Phim Hay 360s

The history of Cambodian art stretches back centuries to ancient pottery, silk/ basket weaving, and stone carving. The height of Khmer art occurred during the Angkor period; much of the era's stone carving and architecture survive to the present. In ancient times, art and crafts were generally produced either by rural non-specialists for practical use or by skilled artists producing works for the Royal Palace. In modern times, Cambodian culture and art have been carefully considered as the tourist market has increased and governments and NGOs have contributed to the preservation of Cambodian culture.

The Cambodian produce many hand-made items including rattan furniture, intricate stone and wood carvings, colorful woven mats and baskets, and a variety of silver and silk ware. Many of these items are used regularly in the daily lives of the Cambodian people.

One can readily witness master craftsmen at work and purchase such gifts in markets and specialty shops throughout the Phnom Penh Capital, Siem Reap Province, Sihanouk Ville, and other potential provinces of Cambodia.

Textiles : Silk weaving in Cambodia has a long history. The practice dates to as early as the first century, and textiles were used in trade during Angkorian times. Even modern textile production evidences these historic antecedents: motifs found on silk today often echo clothing details on ancient stone sculptures.

Weavers today form sophisticated patterns of birds and flowers, mythical and realistic, often depicting Khmer tales, scenes from Angkor Wat, and the life of Lord Buddha. They produce a style of intricately patterned and dyed silk called “Kha Bang Neang Sok Kra Ob”.

There are two main types of Cambodian weaving. The ikat technique (Khmer: Chong Kiet), which produces patterned fabric, is quite complex. To create patterns, weavers tie and dye portions of weft yarn before weaving begins. The second weaving technique, unique to Cambodia, is called "uneven twill". It yields single or two-color fabrics, which are produced by weaving three threads so that the color of one thread dominates on one side of the fabric, while the two others determine the color on the reverse side.

Natural dyes made from plants are traditionally used. Red dye comes from lac insect nests, blue dye from indigo, yellow and green dye from Prohut bark, violet dye from violets, and black dye from ebony bark.

Designs incorporate images of flowers, animals, peacocks, crowns, jewels, and other motifs inspired by the Angkor era, or handed down from previous generations.

The first technique involves wrapping strands of raw silk on to a frame, and then tying the strands with banana-leaf threads into patterns. The silk is removed, dyed, and remounted on the frame to be re-tied for the other colors in the pattern, up to five times. Base color silk is strung lengthwise on to the loom. The dyed threads are the wefts, the crosswise threads, woven into the pattern originally created by the tie-dying process.

It takes a week to string the warp threads onto the loom, and a week to weave a length of silk for a Sarong. Various silk products include checkered Sarong and Sampot worn at home, patterned Hol and Phamuong worn on formal occasions, furnishings decorated for informal/ formal ceremonies, and Pidan (pictorial tapestries) used as household beauties.

Silk weaving can be seen in Koh Sotin District, Kampong Cham Province; Kean Svay District, Kandal Province; Bati and Prey Kabas Districts, Takeo Province; Prèk Changkran District, Prey Vèng Province; and Prèk Luong and Koh Dach Districts, Kandal Province.

Cambodia's modern silk-weaving centers providing employment for many rural women are Takeo, Battambang, Beanteay Meanchey, Siem Reap and Kampot provinces.

Cotton textiles have also played a significant role in Cambodian culture. Traditionally woven cotton remains popular. Rural women often weave homemade cotton fabric, which is used in garments and for household purposes. Krama, the traditional check scarves worn almost universally by the Cambodian, are made of cotton.

Non-textile Weaving : Many Cambodian farmers weave baskets (Khmer: Tbanh Kantrak) for household use or as a supplemental source of income. Most baskets are made of thinly cut bamboo. Regions known for basketry include Siem Reap and Kampong Cham. Mat weaving (Tbanh Kantél) is a common seasonal occupation. They are most commonly made from reeds, either left a natural tan color or dyed in deep jewel tones. The region of Cambodia best known for mat weaving is the Mekong floodplain, especially around Lvea Em district. Mats are commonly laid out for guests and are important building materials for homes. Wicker and rattan crafts (Tbanh Kanhcheu) are also significant. Common wicker and rattan products include walls, mats, furniture, and other household items.

