ART AND HANDICRAFTS

Visual arts of Cambodia

The history of visual arts in Cambodia stretches back centuries to ancient crafts. Traditional Cambodian arts and crafts include textiles, non-textile weaving, silversmithing, stone carving, lacquerware, ceramics, wat murals, and kite-making. Beginning in the mid-20th century, a tradition of modern art began in Cambodia, though in the later 20th century both traditional and modern arts declined for several reasons, including the killing of artists by theKhmer Rouge. The country has experienced a recent artistic revival due to increased support from governments, NGOs, and foreign tourists.

History of Cambodian Art and Handcraft

The history of Cambodian art stretches back centuries to ancient pottery, silk weaving, andstone carving. The height of Khmer art occurred during the Angkor period; much of the era's stone carving and architecture survives to the present. In pre-colonial Cambodia, art and crafts were generally produced either by rural non-specialists for practical use or by skilled artists producing works for the Royal Palace. In modern Cambodia, many artistic traditions entered a period of decline or even ceased to be practiced, but the country has experienced a recent artistic revival as the tourist market has increased and governments and NGOs have contributed to the preservation of Cambodian culture.

Textiles

Silk weaving in Cambodia has a long history. The practice dates to as early as the first century, and textiles were used in trade during Angkorian times. Even modern textile production evidences these historic antecedents: motifs found on silk today often echo clothing details on ancient stone sculptures.

There are two main types of Cambodian weaving. The ikat technique (Khmer: chong kiet), which produces patterned fabric, is quite complex. To create patterns, weavers tie and dye portions of weft yarn before weaving begins. Patterns are diverse and vary by region; common motifs include lattice, stars, and spots.

The second weaving technique, unique to Cambodia, is called "uneven twill". It yields single or two-color fabrics, which are produced by weaving three threads so that the "color of one thread dominates on one side of the fabric, while the two others determine the colour on the reverse side." Traditionally, Cambodian textiles have employed natural dyes. Red dye comes from lac insect nests, blue dye from indigo, yellow and green dye from prohut bark, and black dye from ebony bark.

Cambodia's modern silk-weaving centers areTakeo, Battambang, Beanteay Meanchey, Siem Reap and Kampot provinces. Silk-weaving has seen a major revival recently, with production doubling over the past ten years. This has provided employment for many rural women. Cambodian silk is generally sold domestically, where it is used insampot (wrap skirts), furnishings, and pidan (pictoral tapestries), but interest in international trade is increasing.

Cotton textiles have also played a significant role in Cambodian culture. Though today Cambodia imports most of its cotton, traditionally woven cotton remains popular. Rural women often weave homemade cotton fabric, which is used in garments and for household purposes. Krama, the traditional check scarves worn almost universally by Cambodians, are made of cotton

Non-textile weaving

Many Cambodian farmers weave baskets (Khmer: tbanh kantrak) for household use or as a supplemental source of income. Most baskets are many of thinly cut bamboo. Regions known for basketry include Siem Reap and Kampong Cham. Mat weaving (tbanh kantuel) is a common seasonal occupation. They are most commonly made from reeds, either left a natural tan color or dyed in deep jewel tones. The region of Cambodia best-known for mat weaving is the Mekong floodplain, especially around Lvea Em district. Mats are commonly laid out for guests and are important building materials for homes. Wicker and rattan crafts (tbanh kanchoeu) made from dryandra trees are also significant. Common wicker and rattan products include walls, mats, furniture, and other household items.

Stone carving

Cambodia's best-known stone carving adorns the temples of Angkor, which are "renowned for the scale, richness and detail of their sculpture". In modern times, however, the art of stone carving became rare, largely because older sculptures survived undamaged for centuries (eliminating the need for replacements) and because of the use of cement molds for modern temple architecture. By the 1970s and 1980s, the craft of stone carving was nearly lost. 

During the late 20th century, however, efforts to restore Angkor resulted in a new demand for skilled stone carvers to replace missing or damaged pieces, and a new tradition of stone carving is arising to meet this need. Most modern carving is traditional-style, but some carvers are experimenting with contemporary designs. Interest is also renewing for using stone carving in modern wats. Modern carvings are typically made from Banteay Meanchey sandstone, though stone from Pursat and Kompong Thom is also used.

