The Equinox at Angkor Wat in Cambodia is a remarkable astronomical event that occurs twice a year, during the spring equinox (around March 20-23) and the autumn equinox (around September 21-23). During these times, the sun rises directly over the central tower of Angkor Wat, aligning perfectly with the temple’s western entrance. This creates a stunning visual spectacle, where the sun’s rays illuminate the temple in a way that highlights its architectural brilliance and cosmic significance.

This phenomenon is no coincidence. Angkor Wat, built in the early 12th century by King Suryavarman II, was designed with precise astronomical alignments in mind. Dedicated to the Hindu god Vishnu, a solar deity, the temple reflects the Khmer civilization’s advanced understanding of astronomy, engineering, and mathematics. The equinox sunrise emphasizes this connection between the earthly and the divine, a deliberate feature of its construction. Scholars suggest that the temple’s layout, including its bas-reliefs and pathways, may also encode calendrical functions, such as marking the days between solstices and equinoxes.

Today, the event attracts thousands of visitors to Siem Reap, where Angkor Wat is located. People gather before dawn—often arriving as early as 5:00 AM—to witness the sunrise, which typically begins to align around 6:00-6:30 AM local time. The experience is both a cultural and spiritual moment, offering a glimpse into the ingenuity of the ancient Khmer architects. For the best view, visitors often position themselves near the western entrance or the reflection pools, though it can get crowded, especially during the spring equinox, which coincides with Cambodia’s dry season and clearer skies.

If you’re planning to attend, arriving early is key to securing a good spot, and bringing a camera is a must to capture the moment when the sun crowns the temple’s iconic lotus-shaped tower. The next equinox, given today’s date of March 22, 2025, is ongoing—today is one of the prime viewing days for the spring event! The autumn equinox will follow later this year, around September 21-23, 2025.

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The Equinox at Angkor Wat in Cambodia

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A rare example of the Hindu god Surya, for whom a halo behind his head can symbolize either a solar disc or the sun, which dates back to the 7th century Phnom Da art style. It’s from the 1989 book Thai and Cambodian Sculpture from the 6th to 14th Centuries, written by Wolfgang Felten and Martin Lerner, which highlighted 41 previously-unpublished sculptures, the vast majority of which were in private collections at that time. For comparison, as the two styles are quite different, I’ve included a photo from the National Museum in Phnom Penh, depicting another Surya of a similar age, which was repatriated from the USA in 2023 by the Denver Art Museum, having previously been in the possession of Douglas Latchford, a close associate of the author, Martin Lerner.Credit By :

 

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A rare example of the Hindu god Surya

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An example of Ganesha, the popular Hindu deity who was depicted with a human body and an elephant head, from the 1989-published book, Thai and Cambodian Sculpture from the 6th to 14th Centuries, by authors Wolfgang Felten and Martin Lerner, which was first published in 1988 in the German language. Another of the 41 sculptures from the book, which was in an unnamed private collection at the time. In the description, a similar Ganesha at The Met Museum in New York is mentioned, where the author Martin Lerner was curator, hence I've included its picture for comparison. A reminder of who Ganesha was – he’s the son of the god Shiva and his spouse, Parvati. As the remover of obstacles and protector of knowledge, the Indian epic, the Mahabharata, was scribed by him and when his pen failed, he broke off his tusk to finish the job. Usually you will find that part of his tusk in his right hand and maybe some sweets in the other hand. Why an elephant head? During a fit of rage his father cut off his head and to relieve his wife’s grief, he replaced the head with that of the first living creature he could find, an elephant.Credit By :andy.brouwer

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An example of Ganesha, the popular Hindu deity who was depicted with a human body and an elephant

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Cambodian Premiere of LOOT:

The brand-new feature-length film, LOOT: A Story of Crime and Redemption, directed by Don Millar, will be screened three times at various venues throughout the upcoming 14th edition of the Cambodia International Film Festival (CIFF), which was announced earlier today. It will tell the story of Douglas Latchford and his associates, the multi-billion-dollar art market, the illegal theft of Cambodia’s cultural heritage and the ongoing struggle to facilitate the return of those looted antiquities back to the kingdom. The screenings will be accompanied by a panel discussion, including the presence of the director. CIFF will take place from 21st to 29th March, screening 151 films, including sixty Cambodian films in all major cinemas and other venues across Phnom Penh. LOOT incidentally will have its world premiere on Saturday 15 March in the Le FIFA Festival in Montreal, Canada.

