Cambodian Archaeologists Discover a Dozen Centuries-Old Sandstone Statues at Angkor UNESCO Site

 This handout photo provided by Apsaras National Authority shows a centuries-old sandstone statue being measured at Angkor Thom in Cambodia, Oct. 24, 2024. (Phouk Chea/Apsaras National Authority via AP)
This handout photo provided by Apsaras National Authority shows a centuries-old sandstone statue being measured at Angkor Thom in Cambodia, Oct. 24, 2024. (Phouk Chea/Apsaras National Authority via AP)
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Cambodian Archaeologists Discover a Dozen Centuries-Old Sandstone Statues at Angkor UNESCO Site

 This handout photo provided by Apsaras National Authority shows a centuries-old sandstone statue being measured at Angkor Thom in Cambodia, Oct. 24, 2024. (Phouk Chea/Apsaras National Authority via AP)
This handout photo provided by Apsaras National Authority shows a centuries-old sandstone statue being measured at Angkor Thom in Cambodia, Oct. 24, 2024. (Phouk Chea/Apsaras National Authority via AP)

Archaeologists in Cambodia have unearthed a dozen centuries-old sandstone statues in a “remarkable discovery” at the Angkor World Heritage Site near the city of Siem Reap, authorities said Wednesday.

The statues — depicting so-called “door guardians” — were discovered last week near the north gate leading to the 11th-century Royal Palace at Angkor Thom, the last capital of the Khmer Empire, said Long Kosal, spokesman for the Apsara National Authority, the government agency that oversees the archaeological park.

Teams were assessing the ancient gate's structure and searching for fallen stones around the portal on the north side of Angkor Thom, one of four entrances to the complex, when the discovery was made.

The statues depict guardians standing at attention and vary in size from about 1 meter to 110 centimeters, or about 39 to 43 inches. They were found buried at depths of up to 1.4 meters (4.5 feet) and some are in surprisingly good shape, with each featuring unique facial hair ornaments, adding to their distinctiveness, archaeologist Sorn Chanthorn said.

“Experts believe these door guardian statues exemplify the Khneang Style, aligning with the construction period of the 11th-century palace.” the Apsara National Authority said.

Angkor Thom is part of the Angkor Archaeological Park, a complex that sprawls over some 400 square kilometers (155 square miles), named a UNESCO World Heritage Site in 1992 and one of Southeast Asia's most popular tourist destinations.

It contains the ruins of Khmer Empire capitals from the 9th to 15th centuries, including the temple of Angkor Wat.

The site, near Siem Reap, about 200 miles (320 kilometers) northwest of the capital, Phnom Penh, drew more than 500,000 international visitors in the first half of 2024, according to Cambodia’s Tourism Ministry.

The archaeological dig was a collaborative project between Apsara and the China-Cambodia Government Team for Safeguarding Angkor, Apsara said.

Following the discovery of the statues, the archaeological team carefully documented their positions before removing them for cleaning and restoration. They will eventually be returned to their original locations, authorities said.

Many Khmer cultural treasures were looted during the long period of civil war and instability when Cambodia was ruled by the brutal communist Khmer Rouge regime in the 1970s.

Cambodia has benefited from a trend that in recent decades has seen the repatriation of art and archaeological treasures taken from their homelands. In August, it celebrated the return of dozens of artifacts from museums and private collections abroad.

It has also come under criticism for efforts to clean up the Angkor site, which has involved relocating thousands of families in what Amnesty International has condemned as a “gross violation of international human rights law.”

At its meeting in July, the UN's World Heritage Committee recommended that Cambodia invite a new team of experts to monitor the situation.



Dubai Culture Concludes 'Emirati Creatives in Venice Program'

As part of this initiative, ten Emirati artists participated in a cultural journey exploring the diverse artistic practices displayed at the Venice Biennale - Photo by WAM
As part of this initiative, ten Emirati artists participated in a cultural journey exploring the diverse artistic practices displayed at the Venice Biennale - Photo by WAM
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Dubai Culture Concludes 'Emirati Creatives in Venice Program'

As part of this initiative, ten Emirati artists participated in a cultural journey exploring the diverse artistic practices displayed at the Venice Biennale - Photo by WAM
As part of this initiative, ten Emirati artists participated in a cultural journey exploring the diverse artistic practices displayed at the Venice Biennale - Photo by WAM

Dubai Culture has successfully concluded its ‘Emirati Creatives in Venice Program,’ aimed at showcasing Emirati talent on the global stage and promoting engagement with prominent art practices at the 60th International Art Exhibition at the Venice Biennale, themed 'Foreigners Everywhere'.

Supported by the Sikka Platform, the program reflects Dubai Culture’s commitment to creating opportunities for local talent to flourish and connect with the international arts community, state news agency WAM reported.

As part of this initiative, ten Emirati artists — Anood Al Khoori, Duha Al Hallami, Elham Karimi, Fatima Abdulrahman, Fatma Al Mheiri, Hend Al Murid, Maryam AlHemeiri, Mezna Suwaidan, Nawal Ahmad, and Sara Al Khayyal — participated in a cultural journey exploring the diverse artistic practices displayed at the Venice Biennale. They visited the UAE Pavilion at Arsenale’s Sale d’Armi, where they experienced Abdulla Al Saadi’s exhibit, ‘Sites of Memory, Sites of Amnesia’, a portrayal of his 40-year creative journey through his travels and explorations of the UAE’s natural heritage and landscapes.

The artists further explored Venice’s rich cultural landscape, visiting landmarks such as the Doge’s Palace, renowned for its Venetian Gothic architecture; the Rubelli Foundation, focused on textile arts; the Fondazione Giorgio Cini, dedicated to glass arts; and the ‘Vatican Chapels Pavilion of the Holy See’ within the Venice Biennale, showcasing unique glass installations. This journey offered insights into the interplay between art and environment, encouraging the artists to reflect on their creative approaches. During their time in Venice, the artists met with design experts and university representatives to discuss contemporary trends in art and design. They also met with artist Fabrizio Plessi, who highlighted the role of storytelling and the integration of technology in art. They participated in an interactive workshop by Fernando Masone on combining traditional and modern art techniques.