Kavindrarimathana the Khmer-era architect

Dr Uday Dokras

Kavindrarimathana is the architect of the East Mebon and the only architect of the Khmer
empire. Hence, his name has been handed down through the centuries. This temple was
dedicated to the Hindu deity Shiva and it consists of three levels decorated with figures of
elephants and lions made out of stones, possessing five towers on the highest level. The wide
variety of sculptures you can find there are definitely the main attraction at the East Mebon. For
example, there are 8 two-meter-high free-standing stone elephants at the corners of the first and
second level.
In The Archaeology of Khmer Images, Vittorio Roveda, (Aséanie, Sciences humaines en Asie
du Sud-Est Année 2004 13 pp. 11-46) points out that China, Indonesia, Tamil Nadu and
Champa all influenced the art of Cambodia possibly by an autochthonous process whereby the
art was native to its location. Autochthonous may specifically address the place of where the
subject organism is originated and likewise the organism (or population) found in that place.
Indigenous means native to some place where that organism (or population) does not necessarily
have to be originated from. Kavindrarimathana, whose name survives because he sponsored
several temples himself was an architect less and a Brahmin more according to Vittorio.Arriving
from India he and many others like him beinging with them the language, the holy
scripys( committed to memory or otherwise) manuscripts and latest cultural developments of
Hinduism.

Also known as Angkorian architecture, ancient Khmer architecture was produced by the Khmers
during the Angkorian era of the Khmer Empire, which flourished from approximately the 9 th to
15th centuries. During the period of Angkor, non-religious buildings such as dwellings were
constructed by poorly exploited materials like wood whereas temples and other religious
buildings were built by stone. Therefore, all the remaining Angkorian buildings are religious
sites in nature. The emphasis of Angkorian architecture’s study is necessarily on religious
architecture.

Under the Khmer Empire, temples were constructed in accordance to the rule of ancient Khmer
architecture and developed in stages, which are preserved in many magnificent buildings of
the Angkor Temples. Angkorian architects and sculptors created temples with basic layout of a
central sanctuary, a courtyard, enclosure, and a surrounding moat. Elements and motifs were
inspired by religion and mythical creatures from Hinduism and Buddhism. However, not all of
these features were equally in evidence throughout the Angkorian period because a number of
different architectural styles succeeded one another.These Brahmins had a deep influence on the
culture of the State and were the ears and the eyes of the Royalty.

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They introduced many structures and directed the Angkorean craftsmen to incorporate these in
the designs of the Temples built both large and small. The architecture of the Indian rock-cut
temples, particularly in sculpture, had an influence on Southeast Asia and was widely adopted
into the Indianised architecture of Cambodian (Khmer), Annamese and Javanese temples (of
the Greater India). Evolved from Indian influences, Khmer architecture became clearly distinct
from that of the Indian sub-continent as it developed its own special characteristics, some of
which were created independently and others of which were incorporated from neighboring
cultural traditions, resulting in a new artistic style in Asian architecture unique to the Angkorian
tradition.

According to UNESCO, Khmer architecture evolved largely from that of the Indian sub-
continent, from which it soon became clearly distinct as it developed its own special
characteristics, some independently evolved and others acquired from neighboring cultural
traditions. The result was a new artistic horizon in oriental art and architecture.
(https://whc.unesco.org/en/list/668/)
Structures

 Temple mountain: During the Angkorian period, the dominant construction layout of
state temples was form of temple mountain. This architectural style represented Mount
Meru – home of the devas in Hindu mythology, and was influenced by South Indian
temple architecture. The temple was constructed in the shape of steeped pyramid, with
the highest elevated sanctuary put at the center as the home to the temple’s primary deity.
Surround the temple are enclosures representing mountain chains and a moat representing
ocean. Temple mountains in Angkor include Bakong, Baphuon, Pre Rup, Ta Keo, Koh
Ker, Phimeanakas, and Phnom Bakeng.
 Central sanctuary: Traditionally called as Bakan, the central sanctuary held the main
shrine of the temple’s primary deity – Shiva or Vishnu in a Hindu temple, Buddha or a
bodhisattva in a Buddhist temple. The shrine must be large enough to hold the statue or
linga, which represents for the deity. This sanctuary is located at the center of the temple
and at the highest level.
 Prang: It is a richly carved tower-like spire. This structure has receding size as it
ascends, which reminds of Indic shikhara of Hindu temple. Prang represents peak
of Mount Meru, home of the devas in Hindu mythology.
 Enclosure: A concentric series of walls surrounded Khmer temples represent the
mountain ranges surrounding Mount Meru. These walls are divided by enclosures, which
are numbered from the centre outwards.
 Gallery: Gallery is a passageway lining along the walls defining the Khmer temples’
enclosures or temple’s axis. This form evolved during the 10th century when the long
hallways were used to surround the temple’s central sanctuary. Then additional half
galleries on one side were introduced in the first half of 12th century during the period of
Angkor Wat.
 Gopura: An entrance building or entrance pavilion to access a temple. Gopura was
constructed with enclosures surrounding a temple and placed at each of the four cardinal
points. Gopuras are often impressively decorated with lintels and pediments. Gopuras in
Angkor Thom which are adorned with gigantic stone faces are among the most
photographed points in Angkor Park.