Stone Carving : Cambodia's best-known stone carving adorns the temples of Angkor, which are renowned for the scale, richness and detail of their sculpture. In modern times, however, the art of stone carving became rare, largely because older sculptures survived undamaged for centuries and because cement molds were used for modern temple architecture.

During the late 20th century, however, efforts to restore Angkor resulted in a new demand for skilled stone carvers to replace missing or damaged pieces, and a new tradition of stone carving is arising to meet this need. Most modern carving is traditional-style, but some carvers are experimenting with contemporary designs. Interest is also renewing for using stone carving in modern pagodas. Modern carvings are typically made from Banteay Meanchey sandstone.

Lacquer Ware : Cambodian traditional lacquer ware reached its height between the 12th and 16th centuries. Some examples of work from this era, including gilded Buddha’s images and betel boxes, have survived to the present day. Lacquer ware was traditionally colored black using burnt wood, representing the underworld; red using mercury, representing the earth; and yellow using arsenic, representing the heavens. Lacquer on Angkorian stone dates to the 15th or 16th century.

In modern Cambodia, the art of lacquer work nearly faded into oblivion: few lacquer trees survived, and lacquer was unavailable in local markets. Today's revival is still in its infancy, but 100 lacquer artists have been trained by a French expert under the guidance of Artisans d'Angkor, a company that produces traditional crafts in village workshops. Some artists are beginning to experiment with different techniques and styles to produce modern and striking effects.

Ceramics : Cambodian pottery traditions date to 5000 BCE. Ceramics in the shape of birds, elephants, rabbits, and other animals were mostly used for domestic purposes such as holding food and water. It was very popular with the Cambodian people, especially members of the royal families between the 11th and 13th centuries.

Potting traditionally was done either on a pottery wheel or using shaping tools such as paddles and anvils. Firing was done in clay kilns, which could reach temperatures of 1,000-1,200 °C, or in the open air, at temperatures of around 700 °C. Primarily green and brown glazes were used. In rural Cambodia, traditional pottery methods remained. Many pieces are hand-turned and fired on an open fire without glaze. The country's major center for pottery is Kampong Chhnang Province.

Silverware : The work of silversmiths reached its height during the 11th century when craftsmen attained perfection. Workshops supported by the Royal Palace and the School of Fine Arts also flourished from the 19th century to the early 20th century.

Today, riparian craftsmen predominate in Kampong Luong District, Kandal Province. They use silver imported from Laos and China. Its purity varies from 70-92 percent. They produce objects such as Buddha’s images, jars, chopsticks, jewelry, knives, forks, and anklets. Small betel nut boxes in animal motifs such as rabbits, ducks, cats, deer and citrus fruits are most popular. Ornately filigree work is in the Khmer traditional style.

Contemporary silverware can be found in various markets and shops in Phnom Penh, Siem Reap, and Sihanouk Ville.

Wat Murals : Few historic Wat murals remain in Cambodia. The best known surviving murals are at the Silver Pagoda in Phnom Penh, Wat Rajabo in Siem Reap province, and Wat Kampong Tralach Leu in Kampong Chhnang Province. Cambodia's surviving older murals are generally more refined and detailed.

Kite-flying : Cambodia's kite-making and kite-flying tradition, which dates back many centuries, was revived in the early 1990s and is now extremely popular throughout the country. Kites (Khmer: Khlèng Ek) are generally flown at night during the northeast monsoon season. A bow attached to the kites resonates in the wind like a musical sound.

Cambodian Dancing : The Cambodian dance can be divided into three main categories, classical dances which developed in the royal courts, folk dances which portray everyday life, and vernacular dances which are performed for social functions.

We can arrange a show of classical, traditional and folkloric dances for the tourists who are interested in Cambodian art.

* Khmer Classical Dance : Khmer classical dances, also known as Khmer royal ballets or Khmer court dances, are a form of the Cambodian dance originally performed only for royalty, but now also for dignitaries and the public at major official festivals and at theaters. They are called Rabam Preah Reachea Troap in the Khmer language, which mean “dances of royal wealth”.

Classical dances and songs have a deep foundation in Cambodia. Such great classical dances like “Apsara, Tep Monorom, Sovann Machha, Moni Mekhala, Peacock, etc” play a significant role in Khmer literature.

Apsara Dance : The Apsara Dance is one of two major forms of Khmer dancing, and incorporates parts of the other much-older traditional or popular dancing, which has its roots in animism and primitive magic, with Hindu forms introduced during the time of Indian influence beginning in the 1st century.

