Part 24 (1/2)

The monkeys are building the stone bridge over the sea. Rama is seen imploring the aid of the celestial protector, who sits on high, in grand and dreamy contemplation. Rama's father is challenging the enemy, while Rawana is engaged in combat with the leader of the many-wheeled chariots. There are many other figures of eight-handed deities; and all are represented with marvellous skill in grouping and action.

[Ill.u.s.tration: Ruins of the Naghkon Watt.]

The entire structure is roofed with tiers of hewn stone, which is also sculptured; and remains of a ceiling may still be traced. The symmetrical wings terminate in three s.p.a.cious pavilions and this imposing colonnade, which, by its great length, height, and harmonious proportions, is conspicuous from a great distance, and forms an appropriate vestibule to so grand a temple.

Traversing the building, we cross another and finer causeway, formed of great blocks of stone carefully joined, and bordered with a handsome bal.u.s.trade, partly in ruins, very ma.s.sive, and covered with sculptures.

On either side are six great platforms, with flights of steps; and on each we find remains of the seven-headed serpent,--in some parts mutilated, but on the whole sufficiently preserved to show distinctly the several heads, some erect as if guarding the entrance, others drawn back in a threatening att.i.tude. A smaller specimen is nearly perfect and very beautiful.

We pa.s.sed into an adytum, wardered by gigantic effigies whose mystic forms we could hardly trace; above us that ponderous roof, tier on tier of solid stone, upheld by enormous columns, and incrusted with strange carvings. Everywhere we found fresh objects of wonder, and each new spot, as we explored it, seemed the greatest wonder of all.

In the centre of the causeway are two elegant pavilions with porticos; and at the foot of the terrace we come upon two artificial lakes, which in the dry season must be supplied either by means of a subterranean aqueduct or by everlasting springs.

A bal.u.s.trade not unlike that of the causeway, erected upon a sculptured bas.e.m.e.nt, starts from the foot of the terrace and runs quite round the temple, with arms, or branches, descending at regular intervals.

The terrace opens into a grand court, crowded with a forest of magnificent columns with capitals, each hewn from a single block of stone. The bas.e.m.e.nt, like every other part of the building, is ornamented in varied and animated styles; and every slab of the vast pile is covered with exquisite carvings representing the lotos, the lily, and the rose, with arabesques wrought with the chisel with astonis.h.i.+ng taste and skill. The porticos are supported by sculptured columns; and the terraces, which form a cross, have three flights of steps, at each of which are four colossal lions, reclining upon pedestals.

The temple is thus seen to consist of three distinct parts, raised in terraces one above the other. The central tower of the five within the inner circle forms an octagon, with four larger and four smaller sides.

On each of the four larger faces is a colossal figure of Buddha, which overlooks from its eminence the surrounding country.

This combination of four Buddhas occurs frequently among the ruins of Cambodia. The natives call it _P'hra Mook Bulu_ (”Lord of Four Faces”), though not only the face, but the whole body, is fourfold.

A four-faced G.o.d of majestic proportions presides over the princ.i.p.al entrance to the temple, and is called Bhrama, or, by corruption, _Phram_, signifying divine protection.

As the four cardinal points of the horizon naturally form a cross, called ”phram,” so we invariably find the cross in the plan of these religious monuments of ancient Cambodia, and even in the corridors, intersecting each other at right angles. [Footnote: The cross is the distinctive character and sign for the Doctors of Reason in the primitive Buddhism of Kasyapa.] These corridors are roofed with great blocks of stone, projecting over each other so as to form an arch, and, though laid without cement, so accurately adjusted as to leave scarcely a trace of the joinings. The galleries of the temple also form a rectangle. The ceilings are vaulted, and the roofs supported by double rows of columns, cut from a single block.

There are five staircases on the west side, five on the east, and three on each of the remaining sides. Each of the porticos has three distinct roofs raised one above the other, thus n.o.bly contributing to the monumental effect of the architecture.

In some of the compartments the entire s.p.a.ce is occupied with representations of the struggle between angels and giants for possession of the snake-G.o.d, Sarpa-deva, more commonly called _Phya Naghk_. The angels are seen dragging the seven-headed monster by the tail, while the giants hold fast by the heads. In the midst is Vishnu, riding on the world-supporting turtle.

The most interesting of all the sculptures at Naghkon Watt are those that appear to represent a procession of warriors, some on foot, others mounted on horses, tigers, birds, and nondescript creatures, each chief on an elephant at the head of his followers. I counted more than a thousand figures in one compartment, and observed with admiration that the artist had succeeded in portraying the different races in all their physical characteristics, from the flat-nosed savage, and the short-haired and broad-faced Laotian, to the more cla.s.sic profile of the Rajpoot, armed with sword and s.h.i.+eld, and the bearded Moor. A panorama in life-size of the diverse nationalities, it yet displays, in the physical conformation of each race, a remarkable predominance of the h.e.l.lenic type--not in the features and profiles alone, but equally in the fine att.i.tudes of the warriors and hors.e.m.e.n.

The ba.s.s-reliefs of another peristyle represent a combat between the king of apes and the king of angels, and if not the death, at least the defeat, of the former. On an adjoining slab is a boat filled with stalwart rowers with long beards,--a group very admirable in att.i.tude and expression. In fact, it is in these ba.s.s-reliefs that the greatest delicacy of touch and the finest finish are manifest.

On the south side we found representations of an ancient military procession. The natives interpret these as three connected allegories, symbolizing heaven, earth, and h.e.l.l; but it is more probable that they record the history of the methods by which the savage tribes were reclaimed by the colonizing foreigners, and that they have an intimate connection with the founding of these monuments.

One compartment represents an ovation: certain personages are seen seated on a dais, surrounded by many women, with caskets and fans in their hands, while the men bring flowers and bear children in their arms.

In another place, those who have rejected the new religion and its priests are precipitated into a pit of perdition, in the midst of which sits the judge, with his executioners, with swords in their hands, while the guilty are dragged before him by the hair and feet. In the distance is a furnace, and another crowd of ”infidels” under punishment. But the converted (the ”born again”) are conducted into palaces, which are represented on the upper compartments. In these happier figures the features as well as the att.i.tudes denote profound repose, and in the faces of many of the women and children one may trace lines of beauty and tender grace.

[Ill.u.s.tration: Sculptures of the Naghkon Watt.]

On the east side a number of men, in groups on either hand, are in the act of dragging in contrary directions the great seven-headed dragon.

One mighty angel watches the struggle with interest, while many lesser angels float overhead. Below is a great lake or ocean, in which are fishes, aquatic animals, and sea-monsters.

On another panel an angel is seated on a mountain (probably Mount Meru), and other angels, with several heads, a.s.sist or encourage those who are contending for possession of the serpent. To the right are another triumphal procession and a battle scene, with warriors mounted on elephants, unicorns, griffins, eagles with peac.o.c.ks' tails, and other fabulous creatures, while winged dragons draw the chariots.

On the north side is another battle-piece, the most conspicuous figure being that of a chief mounted on the shoulders of a giant, who holds in each hand the foot of another fighting giant. Near the middle of this peristyle is a n.o.ble effigy of a royal conqueror, with long flowing beard, attended by courtiers with hands clasped on their b.r.e.a.s.t.s. These figures are all in _alto relievo_, and well executed.