កំណើននៃភ្ញៀវមនៅក្នុង​តំបន់អាស៊ាន

អត្ថបទ និងរូបភាពដកស្រង់ចេញពីគេហទំព័រដើមអំពិល (DAP)

តំបន់អាស៊ាន នឹងទទួល ភ្ញៀវទេសចរ ១៩០លាននាក់ នៅឆ្នាំ២០៣០

Thursday, 29 March 2012 15:27 ដោយ អេង គឹមជាង Posted :ID-067

 

ភ្នំពេញ៖ លោក សុខ អាន បានឲ្យដឹងថា ការព្យាករណ៍ របស់អង្គការទេសចរពិភពលោក ការធ្វើដំណើរ របស់ភ្ញៀវទេសចរ អាចនឹងកើនឡើងដល់ ១ពាន់លាននាក់ នៅឆ្នាំ២០១២ និង ១,៨ពាន់លាននាក់ នៅឆ្នាំ២០៣០ ក្នុងនោះ តំបន់អាស៊ាន នឹងទទួលបានភ្ញៀវទេសចរ ១៩០លាននាក់ នៅឆ្នាំ២០៣០។

លោក សុខ អាន ឧបនាយករដ្ឋមន្ត្រី រដ្ឋមន្ត្រីទទួលបន្ទុក ទីស្តីការគណៈរដ្ឋមន្ត្រី មានប្រសាសន៍បែបនេះ ក្នុងឱកាសបើកសិក្ខាសាលា ស្តីពីការផ្សព្វផ្សាយ និងអនុវត្តស្មារតីកិច្ចព្រមព្រៀង ទទួលស្គាល់គ្នាទៅវិញ ទៅមកក្នុងជំនាញវិជ្ជាជីវៈទេសចរណ៍ នៅអគារមិត្តភាព ទីស្តីការគណៈរដ្ឋមន្ត្រី ថ្ងៃទី២៩ ខែមីនា ឆ្នាំ២០១២ថា នៅ សតវត្សរ៍ទី២១ ត្រូវបានគេចាត់ទុកជា “សតវត្សរ៍ នៃការធ្វើដំណើរ និងទេសចរណ៍” ហើយបើយោងតាមការ ព្យាករណ៍ របស់អង្គការទេសចរណ៍ពិភពលោក គឺការធ្វើដំណើរ របស់ភ្ញៀវទេសចរអាចនឹងកើនឡើងដល់ ១ពាន់លាននាក់ នៅឆ្នាំ២០១២ និង ១,៨ពាន់លាននាក់ នៅឆ្នាំ២០៣០ ក្នុងនោះ តំបន់អាស៊ាននឹងទទួល បានភ្ញៀវទេសចរ ១០៧លាននាក់ នៅឆ្នាំ២០១៥, ១២០លាននាក់ នៅឆ្នាំ២០២០ និង ១៩០លាននាក់ នៅឆ្នាំ២០៣០។

លោកបន្តថា «ជាក់ស្តែង នៅឆ្នាំ២០១១ វិស័យទេសចរណ៍សកលលោក បានរួមចំណែកប្រមាណ ៥% នៃផលិតផលសរុបក្នុងស្រុក (GDP) ដែលស្មើនឹងប្រមាណ ៣០% នៃពាណិជ្ជកម្មពិភពលោក ខាងផ្នែកសេវាកម្ម និងបង្កើតការងារបានប្រមាណ ២៣៥លាននាក់ ស្មើនឹង ៨% នៃកម្លាំងពលកម្មសរុបនៅលើ ពិភពលោក ពោលគឺនៅលើពិភពលោកនេះ មានមនុស្ស ១នាក់ ក្នុងចំណោម ១២នាក់ បម្រើការក្នុងវិស័យទេសចរណ៍»។

អង្គការពលកម្មអន្តរជាតិហៅកាត់ថា (ILO) ក៏បានគូសបញ្ជាក់ថា ដើម្បីធានាបាននូវកំណើនសេដ្ឋកិច្ច ប្រកប ដោយនិរន្តរភាព ពិភពលោកទាំងមូល នឹងត្រូវបង្កើតការងារថ្មីប្រមាណ៦០០លាននាក់ ទៀតក្នុងរយៈពេល មួយទសវត្សខាងមុខ ដែលនេះនឹងផ្តល់នូវតួនាទីដ៏មានសារៈសំខាន់ ថែមទៀតដល់វិស័យទេសចរណ៍ ដែលជាវិស័យមួយជះឥទ្ធិពលជាវិជ្ជមានដល់វិស័យដទៃទៀត គឺការងារមួយកន្លែងដែល បង្កើតក្នុងវិស័យ ទេសចរណ៍អាចនឹងបង្កើតការងារមួយកន្លែងកន្លះ ក្នុងវិស័យផ្សេងទៀតដែលពាក់ព័ន្ធនឹងវិស័យទេសចរណ៍។

លោក សុខ អាន បន្ថែមទៀតថា ជាមួយនឹងនិន្នាការកើនឡើងជាលំដាប់យ៉ាងឆាប់រហ័សនៃចំនួនភ្ញៀវទេសចរ លើសកលលោក និងក្នុងតំបន់ ពិសេសក្នុងបរិបទនៃការជំរុញបង្កើតសហគមន៍សេដ្ឋកិច្ចអាស៊ាន ត្រឹមឆ្នាំ២០១៥ កម្ពុជាក៏ត្រូវយកចិត្តទុកដាក់ដល់ការបណ្តុះបណ្តាលធនធានមនុស្ស។ ពិសេសកម្លាំងពលកម្មជំនាញវិជ្ជាជីវៈ ដែលជាតម្រូវការចាំបាច់ក្នុងវិស័យសេវាកម្ម ដើម្បីត្រៀមខ្លួនធ្វើសមាហរណកម្មក្នុងក្របខ័ណ្ឌតំបន់ប្រកបដោយ សមត្ថភាពប្រកួតប្រជែង៕

More info: http://www.dap-news.com/typography/the-news/39381-2012-03-29-08-30-31.html

www.dap-news.com

“រាជធានីកោះកែរ និងរាជ្យព្រះបាទជ័យវរ្ម័នទី៤”

