Ta Som
SLIDESHOW + BRIEF DESCRIPTION + TRAVEL INFO + DETAILED PRESENTATION
Introduction to Ta Som
Ta Som is a medium-sized temple in the Bayon style. This means, it’s a Buddhist monument from the late 12th century. Architecture and decorations are typical of the reign of Jayavarman VII, whose fame is to have built more structures than any other Khmer king. Ta Som is one of the Khmer temples with face towers, which are considered to be a hallmark of the Bayon style, although they can not be seen at all monuments from this period.
There are two main attractions in the charming Ta Som temple. A fairy-tale tree growing atop the historical main gateway (Eastern Gopuram III) can be seen at the opposite end of the compound (this is to say: at the rear when starting at the visitors' entrance). Apart from the jungle temple Ta Prohm's rarely visited exterior Northern Gopuram, the East Gate of Ta Som has become the only Buddhist face-tower the surface of which is widely covered by roots of a strangler fig. You cannot find something like this at the larger and more famous enigmatic face towers of Angkor Thom. For lovers of ancient Khmer art, the decorations of Ta Som are remarkable, as there are extraordinarily large and comparatively well-preserved stone carvings depicting the Mahayana Buddhist saviour Avolokitheshwara, who is usually called 'Lokeshwara' in the ancient Khmer culture. Likewise, the female 'Apsara' carvings are more exquisite than those at other contemporary Khmer temples. |
Location
Ta Som ist situated 7.5 km to the northeast of Angkor Wat, as the crow flies, or 12 km by road. Among the temples within the forest-covered Angkor Park, Ta Som is the farest one, as it is situated close to the northeastern corner of the Grand Circuit or Grand Tour. Distance from the Old Market in Siem Reap is 18 km. Close-by attractions are East Mebon 2.5 to the south and Neak Pean 2 km to the east.
Historically, Ta Som is located only slightly north to the east-west axis of Preah Khan and the ‘Preah Khan Baray’, Angkor’s huge northern reservoir the central island of which is Neak Pean. Ta Som lies at the foot of this northern Baray's eastern embankment.
Best Time to Visit
In contrast to most other temples, early morning and late evening are not the best times to visit Ta Som, because the carvings and also the gate-covering Banyan tree are close to trees and wall. That’s why they are in the shadow most of the time. Cloudless sky provided, the sunlight reaches and brightens the east gate’s picturesque strangler fig only between 10.00 am ans 11.00 am. This is also a good time to see the panels of Ta Som‘s imposing Mahayana Buddhist stone carvings, most of which are placed on the ground now. Early afternoon is good to see them in the sunlight, too, but this is not a good time any more to take pictures of the spectacular east-gate tree. Starting your round tour at the lake of Srah Srang about 9.00 am to first visit the temple pyramids of Pre Rup and East Mebon, which are on the way, the visitor can easily reach the car park at the western gate of Ta Som around 11.00 am. The famous tree is at the oposite side of the compound, but it’s within 5 minutes walking distance.
Name of 'Ta Som'
The Khmer pronunciation of the ‘o’ in ‘Ta Som’ is a diphtong, consisting of an ‘a’ like in ‘arch’ and an open ‘o’ like in ‘organ’. When spoken by Khmer people, ‘Ta Som’ sounds a little bit more like ‘Ta Sowm’ than ‘Ta Sorm’, but not at all like ‘Ta Somm’, though every driver or guide will understand you if you pronounce it this way as every other tourist does. Other spellings, sometimes used instead of ‘Ta Som’, are ‘Ta Sohm’ or ‘Ta Saum’.
The modern Khmer Name ‘Ta Som’ means ‘ancestor Som’, ‘Som’ being the short name of King Jayavarman’s teacher. But it is doubtful whether Ta Som was actually dedicated to a teacher.
A stele found in Preah Khan probably mentions the medieval monastery of Ta Som, allowing to identify the temple's original Sanskrit name: ‘Gaurashrigajaratna’, which translates to ‘Propitious-Holy-Elephant-Jewel’. A ‘shrigaja’, which translates to ‘shining elephant’ or also ‘holy elephant’, is a white elephant, in Southeast Asia so-called white elephants are reserved for royalty. The said inscription also mentions the temple was home of 22 or 24 deities.
The modern Khmer Name ‘Ta Som’ means ‘ancestor Som’, ‘Som’ being the short name of King Jayavarman’s teacher. But it is doubtful whether Ta Som was actually dedicated to a teacher.
A stele found in Preah Khan probably mentions the medieval monastery of Ta Som, allowing to identify the temple's original Sanskrit name: ‘Gaurashrigajaratna’, which translates to ‘Propitious-Holy-Elephant-Jewel’. A ‘shrigaja’, which translates to ‘shining elephant’ or also ‘holy elephant’, is a white elephant, in Southeast Asia so-called white elephants are reserved for royalty. The said inscription also mentions the temple was home of 22 or 24 deities.
History of Ta Som
King Jayavarman VII. presumably dedicated the temple to his father Dharanindravarman II (Paramanishkalapada) who had been king of the Khmer Empire from 1150 to 1160. Preah Khan at the opposite end of the 3,5 km long reservoir named Jayatataka is dedicated to Jayavarman’s father, too.
Many of the carvings were likely purposefully destroyed in the 15th or 16th century and lay in a state of ruins for many centuries.
According to the APSARA National Authority, who adminster all temples in the Angkor Park, little restoration work had been done at the Ta Som temple during the colonial period prior to Cambodia’s independence in the 1950s. In the subsequent years, only some propping of structures that were near collapse was carried out.
During the period of the Red Khmers and civil war, Ta Som was used as a guerilla hospital in the jungle.
Only after the end of the civil war, restorations works were resumed. The Ta Som Conservation Project was launched in 1998 with the support of the World Monumets Fund (WMF). This was the first project by WMF staff, but many workers had previously been trained during the restoration of Preah Khan. Again, their first task was emergency stabilisation of the structure to make it safe for visitors. Additional clearing measures were taken to allow easier access. The Ta Som Condervation Project followed a policy of minimal intervention. Particularly the great West and East Gopuras of the first enclosure (inner courtyard) were repaired. During the more recent phase, new stone blocks were prepared for consolidation and structural stabilisation of North and South Gopuras of this main complex. In 2007, WMF and the APSARA Authority conducted clearing and documentation works that allowed the temple to be accessed from all four sides. Many fallen-down and broken sandstone blocks were repaired to reconst the North Central Fronton of the North Gopura. The Ta Som restoration program was completed in 2012.
Many of the carvings were likely purposefully destroyed in the 15th or 16th century and lay in a state of ruins for many centuries.
According to the APSARA National Authority, who adminster all temples in the Angkor Park, little restoration work had been done at the Ta Som temple during the colonial period prior to Cambodia’s independence in the 1950s. In the subsequent years, only some propping of structures that were near collapse was carried out.
During the period of the Red Khmers and civil war, Ta Som was used as a guerilla hospital in the jungle.
Only after the end of the civil war, restorations works were resumed. The Ta Som Conservation Project was launched in 1998 with the support of the World Monumets Fund (WMF). This was the first project by WMF staff, but many workers had previously been trained during the restoration of Preah Khan. Again, their first task was emergency stabilisation of the structure to make it safe for visitors. Additional clearing measures were taken to allow easier access. The Ta Som Condervation Project followed a policy of minimal intervention. Particularly the great West and East Gopuras of the first enclosure (inner courtyard) were repaired. During the more recent phase, new stone blocks were prepared for consolidation and structural stabilisation of North and South Gopuras of this main complex. In 2007, WMF and the APSARA Authority conducted clearing and documentation works that allowed the temple to be accessed from all four sides. Many fallen-down and broken sandstone blocks were repaired to reconst the North Central Fronton of the North Gopura. The Ta Som restoration program was completed in 2012.
Bodhisattva LokesHVara
Lokeshvara relief re-erected near the south wall of the inner temple
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Lokeshvara relief re-erected in the southeastern segment of the courtyard
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In Buddhism, a Bodhisattva in general is a being that will become a Buddha in the future. The historical Buddha had been a Bodhisattva before he attained enlightenment. He was also a Bodhisattva in his previous incarnations. Theravada Buddhism, the form of Buddhism practiced in Cambodia today, believes in the Bodhisattva Maitreya, who will become a Buddha in a future incarnation on earth. However, in Mahayana Buddhism, which was the religion of the great king Jayavarman VII and of a few previous Khmer kings, the meaning of the term ‘Bodhisattva’ shifted towards what can be called a saviour. In Mahayanism, a Bodhisattva is also a future Buddha, but there are many more Bodhisattvas and they are held in much higher veneration. According to these believes, that are still practiced in parts of neighbouring Vietnam, there are Bodhisattvas who already attained enlightenment but did not yet pass away into the final Nirvana. They delay attaining the final Nirvana for the sake of fellow beings. Nirvana means leaving this world, Bodhisattvas in Mahayana Buddhism are enlightened beings that overcame this world but did not yet leave it. This way they can use their knowledge and powers in order to help others in this world to find their way to salvation.
The most important helper among Mahayanist Bodhisattvas is Avalokiteshvara. He is believed to embody the compassion of all Buddhas and helping even those beings living in hell. The meaning of the Sanskrit name ‘Avalokiteshvara’ is not entirely clear. The ending ‘shvara’ means ‘lord’ for sure. Usually, the entire term is translated as ‘lord gazing down (on us)’.
The ancient Southasian name of this being is ‘Lokeshvara’ in Sanskrit or ‘Lokesvarak’ or ‘Lokanat’ in spoken languages. It became popular not long before the 12th century. The name ‘Lokeshvara’ has a different meaning, as this name used in ancient Khmer Mahayana Buddhism translates literally to ‘lord of this world’, which is obvious and not disputed. The meaning is very similar to the titles like ‘Ishvara’ or ‘Maheshvara’, which refer to Shiva, the most powerful deity of Hinduism.
Many scholars assume, the ancient Cambodian form of Mahayana Buddhism, particularly during the period of Jayavarman VII, was influenced by Shiva worship, the most important form of Hinduism, particularly in northern India. (In contrast, the Japanese scholar Shu Hikosaka states, that the origin of Avalokiteshvara veneration was a South Indian blend of Buddhism and Vishnuism.)
The Cambodian Lokeshvara from the Bayon period assumed many of the properties associated with Shiva, he is sometimes represented with more than one face and often with the third eye of Shiva and carrying a moustache like Shiva. He can carry the rosary, which is found in Shiva worship, too. Occasionally, Lokeshvara also got Shiva's tident and snakes. On the other hand, a typical Mahayanist element of Lokeshvara is the small depiction of a Buddha Amithaba in the hair crown. Although he is mentioned in inscriptions from the mid-tenth century, it was not before the Bayon period that Lokeshvara became one of the main elements of Mahayanistic religion in Angkor. Representations of Lokeshvara in Khmer art are found since the 7th century, mainly as statues. Stone carvings depicting Lokeshvara became popular only towards the period of Jayavarman VII, hence being a characteristic element of the Bayon style.
The most important helper among Mahayanist Bodhisattvas is Avalokiteshvara. He is believed to embody the compassion of all Buddhas and helping even those beings living in hell. The meaning of the Sanskrit name ‘Avalokiteshvara’ is not entirely clear. The ending ‘shvara’ means ‘lord’ for sure. Usually, the entire term is translated as ‘lord gazing down (on us)’.
The ancient Southasian name of this being is ‘Lokeshvara’ in Sanskrit or ‘Lokesvarak’ or ‘Lokanat’ in spoken languages. It became popular not long before the 12th century. The name ‘Lokeshvara’ has a different meaning, as this name used in ancient Khmer Mahayana Buddhism translates literally to ‘lord of this world’, which is obvious and not disputed. The meaning is very similar to the titles like ‘Ishvara’ or ‘Maheshvara’, which refer to Shiva, the most powerful deity of Hinduism.
Many scholars assume, the ancient Cambodian form of Mahayana Buddhism, particularly during the period of Jayavarman VII, was influenced by Shiva worship, the most important form of Hinduism, particularly in northern India. (In contrast, the Japanese scholar Shu Hikosaka states, that the origin of Avalokiteshvara veneration was a South Indian blend of Buddhism and Vishnuism.)
The Cambodian Lokeshvara from the Bayon period assumed many of the properties associated with Shiva, he is sometimes represented with more than one face and often with the third eye of Shiva and carrying a moustache like Shiva. He can carry the rosary, which is found in Shiva worship, too. Occasionally, Lokeshvara also got Shiva's tident and snakes. On the other hand, a typical Mahayanist element of Lokeshvara is the small depiction of a Buddha Amithaba in the hair crown. Although he is mentioned in inscriptions from the mid-tenth century, it was not before the Bayon period that Lokeshvara became one of the main elements of Mahayanistic religion in Angkor. Representations of Lokeshvara in Khmer art are found since the 7th century, mainly as statues. Stone carvings depicting Lokeshvara became popular only towards the period of Jayavarman VII, hence being a characteristic element of the Bayon style.
What to See in Ta Som
The temple is a flat temple, this means all parts are on ground level and the central shrine is surrounded by enclosure walls. Ta Som is a medium-sized monastic complex, smaller than the contemporry similar Bayon-style temples of Banteay Kdei, Ta Prohm and Preah Khan, comparable in size to Ta Nei and Banteay Thom. As mentioned, Ta Som a typical structure of the era of the most prolific temple builder in Angkor's history, Jayavarman VII (1181- ca. 1218). Not all temples dating from the reign of this king have towers with those impressive depictions of giant Buddha faces this Angkor period is famous for, but Ta Som is indeed one of Cambodia's face-tower monuments.
Face towers as exterior temple gateways (3rd enclosure)
Ta Som's exterior western gateway with face tower
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pediment with damaged Lokeshvara figure at Ta Som's western face tower
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Altogether eight colossal faces can be seen at Ta Som, four on either side of the two outer temple towers (Gopurams of the third enclosure), these face towers forming the eastern and the western gates of Ta Som. As usual, the East Gopuram, which is now famous for it’s strangler fig, originally was the main gate of the sanctuary. Today’s visitor arriving at the car park at the Grand Circuit, however, will start his walkabout from the opposite side, entering the temple area via the western face tower. The colossal Buddhist faces of Ta Som are of a smaller scale than those at the city gates of Angkor Thom. Just below the face of the west gate, the visitor can see a first example of a carving representing Bodhisattva Lokeshvara adored by several smaller followers in a lower register.
Designed to be entered from the east, Ta Som is surrounded by a moat and enclosed by altogether three laterite walls, remnants of a moat can be seen at the eastern gate. The outer (third) enclosure measures 240 m in length from face tower to face tower and 200 m in width. Probably, this exterior enclosure wall made of laterite is a later addition from the reign of Indravarman II in the first half of 13th century, although the Buddhist faces of the entrance towers are more likely from the original Bayon period of Jayavarman VII.
Designed to be entered from the east, Ta Som is surrounded by a moat and enclosed by altogether three laterite walls, remnants of a moat can be seen at the eastern gate. The outer (third) enclosure measures 240 m in length from face tower to face tower and 200 m in width. Probably, this exterior enclosure wall made of laterite is a later addition from the reign of Indravarman II in the first half of 13th century, although the Buddhist faces of the entrance towers are more likely from the original Bayon period of Jayavarman VII.
Excavated Lokeshvara pediment
Lokeshvara panel in front of Ta Som's main sanctuary
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Lokeshvara flanked by two kneeling demons in royal dresses
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The second enclosure has ist own moat inside its laterite walls. When crossing the gateway of the second enclosure, which is wider but less high than the face tower, the visitor can enter the main shrine of the first enclosure. But we recommend to turn right and first go to the east gate.
During the restoration works, new sculptural decorations have come to light, which were buried in the ground. Originally, they had decorated the pediments of the temple. The most imposing ones are pediments with a Lokshvara figures, some of which are now placed one the ground. One such unearthed and restored pediment carving, presumably the most beautiful one, is placed in front of the south wall of the main complex. You will not miss it when surrounding the temple proper, passing it at its southern side. The Bodhisattva in the centre is venerated by two kneeling Asura demons, dressed like royals, and another row of Asuras below them. Their hands depict the gesture of prayer and devotion. The Bodhisattva Lokeshvara has disproportately short legs.
During the restoration works, new sculptural decorations have come to light, which were buried in the ground. Originally, they had decorated the pediments of the temple. The most imposing ones are pediments with a Lokshvara figures, some of which are now placed one the ground. One such unearthed and restored pediment carving, presumably the most beautiful one, is placed in front of the south wall of the main complex. You will not miss it when surrounding the temple proper, passing it at its southern side. The Bodhisattva in the centre is venerated by two kneeling Asura demons, dressed like royals, and another row of Asuras below them. Their hands depict the gesture of prayer and devotion. The Bodhisattva Lokeshvara has disproportately short legs.
East Gate with strangler fig (3rd enclosure)
main gateway of Ta Som with strangler fig
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overgrown relief depicting worshippers of Lokeshvara
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The eastern face-tower is one of the most often photographed Khmer monuments. The tower is crowned by a superb example of Angkor's world-famous stone-cracking trees, a quite dramatic sight. The strangler fig still stands upright, but it died in the 1970s. This means, it does not grow any more and due to starting decomposition it will fall down in a not too far away future. So, dear travellers intending to visit Cambodia, hurry on to see the spectacular tree still standing upright on the monument!
The roots of the tree cover another pediment carrying a Lokeshwara relief, but it's only partli visible. The wider parts of the panel which can still be seen is the right bottom of the panel showing three rows of adorants. A similar pediment is on the northern side and a smaller one faces south.
The roots of the tree cover another pediment carrying a Lokeshwara relief, but it's only partli visible. The wider parts of the panel which can still be seen is the right bottom of the panel showing three rows of adorants. A similar pediment is on the northern side and a smaller one faces south.
Eastern Gopuram 2 (2nd enclosure)
Returning to the core area of the sanctuary, the visitor, of course, has to pass the eastern gateway of the second enclosure again. It’s worth stopping here for a while to detect some of the more hidden Buddhist carvings, since within the temple of Ta Som only this second eastern Gopura has depictions of the ‘Churning of the Ocean of Milk’, which is otherwise a very common theme in the Bayon style. The northern side of the causeway to the west of this second Gopura carries a long narrow frieze representing this famous scene, in a stretched version. The same subject is carved, in a shorter space, on the pedestal base of the eastern door of this gate. Thisminimal version of the scene is similar to that one of Tonle Bati to the south of Phnom Penh.
