The origins of sculpture
The earliest works created in what is now Cambodia are strongly imbued with Indian culture. From the outset, the finely detailed engravings that make up the bas-reliefs relate historical events or scenes from everyday life. Others depict Hindu gods. The Aspara dancers, taken from Hindu mythology, evoke water and clouds through the fluidity of their movements.
The oldest example of Cambodian art is a four-armed Vishnu, preserved in Phnom Penh's National Museum. The nearly one-metre sculpture dates from the first half of the5th century. The museum, located next to the Royal Palace in Phnom Penh, houses the world's largest collection of Khmer art. Its 14,000 pieces trace the entire history of this civilization, from prehistory to the post-Angkorian era (after the 14th century). Highlights include an eight-armed Vishnu, almost two meters high, and a sculpture of Jayavarman VII, found in Angkor Thom, which is characteristic of the apogee of Khmer art.
Khmer sculpture broke away from Hindu culture from the 7th century onwards. It developed its own particularities, and production intensified.
Kingdom of Angkor
During the Angkor Empire, art was traditionally religious. It was court art, Hindu or Buddhist. A distinction is made between the pre-Angkor period (9th and 10th centuries), the Angkor period (10th to 14th centuries) and the post-Angkor period from the 14th century onwards. Today, theAngkor site continues to bear witness to the cultural opulence of imperial Cambodia.
Few traces remain of pre-Angkorian art, with sculptures made from perishable materials such as wood. Between the 9th and 15th centuries, the Khmer empire extended over a vast territory (Thailand, Laos, Vietnam, Malaysia). To reinforce their power, the elite integrated Indian and Buddhist figurative motifs into local beliefs. The cult of Shiva made its appearance. The first buildings were simply decorated, carved in brick, as at Sambor Prei Kuk. Overflowing decoration soon became the norm.
Divine apogee
Founder of the Angkor kingdom, King Jayavarman II acceded to the throne in 802. During his reign, he introduced the fundamental notion of god-king or devaraja. The linga, a phallic symbol, became the common emblem of Shiva and the sovereign. It is found erected or engraved almost everywhere on the Angkor site.
Between the 9th and 12thcenturies , no fewer than 1,800 temples and sanctuaries were built. The temple of Banteay Srei - Citadel of Women - is built in pink sandstone. Its three-dimensional sculptures have made it a household name. Walls, columns and lintels are richly decorated: graceful nymphs, gods and plant motifs illustrate Hindu legends.
Sculpture, now the dominant art form, is often inseparable from architecture. Lintels, pediments or bas-reliefs, stone figures are an integral part of temples. Far from being static, they assume dancer's poses. In many temples, such as Angkor Wat and Angkor Thom's Bayon, the majesty of the Khmer kingdom impresses visitors.
The gallery of bas-reliefs atAngkor Wat features 1,200 square metres of sculptures and almost as many myths. The must-see temple-mountain of Bayon, with its many faces in the heart ofAngkor Thom, is one of the most mysterious sites in all of Asia and the pinnacle of Mahayana Buddhist art. Built at the dawn of the 13th century, it housed images of Buddha, which were transformed into Hindu images around 1350 by King Jayavarman VIII. A recent restoration campaign has restored the Buddha's face. On the site, a stone statue of Buddha stands 3.60 metres tall. "Mucalinda" shows the Enlightened One seated on a naga.
Paint, bronze and wood
Figurative paintings from the 15th and 16th centuries can still be seen on the walls of Angkor. Originally, these colorful frescoes were organized in the manner of comic strips, except that they were not read in a linear fashion. Intended to educate the people, these successive scenes remain enigmatic to the Western eye. The civil war of 1970 dealt a fatal blow to these works, of which mainly photographs remain.
In the early 11th century, a bronze workshop was established near the royal palace. Bronze statuary, produced using the lost-wax process, can be gilded, inlaid with precious stones or with black glass for the eyes. Most bronzes depict Buddhist or Hindu divinities.
From the end of the 12th century, stone carving gradually declined in favor of wood carving. Lacquered wooden statues were enriched with precious inlays.
The civil war put an end to Cambodian sculpture. Artists who escaped assassination went abroad. Recently, those who have returned have begun to pass on their ancestral knowledge. The restoration of the temples is now benefiting from traditional techniques.
The 2000s were the years of excavation and reconstruction. Thousands of fragments were patiently gathered by archaeologists to bring the works of yesteryear back to life. Thanks to these campaigns, the National Museum of Angkor houses some exceptional relics. These include the hermit Sumedha, lying on the ground; a 12th-century stone Ganesh, seated cross-legged; and a standing Vishnu dating back to the 7th century.
