Kok Kvet Temple

Also recorded as Prasat Kok Khvet, it is a single laterite temple once featuring a brick superstructure and built upon a mound and laterite base that rises with three levels. It opens to the east with a sandstone doorframe flanked by unfinished sandstone columns and pilasters. Atop all that is a masterpiece of a lintel. Other sides of the temple feature false doors formed in the laterite with a stylish pediment relief.

The lintel is something else, a finely constructed piece that reflects the fine craftsmanship of what remains of the entire structure albeit seemingly unfinished. At its center, a Garuda with female worshipers above and male worshipers below, perhaps that’s a female deity center at top. On either side of the Garuda, a cluster of monkeys in various poses, while in the lower right corner, a band of monkeys with an array of instruments while in the bottom left, a reclining figure wrapped in cloth (?) resting on a man’s knee and overseen by worshippers in deep prayer and further overseen by seemingly concerned monkeys… The myological narrative at play? I have no idea at this moment!- Update: See historical notes further below.

Remnants at the site

Beside the temple is small pagoda and 200 m to the east is a large basin 100 m x 150m.

Historical Notes

At 1 km. 500 to the North-West of the same pagoda rises in the middle of the plain the Kük Khvět, classified under number 98 by L. de LAJONQUIÈRE.

This author’s description is accurate in its broad outlines, with the exception of the roof of this tower which was made of bricks as evidenced by the fragments of this material still embedded at the top of the tower and the significant scree of at least a meter high which clutters the interior of the cella.

This pràsàt offers a remarkable stage lintel to the east, a photo of which is given here. This piece seems to be read from top to bottom and left to right.

If we follow this order, the upper left part presents a fight between monkeys and, below, Rama and Laksmana struck down and bound by the magic arrows of Indrajit, transformed into snakes of which two heads can be seen immediately above. The desolate monkeys surround the heroes and lament.

In the center, Garuda, author of the deliverance, has the two brothers kneeling at his feet, their hands clasped on his chest. On the right the monkeys are celebrating liberation of their allies by dancing to the sound of an orchestra. It is the faithful illustration of an episode from the Rămāyana of Valmiki (sarga xLv, xLVı and L of Yuddhakāņda).

Men and monkeys wear the striped sampot with saddlebag; human faces are square and straight-browed. All navels are strongly indicated and extended by a horizontal fold. The figurines are very detached, the attitudes frank; the modeling is vigorous and, despite the abundance of characters, this piece is not confused. It is from the first period of classical art.

A schistose sandstone statue was placed under a nåk tà shelter located in the North-East; Unfortunately, the base and the entire bust are missing (pl. XXIX, c). Its exceptional interest made us bring it back to Phnom Péñ for the Albert Sarraut Museum. It is a representation of Uma-Mahişăsura: the goddess is dressed in a fine, tightly pleated sarong with partially scaled saddlebag; the garment is held in place by a belt with border strips. The left hand, resting on the knee, grips a finely indicated ax and the tail of the buffalo demon. The right hand, missing, pierced the beast using a spear whose handle passes diagonally through the sarong

In the back, the buttocks are slightly marked and the costume shows at the bottom, stuck against it and behind the right ankle, a small vertical decoration which one would be tempted to interpret as a buffalo horn, but which does not have the shape of the tusks of this animal and is placed opposite the tip of the spear which should pierce the withers of the beast. The garment is 2o centimeters high and the knees are 24 centimeters apart. This piece, from the early Classic period, is covered with a reddish patina so the recently chipped parts reveal the true blackish tint of the stone.

The country, around Vat Ratanàràm and Kük Khvět, has many ancient remains, mounds, nak tả, pieces preserved in pagodas; they appear to all be of primitive art or of the first period of classical art.

Dalet Robert. Quelques nouvelles sculptures khmères. In: Bulletin de l’Ecole française d’Extrême-Orient. Tome 35, 1935. pp. 147-158.

Rodney Charles LHuillier

Living in Asia for over a decade and now residing in beautiful Siem Reap - Contact via [email protected] - more..