วันเสาร์ที่ 10 มกราคม พ.ศ. 2552

SDOK KOK THOM : A Reconstruction of Meaning and Spirit from the Heap of Stones (III)

Figure 5: The main sanctuary before anastylosis
Architectural Features : Information After Excavation The sanctuary complex can be divided into 2 layers. Firstly, the outer layer, which comprises laterite walls surrounding the whole group of buildings. The walls have only 2 entrances; the Eastern Gopura (gateway) to be called the Outer Eastern Gopura, which is the main entrance; and a small gateway on the western side. Secondly, the inner layer comprises a group of buildings surrounded by galleries on four sides. The middle of each gallery is located with a gopura, namely, Inner Eastern Gopura, Western Gopura, Northern Gopura and Southern Gopura. The Inner Eastern Gopura is the largest and the only entrance to the inside. Between the walls and galleries is a moat, which is now dried up instead of being filled with water as in olden days. The excavation revealed the width of the moat to be 20 metres approximately. The area inside the galleries is a terrace paved with laterite. The main sanctuary is situated in the middle, to the front of which are 2 buildings called bannalai (library). These Bannalais are located to the north and south of the main sanctuary, with their entrances facing east.

To the front of the Outer Eastern Gopura is a causeway paved with laterite and decorated with large stone pillars called “Sao Nang Riang”, standing in rows on both sides of the causeway which leads to the Barai (reservoir). The Outer Eastern Gopura is a large structure built of sandstone, with main entrance in the middle, which opens to the inner area. This gopura was restored before a systematic study was carried out; therefore, it is not mentioned in this paper. From the Outer Eastern Gopura, there is a laterite-paved causeway decorated with Sao Nang Riang leading to the Inner Eastern Gopura.

The galleries are built of sandstone and laterite with laterite base. The outer walls are mainly laterite except those parts with carvings i.e. window and door frames and other decorative elements, which are made of sandstone. The inner walls of the galleries comprise openings made of sandstone. It is noticeable that the Inner Eastern Gopura is more prominent than other 3 gopuras. Apart from its larger size, the Inner Eastern Gopura is built with sandstone on laterite base and has tiered roofs, however, the excavation did not revealed the original feature of the roof. Other gopuras of the galleries are mainly made of laterite and the roofs are simple, not tiered. The 3 other gopuras have porticos that face to the main sanctuary, with entrance of each gopuras in the middle of the portico.

The north and south bannalais have same planning and design. The entrance of each building is situated to the west, facing the main sanctuary. The front of the building is a portico and the inner room has windows with traces of stone balustrades on both sides. The bases of both buildings are made of laterite and the buildings are of sandstone.

The main sanctuary is a Prasat (building with high-tiered roof) style architecture built of white sandstone on a large laterite base. The interior has only one chamber for performing rituals. There are 4 stairs, one on each side. Above the stairs is a base which supports the body of the building, which has settled into the base because of its enormous load. Most of the upper part of the building had collapsed thus only 2 of the walls existed, namely, the western and the southern walls with blind doors. The roof part remained only the stone core, therefore, the architectural feature was difficult to comprehend. Surrounding the main sanctuary are 16 stone pillars, similar to Sao Nang Riang but smaller.
Figure 6: Experimental reassembling of fallen stones
The experimental reassembling of fallen stones and dismantled stones, and comparative study of the monument to other monuments with similar characteristics were carried out in order to get a better understanding of the monument. Dating of the monument helped in analyzing and hypothesizing of the missing parts with more accuracy. The comparative study as mentioned was defined to the dates directly related to those specified in the 2 inscriptions, that is, between Koh Ker period ( 921 – 952 AD.) and Baphuon period (1017 – 1087). The styles between these 2 periods comprises Pre Rup (947 – 972), Banteay Srei ( 967 – 1007) an Khleang (972 – 1017). Details of study of each element are described as follows :

The causeway decorated with Sao Nang Riang : The excavation rendered a large number of shards which were parts of Sao Nang Riang, however, the complete pillar was not discovered. It was known afterward that some complete ones were kept at Wat Ta Phraya, therefore, the working team contacted the temple to get the information and asked for cooperation in returning the pillars to be used in restoration. Although there were several cases of causeway decorated with Sao Nang Riang, the knowledge on criteria of using Sao Nag Riang is not sufficient to reach a conclusion. However, from comparative study, it was discovered that the first use of causeways decorated with Sao Nang Riang to accentuate the entrance was at Banteay Srei.