LOOT: A Story of Crime and Redemption. Time: 87 minutes:

From remote Cambodian villages to elite art institutions in New York, LOOT: A Story of Crime and Redemption is a daring look into the underbelly of the multi-billion-dollar art market and the deadly reality behind “blood antiquities” filling Western museums today. During Cambodia’s civil war, British adventurer-scholar Douglas Latchford led an extensive criminal network, looting centuries-old temples hidden within landmine-filled jungles. The film offers access to key players, including “Blue Tiger” a former child soldier turned looter who now fights to return stolen artifacts. The film tells the gripping story of the contrast of rich and poor as viewers learn about multi-million-dollar sales of works looted by Cambodian farmers paid $20 per week while risking their lives. LOOT: A Story of Crime and Redemption also takes viewers behind-the-scenes as stolen pieces are returned to Cambodia, including some arriving from New York’s Met Museum in July 2024. With thousands of pieces still overseas, Cambodia’s relentless struggle continues against the most powerful figures in the art world today.

Watch the trailer for LOOT: A Story of Crime and Redemption: https://www.lootfilm.com/

 

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Cambodian Premiere of LOOT

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Khmer Art Sold at Sotheby's in 1988:

The Douglas Latchford article I posted yesterday mentioned a sale of the Kreiling collection of Khmer art at Sotheby's in 1989. In fact, it was in November 1988 that Sotheby’s in London, as part of an auction of Khmer, Thai, Indian & Himalayan Art, sold off Khmer antiquities that belonged to collector Randall Kreiling. I tracked down the Sotheby’s catalogue for that sale online and though Kreiling is not mentioned by name, some of the pieces at the auction ended up in the Metropolitan Museum in New York. They were bought by another wealthy collector, Enid Annenberg Haupt, who donated them to the museum. I’d love to get a copy of the Sotheby’s catalogue but until I do, here are a few pictures from the pages of the brochure showing some of the Khmer artworks up for sale. The cover image of the five-headed Shiva and the Divine Sage Agastya were in the Kreiling collection (and are now at The Met), while Douglas Latchford’s fingerprints are all over the Rup Arak Vishnu, and the Baphuon Uma, which he sold to the Lindemann family and which was repatriated to Cambodia in July 2024, and is on display at the National Museum.Credit By:andy.brouwer

 

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The Douglas Latchford article I posted yesterday mentioned a sale of the Kreiling collection of Khmer

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Chinese Porcelain Company & Dhrishtadyumna:

In July last year, Cambodia welcomed home the giant statue of Dhrishtadyumna, the commander of the Pandava Army, which was looted from Prasat Chen at Koh Ker in 1972. Today, he is reunited with his pedestal and is sat next to his fellow Prasat Chen sculptures in the National Museum in Phnom Penh. Dhrishtadyumna had been successfully re-possessed by American authorities on the hunt for Khmer antiquities sold by disgraced dealer Douglas Latchford to wealthy collectors George and Frayda Lindemann, where the massive stone figure was pictured in their hallway in Architectural Digest magazine in 2008. How and when Dhrishtadyumna came into Latchford’s possession isn’t clear but the sculpture was exhibited and sold in 1994 by the Chinese Porcelain Company of New York. The 68-page catalogue, Ancient Khmer Sculpture with text by Martin Lerner (Asian curator at the Metropolitan Museum of Art) was produced to accompany the exhibition held between 12 October and 12 November 1994 at their New York gallery. Proceeds from the brochure sales of the featured 20 sculptures were to benefit the work of The World Monuments Fund at Preah Khan. I’m hoping to obtain a copy of the catalogue but in the meantime have a couple of photographs from the publication. The cover image of the catalogue depicts a Radiating Lokeshvara that looks identical to another recently repatriated sculpture, which was sold by Latchford to collector James Clark in 2003. Khalil Rizk, the owner of the Chinese Porcelain Company, opened his first gallery in 1984 and with his business partner Conor Mahony, who came from Sotheby's in 1993, opened their new gallery in 1994.Credit By :andy.brouwer

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Chinese Porcelain Company & Dhrishtadyumna:

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 The equinox at Angkor Wat, Cambodia, is a remarkable astronomical and architectural event that occurs twice a year, around March 20-21 (spring equinox) and September 22-23 (autumn equinox). During these times, the sun rises directly over the central tower of Angkor Wat, creating a stunning alignment that highlights the precision and ingenuity of the ancient Khmer builders.### Key Features of the Equinox at Angkor Wat:1. **Perfect Alignment**: The sun rises precisely over the central tower of the temple, symbolizing the connection between heaven and earth. This alignment demonstrates the advanced understanding of astronomy and geometry by the Khmer architects.   2. **Symbolism**: Angkor Wat is designed as a microcosm of the Hindu universe, and the equinox alignment reinforces its spiritual significance. The temple's layout reflects the cosmic order, with the central tower representing Mount Meru, the mythical home of the gods.3. **Spectacular View**: Visitors gather early in the morning to witness the sunrise, which bathes the temple in golden light. The symmetry of the temple and the alignment of the sun create a breathtaking visual experience.4. **Cultural Importance**: The equinox event is not only a testament to the architectural brilliance of the Khmer Empire but also a reminder of the cultural and religious significance of Angkor Wat as a Hindu (and later Buddhist) temple.### Visiting During the Equinox:- **Timing**: Arrive early (around 5:00 AM) to secure a good spot for viewing the sunrise.- **Crowds**: The equinox attracts many visitors, so expect larger crowds than usual.- **Photography**: The alignment offers incredible photo opportunities, so bring a good camera.- **Weather**: March and September are generally dry and warm, making it an ideal time to visit.The equinox at Angkor Wat is a unique blend of natural beauty, ancient engineering, and spiritual symbolism, making it a must-see event for travelers and history enthusiasts alike.#####The equinox at Angkor Wat in Cambodia is a breathtaking celestial event where the sun rises perfectly aligned with the central tower of the ancient temple. This happens twice a year, around March 20-21 (spring equinox) and September 22-23 (autumn equinox).Significance & Viewing • Astronomical Importance: Angkor Wat was designed with deep astronomical precision. The alignment of the temple with the sun during the equinox suggests the Khmer Empire’s advanced understanding of celestial movements. • Symbolism: The event is believed to symbolize cosmic balance and the connection between the divine and earthly realms in Hindu and Buddhist cosmology. • Best Viewing Spot: The main entrance causeway is the best place to witness the sun rising directly over the temple’s central tower. Many photographers and travelers gather here before dawn.Would you like tips on the best time to visit or how to experience it without large crowds?

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The equinox at Angkor Wat, Cambodia

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I’m on the final leg of highlighting Khmer antiquities, in the main previously never published, from the 1989 book Thai and Cambodian Sculpture from the 6th to 14th Centuries, by authors Wolfgang Felten and Martin Lerner. Due to these artifacts being out of the public eye in private collections, most had never been seen before the book came out, and have been called into doubt for their authenticity, though the fact that they were unavailable to scholars to inspect, shrouded them in an air of mystery. This gorgeous example of a female goddess, most likely Uma, from the pinnacle period of Khmer artistic endeavour for many experts, the Baphuon-era of the late eleventh century, is a classic of the period with the slim and elegant figure adorned by a jeweled belt. Unfortunately, she depicts the depressing signs of looting, missing her head, arms and feet.Credit By :andy.brouwer

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I’m on the final leg of highlighting Khmer antiquities

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The majority of Khmer artworks showcased in the 1989 book, Thai and Cambodian Sculpture from the 6th to 14th Centuries, by authors Wolfgang Felten and Martin Lerner, were from unpublished private collections, unseen by the public. However, this distinctive head of a female deity, likely Parvati, from seventh century Cambodia, has been on display at the British Museum in London in the past. It was purchased by the museum from Spink & Son, art dealers in London and close associates of Douglas Latchford, in 1968. It remains in the museum’s collection.

A project by the SOAS University of London called Circumambulating Objects: on Paradigms of Restitution of Southeast Asian Art (CO-OP), has researched the British Museum’s collection of Khmer artifacts of approximately 224 objects, which were acquired across a period spanning from the end of the nineteenth century to the beginning of the twenty-first century. It featured this particular female deity as follows: ‘The effect of the expanding market and popularity of Khmer art with museum curators can be seen in discussions around acquisition of a sandstone head of a female deity (BM 1968,0213.1), purchased in 1968 from Spink & Son. The report of the curator recommending the purchase concludes by alluding to the reputational, and even competitive, dimension to institutional collecting at this time: “If refused by the Museum, it will go to America” (BM Archives, Object File – Curator report recommending purchase of BM 1968,0213.1, 26 January 1968). The use of the Brooke Sewell Permanent Fund to purchase 15 Khmer objects (mostly bronze and sandstone religious sculpture but also two ceramic pieces) between 1959 and 2002 thus seems to reflect the general expansion of the market for Khmer art, and sculpture in particular, as well as the increased availability of funding.Credit by :andy.brouwer

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The majority of Khmer artworks showcased in the 1989 book

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