Angkor wat where is it

It was originally dedicated to the Hindu god Vishnu before becoming a Buddhist temple by the end of the 12th century. One of the first Western visitors to the temple was Antonio de Madalena, a Portuguese friar who visited in Angkor Wat was then effectively rediscovered by the French explorer Henri Mouhot in the s. The French, who ruled Cambodia for much of the 20th century, restored the site in the early s for tourism purposes. However, this work was then disrupted by the Cambodian Civil War and during the rule of the Khmer Rouge.

Angkor Wat sustained minimal damage — however there are still bullet holes on its outer walls due to the battles of the Khmer Rouge regime. Cambodia gained independence from France in and has controlled Angkor Wat ever since. In the temple complex was named a UNESCO World Heritage site, and is now a highly popular tourist attraction in Cambodia - welcoming 2 million visitors every year.

The most popular time to visit Ankgor Wat is in the early hours of the morning; to witness a beautiful sunrise over the magical temple. The city of Angkor, home to Angkor Wat, was the capital of the Khmer Empire and thrived between the 9th and 15th centuries. Unfortunately, by then, Angkor Wat had been sacked by a rival tribe to the Khmer, who in turn, at the direction of the new emperor, Jayavarman VII, moved their capital to Angkor Thom and their state temple to Bayon, both of which are a few miles to the north of the historic site.

However, scholars now know it took several decades to build Angkor Wat, from the design phase to completion. Although Angkor Wat was no longer a site of political, cultural or commercial significance by the 13th century, it remained an important monument for the Buddhist religion into the s.

Indeed, unlike many historical sites, Angkor Wat was never truly abandoned. Rather, it fell gradually into disuse and disrepair. Nonetheless, it remained an architectural marvel unlike anything else. Its five towers are intended to recreate the five peaks of Mount Meru, while the walls and moat below honor the surrounding mountain ranges and the sea.

As a result, Angkor Wat was constructed with blocks of sandstone. A foot high wall, surrounded by a wide moat, protected the city, the temple and residents from invasion, and much of that fortification is still standing.

A sandstone causeway served as the main access point for the temple. Inside these walls, Angkor Wat stretches across more than acres. Hence, only portions of the temple and city wall remain. Even so, the temple is still a majestic structure: At its highest point—the tower above the main shrine—it reaches nearly 70 feet into the air.

The temple walls are decorated with thousands of bas-reliefs representing important deities and figures in the Hindu and Buddhist religions as well as key events in its narrative tradition. There is also a bas-relief depicting Emperor Suryavarman II entering the city, perhaps for the first time following its construction.

Unfortunately, although Angkor Wat remained in use until fairly recently—into the s—the site has sustained significant damage, from forest overgrowth to earthquakes to war. The French, who ruled what is now known as Cambodia for much of the 20th century, established a commission to restore the site for tourism purposes in the early s.

This group also oversaw ongoing archeological projects there. By then, Cambodia was a country transitioning from colonial rule to a limited form of constitutional monarchy. When Cambodia fell into a brutal civil war in the s, Angkor Wat, somewhat miraculously, sustained relatively minimal damage. The autocratic and barbarous Khmer Rouge regime did battle troops from neighboring Vietnam in the area near the ancient city, and there are bullet holes marking its outer walls as a result.

Since then, with the Cambodian government undergoing numerous changes, the international community, including representatives of India, Germany and France, among others, have contributed to the ongoing restoration efforts. Although visitors to Angkor Wat numbered in just the few thousands at the time, the landmark now welcomes some , visitors each year—many of whom arrive early in the morning to capture images of the sunrise over what still is a very magical, spiritual place.

Covered galleries with columns define the boundaries of the first and second levels. The third level supports five towers —four in the corners and one in the middle and these is the most prominent architectural feature of Angkor Wat.

This arrangement is sometimes called a quincunx. Graduated tiers, one rising above the other, give the towers a conical shape and, near the top, rows of lotuses taper to a point. Apsara Statue at Angkor Wat. The overall profile imitates a lotus bud, Several architectural lines stand out in the profile of the monument. The eye is drawn left and right to the horizontal aspect of the levels and upward to the soaring height of the towers. The ingenious plan of Angkor Wat only allows a view of all five towers from certain angles.

They are not visible, for example, from the entrance. Many of the structures and courtyards are in the shape of a cross. Visitor should study the plan on page 86 and become familiar with this dominant layout. A curved sloping roof on galleries, chambers and aisles is a hallmark of Angkor Wat.

From a distance it looks like a series of long narrow ridges but close up from identifies itself. It is a roof made of gracefully arched stone rectangles placed end to end.

Each row of tiles is capped with an end tile at right angles the ridge of the roof. The scheme culminates in decorated tympanums with elaborate frames. Steps provide access to the various levels. Helen Churchill Candee, who visited Angkor in the s, thought their usefulness surpassed their architectural purpose. The steps to Angkor Wat are made to force a halt at beauteous obstruction that the mind may be prepared for the atmosphere of sanctity, she wrote In order to become familiar with the composition of Angkor Wat the visitor should learn to recognize the repetitive elements in the architecture.