Classical dance took on its own unique form, adding movements and meaning, during the reigns of King Jayavarman II to VII. By the 13th century, it was more Khmer than Indian, unlike any other dance form in the world. At the heart of classical form is the Apsara, the joyful, almost wanton dancers whose images are everywhere. The graceful movements of the Apsara dancers, adorned with gold headdresses and silken tunics and skirts, are carved on the walls of many of the temples at Angkor.

Estimates are that there were 3,000 Apsara dancers in the 12th-century court of King Jayavarman VII. Over the centuries Khmer dancing lent its influence to the classical ballet of the neighboring countries, and some of its postures and movements are similar to other Southeast Asian dance forms. But according to Princess Bopha Devi, “The Khmer kingdom started its traditions in the 8th century, 500 years before Thailand.”

Apsara dancing is one of two elements of classical ballet, depicting early myths. Many of the dances involve performing a fragment of the Ramayana, the ancient Indian epic. Others are based on the legendary battles and mythical sagas carved in bas-relief on the walls of the temples of Angkor, including the Churning of the Sea of Milk, the great battle between gods and demons for the holy liquid that gives immortality. There are four typical roles of Khmer dance: male, female, giant and monkey, the first three being the domain of women and girls, leaving the monkey roles to the men. In the early days, it is believed that all dancers were female. Most of the dancers in the Royal Dance Troupe today are female.

Dancing holds great significance for the Khmer people, and the royal government considers the Royal Ballet in particular a national treasure.

Tep Monorom Dance (Dance of Happiness of the Gods) : This dance typifies all the grace, elegance, beauty and refinement that define the Cambodian classical dance repertoire. The dancers, portraying the Cambodian gods and goddesses of antiquity, descend from the heaven and envelop our earthly surroundings with their happiness and joy.

The dance, in its hand and body movements and the song which accompanies the dance, reflects the highly formalized and ritualistic relationships between male and female gods. In turn, the mannerisms of the gods were adopted as part of the Cambodian court ritual and what was to develop as an artistic courtship ritual.

* Sovann Machha Dance : In this dance “Hanuman and Sovann Machha” (an excerpt from a famous Cambodian legend called the Reamker), Hanuman, the white monkey general, leads an army of monkeys to build a bridge across the ocean to rescue a captive princess. But as fast as they pile up stones for the bridge, the stones mysteriously disappear. Hanuman dives into the sea to investigate and discovers a beautiful golden mermaid, named Sovann Machha, who has been carrying off the stones in an act of playful vandalism. He falls in love and eventually wins her over as his partner in the fight against evils.

Moni Mekhala Dance (Moni Mekhala Drama) : The Moni Mekhala Dance, or Moni Mekhala Drama, is the story involving two of the Cambodian deities, Moni Mekhala (The Goddess of Water) and Ream Eysor (The Storm Spirit). These two have been engaged in a celestial contest of wills as the Storm Spirit tries to steal a magic crystal ball from the Water Goddess, the source of her enormous power. At first, the Storm Spirit tries to beguile Moni Mekhala with flattery and charm. The Water Goddess will not have any of it. Wise to the ways of the Storm Spirit, she rejects his advances and makes a mockery of his efforts. This enrages the Storm Spirit and the battle is joined. As he advances toward the goddess, Eysor brandishes his magic axe. With precision and grace, the goddess counters him by displaying her crystal ball, by blinding the Storm Spirit, and by staggering him. Frustrated by one repulse after another, the Storm Spirit is forced to concede defeat and withdraw, muttering that he will seek his revenge another time.

According to the popular Cambodian legend, the thunderstorm is all that we mortals are allowed to see of this recurrent battle in the heaven, with lightning representing Moni Mekhala’s crystal ball and thunder representing the Storm Spirit’s magic axe clattering across the heaven as it slips from his nervous fingers.

The dance is also said to symbolize the victory of virtue over seduction. The Moni Mekhala drama represents Cambodian storytelling at its best.

Neary Chea Chuor Dance : The Neary Chea Chuor Dance is a Khmer classical dance describing the beauty of young ladies in their elegant costumes. This dance reminds the Khmer people of the rich culture that has been kept and nourished through generations, and it is well known among the neighboring countries.