ជូនចំពោះអ្នកដែលគាំទ្រក្រុមការងារកេរដំណែលខ្មែរជាទីគោរព

ខ្ញុំទើបតែបកប្រែ និងសម្រួលសេចក្តីសង្ខេបនិក្ខេបបបទថ្នាក់បណ្ឌិតរបស់ខ្ញុំលើប្រធានបទ “រាជធានីកោះកែរ និងរាជ្យព្រះបាទជ័យវរ្ម័នទី៤” ពីភាសាបារាំង មកភាសាជាតិ។ ខ្ញុំសូមផ្ញើសេចក្តីសង្ខេបនេះជូនដល់សមាជិកអ្នកគាំទ្រទាំងអស់ដើម្បីទុកជាឯកសារ ដែលនេះគឺជាលទ្ធផលនៃការស្រាវជ្រាវរបស់ខ្ញុំតាមរយៈការចុះសិក្សាដល់ទីកន្លែង តាមឯកសារ និងរូបថតចាស់ៗនៅតាមសារមន្ទីរ និងបណ្ណាល័យនៅស្រុកខ្មែរ និងបារាំង ព្រមទាំងទិន្នន័យស្រាវជ្រាវថ្មីៗ ដែលខ្ញុំទទួលបានពីមន្ត្រីជំនាញនៃអាជ្ញាធរអប្សរា ក្រសួងវប្បធម៌ និងវិចិត្រសិល្បៈ សាលាបារាំងចុងបូព៌ា ក្រុមស្រាវជ្រាវហុងគ្រី និងជប៉ុន។ និក្ខេបបទនេះ អាចជាពន្លឺសម្រាប់អ្នកដែលចង់សិក្សាស្រាវជ្រាវបន្តពីប្រវត្តិរបស់ព្រះបាទជ័យវរ្ម័នទី៤ និងស្នាព្រះហស្ថរបស់ព្រះអង្គ។

លោកអ្នកក៏អាចថតចម្លងឯកសារខាងក្រោមនេះដោយក្តីរីករាយ និងជួយផ្សព្វផ្សាយដល់កូនខ្មែរគ្រប់រូបដែលមានចិត្តស្រឡាញ់ ចង់ស្វែងយល់ និងថែរក្សាការពារសម្បតិ្តបេតិកភណ្ឌខ្មែរ។

 រាជធានីកោះកែរ និងព្រះបាទជ័យវរ្ម័នទី៤ – Koh Ker and Jayavarman IV 

សូមអស់លោកជាសមាជិកអ្នកគាំទ្រទាំងអស់ទទួលនូវការគោរព និងរាប់អានអំពីរូបខ្ញុំ។
ពីខ្ញុំ ចិន្ត ច័ន្ទរតនា
បណ្ឌិតផ្នែកបុរាណវិទ្យា និងប្រវត្តិសិល្បៈអាស៊ីអាគ្នេយ៍
សាកលវិទ្យាល័យ Sorbonne-Nouvelle Paris 3
ប្រធានមូលនិធិកេរដំណែលខ្មែរ
www.kerdomnelkhmer.wordpress.com
www.kerdomnel-khmer.org

បញ្ជាក់៖ សូមថ្លែងអំណរគុណចំពោះលោកសាស្ត្រាចារ្យ Michel JACQ-HERGOUALC’H(សាស្ត្រាចារ្យដឹកនាំ) លោកស្រី Danielle GUERET លោក Gerdi GERSCHHEIMER និងលោក មីស្ហែល ឬទ្ធី ដែលបានដែលបានចូលរួមជាគណៈកម្មការមេប្រយោគនៅពេលខ្ញុំការពារបពា្ចប់និក្ខេបបទ កាលពីថ្ងៃទី ១៤ ខែធ្នូ ឆ្នាំ២០១១។

Tourism sector urges protection of colonial sites

Text and photos from Myanmar Times (www.mmtimes.com)
By Aye Sapay Phyu
Volume 31, No. 619
March 19 – 25, 2012
Yangon’s historic buildings.
Pics: Boothee, Yadanar
Yangon: COLONIAL-ERA buildings are a valuable resource for the tourism sector and a major attraction for visitors to the city, tourism experts said last week.

Many in the industry are supportive of the push for preservation but also point out the need for regulations that ensure renovation work on historical sites is tasteful.

Freelance tour guide U Zaw Lynn said he believed that preserving neighbourhoods, rather than just individual buildings, was important and that any preservation strategy would have to fit into a viable city-wide development plan to be effective.

“Although colonial buildings have great architectural value, their appearance can be diminished by nearby buildings that do not reflect the historical value of the building,” he said.

“Areas such as downtown, where there many historical building are existed, should be preserved as special tourist destination areas and left alone from modern development. It is the way, I think, to conserve our treasure effectively and develop a proper city plan.

“When we ride the boat to Dala on the opposite bank of Yangon and look back to the city, we can still see the magnificent view of Yangon that existed 100 years ago. It is a resource for the tourism sector, and we can get many benefits from preservation. That opportunity shouldn’t be wasted as a result of unwise development decisions,” he said.

U Zaw Lynn said his clients often expressed sadness at the lack of maintenance of historic buildings and the frequency that these sites were being demolished.

“We should conserve colonial-era buildings because they say much about our country’s history, not only about how we were colonised but also how we got back our independence. They tell us our history,” he said.

U Aung Tun Lin, a tourist guide from Orchestra Travel in Yangon, said his clients often expressed concern about the management of the buildings and some of the maintenance the had been carried out.

“They suggested that maintenance work on colonial buildings should not affect their historical value. Some buildings are renovated with bright paint and modern materials that are not in keeping with the original style. Some guests point out that good management is needed for these national treasures and to create opportunities to raise the country’s income,” he said.

Nevertheless, the city’s heritage buildings are one of main points of interest in Yangon for his clients. Popular sites include St Mary’s Cathedral on Bo Aung Kyaw Street, Yangon’s Children’s Hospital in Dagon township and the State Secretariat at the corner of Bo Aung Kyaw and Mahabandoola streets.

“They usually like to walk and take photographs along Pansodan road and Sule Pagoda Road between Mahabandoola and Strand roads, where there are many colonial buildings. They like the High Court building, Inland Water Transport Offices on Strand Road, and buildings such as the Myawaddy Bank branch on the lower block of Sule Pagoda Road,” he said.

“Some guests want to visit into the State Secretariat but it is not allowed. I think it should be renovated to something like museum so that it can be looked after and at the same time become a tourist destination. The building also has significant historical value because it is where Bogyoke Aung San and other independence leaders were assassinated.”

Key to a viable preservation strategy will be support from the private sector, and there are already a few examples where creative proprietors have been able to establish successful businesses in renovate colonial-era buildings, such as Strand Hotel, Gallery 65 and Monsoon restaurant.

Monsoon owner Daw Phyu Phyu Tin said customers regularly commented favourably on her restaurant’s “grand” building, a renovated three-storey structure on Theinbyu Road.

“Tourists, especially from European countries, appreciate the colonial buildings. That is an advantage for our business. We have customers who visit again and again because they love the atmosphere,” she said.

She said that she wanted to see the “very beautiful” buildings along Strand Road protected for the benefit of future generations.

“If we don’t maintain the colonial building with great architecture, especially in the area along Strand road, I think it will affect the essence of the city. In my opinion, about 25 percent of the attraction of Yangon is in its colonial buildings. There’s no other city in Southeast Asia that is as grand as Yangon,” she said.