Lacquerware

The height of Cambodian traditional lacquerwarewas between the 12th and 16th centuries; some examples of work from this era, including gilded Buddha images and betel boxes, have survived to the present day. Lacquerware was traditionally colored black using burnt wood, representing the underworld; red using mercury, representing the earth; and yellow using arsenic, representing the heavens. Lacquer on Angkorian stone dates to the 15th or 16 century.

In modern Cambodia, the art of lacquerwork nearly faded into oblivion: few lacquer trees survived, and lacquer was unavailable in local markets. Today's revival is still in its infancy, but 100 lacquer artists have been trained by a French expert under the guidance of Artisans d'Angkor, a company that produces traditional crafts in village workshops. Some artists are "beginning to experiment with different techniques and styles...to produce modern and striking effects."

Silversmithing

Silversmithing in Cambodia dates back centuries. The Royal Palace traditionally patronized silversmiths' workshops, and silversmiths remain concentrated at Kompong Luong, near the former royal capital Oudong. Silver was made into a variety of items, including weaponry, coins, ceremonial objects used in funerary and religious rituals, and betel boxes. During Cambodia's colonial period, artisans at the School of Fine Art produced celebrated silverwork, and by the late 1930s there were more than 600 silversmiths. Today, silverwork is popular for boxes, jewellery, and souvenir items; these are often adorned with fruit, fire, and Angkor-inspired motifs. Men produce most of the forms for such work, but women often complete the intricate filigree.

Ceramics
Cambodian pottery traditions date to 5000 BCE. Ceramics were mostly used for domestic purposes such as holding food and water. There is no evidence that Khmer ceramics were ever exported, though ceramics were imported from elsewhere in Asia beginning in the 10th century. Ceramics in the shape of birds, elephants, rabbits, and other animals were popular between the 11th and 13th centuries.
Potting traditionally was done either on a pottery wheel or using shaping tools such as paddles and anvils. Firing was done in clay kilns, which could reach temperatures of 1,000–1,200 °C, or in the open air, at temperatures of around 700 °C. Primarily green and brown glazes were used. In rural Cambodia, traditional pottery methods remained. Many pieces are hand-turned and fired on an open fire without glaze. The country's major center for pottery is Kompong Chhnang Province.
In modern Cambodia, the art of glazed ceramics faded into oblivion: the technique of stoneware stop to be used around 14th century, at the end of Angkor era. Today this technique begin a slow revival through a Belgian ceramist who founded the Khmer Ceramics Revival Center, in Siem Reap, the organization lead vocational training and researches about this lost skill.

Wat murals
Portion of a 1903–1904 mural in Phnom Penh's Silver Pagoda
Because of destruction during recent war, few historic wat murals remain in Cambodia. In the 1960s, art historians Guy and Jacqueline Nafilyan photographed 19th-century murals, providing a record of this lost cultural heritage. The best known surviving murals are at the Silver Pagoda in Phnom Penh, Wat Rajabo in Siem Reap province, and Wat Kompong Tralach Leu in Kompong Chhnang Province. In the last decade, wat murals have seen a resurgence, but Cambodia's surviving older murals are generally more refined and detailed.
Also, a Stegosaurus is depicted in a little picture on the Angkor Wat. There has been speculation about Stegosaurus being known in Cambodian mythology. According to one story, Vishnu actually fought a creature that is said to have a spiked tail, plates on its back, an elephant shaped body, and a little head when it was attacking a little village. Stegosaurus seems to fit this description, but dinosaurs went extinct millions of years ago, suggesting that Vishnu actually fought a surviving Stegosaurus from the Jurassic period. Most people discount this information as a fake, as some people believe that Vishnu may have actually fought a weird-looking serpent.