Phuong Neary Dance : The Phuong Neary Dance admirably describes the great beauty of a Khmer woman. The music and the melodic song narrate her uncompromising beauty and compare it to a golden flower. Although she is practical and strong, she is also admirable and soft. This dance brings out all of which true beauty is.

Peacock Dance : The Peacock Dance is a dance symbolizing happiness in the Pailin province of Cambodia. This dance is thought to bring prosperity to villagers and it is performed during the Cambodian New Year’s and other festivals. As the dance opens, villagers are out for their afternoon stroll with umbrellas. When they stop to examine a ruby found on the ground, two courting peacocks come along and perform a lively dance.

Seven-Day Color Fashion Show : It shows seven beautiful Cambodian ladies dressed in vibrant color Phamuong for seven days of the week: Sunday – Red, Monday – Yellow-Orange, Tuesday – Purple, Wednesday – Mustard-Green, Thursday – Green, Friday – Blue, and Saturday – Burgundy. For special occasions, the Cambodian people believe that choosing the right color of clothes in accordance with the color chart will bring good luck and happiness.

* Folk Dance : Folk dances here refer to a performing art which is performed for an audience. Khmer folk dances are fast-paced. The movements and gestures are not as stylized as Khmer classical dances.

Folk dances come in two forms: ceremonial and theatrical. As a general rule, Theatrical Folk Dances are presented in public performances, and Ceremonial Folk Dances are reserved for particular rituals, celebrations and holidays. Theatrical Folk Dances such as the popular Harvest Dance and the romantic Fishing Dance are usually inspired by rural life and practices of hill tribes, farmers, and peasants. Some folk dances are about love, or are folktales about animals.

The folk dance music is played by a Mahori orchestra, which is similar to a Pinpeat orchestra except that it contains many stringed and plucked instruments and a type of flute in place of the Sralai (an oboe-like instrument).

Fishing Dance : The Fishing Dance is a dance symbolizing love and romance of the young people in a fishing quarter. Love and romance are favorite themes in Khmer stories and dance. In the traditional Cambodian society, young people are carefully watched and do not have many opportunities to get to know one another. But the fishing quarter is one place where they have the chance to meet.

Coconut Shell Dance: The Coconut Shell Dance is a Khmer traditional dancing with dancers knocking coconut shells together to sound sweet. It is truly held to memorably celebrate the harvest season in Cambodia and to show a close romantic relationship between young men and women during the harvest.

Pestle Dance : The Pestle Dance has originated from the ethnic minority, Kuoy, who have derived the dance style from their daily life activities. It is usually performed during the Khmer New Year’s and during the post-riceharvest time.

Butterfly Dance : The Butterfly Dance illustrates a story of bug busters working diligently to maintain the garden and keeping unwanted bugs away. At the same time, a group of young female butterflies is flying, singing, and looking for pollen to extract in the garden. To their surprise, the butterflies are quietly caught by the bug busters. They try to convince the bug busters to release them by claiming they were just beautifying the garden.

Kèn Dance : The Kèn Dance has originated in the northeast province of Cambodia. It is a dance that was traditionally performed when the Cambodian gathered to celebrate the New Year’s. Like many Cambodian folk dances, the Kèn dance has a courtship theme. Many of the young men in this part of the country play a mouth organ called “Kèn”, which is made of strips of bamboo, and which is decorated with flowers. The dance demonstrates how men would play music in the open area of villages to attract young women passing by.

* Vernacular Dance (or social dance) : Vernacular dances (or social dances) are dances which are danced at social gatherings. Such dances include Ram Vong, Ram Kbach, Ram Saravan, Lam Leav (literally: "Lao dance") and so on. Some of these dances have much influence from the traditional dances of Laos. But Ram Kbach, for example, takes heavily from the classical dance of the royal court. Ram Kbach is a simple dance which uses hand gesture similar to the classical dance, and its songs also utilize the melodies of classical dance songs combined with traditional Khmer and Western instruments.

Other social dances from around the world, including the Chha-chha, Bolero, and Madison, have had an impact on the Cambodian social culture. Such dances are often performed at Cambodian wedding receptions and banquets.

