I am on the Global Heritage Fund UK trip to Cambodia this week to see our project at Banteay Chhmar. Led by our Senior Director John Sanday, OBE. We began the trip with a visit to Angkor, including the famous Angkor Wat. An image of Angkor Wat is the center of the Cambodian flag, and as our compatriot John Pike noted, Cambodia is the only country in the world with an image of a heritage site on its flag. You could argue that the very existence of the country is based on heritage – the Khmer empires of the 9th through 14th centuries were centered at Angkor, and the sheer quantity of intricately planned and carved stone monuments here made it impossible to overlook despite its weakened state. Continue Reading
The world is quite rapidly becoming a single place with a single, albeit multifaceted and sometimes contradictory culture. Yet the culture shock is alive and well and modes of apprehending the world often remain bound in the tunnelvisions of particular cultures.
When we plan our School of the Art Institute of Chicago student study trips to the Weishan Heritage Valley in Yunnan, China, we account for culture shock in the pacing and length of the trip, because sometimes you just gotta have a Starbucks or a Snickers bar no matter how much you desire to broaden yourself. Continue Reading
On July 23, 1986 I attended the funeral procession/cremation of Tjokorda Gde Oka Sukawati, a prince and stepbrother to the last king of Ubud in Bali. I was traveling there (long story) and stumbled across the ceremony, which featured an amazing Pelebon procession in the Balinese Hindu tradition, including a bade, an 11-tiered pagoda tower used to carry the deceased to the cemetery. Continue Reading
In the 12th century, as the French began work on Notre Dame, the Khmer king Suryavarman II constructed what is still the largest religious building in the world, Angkor Wat, 500 acres of walls, walks, peaks, passages and bas-reliefs. Like so many great works of architecture, Angkor Wat was full of symbolic meaning. Its measurements, from the initial approach across a bridge over the moat to the aediculated peaks of its five shikara, were determined by Hindu cosmology, and specifically by the need to prove that the current age of Suryavarman II was a return to the golden age. The sculptural program explicitly paralleled the king’s achievements with those of the Hindu pantheon, proving his devaraja (god-king) status. Continue Reading