រកឃើញម្កុដមាស ក្នុងការដ្ឋានជួសជុលប្រាសាទតាព្រហ្ម ខេត្តសៀមរាប

អត្ថបទ និងរូបភាពដកស្រង់ចេញពីគេហទំព័រ Cambodian Express News (CEN) និង DAP

(ថ្ងៃទី 21 មីនា 2012, ម៉ោង 02:24:PM) | ដោយ: សូផុន

 

Give our kids a better deal

សៀមរាប: ក្រុមការងាឥណ្ឌាជួសជុលប្រាសាទតាព្រហ្ម ដែលសហប្រតិបត្តិការនឹងកម្ពុជា បានរកឃើញម្កុដមាសមួយកំណាត់ក្បាល ដោយចៃដន្យ ដែលកប់ក្នុងដីក្រោមផ្ទាំងថ្មប្រាសាទតាព្រហ្ម នាវង់ធំ នៃក្រុមប្រាសាទល្បីល្បាញ នៅខេត្តសៀមរាប កាលពីវេលាម៉ោងជាង ១២ ថ្ងៃត្រង់ ថ្ងៃទី១៩ ខែមីនា ឆ្នាំ២០១២។

ក្រុមភ្ញៀវទេសចរពី ភូមិមួយ នៅស្រុកថ្មពួក ខេត្តបន្ទាយមានជ័យ បានទៅទស្សនាប្រាសាទតាព្រហ្ម ហើយប្រទះឃើញមួយភ្លែត នូវម្កុដមាសបុរាណនេះ រួចត្រូវបាននាំចូលរថយន្តពណ៌ផ្ទៃមេឃមួយគ្រឿង ដឹកចេញទៅបាត់។ ម្កុដមាសនោះ មានទំហំប៉ុនជើងពានតូច។

ក្រុមការងារឥណ្ឌា ជួសជុលប្រាសាទតាព្រហ្ម មិនព្រមឆ្លើយបំភ្លឺដល់អ្នកបានឃើញផ្ទាល់ភ្នែក និងបណ្តាអ្នកយកព័ត៌មានទេ គ្រាន់តែថា រូបចម្លាក់ពីលោហៈនោះ ត្រូវគេនាំទៅរក្សាទុកនៅទីអ

ភិរក្សរបស់ក្រុមការងារ មុននឹងប្រគល់ជូនភាគីកម្ពុជា៕ K

More info: http://www.cen.com.kh/localnews/show_detail/132?token=YmZkMjFjODhlZjkwNjZkZjUzMmI2ZjJiY2MwYjA2

ប្រវត្តិនៃការជួសជុលចេតីយ៍ភ្នំយ៉ាត

សំណង់អង្គចូឡាមណីចេតិយ ហៅចេតិយភ្នំយ៉ាត មានរចនាបទស្រដៀង ទៅនឹងចេតិយជាច្រើន ក្នុងប្រទេសមីយ៉ាន់ម៉ា

អត្ថបទ និងរូបភាពដកស្រង់ចេញពីគេហទំព័រ Cambodian Express News (CEN)

(ថ្ងៃទី 5 មីនា 2012, ម៉ោង 04:58:PM) | ដោយ: មង្គល

Give our kids a better dealប៉ៃលិន: សំណង់អង្គចូឡាមណីចេតិយ ហៅចេតិយភ្នំយ៉ាត ជាកន្លែងគោរពបូជា ដែលសាងសង់នៅលើភ្នំយ៉ាត មានសភាពទ្រុឌទ្រោមពុកផុយត្រូវបានធ្វើការសង្គ្រោះ និងគាំទ្រទាំងថវិកា និងបច្ចេកទេសជួសជុលឡើងវិញ ដោយសប្បុរសជនសហភាពមីយ៉ាន់ម៉ា តាំងពីខែតុលា ឆ្នាំ២០១០ រហូតដល់បច្ចុប្បន្ន មានគុណភាពរឹងមំាល្អត្រចះត្រចង់ ដើម្បីអភិរក្សកេរ្តិ៍តំណែលប្រវត្តិសាស្ត្រ ឲ្យបានគង់វង្ស ជាប្រយោជន៍សម្រាប់អ្នកជំនាន់ក្រោយៗទៀត។

សំណង់អង្គចូឡាមណី ចេតិយនេះ បានប្រារព្ធពិធីបុណ្យឆ្លងរៀបចំដោយក្រសួងវប្បធម៌ និងវិចិត្រសិល្បៈ និងសាលាខេត្តប៉ៃលិន បន្ទាប់ពីជួសជុលរួចកាលពីថ្ងៃទី៤ ខែមីនា ឆ្នាំ២០១២ ក្រោមអធិបតីភាពលោកស្រី ម៉ែន សំអន ឧបនាយករដ្ឋមន្ត្រីប្រចាំការ និងរដ្ឋមន្ត្រីក្រសួងទំនាក់ទំនងសភាព្រឹទ្ធសភា និងអធិការកិច្ច លោក ហ៊ឹម ឆែម រដ្ឋមន្ត្រីក្រសួងវប្បធម៌ និងវិចិត្រសិល្បៈ លោក អ៊ី ឈាន អភិបាលខេត្តប៉ៃលិន និងវត្តមានលោក ថូ រ៉ាអូម៉ីនម៉ោង ( Thura UMyintMaung ) រដ្ឋមន្ត្រីក្រសួងធម្មការ និងសាសនា នៃសហភាពមីយ៉ាន់ម៉ា អង្គទូត និងគណៈប្រតិភូនៃសហភាពមីយ៉ានម៉ា និងលោក ព្យុង ម៉ោងម៉ោង អគ្គនាយកក្រុមហ៊ុនស៊ីណេតតិចណូឡូជី ជាអ្នកជួយឧបត្ថម្ភក្នុងការជួសជុលចេតិយនេះ ព្រមទាំងអ្នកមុខអ្នកការប្រជាពលរដ្ឋ ចូលរួមយ៉ាងច្រើនកុះករ។