Galleries with columns, towers, curved roofs, tympanums, steps and the cross-shaped plan occur again and again. It was by combining two or more of these aspects that a sense of height was achieved. This arrangement was used to link one part of the monument to another. Roofs were frequently layered to add height, length or dimension. A smaller replica of the central towers was repeated at the limits of two prominent areas-the galleries and the entry pavilions.

The long causeway at the entrance reappears on the other side of the entry pavilion. Angkor Wat is a miniature replica of the universe in stone and represents an earthly model of the cosmic world. The central tower rises from the center of the monument symbolizing the mythical mountain, Meru, situated at the center of the universe.

Its five towers correspond to the peaks of Meru. The outer wall corresponds to the mountains at the edge of the world, and the surrounding moat the oceans beyond. Frank Vincent grasped this sensation over years ago. The general appearance of the wonder of the temple is beautiful and romantic as well as impressive and grand it must be seen to be understood and appreciated.

One can never look upon the ensemble of the vat without a thrill, a pause, a feeling of being caught up onto the heavens. Perhaps it is the most impressive sight in the world of edifices. Angkor Wat occupies a rectangular area of about hectares acres defined by a laetrile wall. The first evidence of the site is a moat with a long sandstone causeway length meters, feet; width 12 meters, 39 feet crossing it and serving as the main access to the monument.

The moat is meters feel wide with a perimeter of 5. The west entrance begins with steps leading to a raised sandstone terrace in the shape of a cross at the foot of the long causeway.

Giant stone lions on each side of the terrace guard the monument. Looking straight ahead, one can see at the end of the causeway the entry gate with three towers of varying heights and with collapsed upper portion. This entry tower hides the full view of the five towers of the central group.

A long covered failure with square columns and a curved roof extends along the moat to the left and right of the entry tower. This is the majestic facade of Angkor Wat and a fine example of classical Khmer architecture. Helen Churchill candee must have been standing on this terrace almost 70 years ago when she wrote Any architect would thrill at the harmony of the fasade, an unbroken stretch of repeated pillars leading from the far angles of the structure to the central opening, which is dominated, by three imposing towers with broken summits.

This facade originally had another row of pillars with a roof. Evidence of this remains in a series of round holes set in square based in front of the standing pillars. Tip Before proceeding along the causeway turns right, go down the steps of the terrace and walk along the path a few meters for a view of all five towers of Angkor Wat.

Return to the center of the terrace and walk down the causeway towards the main part of the temple. The left-hand side of the causeway has more original sand stone than the right-hand side, which was restored by the French. In the when RJ Casey walked on this causeway he noted it was an oddity of engineering The slabs were cut in irregular shapes, which meant that each had to be chiseled to fit the one adjoining. The effect as seen under the noonday sun They belong to one of the figures at the entrances to Angkor Thom and were brought to Angkor Wat in this century the causeway was repaired with reused stones.

The upper portions of the three sections on this tower-one each at the center and the two ends — have collapsed. The porches on each end of the gallery may have served as passages for elephants, horses and carts as they are on ground level. When Helen Churchill Candee saw these entrances in the she remarked that architecture made to fit the passage of elephants is an idea most inspiriting.

A figure of a standing Visnu eight arms is in the right inside the entry tower. Traces of original color can be seen on the ceiling of the entry tower at the left. Continue westward along a second raised walkway length meters, 1, feet; width 9 meters, 30 feet. A low balustrade resembling the body of a serpent borders each side. Short columns support the balustrade. Looking west one sees the celebrate view of Angkor Wat that appears on the Cambodian flag. Standing at this point one teels compelled to get to the wondrous group of the five domes, companions of the sky, sisters of the clouds, and determine whether or not one lives in a world of reality or in a fantastic dream.

Six pairs of ceremonial stairs with platforms on each side of the walkway lead to the courtyard. A continuation of the serpent balustrade along the walkway frames the stairs. This arrangement is sometimes called a landing platform. The balustrade terminates with the body of the serpent making a turn at right angles towards the sky and gracefully spreading its nine heads to from the shape of a fan.

Two buildings, so-called libraries stand in the courtyard on the left and right, just past the middle of the causeway. These 'jewel-boxes Khmer art 'are perfectly formed. A large central area, four porches, columns and steps present a symmetrical plan in the shape of a cross.

Some of the columns have been replaced with cement copies for support. An original pillar lies on the ground before the library on the left. In front of the libraries are two basins length 65 meters, feet, width 50 meters, feet the one on the left is filled with water whereas the other lone is usually dry. Tip Turn left at the first steps after the library and before the basin and follow the path for about 40 meters feet to a large tree for a superb view of the five towers of Angkor Wat, particularly at sunrise.