CLOTHING

Sampot

Apsara dressed in Angkorian-style sampot cloth.
The sampot is the national garment of Cambodia. The traditional dress is similar to those worn in the neighboring countries of Laos and Thailand, but variations do exist between the countries. The sampot dates back to the Funan era when a Cambodian king allegedly ordered the people of his kingdom to wear the sampot at the request of Chinese envoys.
There are many variations for the sampot, each is washed according to social class. The typical sampot, known also as the sarong is typically worn by men and women of lower class. It measures approximately one and a half meters and both ends are sewn together. It is tied to safely secure it on the waist.

Sampot Chang Kben
Sampot Chang Kben ( ALA-LC: saṃbát caá¹… kpin) is the preferred choice of clothing for women of upper and middle classes for daily wear. This practice of daily wear died out in the beginning of the twentieth century. Unlike the typical Sampot, it is more of a pant than a skirt. It is a rectangular piece of cloth measuring 3 metres long and one metres wide.[2] It is worn by wrapping it around the waist, stretching it away from the body and twisting the knot. The knot is then pulled between the legs and held by a metal belt. Regardless of class, all Cambodian women wear the Sampot Chang Kben on special events. Men may also wear it, but the traditional patterns depend on gender. The Sampot Chang Kben is adopted in Thailand and Laos, where it is known as Chong Kraben. It dates to the to ancient Cambodia where deities often wore such styles.[3]

Sampot Phamuong
Sampot Phamuong (ALA-LC: saṃbát phā muaá¹…) are many different variations of traditional Khmer textiles.[4] They are single colored and twill woven. There are currently 52 colors used in Sampot Phamuong. The Phamuong Chorabap is a luxurious fabric using up to 22 needles to create. Phamuong variation are rabak, chorcung, anlounh, kaneiv and bantok. It usually contains floral and geometrical motifs. The most valued silk used to create the Phamuong is Cambodian yellow silk, known for its fine quality. New designs draw inspiration from ancient patterns of old silk.

Sampot Hol
Sampot Hol (សំពត់​ហូល ALA-LC: saṃbát hÅ«l) is a typical traditional textile. There are two kinds of Sampot Hol, one is a wrapping skirt that uses a technique called chong kiet and twill weave. Influenced by the Indian patola, it developed patterns and techniques over the centuries to become a genuine Khmer art style. The sampot hol has over 200 patterns combined with three to five colors, yellow, red, brown, blue, and green. There are four variations, sampot hol, sampot hol por, sampot hol kben and sampot hol ktong. Patterns are usually geometric motifs, animals, and flower motifs.
Both Sampot Phamuong and Sampot Hol believed to have invented from original Sampot in Oudok Era as word Phamuong comes from Siam language that Pha mean Fabric and Mung mean violet while Sampot Hol had introduced as ceremonial skirtcloth to the Thai court as sompak poom or pha poom in 19th century.[5][6] Although that era, Thai culture influenced that much into Khmer society, Khmer weaving however, is not a copy from Siam, because Cambodia already had a weaving culture before the Klung civilization. At this time, Cambodia still do not know what the word like Phamung meant in that time.

Sampot Tep Apsara
Sampot Tep apsara Angkor (Khmer: សំពត់ទេពអប្សរាអង្គរ) is a famous type of sampot in Khmer empire era, which still found on the base belief of Apsaras carving aroung Khmer Famous temple, Angkor wat. Generally, all of thoes skirt are tied to safely secure it on the waist and are held up with a style of golden belt. A long pleat is dropped at the middle of Sampot which the length of that fabric recoils at the calf of the leg. The hem of the skirt at the both part always get a small knot up. There are also two knots that come from the waist of sampot with the left Knot as the long knot like the thin long fabric while the right Knot has the same physical appearance but more decoration at the middle of the knot. Today, this style of sampot is the fictional skirt for nowadays people as No of this kind of sampot wearing by anyone but will an illustration to public as it will wearing in some show as they disgus as Apsara.

