Note sur Kumbhakar?a dans l'iconographie khmère - article ; n°1 ; vol.50, pg 69-75

Madeleine Giteau

Description

Arts asiatiques - Année 1995 - Volume 50 - Numéro 1 - Pages 69-75
Among the representations of the Ramayana in Cambodia, the battle of raksasa Kumbhakarna, Ravana's brother, against Rama's army appears in both the Angkorian and modern arts. Angkor iconography follows Valmiki text (Baphuon, Thammanon, Khao Phanom Rung temples), favouring two episods : Kumbhakarna's awakening and his struggle with a host of monkeys. Modern iconography follows the Ramakerti which is the Khmer version of the Ramayana (S. Pou, Ramakerti (XVIe-XVIIe siècles) Paris 1977) as well as an early twentieth century text written by a high ranking Khmer official, Oknha Veang Thiounn. In these texts, Kumbhakarna's struggle is, together with that of Indrajit, one of the great battles which precede the final mêlée. This series of episods has been depicted in the paintings in the cloister of the Silver Pagoda in Phnom Penh, and those of Vat Bho sanctuary in Siemreap, as well as on the cement reliefs of Vat Kdol surrounding wall, in Battambang. In the most original paintings in Vat Bho, scenes displayed one on top of the other recall the pictures which appear on the screen of the Shadow theatre in Siempreap. The paintor showed in the sequence of scenes Ravana's call to Kumbhakarna, Kumbhakarna's act to deprive Rama's army of water, his asceticism to obtain a magic weapon, and finally his last battle. In this ultimate episod, Oknha Veang Thiounn's text introduces a buddhist note : dying Kumbhakarna is depicted sitting in meditation; as a matter of fact, having acknowledged the sacred nature of Rama, he will be able to be reborn in the Tusita heavens.
7 pages
Source : Persée ; Ministère de la jeunesse, de l’éducation nationale et de la recherche, Direction de l’enseignement supérieur, Sous-direction des bibliothèques et de la documentation.

Sujets

• Sciences et techniques

Informations

• Publié par: Arts-asiatiques
• Publié le: 01 janvier 1995
• Nombre de lectures: 18
• Langue: Français

Extrait

Madeleine Giteau

Note sur Kumbhakara dans l'iconographie khmère

In: Arts asiatiques. Tome 50, 1995. pp. 69-75.

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Rama's army appears in both the Angkorian and modern arts. Angkor iconography follows Valmiki text (Baphuon, Thammanon,

Khao Phanom Rung temples), favouring two episods : Kumbhakarna's awakening and his struggle with a host of monkeys.

Modern iconography follows the Ramakerti which is the Khmer version of the Ramayana (S. Pou, Ramakerti (XVIe-XVIIe siècles)

Paris 1977) as well as an early twentieth century text written by a high ranking Khmer official, Oknha Veang Thiounn. In these

texts, Kumbhakarna's struggle is, together with that of Indrajit, one of the great battles which precede the final mêlée. This series

of episods has been depicted in the paintings in the cloister of the Silver Pagoda in Phnom Penh, and those of Vat Bho sanctuary

in Siemreap, as well as on the cement reliefs of Vat Kdol surrounding wall, in Battambang. In the most original paintings in Vat

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Rama's army of water, his asceticism to obtain a magic weapon, and finally his last battle. In this ultimate episod, Oknha Veang

Thiounn's text introduces a buddhist note : dying Kumbhakarna is depicted sitting in meditation; as a matter of fact, having

acknowledged the sacred nature of Rama, he will be able to be reborn in the Tusita heavens.

Citer ce document / Cite this document :

Giteau Madeleine. Note sur Kumbhakara dans l'iconographie khmère. In: Arts asiatiques. Tome 50, 1995. pp. 69-75.

http://www.persee.fr/web/revues/home/prescript/article/arasi_0004-3958_1995_num_50_1_1370