Inner Eastern Gopura : the experimental reassembling was successful in completing several sets of gable. The information obtained was analyzed and concluded that the top of roof decoration was in shape of a small gable, the same as the one found at the gopura of Banteay Srei. Nevertheless, the gopura at Sdok Kok Thom is larger and more developed in design. The features of carvings on lintels clearly indicate the Baphuon style. The gable decorated with Nagas and foliage indicate a Khleang style or the style at the turning point between the 2 periods, which is different from Banteay Srei. As for the Northern, Southern and Western Gopuras, the excavation rendered a large amount of brick and Brali (roof ridge decorative element), therefore, it is believed that the roofs of these gopuras were covered with brick and decorated with Bralis on the ridges. The information was confirmed by the marks on the gable which were made to be connected to the brick roof.

Galleries : The plan of the galleries roughly indicate the date of the building, that is, the first galleries in Khmer art appeared in Khleang period. The study of the designs on the gable rendered the same result as mentioned in the topic of gopuras, that the style is the turning point between Khleang and Baphuon.

Bannalais : The experimental reassembling revealed that the buildings were gabled, as seen from 3 sets of gable stones for each building. The stone roofs were made with ventilation grills at the clerestories on both sides, which is comparable to the Bannalais at Prasat Thom, Koh Ker, which are 2 buildings standing parallel to each other, with entrances facing the main sanctuary. Monuments of this style are seen in later periods i.e. Banteay Srei and Khleang, etc. the designs on the gables also indicate the connection of Khleang and Baphuon styles.
Figure 7 - 8: Inner Eastern Gopura
Figure 9: Somasutra pipe
Main Sanctuary : From experimental reassembling, the inner chamber was discovered with remains of a large image base, believably a Shiva Lingam as mentioned in the inscriptions. The wall on the northern side, in the middle of the blind door, has a Somasutra pipe for carrying holy water from the ceremony inside the building to worshippers outside. The gables of the main sanctuary were found to be of 5 different sizes, the largest of which fits the size of the gateway in form of 2-tiered gables. The 4 other gables, therefore, should match the 4-tiered roof of the building, whose stones and the topmost water jar-shaped stone, and a stone for laying sacred objects, have been found. All tiers of the roof, therefore, have been discovered and the complete architectural feature of the building was successfully concluded. A lintel was found during work whose size and location when discovered indicated its position to be above the main entrance on the eastern side. The designs on the lintel belong to Baphuon style. There were other lintels from Sdok Kok thom which had been kept and exhibited at Prachinburi National Museum, the size and style of which indicated their original positions to be at the main sanctuary. The gables, after experimental reassembling, are of the same style as those of the gopuras, depicting Nagas and decorative designs inside the gable frame , terminated on each side with a Naga head, suggesting the turning point between Khleang and Baphuon styles. The corner decorations of each tier of the roof called “Nak Pak” are in shape of Nagas, the same style as those found at gables. However, the building of a single Prasat on a large laterite base is different from the main sanctuaries found in other Baphuon sites, which have a rectangular hall called Mandapa connecting to the main hall in the front by an Antarala. The feature of the main sanctuary of Sdok Kok Thom is more referable to mountain style sanctuaries, for instance, Paksi Chamkrong and Prasat Thom in Koh Ker art.

The most interesting elements of Sdok Kok Thom are the laterite terrace and Sao Nang Riang pillars surrounding the main sanctuary, for these are the features not found at other sites in Thailand and Cambodia although the determination of sacred area by setting up stone pillars have been mentioned in several inscriptions. These special characteristics, which should be related to the determination of sacred boundary found at this site conforms to the information obtained from the inscription that was related to the Brahmin Gurus of the reign.
Figure 10: Naga, Khleang - Baphuon styles
Figure 11: Sao Nang Riang pillars from Wat Ta Phraya
Figure 12: Sao Nang Riang pillars surrounding the main sanctuary
Balance between Authenticity and Interpretation
Information obtained from experimental reassembling, especially the information on the main sanctuary, give us a perception on the complete architectural feature of the building although it was unable to discover all the original stones. Evidences of stones from every layer confirm the height and decorations of the original. The discovery and restoration of remains of Shiva Lingam base and Somasutra pipe that carried the perfumed water or milk that the Brahmins poured over the Shiva Lingam and became holy water to the worshippers who waited outside the sacred area, is significant in terms of interpretation on function, meaning, and spirit of the monument even though they are not in complete form and the Shiva lingam was lost.

