Yingluck's visit to Cambodia

Yingluck's visit to improve relations: Cambodian deputy PM

PHNOM PENH, Sept. 9(Xinhua) -- The visit of the newly elected ThaiPrime MinisterYingluck Shinawatra (pictured) to Cambodianext week would definitely ameliorate diplomatic ties between the governments of the two neighbors, said Cambodian DeputyPrime Minister Sok An on Friday.

Yingluck has scheduled to make a one-day official visit to Cambodia on Sept. 15 to pay courtesy call on Cambodian leaders as she just becomes the new Thai prime minister.

"The visit will build better bilateral cooperation between the two countries," he told reporters at the Phnom Penh International Airport upon his return from the International Conference of Asian Political Parties (ICAPP) in China's Nanning.

The urgent and facing issue the two countries need to tackle is troop pullout from the provisional demilitarized zone of surrounding the 11th century Preah Vihear temple to comply with the order of the International Court of Justice and to end the two countries' military confrontation.

It was still unclear if Prime Minister Hun Sen and Yingluck would raise this issue during the upcoming meeting, said Sok An.

Cambodia and Thailand have had sporadic border conflict over territorial dispute nearCambodia's Preah Vihear temple since the UNESCO listed the temple as a World Heritage Site on July 7, 2008.

However, the military tension has eased since the former Thai Prime Minister Thaksin Shinawatra's Pheu Thai Party won a landslide victory in the general elections on July 3.

Meanwhile, Sok An, who is also chairman of Cambodian National Petroleum Authority, insisted that Cambodia and Thailand should resume oil deal negotiations for joint development at the overlapping maritime area in the Gulf of Thailand as soon as possible.

Cambodia and Thailand entered into a Memorandum of Understanding (MoU) regarding the area of their overlapping maritime claims to the continental shelf in June 2001, setting out an agreed area to be delimited and an agreed joint development area (JDA), but the talks was in limbo during the former Thai government under Abhisit Vejjajiva's administration.
Editor: Xiong Tong

Guides in Phnom Penh

Cambodia Investment

http://www.business-in-asia.com/cambodia/investing_countries.html

cambodia-unemployment_rate

http://www.indexmundi.com/cambodia/unemployment_rate.html

Architectural Words by Dararith

Rosette: ក្បាច់ផ្កាចន្ទន៍

Florets: ផ្កាតូចៗ

Scenario lintel: ផ្តែរឿង

Garland:​​​ កម្រងផ្កា

Pendant: ផ្ការំយោល

Foliage branch: ក្បាច់ជួង

Diverging tendril: ក្បាច់ខ្យងហៀនបែមុខចេញក្រៅ​(ក្បាច់ស្លឹកមានរៀងដូចទំពួក)

Tendril: ក្បាច់ខ្យងហៀន

Median: ក្បាច់ពេជ្រ

Decorative motive: ក្បាច់លំអ

Central medallion: ក្បាច់ជួងកណ្តាល

Elegance: ភាពខ្ចង់

Refinement: ភាពរស់រវើក

Ornamentation=decoration=adornment : ការតែងលំអ

Stylized lotus petal motif: ក្បាច់ត្របកឈូក

Diverging ( facing outward ) # converging ( facing inward)​បែមុខចូល

Capital : bracket: ក្បាលសសរ

Shaft : ដងសសរ

Base: ជើងសសរ

Quarter: ¼

Eight points: 1/8

Inverted “U” ​​អក្សរអ៊ុយផ្កាប់​​ "π”

Segmented motif : ក្បាច់ខ័ណ្ឌគ្នាជាកង់ៗ

Worshiper : ទេពប្រណម្យ

Curved triangular leaves: ក្បាច់ស្លឹកឈើវែងៗ

Spitting out arches: ខ្ចាក់អាក់ខ្លីៗ

Pearl motif : ក្បាច់ពងត្រី

Raised trunk: ប្រមោយបះទៅលើ

Four paws: ជើងបួន

Vertical # horizontal

Parameter បរិមាត្រ

Concentric : សហភានី​ (Having the same center)

Raised earth levees : ទំនុប, កំផែងដី

Stanza : វាគ, គាថា

Panegyric

Slab :បន្ទះ

Groove: សា្នម​លក, ចង្អួរ

 A string of bell : ចង្រង់

Blind Arches:​​​ អ័ក្សខ្លីៗ

Central motif: ក្បាច់លំអកណ្តាល

Serpent collar: ខ្សែសង្វារជាសត្វពស់

Lintels Of Pre-Angkor Period

Lintels of the decorative style of Sombor Prei Kuk are displayed in Hall A of the sounthern portico. No lintels illustrating the style of Phnom Dā have been found.

 The lintels on display have been classified into two types.

The various parts of the lintel are described by number below:

Lintel Sections

1.     Foliage branch

2.     Central medallion

3.     Quartile or secondary medallions

4.     Foliage branch extremities

5.     Pseud-tympanum

6.     Part above foliage branch

7.     Upper frieze

8.     Band

9.     Brackets

The decorative motifs of these nine parts vary according to the style of the lintel.

Two Types of Lintel

In general it is possible to distinguish two types of lintel, the plant decor lintel (first type) and lintel depicting a scene (second type).

The entire surface of the second type of lintel is usually covered with images.

The lintels are displayed in pairs, as in the other halls of the porticos.