The emergence of contemporary art
After colonization, French culture strongly permeated Cambodia. This imprint was facilitated by the Communist regime, which suppressed anything that was not purely Khmer, and produced no art. Decades of conflict and genocide annihilated all artistic practice. But in the 21st century, in addition to attempts to resurrect Khmer art, Cambodian creation is finding a new lease of life.
It wasn't until the Visual Arts Open (VAO) exhibition in December 2005 that contemporary art emerged in Cambodia. The event was held in Phnom Penh for three weeks, on the initiative of the Saklapel collective. Until then, these visual artists had been exhibiting individually, in their localities. Their canvases are mostly figurative and colorful. Initially shown at the New Art Gallery, the canvases were later displayed in restaurants, bars and a jewelry store. At the same time, a website run by VAO reveals the vitality of Cambodian art to the world.
Each of the nineteen artists exhibiting has his or her own style and background. Two are considered the elders: Vann Nath and Svay Ken. Self-taught, Svay Ken paints still lifes and the simplicity of everyday life. Vann Nath is one of the few survivors of the prison hell of Tuol Sleng.
Vann Nath
Among VAO artists, Vann Nath (1946-2011) played a major role in the renaissance of Cambodian art. Born into an extremely modest family, he became interested in painting at an early age. It was on temple walls that he discovered art. A painter and writer, he remained a fervent defender of human rights throughout his life. Arrested by the Khmer Rouge in 1978, he was incarcerated at Tuol Sleng. His writings and paintings provide invaluable testimony to the crimes of the Khmer Rouge. His figurative canvases are true documentary works. In fact, he owes his survival to his art. Indeed, his jailer spared him only to have him paint and sculpt portraits of Pol Pot. A recent comic book published by La Boîte à Bulles tells his story: Vann Nath. Le Peintre des Khmers rouges, by Matteo Mastragostino and Paolo Castaldi.
Sopheap Pich
Born in 1971 in Battambang, Sopheap Pich lived in exile with his family from the age of eight. After living in Thailand, the Philippines and the United States, he returned to Cambodia after graduating from the University of Massachusetts. With Linda Saphan, he is the man behind the Visual Arts Open exhibition. He also founded Sala Arts A2A, an association promoting contemporary art in Phnom Penh. He now focuses on sculpture, using rattan as his creative material. Sopheap Pich has exhibited all over the world, from the MET in New York to the Guggenheim in Bilbao.
Linda Saphan
Another child of the exodus, Linda Saphan was born in 1975. She pursues a dual career, between anthropology and art. Her work focuses on historical themes and ethnic symbols. Her first exhibition took place in Cambodia in 2004. From then on, she multiplied her means of expression, combining painting, photography and installation. With Sopheap Pich, she organized the VAO exhibition, which marked the birth of contemporary Cambodian art.
Vandy Rattana
The artist Vandy Rattana, born in Phnom Penh in 1980, has exhibited his photographs at such prestigious venues as the CAPC in Bordeaux, the Musée du Jeu de Paume in Paris and Documenta. Vandy Rattana offers a different vision of Cambodia, a personal reflection far removed from images of war and tourist hotspots. His first series documented every aspect of a Cambodian's daily life, somewhere between journalism and artistic practice. Inspired by life, the everyday, the human, his photos and videos have recently taken a philosophical turn. In so doing, he reconstructs history through poignant narratives. Vandy Rattana takes part in exhibitions all over the world.
Places for contemporary art
Sra'Art is a unique venue in Cambodia. Located at 7EO Samdach Sothearos Blvd in Phom Penh, it combines an exhibition gallery, photo studio and event space. Sra'Art aims to promote contemporary art and raise public awareness of the current scene. In this inspiring venue, artists from all horizons come together. Painting, photography, urban art, mythological themes and social concerns all have their place here. Ideal for a drink while sniffing out tomorrow's talent!
The dynamism of Cambodian contemporary art can also be explored on the capital's walls. In the heart of the city, street art flourishes in the alleyways of the Boeung Kak district, particularly on Rue 93. While this corner of the city was once theunderground, and not always safe to visit at night, it is now enjoying a great deal of energy. Restaurants, hotels and modern bars have established themselves here, attracting urban artists in their wake. One example is Street 93, an art gallery bistro opened in 2014 by two Frenchwomen. Their aim was to create an artistic breeding ground. And they succeeded! Cambodian Urban Art followed suit. Now, every December, the festival sets the capital abuzz. Khmer and foreign artists collaborate, combining their influences on a booming art scene.
