Editing Khmer architecture (section)

==Elements==

===Bas-relief===
[[Bas-reliefs]] are individual figures, groups of figures, or entire scenes cut into stone walls, not as drawings but as sculpted images projecting from a background. Sculpture in bas-relief is distinguished from sculpture in haut-relief, in that the latter projects farther from the background, in some cases almost detaching itself from it. The Angkorian preferred to work in bas-relief, while their neighbors the [[Art of Champa|Cham]] were partial to haut-relief.

Narrative bas-reliefs are bas-reliefs depicting stories from mythology or history. Until about the 11th century, the Angkorian Khmer confined their narrative bas-reliefs to the space on the [[tympanum (architecture)|tympana]] above doorways. The most famous early narrative bas-reliefs are those on the tympana at the 10th-century temple of [[Banteay Srei]], depicting scenes from [[Hindu mythology]] as well as scenes from the great works of Indian literature, the [[Ramayana]] and the [[Mahabharata]].<ref name="Glaize, p. 36">Glaize, ''Monuments of the Angkor Group'', p. 36.</ref>

By the 12th century, however, the Angkorian artists were covering entire walls with narrative scenes in bas-relief. At [[Angkor Wat]], the external gallery wall is covered with some 12,000 or 13,000 square meters of such scenes, some of them historical, some mythological. Similarly, the outer gallery at the [[Bayon]] contains extensive bas-reliefs documenting the everyday life of the medieval Khmer as well as historical events from the reign of King [[Jayavarman VII]].<ref name="Glaize, p. 36"/>

[[File:Indraforestped01.JPG|thumb|right|A bas-relief in a [[tympanum (architecture)|tympanum]] at [[Banteay Srei]] shows [[Indra]] releasing the rains in an attempt to extinguish the fire created by [[Agni]].]]
[[File:Angkor Wat, wall details.JPG|thumb|right|The Battle of [[Kurukshetra]] is the subject of this bas-relief at [[Angkor Wat]].]]
[[File:Bayonmarket01.JPG|right|thumb|This scene from the outer gallery at the Bayon shows Chinese expats negotiating with Khmer merchants at an Angkorean market.]]
The following is a listing of the motifs illustrated in some of the more famous Angkorian narrative bas-reliefs:
* bas-reliefs in the tympana at [[Banteay Srei]] (10th century)
** the duel of the monkey princes [[Vali (Ramayana)|Vali]] and [[Sugriva]], and the intervention of the human hero [[Rama]] on behalf of the latter
** the duel of [[Bhima]] and [[Duryodhana]] at the [[Battle of Kurukshetra]]
** the [[Rakshasa]] king [[Ravana]] shaking Mount Kailasa, upon which sit [[Shiva]] and his [[shakti]]
** [[Kamadeva|Kama]] firing an arrow at [[Shiva]] as the latter sits on Mount Kailasa
** the burning of Khandava Forest by [[Agni]] and [[Indra]]'s attempt to extinguish the flames
* bas-reliefs on the walls of the outer gallery at [[Angkor Wat]] (mid-12th century)
** the Battle of [[Lanka]] between the [[Rakshasas]] and the [[vanaras]] or monkeys
** the court and procession of King [[Suryavarman II]], the builder of Angkor Wat
** the [[Battle of Kurukshetra]] between [[Pandavas]] and [[Kauravas]]
** the judgment of [[Yama]] and the tortures of Hell
** the [[samudra manthan|Churning of the Ocean of Milk]]
** a battle between [[Deva (Hinduism)|devas]] and [[asuras]]
** a battle between [[Vishnu]] and a force of [[asuras]]
** the conflict between [[Krishna]] and the asura Bana
** the story of the monkey princes [[Vali (Ramayana)|Vali]] and [[Sugriva]]
* bas-reliefs on the walls of the outer and inner galleries at the [[Bayon]] (late 12th century)
** battles on land and sea between [[Khmer people|Khmer]] and [[Cham (Asia)|Cham]] troops
** scenes from the everyday life of [[Angkor]]
** civil strife among the [[Khmer people|Khmer]]
** the legend of the Leper King
** the worship of [[Shiva]]
** groups of dancing [[apsara]]s

[[File:Colonettesbanteaysrei.JPG|thumb|This blind door at [[Banteay Srei]] is flanked by colonettes. Above the door is a [[lintel]], above which is a tympanum with a scene from the [[Mahabharata]].]]

===Blind door and window===
Angkorean shrines frequently opened in only one direction, typically to the east. The other three sides featured fake or blind doors to maintain symmetry. Blind windows were often used along otherwise blank walls.<ref>Glaize, ''Monuments of the Angkor Group'', p. 40.</ref>

===Colonnette===
{{Main|Colonnette}}
Colonnettes were narrow decorative columns that served as supports for the beams and [[lintel]]s above doorways or windows. Depending on the period, they were round, rectangular, or octagonal in shape. Colonnettes were often circled with molded rings and decorated with carved leaves.<ref>Glaize, ''Monuments of the Angkor Group'', p. 38.</ref>

{{multiple image
| align             = left
| direction         = horizontal
| header_align      = center
| header            = 
| image1            = Face Tower South Gate AngkorThom1048.jpg
| width1            = 150
| alt1              = 
| caption1          = Corbelled arch at the south gate of [[Angkor Thom]]
| image2            = Ta-Prom IntérieurGalerie.jpg
| width2            = 123
| alt2              = 
| caption2          = Corbelled hallway at [[Ta Prohm]]
}}

===Corbelling===

Angkorian engineers tended to use the [[corbel arch]] in order to construct rooms, passageways and openings in buildings. A corbel arch is constructed by adding layers of stones to the walls on either side of an opening, with each successive layer projecting further towards the centre than the one supporting it from below, until the two sides meet in the middle. The corbel arch is structurally weaker than the [[true arch]]. The use of corbelling prevented the Angkorian engineers from constructing large openings or spaces in buildings roofed with stone, and made such buildings particularly prone to collapse once they were no longer maintained. These difficulties did not, of course, exist for buildings constructed with stone walls surmounted by a light wooden roof. The problem of preventing the collapse of corbelled structures at Angkor remains a serious one for modern conservation.<ref name = "rlirmh">Glaize, ''Monuments of the Angkor Group'', p. 32.</ref>

===Lintel, pediment, and tympanum===
A [[lintel]] is a horizontal beam connecting two vertical columns between which runs a door or passageway. Because the Angkorean lacked the ability to construct a [[true arch]], they constructed their passageways using lintels or [[corbelling]]. A [[pediment]] is a roughly triangular structure above a lintel. A tympanum is the decorated surface of a pediment.

[[File:Pedlintelsrei 2.JPG|thumb|right|[[lintel (architecture)|Lintel]] and [[pediment]] at [[Banteay Srei]]; the motif on the pediment is [[Shiva]] [[Nataraja]].]]
The styles employed by Angkorean artists in the decoration of lintels evolved over time, as a result, the study of lintels has proven a useful guide to the dating of temples. Some scholars have endeavored to develop a periodization of lintel styles.<ref>See, for example, Freeman and Jacques, ''Ancient Angkor'', pp. 32–35.</ref> The most beautiful Angkorean lintels are thought to be those of the [[Preah Ko]] style from the late 9th century.<ref>Freeman and Jacques, ''Ancient Angkor'', pp. 32–33.</ref>

Common motifs in the decoration of lintels include the [[kāla (time)|kala]], the [[Naga (mythology)|nāga]] and the [[makara (Hindu mythology)|makara]], as well as various forms of vegetation.<ref>Glaize, ''The Monuments of the Angkor Group'', p. 40.</ref> Also frequently depicted are the [[Hindu]] gods associated with the four cardinal directions, with the identity of the god depicted on a given lintel or pediment depending on the direction faced by that element. [[Indra]], the god of the sky, is associated with East; [[Yama]], the god of judgment and Hell, with South; [[Varuna]], the god of the ocean, with West; and [[Kubera]], god of wealth, with North.<ref>Freeman and Jacques, ''Ancient Angkor'', p. 20.</ref>

