 1,000) is that my 35mm negatives from the 70′s and 80′s are pretty sad compared to what you shot yesterday on your digital pocket camera. Sure, I shot plenty of grainy pix in poor light with ASA 200-400 film, but I also shot plenty of 100 speed. I now use a Pentax K20D 14.6MP Digital SLR Camera saving images at 7-9 megs. I’ve found nothing from a 35mm slide or negative that holds a candle to that.

Once I realized that my antique film medium itself is deficient, I stopped indulging myself in the fantasy that scanning at 9600dpi (extrapolated) would make a bit of difference. My slides and film just wouldn’t stand up to that.

I ended up scanning at 1200 dpi. It takes 2 minutes per frame.

If you’re lucky, you’ll have 6 frame strips and you can scan two strips at a time. That’s 24 minutes. If you’re not lucky (i.e. most of the time) the film strips are cut to 4 images. Two of those means 16 minutes. Then add the time to change strips.

You cannot use your computer for ANYTHING else while scanning. Don’t even think about it! So you will have to change film strips every 16 minutes…or every 24 minutes. Take your pick. So get ready to be interrupted every 16-24 minutes until you’ve relived your life.

Got a 36 exposure roll to digitize? Have over an hour to kill with 3-5 interruptions? Don’t need your computer for anything else (or have a spare computer humming)?

Then you’re ready for the adventure of negative film or slide scanning.

I’m not complaining, just reporting the facts. The alternative is to use a commercial service and pay around 50 cents per image. And if you think $18 is steep for the one *decent* frame off that roll of your trip to Thailand in 1991…I agree.

Conclusion – This scanner is as good as it gets…in this price range. Have fun!(-: