The Dragon's Mirror: The Magic of Angkor Wat VI
Part 6
Diego Antolini
17/06/2022 08:26:36
Another theory identifies the Vanara as a tribal people who lived in the forests and worshiped monkey-shaped totems. G. Ramdas, basing himself on the fact that Ravana, speaking of the Vanaras, mentions their tail as an ornament (or of their ornaments that resembles a tail), suggests that the "tail" could actually be an appendix in the dress worn by the men of the Savara tribe (in fact the Vanara females are not described as having tails).
Hence, the "monkeys endowed with magical powers" fighting against the giants Rakshasa open up to more than one question about the real nature of these beings. The struggle between these two races is one of the most important legends in the Khmer folklore, as monkeys appear in various parts of the temple as well as in other temple complexes. However, looking more closely at some of the images, we noticed some somatic details that corroborate what we said before: some of the alleged "monkeys" have indeed reptilian traits.
The shape of the arched eyebrows, the sharp teeth, even the profile of the mouth as well as the claws on the hands and feet leave little doubts of what race they belong to. Not only that, but in some points of the temple there are "Apsara", or dancers, depicted in the semi-extended position and surrounded by other ape-beings. Apsaras are divine nymphs or celestial dancers part of Hindu mythology. Their origins are explained in the story of the Churning of the Sea of Milk or Samudra Manthan (found in the Puranas). The Apsaras were often used by the gods as agents to seduce mythological demons, heroes or ascetics.
But the extensive use of these nymphs in architecture and art is typical of Khmer culture alone. In the modern descriptions of the temples of Angkor, the term "Apsara" has been extended to also include static and non-dancing female figures, although these should be more properly defined "Devata".
The highest number of Devatas are found in Angkor Wat (numbered about 2,000) where they appear both individually and in groups.
This generalization of the Apsaras can be confusing, but upon careful observation, differences are noted not only in the stance. The "static" Apsaras appear to be different from those that adorn the other parts of the temple, the latter showing the elongated face of a reptile.
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The fact that written documents explaining the bass-reliefs have not
survived to our modern time have caused the interpretations of scholars
to lean mainly toward the sacred Hindu texts, even if nothing is known
of how the Khmer Empire emerged from the jungle to get to conquer almost
all of the Indochina Peninsula. Oral traditions speak of the first
Khmer kings as divine beings who had nothing human, and capable of
performing the greatest wonders; and that power was subsequently
bestowed upon semi-divine dynasties and then on terrestrial bloodlines. A
path identical to that which took place in Egypt and among the Maya,
which can be symbolically compared to the biblical patriarchs and their
longevity, which gradually gave way to a more "terrestrial" lifespan.
We
can’t be sure that the Vanara were reptilians (even if they were
certainly not monkeys, perhaps hybrids), but we venture to the
hypothesis that, mixed with the figures of the Hindu tradition, the
Khmer also wanted to pay homage to the other side of their own origin,
the offspring of the "Snake-Princess".
Where is the trick, then?
There
is none, but it is a multi-ciphered code whose key lies within specific
elements such as the Naga snake, and at least one other figure carved
on the temple walls.
By observing the repetitiveness of the
figures present in the bass-reliefs in the external walls of the inner
gallery, we see mythological animals, elephants, lions, Vanara,
reptilians, Rakshasa and warriors, but also chariots, weapons, and war
objects which return int the entire length of the wall. There is a
single character who seems to have been sculpted only once in Angkor
Wat, a mysterious flute player who dances in the midst of the fury of
the battle, as if to mark the rhythm of the event.
We
have not found this player in any other part of Angkor Wat, and in any
of the other Angkor temples that we subsequently visited. Not only that,
but we have not found any reference to this bas-relief in the sources
we consulted, as also confirmed by our guide who was unable to explain
who he may represent.
What is the meaning of this figurine? The
fact that it is not repeated as other elements are makes the flute
player unique. We appeal to all researchers who have been studying the
symbols of Angkor Wat for almost half a century, but we have also asked
the Minister of Culture of the government of Phnom Penh. We are yet to
receive an official response.
The Flute
Player embodies the principle of music, and even deeper, of the concept
of sound which have always been a powerful vehicle to control or modify
matter. The Trumpets of Jericho told in the Bible, the “Trickster” or
Kokopelli in the Native Americans’ tradition – which is often depicted
as playing a flute – and the modern studies of Cymatics are but some
examples related to that. Particular frequencies generate a reaction
within the matter, as is the case of the Crop Circles.
We
therefore believe that the Flute Player at Angkor Wat represents another
element to decode the enigma that the builders of the temple have left
us. Not just a symbolic code, but a real scientific (genetic?) message.
A
second visit aimed at this purpose could perhaps tell us something more
about this message, but we hope that other researchers can pick up our
question and provide more precise information than we are able to give
today.
After our visit to Angkor Wat, our journey continues along
the "Dragon's Tail": Angkor Thom, a place used to entertain the Khmer
kings. The figures of three-headed elephants at the entrance represent
the abundance and perpetuation of the power of the Empire; Ta Keo and Ta
Prohm, temples dedicated to the feminine energy and, therefore, to the
cult of fertility with phallic sculptures and guardian monkeys to
protect the temple; and Baray, with its artificial swimming pool used by
the Khmer kings as an escapee from the tropical heat.
Finally,
we leave Siem Reap after two full days spent in the magic of Angkor,
with a lot more questions than we had when we arrived, but with the
certainty of having walked a place permeated with energies that are
still active and able to influence the destiny of those who come in
contact with it. We will have to return to this place, perhaps after
gaining more experience so that we can perhaps better comprehend the
message left to us by the ancient Khmer people.
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