beyond the lanai

sopheap pich 3

Sculptor Sopheap Pich lives in Phnom Penh, Cambodia, working primarily in rattan and bamboo, constructing and weaving organic and plant forms which are at once solid and ethereal. His sculptures – currently installed at the Metropolitan Museum of Art in a disappointingly offhand and rather ragtag display – move between abstraction and representation: the open weave construction allowing the free circulation of air in and out of the forms. Rattan and bamboo are ubiquitous to Cambodia, especially thriving in the wild mountains, where harvesting it is both difficult and dangerous. These natural materials are integral to life in Southeast Asia – from housing and baskets to fish traps and waterwheels – and the artist’s use of such demanding, difficult-to-tame media speaks to a generation that came of age under the Khmer Rouge-led government of Kampuchea. Combining the visualization of a painter with the spatial conceptualization of a sculptor, Pich literally draws in space with these materials, creating three-dimensional objects which consciously evoke the spirit of a very personal, poignant place.

sopheap pich 1

sopheap pich sculpture

sopheap pich 2

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the names of the lost

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There is no escaping the killing fields of Cambodia: conservative estimates say there are some 20,000 mass graves scattered across the countryside, containing the remains of almost 1.5 million people murdered by the Khmer Rouge. It’s almost beyond comprehension until you visit one of the many memorials to the genocide and see the names of the lost – and so many empty faces, silently bearing witness.

the names of the lost

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here a tuk, there a tuk

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honestly sincere

sok

If I take away one thing from this country it will be the generous, friendly nature of the people I have met in this small corner of Cambodia. Like Sok, one of the pool attendants at the Raffles Grand Hotel D’Angkor. Every time I came for a swim he would greet me, bring me some fruit and ask me about my day. He seemed genuinely interested in whether or not I liked his country. Without irony or subtext or sarcasm we would chat for a few moments only, yet the human connection was real and sincere. And so it was all over Siem Reap: an earnest inquisitiveness, an absence of hidden agendas, an honest concern. What does it say about my life in New York that these kind of interactions would seem so surprising, so out of the ordinary?

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chaos and claustrophobia, or the daily shop

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For sheer chaos and claustrophobia, it’s hard to beat the daily market in Siem Reap. (The smells, too, are something I’ll not soon forget.) Most of the meat and fish is killed and cleaned to order, so you know it’s all as fresh as it gets – if not exactly on par with Western standards of safe and sanitary. I left wondering what, if anything, might make these women – mostly barefoot in and among the blood and guts – squeamish.

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the return of the apsara

apsara dance

The relatively recent history of Cambodia is horrific. Under Pol Pot and the Khmer Rouge the country was subjected to a radical social engineering project in the 1970’s that aimed to create a purely agrarian Communist society. Around two million people were forced from the cities to take up agricultural work in the countryside. The party controlled what they wore, whom they could talk to, how they acted. Children were believed to be tainted by the capitalism of their parents, so they were separated, indoctrinated in communist ideology and made a dictatorial instrument of the party, given leadership roles in the torture and execution of anyone suspected of being a traitor. And almost everyone could be considered a traitor: intellectuals, artists, minorities, city-dwellers and anyone with an education. In little more than four years the Khmer Rouge killed an estimated 1.5 million people – a fifth of the country’s population – through torture, forced labour, starvation, and executions. Unbelievably, one of the many groups targeted were the Apsara Dancers, practitioners of the classical Khmer dance which dates back to the 7th century. (The Angkor temples are festooned with thousands of images of the Apsara. During this period, dance was ritually performed at the temples as both entertainment and as a means of delivering messages to the gods.) Although 90 percent of all Cambodian classical artists perished in the genocide, the tradition of the Apsara was resurrected in the refugee camps in eastern Thailand with the few surviving Khmer dancers. Yes, I had come to Cambodia because I wanted to see the temples, but what I needed was to see this dance: elaborately dressed, performing a slow and figurative set of hand gestures and poses, invoking the gods and enacting epic poems; a testament to the power of art and a point of national pride. (Plus, anyone with even a passing familiarity with The King & I will immediately notice where Jerome Robbins stole his best ideas.) The return of the Apsara augured not only a reestablishment of civil society but,  more importantly, a resurrection of the country.

