An anchor to Cambodia’s past

The National Museum of Cambodia in Phnom Penh is a vast complex. The red buildings with oblique roofs curve upwards at the ends of their triangles like naga with a flourish, and the tall finials that decorate these roofs rise like elegant peaks.

Constructed between 1917 and 1924, the museum was officially inaugurated in 1920, and reopened after renovation in 1979 with the fall of the Khmer Rouge.

Inside, a giant Garuda welcomes visitors, and on either side the hall stretches out into two wings. One is the gallery of the Buddhas: a four-cornered room set up like a shrine. Numerous in number and styles, and stunning, the statues are arranged to evoke a serene and meditative atmosphere.

Three young Cambodian women walk to the table in the middle. There is a bowl with water and floating frangipani on it and on the table's either side sit kneeling statues. The women pick some more flowers from their bags, and set it next to the bowl, clasp their hands, and bow in prayer.

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Then they move to an inner courtyard, in the centre of which stands Yama, the Hindu god of the underworld. Under a pavilion, he sits with one raised knee and a smile on his face, and the group lights incense before him, placing a white lotus in his lap, folding hands in prayer.

Museums, as houses of objets d’art, often take on an inert air where visitors are welcome to interact with what they see, but from a distance. American arts crime professor Erin Thompson thinks most are modelled to accommodate tourists more than local people.

But that is not the case at the National Museum of Cambodia. Here, the building could very well be a monastery or a large shrine, where figures of the Buddha co-exist with Hindu iconographies, much like in the three cities of the Kathmandu valley.

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Two separate statues of Yama, one in the National Museum (left) and the other in Angkor (right) with offerings before them.

“We want our museum space to be welcoming to the tourist visitors as much as to the locals,” says Chhay Visoth, the museum director. However, this is a slightly different expression of one’s belief which does not correspond directly to one’s religion.

For example Cambodia is predominantly Buddhist (97%), and the figures of Vishnu, Shiva, Skanda, Durga, Yama or even Bhim and Duryodhan are not so much physical manifestations of Hindu gods, but rather a link that connects Cambodia and its people to its past, and provides guidance — rather an anchor.

This is linked to the Khmer emphasis on ancestral and spirit worship, and perhaps intensified by the memories of Khmer Rouge, the reign of terror between 1975-1979 during which nearly 2 million Cambodians were systemically slaughtered  — nearly one-fourth of Cambodia's population then.

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“In our local faith and belief, even music, we want to keep the spirits around us happy and help us,” adds Visoth. “When we look at the Hindu statues, we see our own ancestors who made them. So even though we may not be Hindu ourselves and may not recognise the iconography, the gods and goddesses have spiritual meaning for us, keeping us in touch with our forebears.”

Hinduism made its way across the Bay of Bengal to what is now Indonesia and moved north to present-day Cambodia and Thailand some time in the 1st century CE. That was during the beginning of the Kingdom of Funan, the name given by ancient Chinese cartographers and writers to the Indianised states of Southeast Asia.

Hinduism was the official religion of the Khmer Empire (9th-15th century) which saw the construction of over a thousand religious buildings of varied sizes in its capital Angkor, including the famous Angkor Wat.

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The Khmers saw these temples as quite literally the home of gods rather than merely a meeting place for the faithful, built to represent the towering Mount Meru where Hindu gods are believed to reside.

Each Khmer king’s legacy was set to stone, delicately carved and moulded like clay. The bas-reliefs depicted scenes from the myths, or Angkor daily life. At night, the temples closed to allow the deities some restful sleep.

Much of the glory and might of the Khmer Empire today lies in ruins, owing to time and looters. Large blocks of sandstone and laterite punctuate the otherwise green landscape with shades of grey and red. Many sura and asura holding the great Vasuki naga on the bridges have their heads hacked off, and most of which are in currently in foreign museums and collections.

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When the French ‘re-discovered’ Angkor in the 19th century, it was already overtaken by the forest, with large constrictor-like Tetrameles rising from the cracks in the stones, their roots running along galleries and adding decorations to the doors. But Angkor was not ‘abandoned’ as ancient sites and ruins are often portrayed.

Although the Hindu faith and practices declined around the 13th Century in Cambodia to be replaced by Theravada Buddhism as the dominant religion, locals had a long-standing spiritual relationship with the temple complex, and continue today.

Pilgrims burrow into stone tunnels laced with moss to pray to the gods, as well as to ancient kings and queens. And they throng to the sparsely populated region of Koh Ker, 120km away, which was briefly the capital of the Khmer Empire in 928-944 AD.

Among the over 180 sanctuaries there, many dedicated to Shiva (Lingapura or Chok Gargyar, as it was known in the past), perhaps none is as imposing as Prasat Prang, a 36m high seven-tiered stone pyramid built by King Jayavarman IV.

As the original stairs are in bad condition, a new wooden one has been constructed which takes the visitor all the way to the top. It is a long, hard walk, especially in the humid weather.

Originally the pyramid had a 4m tall Shiva linga at the top but is now lined with blocks of stones and a wooden fence surrounding the shaft at the centre. Even then, all the way up here and almost touching the sky, devotees light candles and incense, leave food and flowers to the spirits — perhaps even to Jayavarman IV, who would have come up here, prayed and then looked out to the horizon and his vast empire.

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Well-attended statues of Vishnu and Laxmi at the Western entrance of Angkor Wat.

Back in Angkor Wat, the 5m tall statue of eight-armed Vishnu clad in golden robes stands at the western entrance. Devotees kneel before him holding incense and circling the figure, chanting prayers. On his left is a headless statue of Laxmi, similarly garbed in sapphire. Open cans of Coca Cola also sit on the altars as offerings.

“We pray to the god wishing for prosperity, and for goodness,” says Noah who has come with his family to visit the shrine. “It doesn’t matter whether we pray to the Hindu or a Buddhist god, because when we pray, we feel at peace with ourselves and those around us.”

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