Restorations of Khmer monuments in Thailand have followed the principles laid out in the Venice charter rather strictly that the restoration of several sites had a large number of original stones left unused, which are mostly those belonged to the upper parts of the building that required a large number of new stones for support in order to return them to their original positions. However, the laying of stones on the ground or exhibiting them in the museum do not satisfactorily help visitor on understanding of the monument.

In the case of Sdok Kok Thom that complete information has been obtained, the concept on interpretation has been applied in restoration design. The authenticity of materials can be achieved by returning original stones to their positions with original techniques, using no mortar, whereas authenticity of architectural form has also been taken into account. Additional materials was specified to have similar colour to the originals for harmony of overall appearance, yet distinguishable from the originals by texturing, that is, the new blocks of stone were finished with iron tools as those in the past, but with neater texture, different from ancient craftsmanship. In the case of carved stones, the additional blocks were roughly carved for connection of lines and form as well as perceptibility of architectural feature, for instance, the new stone for Naga head part was carved in form of Naga head, not merely a block of stone.
For the reasons as mentioned, this site uses more additional stones than other restoration projects in the past; however, the complete and comprehensible architectural form is the result.
For authenticity of setting, the broken Sao Nang Riang pillars have been repaired and returned in their original positions around the main sanctuary and along the causeways. These attempts have been made to restore the landscape features of the past, the same concept as the dredging of the surrounding ponds and revival of the Barai.
Later in the conservation process, a replica of Sdok Kok Thom Inscription no.2, important historical evidence, will be made and placed in its original position indicated in the record in order to complete the meaning and spirit of Sdok Kok Thom.
Figure 13 : The main sanctuary restored to a complete and comprehensible architectural form

from the paper presented in Theme 7 – Conservation, restoration of stone and architectonic monuments
11th International Congress on Deterioration and Conservation of Stone (Stone 2008)
15th- 20th September 2008 Torun, Poland

SDOK KOK THOM : A Reconstruction of Meaning and Spirit from the Heap of Stones (II)

Figure 3: Stone masonry in Khmer architecture
Conservation of stone monuments by anastylosis : Anastylosis is a methodology for conservation of stone monuments which is accepted as the most appropriate method for the present time. The term “anastylosis” is a Greek word which was introduced for the first time in International Conference for Conservation Project of Acropolis of Athens in 1913 by Mr. Nikolaos Balanos, a Greek engineer. After the conference, the word “anastylosis” has been internationally accepted and appeared in the Athens Charter. Mr. Balanos defined the word as “the returning of the architectural elements of ancient building to their original positions”.

Later, anastylosis was mentioned again in the Venice Charter, 1964 AD., that anastylosis was an approved method in improvement of condition of monuments in case that : the new additions must always be distinguishable from the originals; and the additional parts are acceptable in case they are uses as little the amount as possible.

From Europe to Asia, anastylosis was applied for the first time to Javanese Architecture in Indonesia, which had become an example for application to Khmer architecture. The method conforms to the principles of conservation that emphasize authenticity, as well as being a means for better interpretation of the monument than the propping and bracing generally practiced in those days. The experimental project of anastylosis restoration in Cambodia was carried out at Prasat Banteay Srei in 1931.

Eventually, anastylosis was introduced in Thailand and applied for the first time at Prasat Phimai, Nakhon Ratchasima. The method was applied to the restoration of the main sanctuary during 1964 – 1969. The project was collaborated in funding and techniques from the UNESCO, who sent M. Bernard-Philippe Groslier to work as project consultant. The anastylosis method as applied to the restoration of Prasat Phimai was adapted by M. Groslier that modern structure was added to help bearing the load of the original, which was restored by anastylosis, for the reasons of stability as well as protection from ground moisture. The new structures as mentioned comprised : reinforced concrete structures hidden in parts of the building and reinforced concrete slab foundation. The success of Phimai had made way to successive application of “applied anastylosis” method, whose implementation process can be summarized as : dismantling of stones and reassembling the stones to the studied original positions over a consolidated foundation made of reinforced concrete; and some parts of the building are strengthened by reinforced concrete structures hidden inside.