Give our kids a better dealលោក ហ៊ឹម ឆែម រដ្ឋមន្ត្រីក្រសួងវប្បធម៌ និងវិចិត្រសិល្បៈ មានប្រសាសន៍ក្នុងពិធីបុណ្យឆ្លងចេតិយភ្នំយ៉ាត កាលពីថ្ងៃទី៤ ខែមីនា ឆ្នាំ២០១២ ឲ្យដឹងថា ថ្ងៃសំណង់ចេតិយដ៏ចំណាស់មួយ ដែលគ្រប់គ្នាស្គាល់ថា ជាអង្គចូឡាមណីចេតិយ ហើយបូជនីយស្ថានមួយនេះ បានកសាងឡើងនៅចុងសតវត្សរ៍ទី១៩ ដោយជនអន្តោប្រវេសន៍មកពីប្រទេសភូមា ( ឥឡូវជាប្រទេសមីយ៉ាន់ម៉ា ) ដែលគ្រាមួយនោះ បានមករស់នៅក្នុងទឹកដីទីក្រុងប៉ៃលិន និងបានថ្កុំថ្កើនក្លាយជាឈ្មួញដ៏ពួកែ។ សំណង់ចេតិយនេះ មានរចនាបទដ៏អស្ចារ្យស្រដៀង ទៅនឹងចេតិយជាច្រើន នៅក្នុងប្រទេសមីយ៉ាន់ម៉ា។
សំណង់ចេតិយមានកំពូល ៥ ក្នុងនោះ មានកំពូលធំមួយមានកំពស់ប្រហែល ២៦ ម៉ែត្រ ទទឹង ១៥ ម៉ែត្របួនជ្រុង និងកំពូលតូចៗចំនួន ៤ មានកំពស់ ៤ ម៉ែត្រកន្លះ ទទឹង ១ ម៉ែត្រ ៣០ ដែលមានសរសេរឈ្មោះ អ្នកជួយឧបត្ថម្ភមកកសាងជាភាសាភូមា។ ដោយយោងតាមប្រតិទិនរបស់ជនជាតិភូមា ចេតិយតូចៗទាំង ៤ បានកសាងនៅក្នុងឆ្នាំ១២៨៧ ដែលត្រូវនឹងឆ្នាំ១៩២៥ នៃគ្រឹស្តសករាជ។ សំណង់ចេតិយ ត្រូវបានគេជឿថា ចេតិយធំបានកសាងមុនចេតិយតូចៗទាំង ៤ ព្រោះថា ប្រភេទស៊ីម៉ងត៍ដែលប្រើលើចេតិយធំមានសភាពចាស់ជាង និងខុសគ្នាពីប្រភេទស៊ីម៉ងត៍ប្រើលើចេតិយតូចៗទាំង៤។

បច្ចុប្បន្នចេតិយភ្នំយ៉ាត បានក្លាយជាទីកន្លែងសក្ការៈគោរពបូជាដ៏សំខាន់ សម្រាប់ប្រជាជននៅទីនោះ ក៏ដូចជា អ្នកមកពីទីឆ្ងាយនិងក្លាយជាបូជនីយដ្ឋានប្រវត្តិសាស្ត្រដ៏ល្អឯកមួយ នៅក្នុងខេត្តប៉ៃលិន។
លោករដ្ឋមន្ត្រី ក្រសួងវប្បធម៌បានបន្តថា អស់រយៈកាលជាច្រើនឆ្នាំនៃសង្គ្រាមរាំរ៉ៃ ក្នុងរបបកម្ពុជាប្រជាធិបតេយ្យប្រល័យពូជសាសន៍ ប៉ុល ពត កន្លងមក បានធ្វើឲ្យចេតិយភ្នំយ៉ាតនេះទទួលរងនូវការខូចខាតយ៉ាងធ្ងន់ធ្ងរ ដោយសារកង្វះការថែទាំឲ្យបានត្រឹមត្រូវជាមួយ និងផលប៉ះពាល់ពីកត្តាធម្មជាតិ និងកត្តាផ្សេងៗទៀត។

Give our kids a better dealស្ថិតក្នុងស្ថានភាពគ្រោះថ្នាក់នេះ ចេតិយភ្នំយ៉ាត ចាំបាច់ត្រូវធ្វើការសង្គ្រោះជាបន្ទាន់ និងជួសជុលឡើងវិញ ទៅតាមបច្ចេកទេសសមស្រប។ ជាភ័ព្វសំណាង និងជាឱកាសល្អ
ដែលសប្បុរសជន ប្រទេសមីយ៉ាន់ម៉ា លោកព្យុងម៉ោងម៉ោង បានមកប្រទះឃើញ និងចាប់អារម្មណ៍លើចេតិយនេះ ដោយមានទឹកចិត្តសប្បុរសធម៌ ជួយឧបត្ថម្ភជាថវិកាប្រមាណ ១២១.០៤៧ ដុល្លារអាមេរិក ក្នុងការជួសជុល និងបច្ចេកទេសតាំងពីខែតុលា ឆ្នាំ២០១០ ទៅតាមដំណាក់កាលនីមួយៗ និងតាមគោលការណ៍បច្ចេកទេសត្រឹមត្រូវ ក្រោមកិច្ចសហការយ៉ាងជិតស្និទ្ធ ជាមួយក្រុមការងារបេតិកភណ្ឌ នៃក្រសួងវប្បធម៌ និងវិចិត្រសិល្បៈ និងកិច្ចគាំទ្រសម្របសម្រួល ពីសាលាខេត្តប៉ៃលិន។

លោក ព្យុង ម៉ោងម៉ោង អគ្គនាយកក្រុមហ៊ុនស៊ីណេតតិចណូឡូជី ជាអ្នកជួយឧបត្ថម្ភក្នុងការជួសជុលចេតិយនេះ បានបញ្ជាក់ថា ក្រុមការងារបានប្រទះឃើញចេតិយនេះ សាងសង់ឡើង ដែលមានពាក់ព័ន្ធទៅនឹងប្រជាជនមីយ៉ាន់ម៉ា ហើយបានទំនាក់ទំនង និងព្រះចៅអធិការវត្តភ្នំយ៉ាត ថាបើយើងខ្ញុំសុំជួសជុលចេតិយនេះឡើងវិញ ត្រូវធ្វើយ៉ាងណា។ ក្រោយពីត្រឡប់ទៅការិយាល័យនៅភ្នំពេញវិញ ស្រាប់តែទទួលដំណឹងថា លោក អ៊ី ឈាន អភិបាលខេត្តប៉ៃលិន ចង់ជួបពិភាក្សារឿងជួសជុលនេះ គឺបន្ទាប់ពីពិភាក្សាល្អិតល្អន់ទាំងក្រសួងវប្បធម៌ និងវិចិត្រសិល្បៈ និងសាលាខេត្តប៉ៃលិន។
Give our kids a better dealការសិក្សាពីក្រុមជំនាញមកពីប្រទេសមី យ៉ាន់ម៉ា ហើយត្រូវជួសជុលចេតិយនេះ មិនឲ្យខុសពីទម្រង់ដើមឡើយហើយចាប់ផ្ដើមបើកការដ្ឋានកាលពីថ្ងៃទី២១ ខែតុលា ឆ្នាំ២០១០។ ការជួសជុលសំណង់ចេតិយនេះ គឺបានបូកស៊ីម៉ងត៍ថ្មីនិងពាសសន្លឹកអ៊ីណុកពណ៌មាស និងក្បាច់រចនាតាមលំនាំផ្សេងៗនឹងបំពាក់ឆ័ត្ររួត ក្រពុំផ្កាពេជ្រនៅលើកំពូលឆ័ត្ររួតនៅថ្ងៃទី៤ ខែមីនា នេះ ដែលប្រារព្ធពិធីឆ្លងចេតិយភ្នំយ៉ាតនេះផងដែរ។
លោក ព្យុង ម៉ោងម៉ោង បានសូមថ្លែងអំណរគុណដល់ក្រសួងវប្បធម៌ និងវិចិត្រសិល្បៈ និងលោក អ៊ី ឈាន បានដាក់ចេតិយនេះថា ជាចេតីយមិត្តភាពរវាងប្រទេសកម្ពុជា និងប្រទេសមីយ៉ាន់ម៉ា។

