Cultor.org educators have now translated the initial results into Italian, and produced the captivating video overview below for Italian viewers.

Founded by the University of Turin in 1999, Cultor — an acronym forCultura Torino— now provides exceptional cultural resources online at Cultor.org. Their extensive Internet resource has become one of the most important cultural websites in Europe with more than 18,000 visitors each month.

A New Study Offers Historical Insight
on the Temple’s Female Imagery

By Michelle Vachon – The Cambodia Daily

Click here for PDF Version (1.6 meg)

© 2010 The Cambodia Daily – This article appears with the permission
of the copyright holder. No further reproduction is permitted.

The Cambodia Daily's Weekend featuring the women of Angkor Wat

In 1927, Sappho Marchal, the 23-year-old daughter of Henri Marchal who was over­seeing restoration of monuments at Angkor Wat at the time, published a book on the hair­styles, clothes and jewelry of 1,737 sculptures of women she had located on the walls and columns of Angkor Wat.

And until recently, no archeologist or historian at Angkor had wondered why so many nearly life-size images of human beings filled the 12th century monument and why these sculptures were only of women, said Kent Davis, a researcher and publisher of DatAsia Press.

“Despite 150 years of intense study, the Khmer pundits who surveyed every temple and measured every stone only thought to consider these women as decorations, rather than as people.” Mr Davis said.

“Visitors were apparently content when the experts told them that the most complex collection of full-body portrait carvings ever created in a single ancient human generation were simply ‘Imaginary wives to serve the king in heaven’ Total nonsense, but it flew for 150 years.”

Angkor Wat general devata types.

One researcher had written a short essay on the resemblance between the features on a few sculptures and hill tribe women.

Another had viewed the sculptures in a mythological context but without going further, he said.

So Mr Davis embarked on his own research in 2005, eventually getting in touch with art historian Peter Sharrock and archaeologist Robert McCarthy, who are studying these woman sculptures but concentrating on the era of Jayavarman VII, which took place about two generations after the construction of Angkor Wat.

Devata faces from the inside wall of the West Gopura at Angkor Wat.

Scholars refer to the women as devatas (deities), when portrayed in large sculptures, and apsaras (dancers and singers of the gods), when groups appear in smaller sculptures.

Mr Davis has identified 1,796 sculpted images on Angkor Wat through his research, expanding on inventories done by stone conservators with the German Apsara Conservation Project.

Once Mr Davis took digital photos of the group, he asked a team from Michigan State University in the US for help developing a computer tool to analyze the sculptures.

This has prompted the first scientific study to be conducted on Angkor Wat’s women figures. Its results will be presented on Sunday in Istanbul at the conference of the International Association for Pattern Recognition on computer vision.

Angkor Wat general devata types.

Anil K. Jain — a professor in several of the university’s departments including computer science and engineering, statistics and probability — will explain the computer analysis model that he and two of his students developed to analyze the features of women sculpted on the surface of the monument.

For this first study, Mr Jain and his team concentrated on 252 devatas located on Angkor Wat’s entrance pavilion called the West Gopura.

As they mention in the summary of their study entitled “Clustering Face Carvings: Exploring the Devatas of Angkor Wat [925k PDF download],” Mr Jain and his team had to devise a program to compare devatas on well preserved as well as eroded stone and on different types of stone, which some existing programs did not make possible.

Features of some devata faces were damaged by erosion over the centuries.

They designed the tool to analyze whole faces, proportions in features, such as the distance between the eyes or between nose and mouth, as well as specific features including ears and chins. This program will also give future researchers the flexibility to change features to be analyzed.

“While the landmarks for many different facial components were marked, in this study we used only four of the major facial components (eyes, nose, mouth and face outline) for clustering the devatas into 8 groups,” they write in their summary. [see bottom of article for composites of facial feature variations]

These groups of devatas sharing specific features may reflect the features of women who actually lived at Angkor at the time and the fact that they came from different regions such as central Cambodia, Laos, northern­central Thailand, Champa in today’s Vietnam, and China.

The initial pattern recognition algorithm defined eight distinct facial types.

