I was fortunate to join a two-week field trip with ICOMOS international experts to Cambodia and Thailand, exploring pre-Angkorian and Dvaravati arts. One of the highlights of this trip was Sambor Prei Kuk, a World Heritage Site of great significance in Southeast Asian art history. To understand its Outstanding Universal Value, we first visited Phnom Da and Angkor Borei, currently on the Tentative List, to observe how Southern Indian art and architecture influenced the region during the Funan Kingdom. After the Chenla Kingdom, also known as Ishanapura, annexed Funan and built Sambor Prei Kuk, one of the greatest moments in Southeast Asian art history unfolded when Southern Indian artistic traditions were transformed into a distinctive local style.

There are two major art styles at Sambor Prei Kuk, the Sambor Prei Kuk style and the Prei Kmeng style. I had never heard of the latter mentioned in the ICOMOS report, so I asked the experts. They explained that the nomination dossier intentionally omitted the middle and late phases of Sambor Prei Kuk’s art history to avoid extensive comparative studies. This is because Prei Kmeng art can be found in Angkor and other sites from similar periods. Interestingly, experts consider Prei Kmeng to represent the apogee of Sambor Prei Kuk’s artistic development. Due to the depth of our discussions, we only had time to visit four temples during our four and a half hour stay at the site. The first was the Prasat Sambor group. The main temple still preserves elements of pure Southern Indian art. Despite its age, the intricate brick ornamental motifs of the “Sky Palace” beside the doorways are strikingly Indian. Since archaeologists have not found evidence of artistic development in other temples, the sudden emergence of Sambor Prei Kuk’s elaborate style has led many historians to believe that artisans were imported from India via ancient maritime trade routes. The highlight of this group was the well-preserved satellite temples, especially the octagonal one, which features superb motifs on all sides, the oldest of its kind and a key reason Sambor Prei Kuk’s art is so special.

Next, we visited the Prasat Tao group, which was built in the Prei Kmeng style. Its most distinctive features are the two lion statues at the gate and the octagonal colonnades supporting the lintel. This shift from round to octagonal columns marks an important stylistic transition. The lintel details also reflect this change while the Sambor Prei Kuk style is more intricate and Indian in character, the Prei Kmeng style simplifies the design and sets the standard for later Angkor Wat lintel art. After Prasat Tao, we ventured into the jungle to see another small temple, whose name I couldn’t find, featuring another Prei Kmeng-style lintel. We then visited the Prasat Yeay Poan complex, which I found to be the most impressive for untrained eyes. The brick-carved bas-relief medallions on the surrounding wall are the first of their kind and precursors to the wall decorations of later Angkorian temples. This complex was built in the Sambor Prei Kuk style, similar to Prasat Sambor, but with more detail and grandeur. Again, the smaller octagonal temples stood out, each side adorned with beautifully crafted ornamental motifs of the Sky Palace of Hindu gods.

Due to time-consuming discussions among art and preservation experts, we couldn’t visit other smaller temples, including the one famously covered by a massive tree popular among photographers but I did catch a glimpse of it from the coach. In my opinion, Sambor Prei Kuk is a treasure trove of art history. Thanks to the wealth of information shared by ICOMOS experts, I gained a deep appreciation for the site’s cultural significance, especially its role in the transition from Indian to ancient Khmer art. Without their insights, I might have seen Sambor Prei Kuk as just another old temple, focusing only on its history as the capital of the Chenla Kingdom. This trip also changed my perspective on Khmer art. I used to consider Angkor Wat and Banteay Srei as the zenith of Khmer artistic achievement. Now, I believe the craftsmanship of the pre-Angkorian period is even more refined. I hope all pre-Angkorian sites will be recognized as World Heritage Sites in the future.