Shadow Theater : The Shadow Theater comes in two forms: Sbèk Thom (big puppets that are actually panels depicting certain characters from the story) and Sbèk Toch (small articulated puppets). The black leather puppets are held in front of a light source, either in front of or behind a screen, creating a shadow or silhouette effect. Sbèk Thom is the more unique, formal of the two types, restricting itself to stories from the Reamker. The performance is accompanied by a Pinpeat orchestra and by narration, and the puppeteers move the panels like a dance. Sbèk Toch, having a far lighter feel, presents popular stories of heroes, adventures, love and battles, with or without orchestra and with the puppeteers often doing the narration.

January 01

International New Year's Day

January 07,

Victory Day over Genocidal

January 30,

Meak Bochea Day - Buddhist Ceremony held during the full moon of the month of Meak Bochea in commemoration of the spontaneous gathering of the monks to listen to the buddha's preaching.

08 March,

International Women's Day

April 13 - 14 - 15,

Khmer New Year - The New Year Festival spans three days following the end of the harvest season. People clean and decorate their houses with altars of offerings. People play many traditional games at this time of the year.

April 28,

Visak Bochea Day - Birthday of Buddha

May 01,

International Labour Day

May 02,

Royal Plowing Ceremony - Bonn Chroat Preah Nongkoal (Royal Ploughing Ceremony). The Royal Ploughing ceremony starts the planting season. It is performed by a man (King of Meakh) who leads the yoke and plough, and a woman (Queen Me Hour) who sows seeds. The sacred cows are led to silver trays containing rice, corn and other foods. Based on their choice, predictions are made for the coming year.

May 13 - 14 - 15,

King's Birthday - Royal Birthday of His Majesty Preah Bat Samdech Preah Boromoneath NORODOM SIHAMONI

June 01,

International Children's Day

June 18,

Her Majesty Samdech Preah Reach Aka Mohesey NORODOM MONINEATH SIHANOUK's Birthday

September 24,

Constitution's Day and Recoronation Day of H.M. Preah Bat Samdech Preah NORODOM SIHANOUK

October 07, 08, 09

Bonn Pchum Ben - Phchum Ben is a celebration where people bring offerings to the Monks, and spend a day of worship at the pagoda.

October 29,

Coronation of King Preah Bat Samdech Preah Boromoneath NORODOM SIHAMONI

October 31,

King's Birthday - His Majesty Preah Bat Samdech Preah NORODOM SIHANOUK's Birthday Festivities are held throughout the capital city.

November 09,

Independence Day - The date Cambodia achieved independence from France in 1953 is marked by a parade of spectacular floats highlighting the nation?s achievements.

November 20, 21, 22,

Water and Moon Festival - Bonn Om Touk (Water and Moon Festival). A three-day festival not only marks the reversing of the current in the Tonle Sap river but ushers in the fishing season as well. The highlight of this event is the boat race in which more than 200 teams compete over three days for the top prize. As night falls, fireworks light the sky and a lighted flotilla of boats sail under the full moon.

December 10,

International Human Right's Day

Cambodia has a tropical climate that is warm and humid. In the monsoon season, abundant rain allows for the cultivation of a wide variety of crops and this year round tropical climate makes Cambodia ideal for the tourism industry. Visitors do need not fear natural disasters such as erupting volcanoes or earthquakes, and the country is not directly affected by tropical storms.

Cambodia can be visited throughout the year. However those planning to travel extensively by road should avoid the last two months of the rainy season when some countryside roads may be impassable.

The climate can generally be described as tropical. As the country is affected by monsoon, it is hot and humid with an overage temperature around 27.C (80.F) but in the dry season it is cool and very much like a European summer.

There are two distinct seasons: the Rainy Season and the Dry Season. However, the Dry Season is divided into two sub-seasons, cool and hot and these seasons are:

The Rainy season:

From June till October 27-35.C (80-95.f)

The Dry season (cool):

From November till February 17-27.C (80-95.F)

The Dry season (Hot) :

From March till May 29-38.C (84-100.F)

Cambodia is one of the few countries that visitors can enjoy all the year round.

Cambodia, a country in Southeast Asia in the southern part of Indochina, covers an area of 181,035 square kilometers and has a population of 13,124764 million (2003 est.). The country's shape is an almost-square polygon, with Kampong Thom Province as its central point. The country extends 440 kilometers from north to south and 560 kilometers from west to east. This shape makes Cambodia easy for tourists to navigate and poses no difficulties for the development of tourism.