“There is [a report from the year 1225] in China which says 200 foreign women danced and made offerings to the Buddha in Jayavarman VII’s temples. So Angkor was an international center,” Mr Sharrock wrote in an e-mail.

However, whether these eight groups of devatas correspond to women who lived at Angkor when the temple was built has yet to be seen, he said, “These are early results only. More tuning and more data manipulation is needed before strong claims can be made.”

In Mr McCarthy’s opinion, the sculptures may be idealized versions of living women who served as royal temple caretakers.

“The possibility that the role of guardian was taken by both female (in the majority) and male (in the minority) should not be ignored. Just as age and region of origin within the Khmer Empire does not appear to be a problematic factor within the devata community of temple guardians,” he wrote in an email.

Angkor Wat general devata types.

Both Mr Sharrock and Mr McCarthy agree that this computer analysis tool shows great potential.

“In Angkor Wat there are clearly differences between the elaborately coiffed devata inside the outer western gallery and inside the courtyards of the main temple and the more powerful, larger and more serious-faced devata on the higher level of the temple and the central tower. Why there are these differences we do not yet understand.” Mr Sharrock said Mr Davis’ research with this computer program may help answer some of those questions, he added.

When analysis expands to include more features such as headdresses, jewelry, hands and feet, the differences from one to the other image may help, Mr McCarthy said, “unlock secrets of not only the devata of Angkor Wat but those earlier and later devata traits [...] to assist in identifying artistic techniques that may lead to the identity, in unique styles only, of the craft people who supervised and those who carved the bas-reliefs.”

Mr Davis’ goal is to include Mr Jain’s program in a comprehensive database of Angkor Wat’s 1,796 sculpted images of women that tracks 65 characteristics — including location, features, compass orientation, hair styles, jewelry designs, hand positions, fabric patterns — of each image, he said.

He is now editing in a book [Daughters of Angkor Wat] compiling researcher’s opinions and speculations regarding the devata sculptures over the past 100 years.

***

Facial Feature Variations

Angkor Wat eye composite photos.

Angkor Wat devata nose comparison photos.

Angkor Wat devata mouth comparison photos.

Angkor Wat chin comparison photos.

Cultor's Oriental section presents research translations from authoritative experts in a variety of fields.

TURIN, ITALY — The European Renaissance (Rinascimento) began in 14th century Italy. Now, 21st century Italians are learning about Khmer contributions to world art and culture in their native language thanks to Cultor.org.

Founded by the University of Turin in 1999, Cultor — an acronym for Cultura Torino — now provides exceptional cultural resources online at Cultor.org. Their extensive Internet resource has become one of the most important cultural websites in Europe with more than 18,000 visitors each month.

Recently, Cultor.org began translating original research about the Khmer civilization from Devata.org. Devata focuses on investigating the sacred women depicted at Angkor Wat, a 12th century Hindu temple located in northern Cambodia. The vast Angkor area is now a UNESCO World Heritage Site.

Angkor Wat fascinates archeologists and tourists alike, yet the temples most amazing treasure remained unexamined. According to Devata.org founder Kent Davis: “Angkor Wat contains the most extraordinary ancient portrait gallery in the world, and every subject honored is a woman.”

Throughout the immense stone building, Davis has cataloged 1,796 individual Asian women who appear in highly detailed full-body carvings. They are now called devata or apsaras — Sanskrit terms for heavenly maidens of great beauty and elegance — but no one knows what the ancient Khmer people called them or what roles they served in the society.

Who were they? Why did designers choose only women to dominate their greatest temples? No one knows. When the civilization collapsed, its people vanished without leaving any written records about Angkor Wat’s design or meaning.

Cultor's logo shows the Turin coat of arms.

Devata.org founder Kent Davis fully supports the Cultor exchange saying “Italian sculptors have rendered and appreciated classic human forms in stone for millennia. To me, this makes Italian scholars and students ideal observers to consider the refined women of Angkor Wat. I look forward to hearing their opinions after reading about this mystery in their own language.”