Give our kids a better dealចំណែកលោក ហ៊ឹម ឆែម បានបញ្ជាក់ថា យើងទាំងអស់គ្នាពិតជាមានសេចក្ដីសោមនស្សរីករាយ និងអបអរសាទរ ដែលចេតិយភ្នំយ៉ាត ត្រូវបានសង្គ្រោះ និងជួសជុលឲ្យមានគុណភាពរឹងមាំត្រចះត្រចង់ឡើងវិញ សំដៅអភិរក្សកេរ្តិ៍តំណែលប្រវត្តិសាស្ត្រឲ្យបានគង់វង្ស ដើម្បីជាប្រយោជន៍សម្រាប់អ្នកជំនាន់ក្រោយៗទៀត និងការលើកស្ទួយវិស័យព្រះពុទ្ធសាសនា ឲ្យកាន់តែខ្ពស់ត្រដែតថែមទៀត។ សមិទ្ធផលដែលទទួលបាននាពេលនេះ គឺស្ដែងចេញតាមរយៈកិច្ចសហប្រតិបត្តិការល្អរវាងក្រសួងវប្បធម៌ និងវិចិត្រសិល្បៈសាលាខេត្តប៉ៃលិន និងដៃគូសហប្រតិបត្តិការក្នុងបុព្វហេតុរួមគ្នាថែរក្សាការពារ និងលើកតម្កើងវប្បធម៌ អរិយធម៌ជាតិ ឲ្យមានសុវត្ថិភាពនិរន្តរភាពតាមទិសស្លោក “ទាំងអស់គ្នាដើម្បីការការពារវប្បធម៌ជាតិ ហើយវប្បធម៌ជាតិ ដើម្បីទាំងអស់គ្នា”៕ R

Give our kids a better deal

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Stylistics of Early Khmer Art ( In Two Volumes)

Stylistics of Early Khmer Art ( In Two Volumes)Stylistics of Early Khmer Art ( In Two Volumes)

Texts and photo from Exotic India

From The Jacket

Mireille Benisti had made the study of stylistics of early Khmer and Indian art her life work. The present volume contains translations of Benisti’s major publications dealing with Khmer art. The main article is a study of the relations between early Khmer and Indian art, i.e. 7th and 8th centuries, the crucial period of the introduction of Indian religion of the first and other components of Indian culture in the first well-organized kingdom of Khmer land. She has referred to the process of transfer of concepts and motifs; movable objects, such as statues, caskets, rituals objects, such as statues, caskets, rituals objects, etc., transported from India to Khmer land and their decoration which could have inspired local artists.

 

Madame Benisti held that art is a living entity and that it is always in a state of transformation. In this context, she has pointed out links and transitions between different styles, moments of evolution in which a particular style abandoned some characters and adopted the primitive aspects of new characters of a later style. Several articles contained in this volume bring to light moments of transition from one style to another. She has given precise definitions and analysis of decorative motifs – the bezelband, the makara, the voluted leaf, the beaded garland, pendant, etc. her systematic survey of styles, along with detailed study of iconography, thus provides a solid foundation for a comprehensive study of Khmer art.

 

The works of Mireille Benisti are exemplary from the point of view of refinement of methods. She will remain a prominent figure among the French Indologists of the late 20th century, who displayed a perception into the stylistics and iconography of both Indian and Khmer art.

 

Mireille Benisti (1909-1993) was a French such as Philippe Stern and Paul Mus who marked the first half of the twentieth century – the first by his systematic method of style analysis in the history of art, the second by his deep insights in the history of Buddhism and in the conceptions of religious monuments such as the stupa. In the same line, she had been the leading researcher and author I the second half of twentieth century in the fields of Buddhist art of India and the expansion of Indian art in Cambodia. Her contribution is basically in the domain of stylistics and extends also to iconography as well as to textual source in Sanskrit.

 

she had authored major books like Relations Between the First Khmer Art and Indian Art; Contribution to the Study of the Indian Buddhist Stupa : The Minor Stupas of Bodh-Gaya and Ratnagiri. IGNCA has also published her book entitled Stylistics of Buddhist Art in India, in 2 vol. In 2003. She had published a number of articles, on the stupa, on decorative motifs in Buddhist and Hindu art of India and Cambodia, on iconography in both areas, etc., leaving a rich harvest of facts, a model of method and a lot of innovative ideas.

 

Preface

This work on early Khmer art the reveals the second facet of Mireille Benisti’s expertise in the field of history of art. The first facet has already been displayed by the publication in English of a volume of her writing about Buddhist art in India. That volume contains a presentation of Mireile Benisti’s career and works, with her complete bibliography.

 

Her contribution to the study of Khmer art is in the line her studies on Buddhist art. It concerns iconography and stylistics is a well-known tern in history of literature and poetics. It refers basically to the study of literary styles. Its application to plastic arts is not so well-known. But the concept of styles has equal relevancy to architecture, sculpture, painting etc. The difficulty is that criteria adapted to the different and description of a style in visual material are not as readily apparent to the observer, as in linguistics material. On which features of a work of art can we base the characterisations of a style? Let us recall here that this line of research has so far retained the attention of only a small group of historians of art, mostly from France. The method was initiated by G. Jouveau-Dubreuil, whose pioneering presentation of south Indian monuments in 1914 contains a clear exposition of a method of exposition of motifs with a view to establish a relative chronology. He demonstrated that there are motifs which are recurrent from one monuments to another in a particular group, in a particular region and that it may be also the characteristic of a particular period. The same motifs are absent, giving place for new creations, or subjected to considerable, definite transformation in monuments forming another group, and can be the characteristic of another period. There are two types of motifs, some architectonic, such as figured edifices, corbels etc., some purely decorative, such as creepers, jewellery designs etc., as relevant to chronological classification. Comparison with history and epigraphical data, can help to situate the relative chronology of motifs in absolute chronology. Thus Jouveau-Dubreuil defined several styles for temples for temples of south Indian, from Pallava and Calukya up to Nayak period.