According to characteristics of Khmer architecture that stone blocks are laid carefully by rubbing the adjoining surfaces of stones until they fit together almost seamlessly, without using mortar, anastylosis, therefore, is applicable because the original position of each piece of material can be located, even in case of plain walls where there are no carvings to help as clues.

Restrictions on Stability and Strength of Stone Sanctuary Architecture Not regarding damages by human who plunder the monument for treasure, the most important factor of deterioration of Khmer architecture is insufficiency of foundation. We have found that, in many cases, the foundation was made by only one layer of laterite. When too much compression occurred, the laterite blocks would break and their strength failed. The superstructure base of the building, mostly built of one layer of stones built over alternated layers of sand and limestone blocks, or merely packed soil. As for Sdok Kok Thom, the base was finished with only one layer of laterite blocks, which was built over with stone walls whose load is transferred to the packed soil inside the base, not the stone walls of the base which are more capable in load bearing. Thus the monuments are found to be in the conditions of settlement, declined, or collapsed.

The wall over the opening, originally, is usually reinforced with a piece of timber to bear high compression, therefore, when the timber decayed, the part lost its load bearing capacity. These are examples of weak points of Khmer architecture that we should find measures for problem-solving.

Figure 4: Superstructure base of the building
Anastylosis at Sdok Kok Thom Restoration of Sdok Kok Thom has been carried out by anastylosis method, whose process comprises the making of fallen stones plan; stone categorizing; experimental reassembling and making of existing drawings before restoration, following general standards of anastylosis. Nevertheless, based on basic information on structural weak points and deteriorations of the monument, the restoration design has allied a new structure of reinforced concrete slab foundation to help consolidate the building. The foundation as mentioned was finished with a damp proof course so that the cement does not have direct contacts with the original materials. Inside the base, laterite blocks laid with lime mortar were used to replace the original, which was packed sand, for better load bearing.

Results of experimental reassembling and comparative study have rendered a complete architectural feature of the monument. After obtaining information on the original feature of the building, the number of the original stones that can be returned to their original positionswas determined; condition of each block of stone was checked to specify the usable blocks and the blocks that needed repair or replacement. The results of these have been summarized and made into a restoration design.

Restoration work began with dismantling elements which were still in their original positions, layer by layer, and reassembling them with the previously reassembled stones. After additional structures were completed, the stones were returned to their positions, in more consolidated state. Repair or replacement of stones was carried out according to restoration design and objectives, that is, for replacement of the lost or decayed parts or for comprehensibility of form. The added parts have been made to be distinguishable from the original materials, yet harmonize in overall appearance.

The restoration of the monument is ongoing at the moment of writing this paper. After restoration work is completed, a restoration report which records all working process, as well as architectural features after restoration will be made. The report will be kept as a scientific document for further studies.

วันพฤหัสบดีที่ 8 มกราคม พ.ศ. 2552

SDOK KOK THOM : A Reconstruction of Meaning and Spirit from the Heap of Stones (I)

Figure 1: Sdok Kok Thom Sanctuary, Sa Kaeo province, Thailand
Sdok Kok Thom Sanctuary is located at Mu 3, Ban Nong Samet, Tambon Khok Sung, King Amphoe Khok Sung, Sa Kaeo province, near the Thai-Cambodian border. It is a stone monument constructed mainly of sandstone and laterite, being one of the large scale Khmer stone monuments outside the present Kingdom of Cambodia.

History of Discovery and Study In 1901, M. Etienne Aymonier, a French scholar, was the first who discovered and reported about Sdok Kok Thom sanctuary in “Le Cambodge. Tome II, Les provinces Siamoises”. His writing described the sanctuary called Sdok Kok Thom as “one of the most prominent stone buildings ever built by human”. The architectural characteristics of the monument, which was in the midst of the jungle at that time, still existed. The main sanctuary was still in an almost complete condition, the pediment depicting a deity lying above the face of Rahu, and the lintel depicting Indra on 3-headed elephant above the face of Rahu were still in their original positions on the eastern side. Moreover, a stone inscription, which was the latest discovery, was discovered and considered the most important inscription, even more important than any other inscriptions found in Cambodia. The inscription as mentioned was found in its original position on the stone base in the northeast corner of the gallery.