According to Cultor.org’s manager of media relations, Enzo Di Gesù, Cultor is an organization of scholars, independent of political and religious beliefs, seeking to disseminate information on the history, art and aesthetics of cultures around the world. The online environment allows Cultor to emphasize both academic and artistic aspects in their virtual exhibitions.

For more information, please visit the Cultor.org resources below:

Aesthetics

City of Turin

Cultor International Partners

Documents and historical research

Eastern art and culture

The Turin Laboratory focuses on the history and the development of the city itself.

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 1,796 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 Archaeological 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 Archaeological 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..

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.

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

Angkor Wat, Cambodia – This article identifies working counts and locations of all devata (sacred female) images in Angkor Wat. We have numerically identified 1,796 devata at the temple, not including those on the high towers.

In her 1926 study, Sappho Marchal cited 1,737 devata, possibly not counting some that are partially completed, worn away, covered by stone blocks (sealed doorways on level A1) or “aerial devata” located on Angkor Wat’s top towers.

Angkor Wat's main structure with key devata locations labeled.

DatAsia’s numbering system identifies devata carvings sequentially in five defined structural areas.

A1 – Angkor Wat Top Level (Bakan) + Central Tower

A2 – Angkor Wat Second Level + 2 Libraries

A3 – Angkor Wat Third Level (outside only) + 2 Libraries

Angkor Wat West Gopura (entry gate)

A4 – The West Gopura – Entry gate to Angkor Wat

A5 – Angkor Wat South + West Gates (no devata at North Gate)

Our numbering convention identifies the Level; Structure; Inside/Outside Location (relative to the center of the temple); Sequential Devata Number + Additional Details (this can include the feature, photographer, raw photo number, etc.)

e.g. A4-GW-I-009-K
This means the devata is located in area A4, Gate West, Inside, Devata #009, photo by Kent Davis

All numbering begins at the southwest corner of each structure and goes sequentially counter clockwise (from South to North on the West Gopura).

Devata Inventory at Angkor Wat

Angkor Wat Devata - West Gopura

A1 – 407

Central Tower – 64   (#001-062)
Central Tower Aerial – 16 (NW-NE-SW-SE x 4)
OUTSIDE – 201   (#001-198)
INSIDE – 126   (#001-124)

A2 – 647

A2 OUTSIDE – 341   (#001-328)
A2 INSIDE – 222   (#001-217)

A2 Libraries
North – 44   (#001-044)
South – 40   (#001-040)

A3 – 414

OUTSIDE – 241   (#001-241)
INSIDE- 0

A3 Libraries
North – 46   (#001-046)
South – 20   (#001-020)

Angkor Wat Devata - West Gopura

West Inside Chambers
Center – 28   (#001-028)
North & South – 8+8   (#001-016)

Cruciform Gallery
North – 34  ( #001-034)
South – 29   (#001-029)

A4 – Gate West – 259

West (OUTSIDE) – 119   (#001-119)
East (INSIDE) – 124   (#001-122)
Entry Chamber North – 8   (#001-008)
Entry Chamber South – 8   (#001-008)

A5 – 69

A5-South Gate – 25   (#001-024)
A5-East Gate – 40   (#001-040)
A5-West Library – 4*   (#001-004)

Total: 1,796 unique devata

*These devata are a different style and appear to have been added during the reign of Jayavarman VII or later. There are other devata with questionable styles that may also have been added later.

The A1 exterior towers may also have as many as 16 devata each, which could increase the inventory by 64 additional devata.

NOTE: Original DatAsia numbers were assigned to correspond with the German Apsara Conservation Project database so that data could be compared.

Unfortunately, the GACP database has numerical anomalies due to later additions. For this reason, some numbers have more than one devata (e.g. 100a, 100b). This, therefore, results in areas such as A1 Outside, where the numerical sequence only goes to 198 but covers a population of 201 devata.

Another issue is that the GACP system numbers counterclockwise, even for devata inside levels A1 and A2. This means that they are numbered right to left (…3, 2, 1) instead of left to right (1, 2, 3…), which is less intuitive when viewing.

When the Devata.org database is complete a final, sequentially perfect number will be assigned to each devata portrait. In the meantime, however, we continue to use the legacy system for easier cross referencing.

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.