 

This line of research was more systematically pursued by Philippe Stern who, with considerable success, applied it to some Indian monuments, such as Amaravati and Ajanta, and to monuments of Cambodia. His example was followed by a group of historians of art who concentrated their efforts on Khmer art. In 1940 G. de Coral Remusat brought out a synthesis of all stylistics research, which remains in its broad lines the basis of the style classification of Khmer monuments. Owing to the limited size of the Khmer kingdom. Even thought the Khmer people had an extraordinarily creative artistic faculty, the exhaustive inventory and examination of the whole of the observable monuments can be conducted easily. It could be done also up to the most detailed level of observation. The result is that we have now a fairly precise knowledge of the evolution of styles, on the basis of selected motifs which have a clear proof of chronological value, in the shortest possible spans of time, around fifty years. Each style is conventionally called from an eponymous monument, that monument which displays clearly the main characteristics, for example Sambor style, Bayon syle etc.

 

The same cannot be told of history of Indian art. An exhaustive approach of all monuments on the vast territory of the subcontinent by one historian of art is not possible. An overall view, an overall style classification are still a dream, in spite of considerable progress in the collection and examination of data. Moreover, the same degree of accuracy has not so far be reached. The century, or even a longer period is the unit of time for a style. The historian of art does not have at his disposal a precise catalogue of motifs relevant for stylistics characterization. The case of Khmer art history appears as a model. It may be rewarding to do a similar attempt with a method, similar or adapted to different contexts, in the case of diverse regions of Indian art. The religious relationship between both countries, their common artistic inspirations, in spite of their deep original characters, invite to study them with a similar approach.

 

The present volume contains translations of Mireille Benisti major publications dealing with Khmer art, i.e. 7th and 8th centuries, the crucial period of the introduction of Indian religion and other components of Indian culture in the first well-organized kingdom of Khmer land. Considering numerous precise cases of relationship between Khmer and Indian motifs in that period, as well as the original rendering of Khmer artists, considering that no Khmer monument is a copy of an Indian monument, that it is a Khmer creation with an Indian source behind, in the absence of any document attesting the presence of Indian architects in Cambodia, nor of a visit of India by Khmer artists, Mireille Benisti proposed an hypothesis on the process of transfer of concepts and motifs: movable objects, such as statues, caskets, ritual objects etc. were transported from India to Khmer land and their decoration could have inspired local artists. In fact, Mireille Benisti’s study is based mainly on material from immovable sources, temples etc. But she had at her disposal only a small number of movable objects found in excavations in both countries, and her field of investigation is only the early period of two centuries. Thus her hypothesis has to be put to the test of further exploration in more material. Her method of investigation has also to be extended to later periods. Contacts between Indian and south-east Asian countries have taken place at all times, as shown by M. Benisti herself, when she casually presents the exportation of the iconological theme of the Tamil saint, Karaikkalammayar, playing tala at the feet of Natesa to Khmer temples of 10th and 11th centuries. The approach thus initiated by her unveils an open field of future research.

 

Her work appears especially illustrative of the methods of stylistics in plastic arts, by the cats that she has directed her attention on several areas which had not been seriously studies before. We refer to the special care with which she has observed links and transitions between different styles, moments of evolution in which a style abandons some characters, adopts the primitive aspect of new characters of a later style. Art is a living entity. Like the live being, it is always in a state of transformation. Art some moments it appears to us that it has reached an apex, a harmonious assemblage of characters giving a sense of perfection. But that does not last long. To one and same generation of artists may appear unchanging. But on the span of two generations, evolution naturally takes place. The evolutive process is uninterrupted. Styles may be defined by illustrative eponymous sites. There may be an impression of complete estrangement between two eponymous monuments, each representing an apex. Such estrangement is illusory. Other monuments, other objects of art share the style, each with more or less distance, each placing itself near the apex, or at a distance, in a time of decline or of a new rise of forms. History of art sheds light on such evolution. Several articles contained in this volume bring to light moments of transition from a style to another, the borders of Prei Kmeng and Kompong Preah styles, the situation of some monuments which take their place at the end of Sambor style, excentric lintels etc. the refinement of the analysis of a syle depends on the selection of criteria. In the following studies the reader will find precise definitions of decorative motifs, whose individual characters are clear-cut and make them fit for analysis, the bezel band, the makara, the voluted leaf, the beaded garland and pendant etc. finally we have to mention a few articles dealing with objects often forgotten in researchers. Mireille Benisti has surveyed objects, lintels, broken pieces, lying on the ground in abandoned sites, generally neglected, because they have been separated from the monument to which they originally belonged and of which they are sometimes the only remnant. It is a surprise to see a special study of pedestals of statues or lingas, which in India are generally left plain, but to which Khmer artists have brought a profuse décor. A damaged vestige, a small decorative motif has its revealing value.

 

The works of Mireille Benisti are exemplary, from the point of view of refinement of methods. She has made stylistics of early Khmer and Indian art her life work. All her researchers and site explorations were conducted, over some thirty years, from the fifties to the seventies. All her publications were in French. Now, it is obvious that Indian and international research on Indian art is fast progressing and that the results appear almost exclusively in English. The works of Mireille Benisti have a due place in the present current.

 

Mrs. Fribourg has generously patronized the undertaking of the translation of Mireille Benisti’s works on Khmer art, like the previous volume of her works on Buddhist art. We acknowledge her gesture as a precious contribution to the memory of her sister, Mireille Benisti, and also to the development of a promising field of research. Mrs. K. Thanikaimony has done the English translation, a painstaking task, considering the technical nature of the subject. As in the previous volume of translations, all the photographs reproduced in this volume are those published with the original text by Ecole Francaise d’Extreme-Orient and Arts Asiatiques. The photographic credit published in the original has been reprduced here. Most of the photographs were taken by Mireille Benisti herself and her collection is at present preserved by Ecole francaise d’Extreme-Orient. We extend our thanks to the Director of this French institution for authorizing the translation and publication by its Indian counterpart. We take pleasure in expressing our gratitude to Prof. N. R. Shetty, Member Secretary, for his readiness to accept this work in the prestigious series of Indira Gandhi National Centre for the Arts and Dr. Lalit Gujral for his zeal in directing the publication.

 

introduction

Undisputed and unchallenged is the influence from India, Indians and Indian culture on South-East Asian countries especially during the early centuries A.D., on societies and State, on the customs, religious, juridic, economic and technical life, etc. However, much of these influences lack precisions, in both contexture and their transmission, because of the paucity of documents.

 

We wish to restrict ourselves to a limited sector – limited in space: Tchen-la which has just begun to dominate Fou-nan; in time: roughly the 7th century; materially: plastic expression, especially decorative, – to try and explore it systematically in order to make a detailed study of the information that documents can provide concerning Indian influence. We are thus particularly interesting period: the beginning (as far as we can speak about a true beginning) of what would become the Khmer empire, Khmer civilisation, Khmer art, and we have at our disposal a particularly rich source of documents: monumental and sculptural vestiges, especially those in the Sambor Prei Kuk site.