Sampot Samloy
Sampot Samloy (Khmer: សំពត់សម្លុយ) is long skirt used daily for men and women. The name Samloy mostly refers to no colour but black for ancient name, now it is sometimes recognized as the soft, thin fabric with more decoration and pattern look Sarong Batik but may be smaller. With its thin and soft appearance, the style of dress had been required to hold a knot, make it to become Sampot Chang Kben easily. However, it is necessary to make a fold at the left or right side like Sarong and Another sampot but most of female wearer, likely to hold its knot at up middle, drop a small division site at the length of Saloy at the knee to be easily to walk for the wearer. Saloy was known to be popular during Chatomok Era.

Sampot Chorabap
Sampot Chorabap (Khmer: សំពត់ចរបាប់) is a long skirt of silk embroidered all over the gold thread, worn by woman in Khmer classical dance, newlywed and the character of Mae Hua (Khmer: មេ​ហួ) in Royal Ploughing Ceremony of Cambodia.

Sampot Sang
Sampot Sang (Khmer: សំពត់សេង) is a short skirt with silk embroidery.

Sampot Seai Sua
Sampot Seai Sua (Khmer: សំពត់សែសយ) is a kind of skirt of one colour with a gold or silver embroidered band along a lower ham. roday, this skirt is very popular among Laotian's lady than Khmer people.

Sampot Lberk
Sampot Lberk (Khmer: សំពត់លើ្បក) is a long skirt covered with entirely silk embroiredy. Today it is worn in marriage ceremonies in the place like Sampot Sabum. In ancient times, This kind of sampot is mostly worn by Noblemen of Cambodia during Lovek era.

Sampot Anlorgn
Sampot Alorgn (Khmer: សំពត់អន្លូញ) is a long skirt with the vertical stripes, commonly worn by old people or farmer in the countryside. This one is share highly common to Burma's Longyi.

There are many variation of Tops known as Shirt in Cambodia. The invention of traditional Aor is found after Khmer empire era at the late of 13 century to 14 century

Chang Pong
Chang Pong (Khmer: អាវចងពង់) is a piece of fabric in any colour which Khmer people at the late of 13 century especially women, started used it to cover their chest, showed up only the stomach. The style of Covering, is cover it at the back and each side of the fabric to join at the middle the chest and roll it to up to be smaller to tie which this style called Chang Pok.It then developed more to Tronum which is a thick and strong fabric cover on the chest of khmer lady, which stick on the body strongly. Sometimes, the commonly style of wearing this garment is similar way to wearing Aor Chang Pok, just Aor tronum, not showed as much skin like Aor Chang Pok. Popularity of wearing Aor Tronum, were for young rich lady during Chatomok Era and today an important costume of all to be used in Khmer classical dance.

Av Bumpong
Av Bumpong (Khmer: អាវ​បំពង់)mean tube skirt in English according to appearance like a long tube, bribe to the body at the head and drop to down easily. Aor Bupok is a long shirt like a dress than the regular shurt similar to Vietnamese Ao Dai, Indian's Kurta and Malaysia's baju kurung. Generally, It has a Collar with a button at the length from the neck to chest like Kurta while it normally norrow at the middle of the shirt in the stomach part like Baju Kurung but has the small hidden cut at hem of each shirt of shirt like Ao Dai which allowed the below part of shirt turn to Wide and Big. Most of Shirt is length at the knee while few one just only Length at the thigh. This Shirt is famous during Lovek to Oudong era worn by rich lady.

Av Dai Puon
Av Dai Puon is a traditional blouse in Lovek era. The name of dai puon is literally meaning according to inflated short arm. This shirt usually had a row of button and just of few of extremely rich girl counld had one during that era.

Av Pnot Kback
Av Pnot Kback is a female formal shirt primarily worn by wealthy young women. It is often adorned with a row of pleats with floral decorations. It is often paired with a collar and the hem of arm in the same style. The period in which this shirt was invented is not specifically known, but many believed it can be attributed to Lovek. This shirt is quite similar to a Burmese style, as it perhaps it was influenced by the culture of Burma.

Av Neang Nov
Av neang nov is a the long arm shirt, worn by woman.

Av Bar Bov
Av Bar Bov is a no arm coat wear on the Av neang nov and Av Dai Puon. This shirt had the dounble of Button on its pleat. The name of Av Bar Bov is known as Lotus leaves, the literally meaning from Thailand.