apsara dance 2

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sizing up the night market

pub street

Night markets are a tradition particular to Asia. A crazy open air jumble of stalls and stands selling everything from meat and produce to tchotchkes to clothing, condiments, and prepared foods, it only comes alive after dark. Part shopping mall, part social scene, it makes for great people watching while also being quite handy for souvenir shopping if you’ve spent your entire day engaged in more culturally elevated pursuits. In Hong Kong the night markets are pristine; in Bangkok only slightly less so. Here in Siem Reap the capitalism is nakedly pure – if slightly less hygienic: no price is what it seems and absolutely everything is negotiable

night market

night market toenails

night market grill

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moating

gondola launch

After trampling up and down temples in the sweltering heat – I’ve tried to not belabor the point but it is hot, hot, hot in Cambodia! – it’s time for a little luxury:  skimming the moat of Angkor Thom in a private gondola stocked with champagne and canapes. As the sun set the moon rose high into the sky, casting an iridescent blue glow over the waking jungle.

gondolas

moorise over the moat

pale blue glow

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beware the giant cambodian spider

giant cambodian spider

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tomb raider

ta prohm entrance

If these images of Ta Prohm look remotely familiar, it’s likely because of Angelia Jolie – the Angkor temple was used as a setting in the film Tomb Raider. Unlike most of the Angkor temples Ta Prohm has been left much as it was found: a photogenic combination of strangler ficus soaring out of the ruins and spung tree roots dripping like so much candle wax. It’s not yet part of the jungle, but the atmosphere sure suggests it’s merging.

ta prohm tomb raider

ta prohm panorama

ta prohm banyan roots

ta prohm detail

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monkey see, monkey do

macaque monkeys

Exiting the south gate of Angkor Thom I came upon a posse of macaques along the side of the road. Obviously they’ve become habituated to humans by the steady stream of tourists: no sooner did I express an interest in them did they express an even greater interest in me – or, more specifically, my iPhone 5.

one inquisitive macaque

make that a very inquisitive macaque

no, you cannot have my iphone5

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aboard a prickly pachyderm

the elephant whisperer

elephant ride

prickly pachyderm

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the great city

angkor thom

Though Angkor Wat is the largest of the Angkor temples, 12th century Angkor Thom is the most dramatic. Covering close to 4 square miles, Angkor Thom – literal translation: the Great City – was the last and most enduring capital city of the Khmer empire. Encircled by 25-foot tall walls and flanked by a moat, there are gates at each of the four cardinal points, from which roads lead to the striking Bayon temple at the center of the city.

angkor thom - bayon temple

angkor thom  - prasat chrung

angkor thom - gate

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three monks alighting on a temple

three monks

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more angkor

entrance to angkor

More than just temple ruins, Angkor is in fact an entire region of Cambodia, which served as the seat of the Khmer Empire. Flourishing from the 9th to 15th centuries it was the largest preindustrial city in the world, with an elaborate infrastructure connecting a sprawl of almost 400 square miles to the well-known temples at its core. Those temples, buried amid forests and farmlands, number over a thousand – from piles of brick rubble unearthed in rice paddies to the magnificently restored Angkor Wat, the largest religious monument in the world. Followers of this blog will note the similarities Angkor Wat shares in design – if not scale – with Wat Chaiwatthanaram in Ayutthaya. Both follow the basic plans of Khmer architecture: a temple mountain (“Mount Meru”) bounded by raised rectangular galleries, all within a moat and an outer wall – and all richly ornamented with decorative elements and statuary. Built in the first half of the 12th century, Angkor Wat is even more unusual in that although the site was neglected it has never been completely abandoned, remaining a significant religious centre through Hindu then Buddhist kingdoms, colonialism, and civil war – its preservation abetted by the expansive moat which kept the encroaching jungle at bay.

angkor wat

angkor courtyard

angkor wat - interior panorama

angkor way 4

apsara dancer detail

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