The walkway leads to a terrace kin the shape of a cross, known as the Terrace of Honor, Just in front of the principal entry tower of Angkor Wat. Supporting columns and horizontal carved molding around the base accentuate the form of the terrace. Steps flanked by lions on pedestals are on three sides of the terrace. Ritual dances were performed here and it may have been where the king viewed processions and received foreign dignitaries.

R Casey sensed such activity in the s One cannot but feel that only a few hours ago it was palpitating with life. The torches were burning about the altars. Companies of priests were in the galleries chanting the rituals. Dancing girls were flitting up and down the steps From the top of the terrace there is a fine view of the gallery on the first level, known as the Gallery of Bas-reliefs by meters, by feet.

The outer side, closest to the visitor, comprises a row of 60 columns whereas the inner side is a solid wall decorated with bas-reliefs. Tip: At this point the visitor has the choice of continuing straight to the central towers or turning right to see the Gallery of Bas-reliefs see pages for a description of the bas-reliefs.

The unit providing a link between the first and second levels is the Cross-shaped Galleries. This unique architectural design consists of two covered galleries with square columns in the shape of a cross and a courtyard divided into four equal parts with paved basins and steps. The method used by the Khmers to form corbel arches is visible in the vaults.

Several decorative features in these galleries stand out windows with balusters turned as if they were made of wood, rosettes on the vaults, a frieze of Apsaras under the cornices, and ascetics at the base of the columns. Tip: Some of the pillars in the galleries of this courtyard have inscriptions written in Sanskrit and Khmer. On either side of the courtyard there are two libraries of similar form but smaller than the ones along the entrance causeway The Gallery of 1, Buddha's, on the right, once contained many images dating from the period when Angkor Wat was Backlist.

Only a few of these figures remain today. The gallery on the left is the Hall of Echoes, so named because of its unusual acoustics. Tip: To hear the resonance in the Hall of Echoes walk to the end of the gallery, stand in the left-hand corner with your back to the wall, thump your chest and listen carefully. Those who want to visit the library should leave the door at the end of this gallery. There is a good view of the upper level of Angkor Wat from this library.

Return to the center of the cross-shaped galleries and continue walking toward the central towers. Another set of stairs alerts one to the continuing ascent. The outer wall of the gallery of the second level, closest to the visitor, by meters, by feet , is solid and undecorated, probably to create an environment for meditation by the priests and the king.

The starkness of the exterior of the second level gallery is offset by the decoration of the interior. Over 1, Apsaras celestial dancers line the walls of the gallery offering endless visual and spiritual enchantment. These graceful and beautiful females delight all visitors. They were crated by the Churning of the Ocean of Milk. When one first walks into the courtyard the multitude of female figures on the walls and in the niches may seem repetitive but as one moves closer and looks carefully one sees that every one of these celestial nymphs is different, the elaborate coiffures, headdresses and jewellery befit, yet never overpower, these 'ethereal inhabitants of the heavens' Apsaras appear at Angkor Wat for the first time in twos and threes.

These groups break with the traditional of decoration kin other part of the temple by standing with arms linked in coquettish postures and always in frontal view except for the feet, which appear in profile. Pang, a Cambodian poet, in a tribute to the Khmer ideal of female beauty wrote of the Apsaras in the seventeenth century.

These millions of gracious figures, filling you with such emotion that the eye is never wearied, the soul is renewed, and the heart sated! They were never carved by the hands of men! They were created by the gods living, lovely, breathing women! Only the king and the high priest were allowed on the upper or third level of Angkor Wat, it lacks the stately covered galleries of the other two but is the base of the five central towers, one of which contains the most sacred image of the temple.

The square base 60 meters, feet long of the upper level is 13 meters 43 feet high and raises over 40 meters feet above the second level.

Twelve sets of stairs with 40 steps each one in the center of each side and two at the corners-ascend at a degree angle giving access to this level. Tip: The stairway to the third level is less steep on the west center but those who suffer from vertigo should use the south stairway center, which has concrete steps and a handrail. All the repetitive elements of the architectural composition of Angkor Wat appear on the upper level.

The space is divided into a cross-shaped area defined with covered galleries and four paved courts. An entry tower with a porch and columns is at the top of each stairway. Passages supported on both sides with double rows of columns link the entry tower to the central structure. The corners of the upper level are dominated by the four towers.

Steps both separate and link the different parts. A narrow covered gallery with a double row of pillars and windows and balusters on the outer side surrounds the third level. The Central sanctuary rises on a tiered base 42 meters feet above the upper level.

The highest of the five towers, it is equal in height to the cathedral of Notre Dame in Paris. This central sanctuary sheltered the sacred image of the temple. It originally had four porches opening to the cardinal directions. The central core was walled up some time after the sacking of Angkor in the middle if the fifteenth century.

Nearly years later French archaeologists discovered a vertical shaft 27 meters 89 feet below the surface in the center of the upper level with a hoard of gold objects at the base.