Av Pak
Av Pak is a recent popular fashion blouse in Cambodia worn by Woman. This one is known as the khmer version of Kebaya with plain stamped cotton elaborately hand-painted embroidered silk with gold thread. In the past, this kind of shirt required it own unique style with only white colour with the high full of embroider. Today, This shirt has the more gold thread in several colour and had cut into a lot of modern fashion which highly popular to Khmer people especially middle aged and young woman with the narrow style and several decoration model. This shirt had been noted as today's khmer national costume where a lot of khmer girl had used this blouse at the special occasion both inside and outside Cambodia to revived the khmer identity. This shirt usually worn with Sampot Hol and a few worn with Sampot Chang Kben

Krama
Main article: Krama
Traditionally Cambodians wear a checkered scarf called a "Krama". The Krama has been a symbol of Cambodian dress since the first century reign of Preah Bath Hun Tean although it is not clear when exactly the krama became fashionable in the streets.

A Cambodian woman wearing a conical hat to keep off the sun's heat in the rice fields. Her krama is worn underneath
The "krama" is what distinctly separates the Khmer (Cambodians) from their Thai, Vietnamese, and Laotian neighbors. The scarf is used for many purposes including for style, protection from the hot sun, an aid (for your feet) when climbing trees, a hammock for infants, a towel, or a "sarong". A "krama" can also be easily shaped into a small child's doll for play. Under the Khmer Rouge, all Khmer were forced to wear a checkered "krama".
The conical hat is also worn by many particularly by workers in the countryside to keep the sun off.[8] This, however, is a Vietnamese hat that has been adopted to a certain extent by Khmer in the provinces adjacent to Vietnam.

CLIMATE AND WEATHER

Cambodia is located in Southeast Asia, in the tropical zone, just 10-13 degrees north of the equator. Like most of Southeast Asia, Cambodia is warm to hot year round and the climate is dominated by the annual monsoon cycle with its alternating wet and dry seasons. The monsoon cycle is driven by cyclic air pressure changes over central Asia. As thepressure drops during the summer months (June through October), moist air is drawn landward from the ocean bringing the southwest monsoon rains to Cambodia and much of Southeast Asia. Come the winter months (November through May), the air pressure over central Asia rises, driving cool dry air back across Southeast Asia and bringing on a largely rainless dry season to Cambodia. The mean daily temperature also rises and falls with the winter and summer months, but not exactly in time with the wet and dry season, effectively creating four annual seasons in Cambodia:

1) November-February: Cool and dry. Average mid-day temperatures in the mid 20s, sometime dipping below 20 at night. The monsoon rains trail off through October and November, and have usually stopped completely by mid November. These months - November through February - are generally considered to be the best time of year to visit, with December and January offering the very best weather of the year across the country - comfortably warm days, clear skies, no rain, light breeze, cool evenings. Ideal beach weather in Sihanoukville. A comfortable time of year to visit the temples near Siem Reap. Temperatures begin to creep up a bit through February and there are occasional, short 'mango showers' in the afternoon. 

2) March-May: Hot and dry. The dry season continues, the only precipitation being short 'mango showers' in the afternoons that slowly increase in frequency and intensity through these months. During these months river and lake levels are very low, generally making boat/river ferry travel much more difficult, less reliable and can greatly increase travels times dramatically. On the other hand, road travel (bus, taxi, motorcycle) is much easier and more reliable for lack of rainy season flooding. The temperature slowly rises through February and March, peaking out in April and May before the monsoons begin. February and March are still comfortable but by April mid-day temperatures can hover in the mid to upper 30s, especially in inland areas like Siem Reap. It is less breezy at this time of year, the sun can be quite intense and the air becomes hazier with the rising humidity. Though sometimes quite hot, the lack of rain still leaves this a good time of year to visit the temples or the beach.