In 1920 Police Captain Luang Channikhom came to survey the site and found an important inscription at Prasat Sdok Kok Thom. The inscription is called Sdok Kok Thom inscription no. 2, a large stone inscription inscribed with ancient Khmer letters in Sanskrit and Khmer languages. Luang Channikhom recorded that …. The inscription was located at the front of the sanctuary on northern direction. It is rectangular, inscribed on all four sides. The size of the inscription is approximately 50 centimetres in width, 18 inches thick….

Since then until the time when the sanctuary has become a camp for Khmer refugees during wartime, the site was alternately occupied by army forces of the three-party Khmer. It was possible that treasure hunters took the opportunity of wartime confusion and negligence to carry out their illegal diggings at the main sanctuary which caused damage to the balance of the building. Some fallen stones from the monument were moved to be used for building bunkers; and beautiful carvings or images of deities as described in the past were lost. At the time when the fine Arts Department came to survey the site, the sanctuary had become a heap of fallen stones whose plan, form, and decorations were difficult to comprehend. Although the fine craftsmanship was still perceivable, the architectural style was unidentifiable. Moreover, souvenirs from the war, that is, the land mines, were scattered throughout the site to the area of the Barai.
Figure 2: Sdok Kok Thom before excavation and moving of fallen stones
In 1935, The Fine Arts Department declared Prasat Sdok Kok Thom as National Monument. The first survey for conservation project was carried out by the 5th Regional Office of the Fine Arts Department in 1993. Land mines clearing and moving of fallen stones were carried out during 1996 - 2000, along with the restoration of Outer Eastern Gopura, although without a thorough study and systematic experimental reassembling of fallen stones.

In 2001, the conservation project implementation began, including experimental reassembling of all fallen stones, analysis of architectural characteristics, archaeological excavation for determination of size and area of the pond, and planning for restoration of the whole sanctuary. In the same year, excavation and restoration of the front causeway was completed. The work as planned in the project began in 2003, with the restoration of small buildings namely, the 2 Bannalai (libraries). In 2004, the Inner Eastern Gopura was restored. The restoration of the main sanctuary has begun since 2005 until the present day (2008), that the restoration of the spire has just completed and the restoration of other elements is being carried out.

Inscriptions : Sdok Kok Thom is very famous amongst scholars because of its relevant to 2 inscriptions which are highly significant in terms of Khmer historical study. The Sdok Kok Thom Inscription no.1, as recorded by the National Library, was brought by staff of the Office of Archaeology, Fine Arts Department and given to experts in ancient languages for reading and translation on 30th May, 1968. The inscription mentions the construction of a religious building circa 10th century as a sanctuary to enshrine Shiva Lingam. The date specified in the inscription was 937 AD., the reign of King Jayavarman IV.

Sdok Kok Thom Inscription no.2 is the inscription to honour King Udhayadhityavarman II on the occasion of the building (restoration) of the monument until completion in 1052 AD. The inscription also records history of religious civilization that clearly indicates that the kings of Cambodia were supporters and protectors of the religion, led by Brahmins who also acted as consultants and intermediaries between the Gods and the Kings. The inscription also records history of a Brahmin family who played important roles in the court of Cambodia that goes back to approximately 200 years, the time of the first ancestor in the reign of King Jayavarman II who combined the Land Chenla and the Water Chenla; and founded Angkor. Thus the inscription is an important reference in dating of Khmer history and Khmer art history from the foundation of Angkor until the reign of Udhayadhityavarman II.

Dating : from the date specified in the Sdok Kok Thom Inscription no.1, it is probable that Sdok Kok Thom sanctuary was built in the reign of King Jayavarman IV, Koh Ker style. On the other hand, according to Sdok Kok Thom Inscription no.2, the sanctuary is also believable to have been built, or reconstructed in the reign of King Udhayadhityavarman II, Baphuon style. These primary pieces of information from historical evidences are still debatable; thus, they are the questions that we have to look for further supportive reasons in order to find the answer.