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  Library: Even being the common feature of Khmer temple architecture, the true purpose
of library remains unknown. They are free standing buildings which were normally
placed in pairs on either side of an enclosure’s entrance and open to the west. Angkor
Wat’s libraries exceptionally open to both the East and the West.
 Baray: Baray is a giant water reservoir made by excavation and embankment,
respectively. The significance of baray is still mysterious. There is speculation that it was
part of irrigation system but some believe that it served for religious purpose. There is a
temple on an artificial island located in the center of baray. In the middle of the baray
associated with Preah Khan stands the 12th century temple of Neak Pean. West Baray –
the largest reservoir in Angkor, homes the 11th century West Mebon at its center.
 Naga bridge: There is a nine headed serpent in the shape of a fan is adorned on each side
of the bridge leading to entrance gate of temples in Angkor. The naga’s whole body
extends the length of the bridge, forming a barrier over the edge of the bridge. This
representation may symbolize the transition from the world of men to the world of the
gods, and reinforced by Indra’s presence.

Elements

 Bas-reliefs are figures or entire scenes sculpted into stone walls. They are narrative bas-
reliefs depicting stories from mythology and history. The external gallery wall in Angkor
Wat is covered with around 13,000 square meters of narrative bas-reliefs mentioning
about historical and mythological scenes. The medieval Khmer’s everyday life as well as
historical events from the reign of King Jayavarman VII are the main topics of bas-reliefs
in the Bayon’s outer gallery.
 Stairs in Angkor Temples are notoriously steep with an angel of ascent between 45 and
7-0 degrees. This steep stairway represents the “stairway to heaven”, “the realm of the
gods” from the religious perspective. According to Angkor-scholar Maurice Glaize, the
monumental point of view for this peculiarity is that “the square of the base not having to
spread in surface area, the entire building rises to its zenith with a particular thrust”.

Motifs

 Apsara: celestial dancing girls – found at Preah Khan, Bayon, Angkor Wat.
 Devata: minor female deities – found at Preah Khan, Bayon, Angkor Wat.
 Dvarapala: demonic temple guardians with clubs and lances – seen at Banteay Kdei,
Banteay Srei, Preah Khan, Preah Ko and Lolei.
 Gajasimha: mythical animal with lion’s body and elephant head, temple guardian –
found at Banteay Srei and Rolous Group.
 Reachisey: mythical animal with lion’s head, dragon’s body and a short elephant trunk –
found at Angkor Wat’s outer gallery.
 Garuda: half man – half bird, lord of birds.
 Kala: a ferocious monster with only the head with a large upper jaw depicted, no lower
jaw.

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  Linga: cylinder symbolic of the Hindu God Shiva and creative power. It was places in
the central sanctuary to represent king himself and express his consubstantially with
Shiva.
 Naga: a snake with multiple heads, always in uneven number and arranged in a fan.
Nagas were symbols of water and also characters in other well-known legend “the
churning of the Ocean of Milk” and stories depicted in Khmer art. Mucalinda was the
serpent king who protected the meditating Buddha from torrential rains with its hoods.
 Quincunx: a spatial arrangement of five elements to convey the five peaks of Mount
Meru. This arrangement can be found in designs of East Mebon with five brick towers, or
in the riverbed carvings in Kbal Spean.
 Shiva: Angkorian Khmer worshipped Shiva in the form of a linga at most Angkor
Temples. He is one of principle deities of Hinduism.
 Vishnu: He is one of principle deities of Hinduism.

East Mebon Temple (953) Both the architect and the exact time of dedication--down to the
minute--are known. The East Mebon was built in 952 by the King Rajendravarman II on an
artificial island in the middle of the now-dry Eastern Baray. It is located in the east, close to the
grand circuit and north of Preah Rup. Kavindrarimathana, the architect of the East Mebon

East Mebon is a small temple built in the reign of king Rajendravarman, who named the temple
'Yashodharatataka' (the reservoir of Yashodhara). King Rajendravarman greatly admired King
Yashovarman I, who ruled from 889-900 AD and built the East Baray (reservoir). Out of respect,
King Rajendravarman built East Mebon at the center of the baray. Its main god was
Rajendreshvara, a linga of the present king.