 

Contents

 

Preface v

Table of Plates xi

I. Relations Between Early Khmer and Indian Art 1

Introduction 1

Simple motifs 24

The kudu 24

The makara 29

The monster face 38

The hamsa frieze 46

The leaf of abundance 52

The scroll 55

The frieze of jutting leaves 60

The volute-pendant leaf 62

The garland 66

The baluster frieze 76

The check pattern 79

The floral trellis 82

The bezel band 87

The band with alternate lozenge and round themes 91

Complex motifs 99

The lintel 100

The colonnette 115

The edifice representation 121

Associated motifs 135

Absences of motifs 140

General considerations 146

Cited works 176

II. Research on Early Khmer Art 183

1. Thala Borivat lintels 183

2. “The bezel band”, chronological criterion 196

3. On the borders of Prei Kmeng and Komopong Preah style 209

4. Decorated pedestals 235

5. The monster-face 256

6. Unpublished and unknown lintels 272

7. The problem of Sambor S. 1 303

III. Notes on Iconography 325

1. Two nautical scenes 325

2. An offering scenes 329

3. On a lintel of Sambor Prei Kuk 333

4. Concerning a lintel from Vat Baset 339

5. Krsna and Kesin 343

6. The Buddhist lintel in Prasat Crap 349

7. Karaikkalammaiyar 356

8. Vat Preah Theat lintel 359

9. Yeai Pu pediment 365

10. First representations of Sri Laksmi 370

11. Ba Kan slab sculpted on both sides 376

 

More info: http://www.exoticindia.fr/book/details/stylistics-of-early-khmer-art-in-two-volumes-IDK913/

 

​​អង្គរវត្ត​ត្រូវគេ​ចម្លងសាងសង់​​នៅ​ឥណ្ឌា

អត្ថបទ និងរូបភាពដកស្រង់ចេញពីគេហទំព័រ Kampuchea Daily News (KDN)
Thursday, 08 March 2012 11:13

Written by Rithy

អង្គរវត្តត្រូវគេចម្លងសាងសង់នៅឥណ្ឌា

ប្រព័ន្ធ ផ្សព្វផ្សាយអន្តរជាតិBBCបាន ផ្សាយអោយដឹងថា ឥណ្ឌាបានចាប់ផ្តើមសាងសង់ប្រាសាទព្រហ្មសាសនាមួយដែលចម្លងរូបរាងពី ប្រាសាទអង្គរវត្តរបស់កម្ពុជានៅក្នុងទីក្រុងបាហៀរក្នុងប្រទេស ឥណ្ឌា។ប្រាសាទចម្លងពីអង្គរវត្តនេះ នឹងក្លាយទៅជាប្រសាទព្រហ្មញ្ញសាសនាដ៏ធំជាងគេនៅលើពិភពលោកនេះ។ កម្ពុជានៅមិនទាន់មានប្រតិកម្មផ្លូវការនៅឡើយទេ។ ប៉ុន្តែអ្នកនាំពាក្យរដ្ឋាភិបាលលោកខៀវ កាញារីទ្ធបានប្រាប់អ្នកសារព័ត៌មានថា វត្តមាននៃប្រាសាទចម្លងនឹងប្រាប់ពិភពលោកអោយដឹងអំពីវត្តមាននៃ ប្រាសាទពិតនៅកម្ពុជាកាន់តែច្រើន។

យោងតាមការផ្សព្វផ្សាយរបស់ ប្រព័ន្ធផ្សព្វផ្សាយអន្តរជាតិBBC ពិធីបញ្ចុះបឋមសិលាមួយដែលជាការចាប់ផ្តើមសាងសង់ប្រាសាទដែលមាន រូបរាងដូចអង្គរវត្តត្រូវបានគេធ្វើឡើងនៅក្បែរទីក្រុងBihar ក្នុងប្រទេសឥណ្ឌា។ គម្រោងសាងសង់ប្រាសាទដើម្បីឧទ្ទិសដល់ព្រហ្មញ្ញសាសនានេះត្រូវកសាង ដោយអង្គការ Mahavir Mandir Trust ដែលត្រូវចំណាយពេល១០ឆ្នាំ ក្នុងតម្លៃ២០លានដុល្លារ។
តំណាងអង្គការនេះបានថ្លែងប្រាប់ប្រព័ន្ធផ្សព្វផ្សាយBBCថា ប្រាសាទដែលថតចម្លងរូបរាងពីប្រាសាទអង្គរវត្តរបស់កម្ពុជា នឹងក្លាយជាប្រាសាទព្រហ្មញ្ញសាសនាធំជាងគេនៅក្នុងពិភពលោក។ ប្រាសាទនេះនឹងត្រូវគេអោយឈ្មោះថា ប្រាសាទវីរ៉ាតអង្គរវត្តរ៉ាម។

អាចមានសំណួរជាច្រើនដែលអាចចោទឡើងជុំវិញការប៉ះពាល់ដល់ប្រាសាទ បុរាណខ្មែរចំណាស់១០០០ឆ្នាំ។ អ្នកនាំពាក្យរដ្ឋាភិបាលកម្ពុជា លោក ខៀវ កាញារីទ្ធបានអត្ថាធិប្បាយប្រាប់សារព័ត៌មានក្នុងស្រុកថា រដ្ឋាភិបាលកម្ពុជានៅមិនទាន់ប្រតិកម្មយ៉ាងណាជាមួយគម្រោងសាងសង់ ប្រាសាទអង្គរវត្តចម្លោងនេះនៅឡើយទេ។ ប៉ុន្តែលោកបញ្ជាក់ថា ប្រជាពលរដ្ឋឥណ្ឌា១ ០០០លាននាក់ដែលបានឃើញប្រាសាទថតចំលងនៅឥណ្ឌាហើយ អាចនឹងមានចិត្តមកទស្សនាប្រាសាទបុរាណដើមពិតប្រាកដនៅក្នុងប្រទេស កម្ពុជា។

សម្រាប់ប្រធានសមាគមទីភ្នាក់ងារទេសចរណ៍លោក អាំង គីមអ៊ាងវិញ វត្ថុថ្មីនិងថតចម្លងនៅតែមិនអាចប្រៀបធៀបជាមួយវត្ថុពិតចំណាស់ ១០០០ឆ្នាំឡើយ។ ប៉ុន្តែលោកបារម្ភថា វត្តមាននៃប្រាសាទអង្គវត្តចម្លងអាចធ្វើអោយបាត់បង់ភាពអស្ចារ្យនៃ ប្រាសាទនេះដែលលែងមានតែមួយក្នុងលោកទៀតហើយ៕

More info: http://rkdnews.com/en/home/current/4627-2012-03-08-04-13-49

Cambodia Lacks Reading Culture, Experts Say

Text and photo from SIDET.COM

by sidet on August 27, 2010

Cambodian Language Reading BooksPhnom Penh: Participants in a forum in Phnom Penh organized by the National Library of Cambodia and the Australian Embassy said yesterday that Cambodia lacks a culture of reading.