Hall A

174. k> 1743  Lintel

VII^th Century

Temple de Bora, Thalabarvat, Stung Treng

L: 250 cm

C: 141 C: 30.26

This lintel is of the first type. The central motif is a standing Garuda carrying a nāga in both hands. The two edges of the foliage branch end in two converging makara (mythical animal with the power to make ships sink) swallowing or spitting out arches. Each blind are is decorated with two rows of peal motifs and a rosette. There are garlands and pendants on the pseudo-tympanum. Each makara has a raised trunk, two tusks, large eyes, short body, long tail like a crocodile and four paws. Its neck is adorned with a string of bell. Its teeth resemble those of a buffalo. The Garuda wears a can kpin sampot with a drape in the front.

175. k> 1748  Lintel

VII^th Century

Sambor Prei Kuk, Kompong Thom

L: 283.8 cm

C: 131 C: 30.24

The foliage branches of this lintel are composed of four blind arches. The central motif central is a standing Garuda holding a pendant in his left hand. The decorative motifs of the secondary medallions are also standing Garuda. The edge of the foliage branch shows fighting between Garuda and Nāgarāja[1].

The pseudo-tympanum depicts a group of musicians and a dancing Śiva (below the central medallion). He is recognizable due to his third eye serpent collar. The brackets are adorned with heads of beasts.

Note that the divergent makara of the lintel in this style are a rare depiction.

176. k> 1516  Small Column

VII^th Century

Wat Choeng Kandal

Phnom Penh, Kandal

H: 159.6 cm

C: 3  C: 31.3

Small colomns are used to support lintels. Most of the columns of the Sambor Prei Kuk and Prei Khmeng styles are round.

Each column is divided into three sections: the capital, shaft and base. The capital is adorned with a bulb, typical motif of the Sambor Prei Kuk style. The base is decorated with garlands and pendants. The shaft is smooth and decorated with a median or central decoration and a ring of ribbing at the upper and lower quarter points.

Hall B

 177. k> 1761 Buffalo-Shaped Yonī

VII^th - VII^th Century

Phnom Dā, Angkor Borei, Takeo

Diameter: 207 cm

C: 167  C: 21.5

This object highlighs the artist's skill at stylizing a circular piece in the shape of a buffalo. The yaksa (incarnated as a buffalo) was the enemy of Durgā. Durgā kills the enemy and we can then deduce that this piece represents Durgā.

178. k> 2101  Lintel Supported with Columns

VII^th  Century

Origin unknown

L: 128.3 cm 

No former numbers

In the Prei Khmeng style the foliage branch is straight. The ornamentation of the central and quartile medallions and of the edges of the foliage branch are florets. The pseudo-tympanum ha the same ornamentaion as in the Sambor Prei Kuk style. Some lintels in this style are scenario lintels. The brackets are adorned with rosettes.

179. k> 1789 Lintel with Reclining Visnu Scene

Late VII^th Century

Tuol Ang, Kompong Speu

L: 220.2 cm 

C: 173  C: 30.29

This lintel depicts Visnu reclining on a seven-headed nāga on the ocean. When he lies down, a lotus grows from his navel. The Brahma is seated on this lotus. The ocean is represented by wavy relief work. There are various fish in the ocean, in addition to two makara. The first makara is located to the right of Visnu and the other below the nāga's head.

The four-armed Visnu's lower right hand lies against his body.

The upper right hand holds stem. His head cylindrical mukuta rests on the upper left hand. The palm of the lower left hand is opened and holds the head of the nāga. The motifs of the edges of the foliage branch are large florests. The flower decorations on the central medallion or on the lintel quartiles are replaced by figures in certain lintels of this style.

Western Portico

Hall A

180. k> 1793 Lintel

VIII^th Century

Wat Kompong Chhang, Baribor, Kompong Chhang

L: 185 cm 

C: 15  C: 30.1

This lintel is in the Kompong Preah style (706-800). Its foliage branch transforms itself into an arched and segmented line. On either side of this branch, the upper section ends with leaves and the lower section tendrils.

 The ends of the foliage branch are leaves with diverging tendrils.

This lintel does not have medallions at the quarter points.

---

Khmer Art.  M.  Giteau and D. Guéret. p. 49 

Hindu Trimurti

81. k> 718 Hindu Trimūrti

Beginning of the  XI^th Century

Angkor Conservation, Siem Reap

H: 81.3 cm

No former number

This Śiva divinity has three busts representing the trinity of the three most important Hindu deities.

The main figure is Śiva, who has five heads arranged in two rows.  The first row has four heads while the second one has only one. The upper head wears a diadem. Its chignon is identical of  Brahma ¬k>1669) and is adorned with a small crescent moon. Each of the faces has the third eye in the center of the forehead.

The two upper hands are clasped to the chest. The eight other arms are small and freestanding. The sampot has a large folded edge.

Under its arms, to the right, one of the hands of Brahma appears to be holding a vase. To the left, Visnu apprears to be holding a sphere but the object is inditinguishable.

Śiva is carrying Brahma on his right hip and Visnu on his left. The two figures melt into Śiva's sampot. Brahma has one head and four arms. His lower right hand appears to be holding a spoon, while another hand, which rests on Śiva's back seems to be clasping a book.

Visnu's right hand (whereabouts of head unknown) rests on Śiva's back and appears to be holding a sphere. Brahma and Visnu are also wearing sampots.

This masterpiece illustrates the axis of symmetry, the vertical line that passes through Śiva's third eye and navel, which is a principle of Khmer art.