The temple was dedicated on Friday, January 28, 953 at about 11am. The architect was
Kavindrarimathana, whose name survives because he sponsored several temples himself. A
thousand years ago, the waters of the East Baray would have lapped around the temple's
foundations, but nowadays it has completely dried up. it stands on what was an artificial island at
the center of the now dry East Baray reservoir.

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The East Mebon was dedicated to the Hindu god Shiva and honors the parents of the king. Its
location reflects Khmer architects’ concern with orientation and cardinal directions. The temple
was built on a north–south axis with Rajendravarman's state temple, Pre Rup, located about
1,200 meters to the south just outside the baray. The East Mebon also lies on an east–west axis
with the palace temple Phimeanakas, another creation of Rajendravarman's reign, located about
6,800 meters due west.

Built in the general style of Pre Rup, the East Mebon was dedicated in 953 AD. It has two
enclosing walls and three tiers. It includes the full array of durable Khmer construction
materials: sandstone, brick, laterite and stucco. At the top is a central tower on a square platform,
surrounded by four smaller towers at the platform's corners. The towers are of brick; holes that
formerly anchored stucco are visible.

The sculpture at the East Mebon is varied and exceptional, including two-meter-high free-
standing stone elephants at corners of the first and second tiers. Religious scenes include the
god Indra atop his three-headed elephant Airavata, and Shiva on his mount, the sacred
bull Nandi. Carving on lintels is particularly elegant.
Visitors looking out from the upper level today are left to imagine the vast expanses of water that
formerly surrounded the temple. Four landing stages at the base give reminder that the temple
was once reached by boat.

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Airavata which means "belonging to Iravati" is a white elephant who carries the deity Indra. It
is also called 'abhra-Matanga', meaning "elephant of the clouds"; 'Naga-malla', meaning "the
fighting elephant"; and 'Arkasodara', meaning "brother of the sun. 'Abhramu' is the elephant wife
of Airavata. Airavata has four tusks and seven trunks and is spotless white. Airavata is also the
third son of Iravati. In the Mahabharata he is listed as a great serpent.

Indra (alias Sakra) and Shachi riding the five-headed Divine Elephant Airavata, Folio from a Jain text, Panch
Kalyanaka (Five Auspicious Events in the Life of Jina Rishabhanatha), c. 1670–1680, Painting in LACMA museum,
originally from Amber, Rajasthan

According to the Ramayana, the elephant's mother was Iravati. According to the Matangalila,
Airavata was born when Brahma sang sacred hymns over the halves of the egg shell from
which Garuda hatched, followed by seven more male and eight female elephants. Prithu made
Airavata king of all elephants. One of his names means "the one who knits or binds the clouds"
since myth has it that these elephants are capable of producing clouds. The connection of
elephants with water and rain is emphasized in the mythology of Indra, who rides the elephant
Airavata when he defeats Vritra.
As per another legend, Airavata is believed to have come out of churning the ocean of milk and
it is believed that the elephant guards one of the points of compass. [3] Airavata also stands at the
entrance to Svarga, Indra's palace. In addition, the eight guardian deities who preside over the

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points of the compass each sit on an elephant. Each of these deities has an elephant that takes
part in the defense and protection of its respective quarter. Chief among them is Airavata
of Indra. There is a reference to Airavata in the Bhagavad Gita:
Of horses, know Me to be the nectar-born Uchchaihshravas; of lordly
elephants, Airavata and of men, the monarch.
At Darasuram near Tanjore is a temple where it is believed that Airavata worshipped
the Lingam; the Lingam is named after him as Airavateshwara. This temple, which abounds in
rare sculpture and architectural workmanship, was built by Rajaraja Chola II (1146–73).
Erawan Airāvana is one of the Thai names of Airavata. It is depicted as a huge elephant with
either three or sometimes thirty-three heads which are often shown with more than two tusks.
Some statues show Indra, the king of Tavatimsa Heaven, riding on Erawan.Elephant became the
symbol of Bangkok by association with Indra during its foundation as the capital of the
new Rattanakosin Kingdom . It is also sometimes associated with the old Lao Kingdom of Lan
Xang and the defunct Kingdom of Laos, where it was more commonly known as the "three-
headed elephant" and had been used on the royal flag.

Detail of the Phra Prang, the central tower of the Wat Arun ("Temple of
Dawn") in Bangkok, Thailand, showing Indra on his three-headed elephant Erawan (Airavata).

Bat Chum Temple (mid 10th-century) A 'privately' built Buddhist temple which is a small
sanctuary with three towers facing east constructed in the mid 10th century (around 960) by the
architect Kavindrarimathana for his own personal use. Kavindrarimathana is the only Khmer-era
architect whose name has survived, and it is known that he also designed East Mebon and the
royal palace of King Rajendravarman. Quite unusual for this time, Kavindrarimathana was a
Buddhist and dedicated Bat Chum to the Buddha, Vajrapani, and Prajnaparamita (one tower
represented each incarnation)