The Inflamed Mythical Goose Tail
By Venghour Than
The Khmer ornaments are the classical decorative motifs that were ubiquitously utilized for many architectural wonders in Cambodia during previous periods. All the motifs share the same idealistic form in which they express the curvilinear movements of lines, and that expression imitates the movement of nature itself. For instance, we can observe the inspiration of Khmer ornaments are the basic shapes of flowers, shells, and animals, both real and mythical creatures, that are discovered in the country. According to KBACH: A Study of Khmer Ornament written by Chan Vitharin and Preap Chanmara, professors of the Royal University of Fine Arts in Cambodia, the ornaments being expressed are translated to kbach in the Khmer language, and the word derives from the root word kaich, which means to break or to cut. Therefore, it is evident that the kbach we have witnessed on the walls, door frames, pillars, and roofs are the reflection of the ‘breaking’ movements of nature.
One of the most well-known basic shapes of Khmer ornaments is Kbach Trobok Chhuk, which is the lotus petal shape. Lotus flowers in Buddhist civilization like Cambodia are considered sacred and pure. Lotus flowers in the religious practice act as an offering for the Buddha in Pagodas. Furthermore, the blooming lotus flower is one of the symbolic representations of the Buddha's presence, among other symbolic elements such as the footprint, the dharma wheel, the railings, and the bodhi tree. The demonstration of purity also embeds in the lotus flower. It is believed that the flower grows from the muddy water, suggesting the idea of impurity; however, the act that the lotus can beautifully flourish in the impure environment communicates the expression of purity, explaining that there is always the presence of good in the presence of evil. These beliefs and narratives revealed in lotus flowers radiate the power of its kbach, which exquisitely shows its cultural significance and identity as a decorative element.
There are myriads of kbach in Khmer ornaments. The work I presented here is called “The Inflamed Mythical Goose Tail.” It is not an original work, but an imitation from one of the Khmer ornaments I saw in Kbach A Study of Khmer Ornament. In the book, instructions for learning to draw various kbach are provided, from practicing the drawing of the basic shapes to more advanced, intricate motifs. Yet, every sophisticated and intricately complex ornament always starts with the basic shape; then, it progresses to the modification and the addition of details. For “The Inflamed Mythical Goose Tail,” its basic shape is known as the cluster of leaves. With the addition of small details within and surrounding the shape, the composition reveals the entire shape of a mythical goose tail shape. Even though an artist needs to be attentive to the details, the beginning of drawing this kbach is minimal. As shown in the drawing, you start with geometric lines to form little squares, rectangles, and a triangle. Next, you draw the basic shapes; in this case, it is the cluster-of-leaves shape. Last, you need to attentively and precisely fill in the details of different kbach into the interior space of the shape.
Besides learning how to draw small, simple shapes of Khmer ornament, I have never attempted to draw complex ones. Due to its rigid principles with shapes, lines, space, and motifs, I sense confusion. However, after finishing this work, I felt more confident in allowing myself to immerse myself into another cultural and artistic aspect of my country as a Khmer person. It is the “something out of nothing” itself that allows me to accomplish this achievement. I had never expected to produce work related to expressing the Khmer Ornaments because it had never been in my circle of passion, but now it is something. I see the inspirations from the ancient decorative motifs in my future work.
One of the most well-known basic shapes of Khmer ornaments is Kbach Trobok Chhuk, which is the lotus petal shape. Lotus flowers in Buddhist civilization like Cambodia are considered sacred and pure. Lotus flowers in the religious practice act as an offering for the Buddha in Pagodas. Furthermore, the blooming lotus flower is one of the symbolic representations of the Buddha's presence, among other symbolic elements such as the footprint, the dharma wheel, the railings, and the bodhi tree. The demonstration of purity also embeds in the lotus flower. It is believed that the flower grows from the muddy water, suggesting the idea of impurity; however, the act that the lotus can beautifully flourish in the impure environment communicates the expression of purity, explaining that there is always the presence of good in the presence of evil. These beliefs and narratives revealed in lotus flowers radiate the power of its kbach, which exquisitely shows its cultural significance and identity as a decorative element.
There are myriads of kbach in Khmer ornaments. The work I presented here is called “The Inflamed Mythical Goose Tail.” It is not an original work, but an imitation from one of the Khmer ornaments I saw in Kbach A Study of Khmer Ornament. In the book, instructions for learning to draw various kbach are provided, from practicing the drawing of the basic shapes to more advanced, intricate motifs. Yet, every sophisticated and intricately complex ornament always starts with the basic shape; then, it progresses to the modification and the addition of details. For “The Inflamed Mythical Goose Tail,” its basic shape is known as the cluster of leaves. With the addition of small details within and surrounding the shape, the composition reveals the entire shape of a mythical goose tail shape. Even though an artist needs to be attentive to the details, the beginning of drawing this kbach is minimal. As shown in the drawing, you start with geometric lines to form little squares, rectangles, and a triangle. Next, you draw the basic shapes; in this case, it is the cluster-of-leaves shape. Last, you need to attentively and precisely fill in the details of different kbach into the interior space of the shape.
Besides learning how to draw small, simple shapes of Khmer ornament, I have never attempted to draw complex ones. Due to its rigid principles with shapes, lines, space, and motifs, I sense confusion. However, after finishing this work, I felt more confident in allowing myself to immerse myself into another cultural and artistic aspect of my country as a Khmer person. It is the “something out of nothing” itself that allows me to accomplish this achievement. I had never expected to produce work related to expressing the Khmer Ornaments because it had never been in my circle of passion, but now it is something. I see the inspirations from the ancient decorative motifs in my future work.
Bibliography:
CHAN, Vitharin, and Preap Chanmara. KBACH: A Study of Khmer Ornament. Phnom Penh: Reyum Publishing, 2005.
Seng, Sidaro. “History: About the Image of the Swan in Religion and Related to the Creation of the World of the Four Dharmas: Mercy, Mutita and Abstinence.” Krong Lungvek News, 13 Sept. 2018, kronglungvek.blogspot.com/2018/09/blog-post_13.html.