3) June-August: Hot and wet. The hot season continues but is fairly quickly moderated as the monsoon rains begin in May and June, cooling, if only a bit, the hot, humid air. Across most of the country, the monsoon rains are fairly predictable, usually occurring in the afternoon or at night. And the afternoon rains usually last no more than a couple of hours making them fairly easy to plan around, especially if you are visiting the temples or touring. In fact, the Angkor temples are at their aesthetic best during the wet season. The surrounding moats and reflecting pools are full, the jungle is lush and moisture bring outs the colors of the moss and lichen covered stones of the temples. Boat travel becomes easier and more reliable as the season progresses and the river and lake levels rise, but some roads sometimes deteriorate or become temporarily flooded. The pattern of monsoon rains tends too be different along the coast and the beach towns, where the rains are more frequent and, when the season is at its peak, may last for days at a time, though, unlike the rest of the country, the rain on the coast may stop for days at a time as well. 

4) September-Early November: Cool and wet. The air doesn't really begin to cool much until October or November, but still, its cooler than the hottest months. In September the temperatures hover in the mid 30s and slowly drop through the following months. By October, the mid day temperatures are around 30. In September the rainy season is just passing its peak. The rains are still very regular and intense in September, but by October the frequency is usually dropping off considerably. By the end of October the rains are close to stopping completely, if they haven't already. As the rains end through October, the best time of year to visit Cambodia begins. 

The Rainy Season

Many travelers understandably try to avoid visiting Southeast Asia during the wet season, assuming that the rains will spoil the visit. There are obvious disadvantages to visiting during the rainy season, but personally it is my favorite time of year in Cambodia. During the rainy season the temples of Angkor are at their most beautiful and most photogenic. The reflecting pools and moats are full, the vegetation is deep green and the wet stone of the temples is at its most colorful. Also of photographic note, the rain-washed air of the wet season is particularly clear as compared to the hazy, smoky skies of the dry season, making those long shots of the temples and rice paddies that much clearer. (If you always wanted that shot of from the top of Phnom Bakheng of the distant Angkor Wat in the jungle illuminated the light of sunset, this is the best time of year to bring your 400mm lens and give it a try.) Outside the cities, the rice paddies are full of water and green with new rice, the jungle is lush and the countryside is picturesque and alive with growing season activity. The river and lake levels are high making boat travel easy. (It's the best time of year to take the boat from Siem Reap to Battambang, reputedly one of the most picturesque boat trips in Cambodia.) And it must be said that there are fewer tourists in the country. The temples are less crowded, prices are lower and the bars and restaurants are all happy to see you. And, practically speaking, it does not rain all of the time or even every day during the rainy season. When it does rain it usually starts around 2:00PM or 3:00PM and lasts a couple of hours, making it easy to plan around in most cases. Toward the beginning and the end of the season the rains occur with far less frequency.

CULTURE AND TRADITION

The culture of Cambodia has had a rich and varied history dating back many centuries, and has been heavily influenced by India.[1] Throughout Cambodia's long history, a major source of inspiration was from religion. Throughout nearly two millennium, Cambodians developed a unique Khmer belief from the syncreticism of indigenous animistic beliefs and the Indian religions of Buddhism and Hinduism. Indian culture and civilization, including its language and arts reached mainland Southeast Asia around the 1st century AD. It is generally believed that seafaring merchants brought Indian customs and culture to ports along the Gulf of Thailand and the Pacific while trading with China. The first state to benefit from this was Funan.

The golden age of Cambodia was between the 9th and 14th century, during the Angkor period, during which it was a powerful and prosperous empire that flourished and dominated almost all of inland south east Asia. However, Angkor would eventually collapse after much in-fighting between royalty and constant warring with its increasingly powerful neighbors, notably Siam and Dai Viet. Many temples from this period however, like Bayon and Angkor Wat still remain today, scattered throughout Thailand, Cambodia, Laos, and Vietnam as a reminder of the grandeur of Khmer arts and culture. Cambodia's unparalleled achievements in art, architectures, music, and dance during this period have had a great influence on many neighboring kingdoms, namely Thailand and Laos. The affect of Angkorian culture can still be seen today in those countries, as they share many close characteristics with current-day Cambodia.