Among the 10 member countries of the Association of Southeast Asian Nations (ASEAN), Cambodia ranks eight in land size and seventh in population. Its geographical location makes Cambodia an easily accessible econtourism destination for travelers in neighboring countries and other parts of the world.

The country is situated gegraphically beween the 10th and 15th parallels north latitude and the 102th and 108th parallels east latitude.

Boundaries of the Country

The borders of Cambodia encompass 2,600 kilometers of which five-sizths are land and one-sixth is costal border.

Land Boundaries

The Kingdom of Cambodia is bounded on the northeast by the people's Democratic Republic of Laos, on the east and southeast by the Socialist Republic of Vietnam, and on the west and northwest by the Kingom of Thialand.

Coastal Boundary

The coastal boundary of Cambodia is 440 kilometers with medium depth tropical sea, rich in aquatic creatures that are good for aquatic business. In addition, there are beautiful, uninhabited islands, virgin beaches, white sand and fresh air, which are also good for touism.

Topography of Land

Cambodia's land surface is deep and plain at the middle since it is surrounded by mountain and plateaus. In the southwest lies the coastal area.

As regards tourism development, Cambodia is classified by four types of topography:

Plain Area

This area covers 25,069 square kilometers. The total population of the plain area is 5,898,305 or about 51.6 percent of the entire population, and the population density is 235 persons per square kilometer, according to the 1998 census. This area consists of 63 districts, 700 communes and 6,414 villages. The capital city of Phnom Penh, as well as Kandal, Kampong Cham, Svay Riend, Prey Veng and Takeo provinces are located in this area.

The plain area is the most crowded inhabited by many races of people including Khmer, Chinese, Vietnamese, Cham, Thai, Lao and Westerners. Minority groups including Kuoy and Steang also live in the Krek and Memut distric in Kompong Cham province.

Surrounded Great Lake Tonle Sap Area

This area covers 67,668 square kilometers. the total population of the surrounding Great Lake Tonle sap area is 3,505,448 or about 30.7 percent of the entire population of Cambodia, and the population density is 57 persons per square kilometer, according to the 1998 census. It consists of 60 districs, 488 communes and 4,041 villages. The area includes Kampong Thom, Siem Reap, Banteay Meanchey, Battambang, Pursat, Kampong Chhnang and Oddar Meanchey provinces and Pailin city.

The surrounding Tonle Sap area is inhabited by many races of people, including Khmer, Chinese, Vietnamese and Cham. In addition, there are a number of minority hill tribes such as Sa Och, Steang and Samre, who inhabit the mountainous area.

Coastal Area

Cambodia's coastal area covers 17,237 square kilometers. The total population living in the coastal area is about 845,000 people, or about 49 persons per square kilometer, according to the 1998 census. It consists of 21 districts, 152 communes and 705 villages.

The area includes Sihanoukville, Kampot and Koh Kong provinces, and Kep city. All lie along Cambodia's southwestern coast, which is 440 kilometers long. Sihanoukville is the mid point of the coastal area. It is 232 kilometers from Phnom Penh.

About 80 percent of the population of the coastal area is Khmer, although Cham, Vietnamese, Chinese, Thai and ethnic minorities such Sa Och also live here. Most of people living along the coast have a good life. They earn their living by farming and fishing.

The topography of Cambodia's coastal area is mountainous, plateau, plain, coast, seaside and gulf. There is much sand in this area. Palm oil, rubber, coconuts, pepper, durian and other crops can be grown in this area. It is also rich in vaieties of mangrove.

The total length of the Cambodian coastal area has been disputed over the year. The generally accepted length is 440 kilometers, although a 1997 survey by the DANIDA organization set the length at 435 kilometers, while the Oil Authority in 1973 determined the coast to be 450 kilometers long. In Cambodian schools, however, the 440 kilometer figure is used.

Cambodia's gulf, which divides the country from the Malacca subcontinent, is not very deep, averaging only 50 meters. The maximum depth is 81 meters. The bottom is plain.

There are 60 islands in Cambodia's coastal waters. They include 23 in Koh Kong province, 2 in Kampot province, 22 in Sihanoukville and 13 in Kep city.