“Cambodia society is a society whose people do not like reading very much, and we have some reasons for this problem,” said Pal Vannrirak, director of the development of the Book Sector in Cambodia, a local NGO.

Ms Vannarirak cited poverty as one impediment ot widespread reading.

“Buying rice is necessary, not buying books for reading,” she said in her talk at the two-hour forum held at the National Library. “And if they read, they read what relates to their skills, and intellectuals only read books in the form of international languages.”

Ms Vannarirak also cited illiteracy as a stumbling block. Literacy has risen sharply since 1998, but Cambodia still trails most of its neighbors in Southeast Asia, according to the result of the government’s 2008 census, the most recent data available. The number of literate Cambodians jumped from 62.8 percent in 1998 to 78.5 percent in 2008.

In a telephone interview after his talk at yesterday’s forum, Heng Sreang, a lecturer with the Royal University of Phnom Penh’s Department of Philosophy, agreed that Cambodia lacks a culture of reading.

“Young people, even academic students, they do not read much,” he said, adding, “I hae observed the quality of Cambodian students at the university level is poorer and poorer.”

Mr Sreang, a RUPP lecturer for the past six years, said one possible reasons for this was because Cambodian students believed that finding a job “does not depend on learning, but on policital-social networks.”

But Mr Sreang cited one cause for optimism , saying that although there was a shortage of academic texts in Khmer, “Kher literature has been growing.”

National Libray Director Kholot Vibolla said at yesterday’s forum that each day some 20 to 120 students visited the National Library.

“We motivate parents to allow children to do a lot of readings not only at the National Library but also in all libraries,” she said, adding that there is a shortage of librarians across the country.

In a telephone interview after the fourm, Mak Vann, a secretary of state with the Ministry of Education, said his ministry has been working to encourage reading.

“I observe that some children and students read Khmer literature books, but they do not do a lot of reading of them,” he said. “We encourage them and make them read their books.”

Soeurn Phuthida, 21, ad English student at the Human Resources University, said she was too busy to do reading outside of her coursework.

“I do not have much time to read at the library because I am very busy,” she said.

More info: http://sideth.com/cambodia-lacks-reading-culture-experts-say/

India Starts to Build Replica of Cambodia’s Angkor Wat

Text and photo from JakataGlobe via AFP

March 05, 2012

A Hindu trust in India on March 5, 2012 started a 10-year project to build a taller replica of CambodiaIndia: A Hindu trust in India on Monday started a 10–year project to build a replica of Cambodia’s Angkor Wat temple on the banks of the Ganges.

A foundation-laying ceremony was held at the 40-acre site in the eastern state of Bihar where the trust plans to recreate the temple’s huge structure and elaborate stone carvings.

Organizers say they intend the new building to be the tallest Hindu temple in the world.

The UNESCO-listed site in Cambodia contains the remains of various capitals from the Khmer empire and is a major international tourist destination.

The main temple was first dedicated to the Hindu god Vishnu when it was built in the 12th century before later being used for Buddhist worship.

“It will be a replica of Angkor Wat but the temple will be slightly taller than the original,” Kishore Kunal, secretary of the Bihar Mahavir Mandir Trust, told AFP by telephone.

Kunal said the plan was to “recreate Angkor Wat’s grandeur and splendor” near the town of Hajipur, 16 miles from the Bihar state capital of Patna.

The trust, which has constructed a number of temples and hospitals in Bihar, is mainly funded by donations and has put an estimated budget of $20 million on the project.

“We cannot match the original in terms of the size of the entire temple complex. But we will try what we can with the land and the means that we have,” said Kunal.

Agence France-Presse

More info: http://www.thejakartaglobe.com/international/india-starts-to-build-replica-of-cambodias-angkor-wat/502642

Magic Moments of Khmer Heritage at Prasat Phnom Rung

Text and photos from Thailand Travel Online

“Magic Moments of Khmer Heritage: Astro-archaeological Phenomenon at Prasat Hin Khao Phanom Rung”

By: Suttira Kaewthep

The sun shining through 15 doorways of Prasat Hin Khao Phanom Rung

Phnom Rung temple (Khmer temple in Thailand) Boriram province:

Prasat Hin Khao Phanom Rung (Phnom Rung) is one of the most significant Khmer era temples in Thailand. Highly regarded as a well preserved example of Angorean style architecture, Phanom Rung is also famous for an extraordinary magic moment.

Yearly there is a phenomenon that is marked by festival and many interested spectators eager for a chance to see the astro-archaeological phenomenon which will only happen four times a year.

This year the Ascent of the Mountain Annual Festival (or the long-version “The Festival of the Thousand Year Miracle of the Phanom Rung Grand Shrine at Prasat Hin Khao Phanom Rung in Burirum”) is going to be launched again on April 2 – 4, 2010.

Phanom Rung is situated on a summit of Khao Phanom Rung in Buriram (about 400 km north and east of Bangkok), which offers a spectacular panorama over the area. It is a striking Khmer temple which is believed to be a home to gods and deities dating from the 12th century or earlier. Prasat Hin Khao Phanom Rung is lavishly adorned with decorative stone carvings created by skillful craftsmen of this early period.

Apart from its outstanding location and beautiful Cambodian art style, Prasat Hin Phanom Rung is well-known for its auspicious ‘astro-archaeological’ phenomenon. From detailed calculations, we can know the exact moment to witness when the rising sun will shine through the 15 doorways of the ancient Hindu temple.

In 2010 it is predicted that the first phase of this phenomenon at Prasat Phanom Rung will be during sunrise on April 2 through to the 4th. If the sky is clear, the sun will align to shine perfectly through all the 15 doors of the Phanom Rung temple with a single beam of radiance.

Each year, a fair will be held featuring a variety of exhibits about Phanom Rung temple and featuring local performances. Highlights include a rarely seen a buang suang ceremony (summons ritual), a procession paying homage to Hindu gods and deities and a traditional Northeastern Thailand dinner.

The Ascent of the Mountain Annual Festival also features cultural performances, the Phanom Rung Devalai light-and-sound shows and various kinds of souvenirs stalls including village handicrafts and products from the sub-districts (tambon) of Buriram province promoted under the OTOP (One Tambon One Product) banner.

Astro-archaeological Phenomenon at Prasat Hin Khao Phanom Rung


Procession paying homage to Hindu Gods at Phanom Rung Temple

By Suttira Kaewthep

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