Courtyard of the temple proper (1st enclosure)
Ta Som's main temple (1st enclosure) seen from northeast
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main sanctuary (1st enclosure) seen from southwest
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Ta Som's temple proper has laterite galleries surrounding the temple courtyard (inner enclosure), encompassing a cruciform Prasat sanctuary and two so-called libraries built of sandstone. It is much like a miniature version of Ta Prohm, or more precisely, like a copy of its northern and southern side temples. The first (inner) enclosure is 30 m long and 20 m wide. This core section of the temple consists of a central cruciform sanctuary with porches at each arm surrounded by four corner pavilions. Two small libraries sit on either side of the eastern entrance path.
east and central tower in the central temple courtyard
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southwestern segment of Ta Som's courtyard
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Stone carvings of the temple proper (1st enclosure)
The carvings at the temple proper of Ta Som are in a relatively sound condition, although you will easily find many of them being defaced by Hindu fanatics – just like at almost all Buddhist temples constructed in the Bayon period. Ta Som‘s stone carvings are of higher-quality craftsmanship than those at other contemporary temples. Bayon-style panels usually appear to be worked out more hastily than those of previous periods. There ware some remarkable feature of Ta Som:
Devata reliefs at the temple proper of Ta Prom
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Devata sculptures are often called Apsaras
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The Devata (often called ‘Apsara’) carvings show an uncommon individuality compared to other Bayon-style sculptures, although not coming close to the uniqueness and perfection of Devatas or Apsaras from the previous Angkor Wat period.
pediment re-erected on ground level to the north of the temple proper
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restored pediment at southern side of the north gate of the courtyard
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As mentioned, the Northern Gopuram’s northern pediment, which is of similar size as the one outside the first enclosure on the opposite southern side, was reconstructed recently by the WMF and the APSARA Authority. In contrast to its counterpart on the opposite side of the temple proper, the Lokeshvara statue in the centre of the relief was destroyed by iconoclasts.
Well-preserved in situ reliefs are found in the gallery of the temple proper (first enclosure), too. For example, the restored south pediment of the north Gopuram (inside the first enclosure or central courtyard) shows a smaller Lokeshvara, with four praying figures on lotus buds at his feed. The stems of the buds are depicted, too, emerging from the pond on a single stem. The standing Lokeshvara is totally defaced.
Lokeshwara statue in the southwestern segment of the courtyard
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nearby pediment with Vishnu and Brahma as adorants
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In the south-west section of the courtyard, there are more examples of Lokeshvara carvings on the ground. An excellent one has a defaced Buddhisattva between Vishnu on the left and Brahma on the right, over two rows of worshippers.
Besides the pediment carvings, there is a pillar with a peg on the top. The symbolism is unknown. Similar stelae are found at contemporary Bayon style temples, e.g. two at Preah Khan and one at Banteay Prei.
On the north-facing door of the southern Gopuram is a pediment the upper part of which has just the traces of the Bodhisattva being tortured over two rows of worshippers. It’s not easily recognizable. There are better carvings depicting the tortured Bodhisattvas at Preah Khan. This is a less common theme in Khmer art, but actually therea are some more temples from the Bayon period with carvings depicting a Bodhisattva being tortured, namely Ta Prohm, Banteay Kdei, Preah Palilay and Banteay Thom in Angkor as well as Wat Nokor in Kampong Cham and Ta Prohm of Tonle Bati. Usually the tortured Bodhisattva is seated in the gesture of meditation, which is called Samadhi Mudra. The theme of the ‘tortured Bodhisattva’ or ‘maltreated Lokeshvara” is probably intended to emphasize the imperturbability of an enlightened being during his meditation.
rare depiction of a bull on a Buddhist relief of the Bayon period
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Lokeshvara relief at eastern pediment of the sanctuary's eastern gate
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The west-facing pediment over the eastern gopura has an unfinished Lokeshvara venerated by two figures with simple crowns, perhaps depicting royal rishis. In the register below are several more royal figures, shown in praying attitudes. Beside them is a bull whose presence is somehat puzzling. Although he is depicted as a Zebu and thereby seems to represent a typical Nandi, he could also be sacrificial animal. Integration of Shivaite elements in Buddhist art depicting Bodhisattvas is quite common, but a Nandi, the sacred animal of Lord Shiva, is usually not seen in Buddhist carvings.