Plateau and Mountainous Area

This area covers 68,061 square kilometers. The total population of mountainous and plateau region is 1,189,042 or about 10.3 percent of the country's entire population, and the population density is 17 persons per square kilometer, according to the 1998 census. It consists of 39 districts, 283 communes and 2,246 villages. The area includes Kampong Speu, Kratie, Stung Treng, Preah Vihear, Rattanakiri, and Mondulkiri provinces.

The mountainous and plateau region is inhabited by many races of people, including Khmer, Chinese, Vietnamese, Laotian, and Thai. In addition, there are 18 minority groups. They include Pnong, Steang, Kraol, Ro Oung, Tumpun, Tmuon, Bruv, Smil, Kuoy, Ar Norng, Charay, Kreung, Roder, Kha, Sa Och, Kachok, Kavet and Lun. Of these minority groups, the Pnong are the largest, comprising about 45 percent of the minority population.

Official Name : KINGDOM OF CAMBODIA

Motto : Nation, Religion, King

National Flag

Area : 181,035 sq km

Location : In Southeast Asia, bordering the Gulf of Thailand, Thailand, Laos, and Vietnam.

Geo. Coordinates : 13000 north and 105000 east

Dimension : 451 km north to south, and 563 km west to east

Land Boundaries : Total: 2,572 km; Border countries: Laos 541 km, Thailand 803 km, and Vietnam 1,228 km

Coastline : 435 Km

Density : 78 persons/ km2

Independence Day : 09 November 1953

Government : Constitutional monarchy

King : Norodom Sihamoni

Prime Minister : HUN Sen

Population : 14 million

Capital : Phnom Penh (290 square kilometers with a population of approx 2 million). It is the center of administration, commerce, communication, culture, economy, education, industry, policy, and tourism.

Official Language : Khmer; secondary languages: English and French

Demonym : Cambodian

GDP (PPP) : Total: US$26.064 billion, Per capita: US$1,817

GDP (nominal) : Total: US$8.690 billion, Per capita: US$606

Religion : Theravada Buddhist (90%); Muslim and Christian (10%)

Climate : Cambodia has four seasons:

- Dec-Feb: cool/dry

- Mar-May: hot/dry

- Jun-Aug: hot/wet

- Sep-Nov: cool/wet

Time : GMT + 7hours

International Airports : Phnom Penh, Siem Reap, Sihanouk Ville

Cities : 3

Provinces : 20

Districts : 185

Communes : 1,621

Villages : 13,406

Electricity : Voltage 220v/50Hz

Currency : Riel (USD 1 = 4, 188 Riels). US dollars are widely accepted.

Tipping : Tipping is not obligatory but is widely practiced in hotels and restaurants in addition to the service charges shown on bills.

The race which produced the builders of Angkor developed slowly by the fusion of the Mon-Khmer racial groups of Southern Indochina during the first six centuries of the Christian era. Under Indian influence, two principal centers of civilization grew up. The older in the extreme south of the peninsula was called “Funan” (the name is a Chinese transliteration of the ancient Khmer form of the word “Phnom”, which means “hill”), a powerful maritime empire which ruled over all the shores of the Gulf of Siam. In the mid-6th century, the Kambuja, who lived in the middle Mekong (north of present day Cambodia), broke away from Funan. Within a short time, this new power known as Chenla absorbed the Funanese Kingdom. In the late 7th century, Chenla broke into two parts: land Chenla (to the north) and water Chenla (to the south along the Gulf of Thailand) dominated by the Chinese. Land Chenla was fairly stable during the 8th century, whereas water Chenla was beset by dynastic rivalries. During this period, Java probably invaded and controlled part of the country.

At the beginning of the 9th century, the kings set up their capital in the present province of Siem Reap. For nearly six centuries, they enriched it by temple after temple, one more sumptuous than the other, in the Angkorian area of some 400 square kilometers in the Siem Reap Province. Evidently, two hundred temples as well as their sanctuaries are best known for their architecture and sculpture.

The first founder of Angkor was King Jayayarman II (802-850), who built one of his residences on the plateau of the Kulen in 802. Jayavarman II’s nephew, Indravarman I (reigning 887-889), constructed a vast irrigation system at Lolei, and then built the tower of Preah Ko in 879 and Bakong in 881. Indravarman I’s son, Yasovarman (reigning 889-900), dedicated the towers of Lolei to his memory in 893 and founded a new capital to the northwest which was to remain the very heart of Angkor. The Eastern Baray, an artificial lake of 7-km length and 2-km width, was being prepared.