====List of Khmer [[lintel]] styles====
*[[Sambor Prei Kuk]] style: inward-facing [[Makara (Hindu mythology)|makara]]s with tapering bodies. Four arches joined by three medallions, the central once carved with [[Indra]]. Small figure on each makara. A variation is with figures replacing the makaras and a scene with figures below the arch.
*[[Prei Khmeng]] style: continuation of Sambor Prei Kuk but makaras disappear, being replaced by incurving ends and figures. Arches more rectilinear. Large figures sometimes at each end. A variation is a central scene below the arch, usually [[Vishnu]] Reclining. 
*[[Kompong Preah]] style: high quality carving. Arches replaced by a garland of vegetation (like a wreath) more or less segmented. Medallions disappear, central one sometimes replaced by a knot of leaves. Leafy pendants spray out above and below garland.
*[[Phnom Kulen National Park|Kulen]] style: great diversity, with influences from [[Art of Champa|Champa]] and [[architecture of Indonesia|Java]], including the kala and outward-facing makaras. 
*[[Preah Ko]] style: some of the most beautiful of all Khmer lintels, rich, will-carved and imaginative. Kala in center, issuing garland on either side. Distinct loops of vegetation curl down from garland. Outward-facing makaras sometimes appear at the ends. Vishnu on [[Garuda]] common.[[File:Linteau du temple Preah Kô (Angkor) (6967952503).jpg|thumb|right|Rich-carved decoration of Preah Ko lintel]]
*[[Bakheng]] style: continuation of Preah Ko but less fanciful and tiny figures disappear. Loop of vegetation below the [[Nāga|naga]] form tight circular coils. Garland begins to dip in the center. 
*[[Koh Ker]] style: center occupied by a prominent scene, taking up almost the entire height of the lintel. Usually no lower border. Dress of figures shows a curved line to the [[sampot]] tucked in below waist.
*[[Pre Rup]] style: tendency to copy earlier style, especially Preah Ko and Bakheng. Central figures. Re-appearance of lower border.
*[[Banteay Srei]] style: increase in complexity and detail. Garland sometimes makes pronounced loop on either side with kala at top of each loop. Central figure.
*[[Khleang]] style: less ornate than those of Banteay Srei. Central kala with triangular tongue, its hands holding the garland which is bent at the center. Kala sometimes surmounted by a divinity. Loops of garland on either side divided by flora stalk and pendant. Vigorous treatment of vegetation.
*[[Baphuon]] style: the central kala surmounted by divinity, usually riding a steed or a Vishnu scene, typically from the life of [[Krishna]]. Loops of garland no longer cut. Another type is a scene with many figures and little vegetation. 
*[[Angkor Wat]] style: centered, framed and linked by garlands. A second type is a narrative scene filled with figures. When nagas appear, they curls are tight and prominent. Dress mirrors that of [[devata]]s and [[apsara]]s in bas-reliefs. No empty spaces. 
*[[Bayon]] style: most figures disappear, usually only a kala at the bottom of the lintel surmounted by small figure. Mainly Buddhist motifs. In the middle of the period the garland is cut into four parts, while later a series of whorls of foliage replace the four divisions.<ref>''Ancient Angkor'' guide book by Micheal Freeman and Claude Jacques, pp. 32–34,  2003</ref>

===Stairs===
[[File:Angkor Wat, Camboya, 2013-08-15, DD 054.JPG|thumb|left|The stairs leading to the inner enclosure at [[Ankor Wat]] are daunting.]]
Angkorean [[stairs]] are notoriously steep. Frequently, the length of the [[Stair riser|riser]] exceeds that of the [[Stair tread|tread]], producing an angle of ascent somewhere between 45 and 70 degrees. The reasons for this peculiarity appear to be both religious and monumental. From the religious perspective, a steep stairway can be interpreted as a "stairway to heaven", the realm of the gods. "From the monumental point of view", according to Angkor-scholar [[Maurice Glaize]], "the advantage is clear – the square of the base not having to spread in surface area, the entire building rises to its zenith with a particular thrust".<ref name = "rlirmh"/>