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 Cambodian (Khmer)worn for Sbai traditional wedding costumes 

History of Khmer Sbai traditional costume :

Sbai or Sabai or Pha Biang is shawl-like garment, or breast cloth worn in mainland Southeast Asia. Sabai is a woman's silk breast wrapper in Cambodia from Funan and Khmer empire era and had been introduced in the Central Thailand while in coastal Sumatra the same term is used to described as a shoulder cloth; the sabai was derived from the Hindu sari, the end of, worn over one shoulder. Sbai comes from a Khmer word that refers to any kind of soft garment. In clothing, it refers to shawl-like garment or breast cloth used by women and to the lesser extent religious men in Cambodia. Sabai is a Thai word derived from the Khmer Sanskrit. Sbai is derived from the Hindu sari which may have been introduced to Southeast Asia through the Indianized Kingdoms along with other traditions and elements of Hinduism legacy .There are related mythologies in the Khmer culture concerning the history of sbai, introduced during the Khmer Kingdom of Funan or Nokor Phnom in the first century AD; the sbai is mentioned in the legends of Neang Neak ( Nagi Soma ) In one scene, Preah Thong ( Kaudinya 1 ) clings to a piece of cloth worn on the Nagini in order to make the journey to the Nāga's kingdom.

In that tale, the sbai is symbolic of the tail of the Nagi princess. During the Khmer Kingdom of Chenla at time of Bhavavarman 1 , the ladies-in-waiting of the palace were known to wear a shawl-like sbai over the left shoulder to cover the breast and stomach. Royal women wore a loosely decorated band of beads worn crosswise. In Angkorian period, although it was common for men and women to be topless, however clothes for the upper body were worn: the bas reliefs of Bayon and Preah Khan temples depict women wearing a shawl-like sbai while religious male figures are adorned with stylised sbai. At Angkor Wat, there are depictions of topless Apsaras holding sbai connected to their sampot, while the northern wall of Angkor Wat depicts a group of ladies wearing long sbai holding various offerings. For men Brahmin and Buddhist monk, the sbai called sbong sbai trai chivor, is considered the robe of Hindu and Buddhist monks. For women, sbai can be used and in different ways such as to wrapping it around the body, covering the shoulder, covering the breast and stomach over the left shoulder.

Different styles of sbai are used by Cambodian women based on their traditions. Nowadays, sbai is most used in traditional Khmer weddings during the rite of Preah Thong Taong ( Kaudinya 1 ) Sbai Neang Neak ( The Nagi soma ) which represents the legend of the foundation of Funan and where the groom holds on to the bride's sbai as they go to their room; the groom wears a sbai. It is common for Lao women to wear sabai. A sabai can be worn by men in weddings or when attending religious ceremonies; the type of sabai worn by Lao men has checkered patterns. Sabai can be a long piece of silk, about a foot wide, draped diagonally over the chest covering one shoulder with one end dropping behind the back. Archaeological evidence from a Mon Dvaravati site , ancient kingdom of Jayavarman Kaudinaya of Funan . depicts five ladies playing instruments and wearing what seems to be a piece of fabric hanging from their shoulder, quite similar to sabai. 

Sabai was introduced in South east Asia with the Indianization with Kaudinaya 1 with the Princess Nagi Soma

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 Apsara Angkor at the prayer ceremony for the happiness of Angkor Sankranti at the recess of Angkor Wat 

 It should also be noted that our Khmer temple also has Apsara, but only at Angkor Wat, Apsara has the two most special features:

 1. Angkor Wat has more than 2,000 Apsara statues, and each Apsara sculpture is different in terms of face, dance, gestures, hairstyles, as well as the style on the skirt.

 2.  Each sculpture looks alive and has different gestures, with some tour guides telling him that every Apsara gesture in Angkor Wat is a dance show.  On the other hand, when visitors arrive in Angkor, it is as if they have arrived in paradise.

 Apsara means "heavenly dancer", probably from the beginning, before any royal ceremony, there is always a performance of Apsara dance in order to sprinkle the carpet before the ceremony begins.

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New Year Sankranti of the Kingdom of Cambodia 🇰🇭💋, Kimira Devi 🙏 Serey Soursdey is ready to receive the angel of the new year 2023, the new year of Thao, Sathu, Sathu, Sathu, Sathu, he rides a buffalo, which is a vehicle this year 2023 ASEAN Culture
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Kun khmer Dear my belove friends♥️ You should understand the meaning of sport lose or win it usually in sport. why you don't understand? If you don't happy with this results we can beat again and again. Kun Khmer🇰🇭 not same with Muaythai 🇹🇭 Are you have experience with these bad thing when have some boxer wen to boxing in Thailand? #KunKhmer #kunKhmerMartialart
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 CAMBODIAN (KHMER NEW YEAR) OR ANGKOR SANKRANTA DRAWS TOURIST CROWDS ON 14-16 APRIL 2023 ,SIEM REAP PROVINCE- KINGDOM OF CAMBODIA 🇰🇭

Crowds of tourists are flocking to Angkor Wat, one of the sites for about 40 traditional and modern Angkor Sankranta programs, a day before the start of the event.

The Sankranta will run from April 14 to 16 in front of Angkor Wat, the Terrace of the Elephants, Angkor Kyung Yu, Presh Reach Dom Nak Park, Dorng Steung Siem Reap and Pub Street.