Yasovarman’s son, Harshavarman I (900-923), who was at the foot of the Phnom Bakheng, consecrated the little temple of Baksei Chamkrong, and built Prasat Kravan in 921. Harshavarman I’s uncle, Jayavarman IV (928-941), reigning in the northeastern Cambodia, near the present town of Koh Ker, erected several majestic monuments. King Rajendravarman (944-968) returned to Angkor in 952 and built the Eastern Mebon and Prè Roup in 961. In 967, the Brahman Yajnavaraha, a high religious dignitary of the royal blood, erected the temple of Banteay Srei, about 20 km northeast of the capital. King Jayavarman V (968-1001) founded a new capital around Takeo Temple.

In the 11th century, King Suryavarman I (1002-1050) seized Angkor and founded a glorious dynasty. It was at this time that the Gopura of the Royal Palace of Angkor Thom was finished with the sober pyramid of the Phimeanakas at its center. He also erected the temple of Phnom Chiso, some part of Preah Vihear, and Preah Khan in Kampong Svay District.

Suryavarman I’s son, Udayadityavarman II (1050-1066), built the temple mountain of Baphuon and Western Baray. Udayadityavarman’s brother, Harshavarman III, succeeded him in a period of 1066-1080. But violent strife soon led to the fall of the dynasty. King Jayavarman VI (1080-1113) continued to build Preah Vihear Mount in Vat Po and Phimai.

King Suryavarman II (1113-1150) extended his power from the coast of the China Sea to the Indian Ocean and built the temples such as Angkor Wat, Thommanon, Chau Say Tevoda, Preah Palilay, Preah Pithu, and Banteay Samrè. After these dazzling achievements, Khmer civilization appears to have begun to decline accompanied by internal strife and an attack by the Chams.

Jayavarman VII (1181-1220) was the most fascinating personality in Khmer history. He re-established his rule over all southern Indochina. He has been best known for his huge building program. Firstly, he built Ta Prohm (1186) and Preah Khan (1191) to dedicate to his parents. Secondly, he erected Banteay Kdei, Srah Srang, the Terrace of the Leper King, the Terrace of the Elephants, Neak Pean, Ta Saom, Ta Nei, and some others in other parts of the country. Thirdly, he founded his great capital, Angkor Thom. Finally, in the center, he built the Bayon temple with its two hundred stone faces.

It is understandable that the country was exhausted after these enormous efforts. The decline of the Angkor era began after the death of King Jayavarman VII in the early 13th century. Due to the Siamese invasion and the limitation of the irrigation system, Khmer power declined so much that the king was finally obliged to move to the vicinity of Phnom Penh in 1431. Resulting from a series of Siamese and Cham invasions, the country was put as a French protectorate in 1863.

By 1884, Cambodia was a virtual colony; soon after it was made part of the Indochina Union with Annam, Tonkin, Cochin-China, and Laos. France continued to control the country even after the start of World War II through its Vichy government. In 1945, the Japanese dissolved the colonial administration, and King Norodom Sihanouk declared an independent, anti-colonial government under Prime Minister Son Ngoc Thanh in March 1945. The Allies deposed this government in October. In January 1953, Sihanouk named his father as regent and went into self-imposed exile, refusing to return until Cambodia gained genuine independence.

Sihanouk’s actions hastened the French Government’s July 4, 1953 announcement of its readiness to grant independence, which came on November 9, 1953. The situation remained uncertain until a 1954 conference was held in Geneva to settle the French-Indochina war. All participants, except the United States and the State of Vietnam, associated themselves (by voice) with the final declaration. The Cambodian delegation agreed to the neutrality of the three Indochinese states but insisted on a provision in the cease-fire agreement that left the Cambodian Government free to call for outside military assistance should the Viet Minh or others threaten its territory.

After regaining Independence in 1953, the country has had several names:

1.The Kingdom of Cambodia (under the Reachia Niyum Regime from 1953 to 1970);

2.The Khmer Republic (under the Lon Nol Regime from 1970 to 1975);

3.Democratic Kampuchea (under the Pol Pot Genocidal Regime from 1975 to 1979);

4.The People’s Republic of Kampuchea (1979-1989);

5.The State of Cambodia (1989-1993);

6.The Kingdom of Cambodia (1993 until now) 1