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📣 As a host country of the SEA Games 2023, The 🇰🇭 Cambodia Olympic Committee (COC) pleased to announce: 

▪️ Free entry for the spectators.

▪️ Free accommodation and foods for delegates.

▪️ Free broadcasting right for media partners.

COC said that following the direction of Prime Minister Hun Sen, the hosts would cover all meals, accommodation and transport for the participants, as long as the schedule of the delegations remains the same as previously registered.

This is unprecedented in the history of the SEA Games. Initially, Cambodia planned to collect $50 per person per day, like in the previous editions of the Games.

#SEAGames2023 #Cambodia2023


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Magnificent sculptures of a Radiating Lokeshvara dominated the regional centers of power across the Khmer Empire during the reign of Jayavarman VII at the end of the twelfth century. They were a symbol of his strength and devotion to Buddhist principles that left no-one in any doubt as to who was in charge, though he tempered that by building a series of hospitals and rest chapels for his subjects. These larger-than-life sculptures have been found as far afield as Takeo in the south of Cambodia, at Angkor of course and across to Muang Singh in southwest Thailand. His kingdom stretched far and wide and these sculptures dominated the main religious shrines in each key area. They all follow a similar theme in their appearance. Usually towering over a normal-sized human, the eight arms radiating out from the body would hold attributes such as a sword, rosary, book, flask and lightning bolt. The muscled torso would be covered in miniature Buddha figures, as well as the arms and toes. Another eight larger Buddhas would be carved around the waist, and like his eight arms they depict the cardinal directions and symbolize his compassion and cosmic role as protector and saviour of humanity’s suffering. His short belted sampot with a fishtail is his only clothing, and the front of his chignon headdress would display a seated meditating Amitabha Buddha, together with an omnipresent half-smile oozing serenity, self-assurance and composure. I have collected together fifteen Radiating Lokeshvara sculptures – often known as Bodhisattva Avalokiteshvara (Lord who looks in every direction) outside of Cambodia – that I have found in museums and elsewhere, most missing their arms, some their heads and legs but still retaining their powerful enigmatic presence.















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Khmer Art Overseas: To wrap-up the auction sales from the two-day auction of Asian art by Bonhams and Cornette de Saint Cyr in Paris last October, these are the remaining stone and bronze Khmer artifacts that came under the gavel, for a private collection sale that raised a total of €14.5 million. The items were all from the prestigious private collection of Robert and Jean-Pierre Rousset. The collection was begun in the 1920s by Robert Rousset, who was responsible for the high-profile gallery Compagnie de la Chine et des Indes in Paris, which was subsequently run by three generations of the Rousset family until 2021. Many of the Khmer items were bought from galleries in Bangkok, Thailand in the 1960-70s, when looting of temples across the border in Cambodia was becoming a popular past-time for thieves on the payroll of people like Douglas Latchford. Interestingly, a few of the items were acquired from Robert Dalet's collection, who was an archaeologist, photographer and explorer working in Cambodia for EFEO between the 1930-1950s. Each of the 25 pieces has the sale price in their description.
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Khmer Art Overseas: I’m posting a few of the Khmer antiquities sold in auction by Bonhams and Cornette de Saint Cyr in Paris last October. It was a very important two-day sale of the private collection of Robert and Jean-Pierre Rousset’s Asian Art, which they first began collecting in the 1920s. They sold 341 items including a number of Khmer artworks, achieving a total of €14.5 million. One Khmer artifact in particular, which was initially given a pre-sale estimate of between €10,000 to €15,000, went way above that and eventually sold for an incredible €378,375, some twenty-five times its expected selling price. I don’t know the reason for the unexpected record price, though it was an exhibit that Robert Rousset acquired from the Smit Gallery in Bangkok in April 1965 and which was displayed at an important exhibition of Ancient Cambodian Sculpture at New York’s Asia House Gallery in October 1969. A prominent sculpture with a known scholarly provenance is always likely to fetch a higher price, but this was particularly exceptional in recent times. The damaged sandstone head is of an unknown deity, in the Bayon style of the late 12th and early 13th century, during the reign of King Jayavarman IV. The hair of the exhibit is rendered in vertical braided bands with a pearl band that surrounds the forehead and tightly frames the ears. The hairstyle and the shallow fragment of the ushnisha do not allow for a clear identification of the deity as the features are shared by both Buddha and bodhisattva figures. It stands 23 centimeters in height. For the 1969 exhibition, Asian art expert Sherman Lee wrote: ‘This fragment of a male head - probably that of a Buddha - although very incomplete, gives another version of the Bayon sculptural type. The stylised, bead-shaped locks arranged in vertical rows, the thick projecting eyebrows, the closed eyes with well-formed lids, and the sensuous mouth with its corners raised in a smile.’ Bonhams wrote the following ahead of the sale: This magnificent fragment of the time of Jayavarman VII captures, despite the section lost, an emotion that no other work of Khmer art from an earlier period had managed to deliver. The youthful face already wears all signs of maturity. The high forehead and very thick eyebrow give a feature of naturalistic interpretation that connect, like many sculptures of the period with the portrait of the King. The serene expression is amplified by the eye, closed in a deep meditation, conveying total introspection and perfect tranquility. Executed in a very fine sandstone whose quality was reserved for exceptional pieces, this head is the testimony of the magnificence of the Bayon period and the work of an inspired artist.
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