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This article investigates the archival status of the earth as a medium and metaphor for the writing of the Cambodian disaster as depicted in Rithy Panh's autobiographical account of the Khmer Rouge regime, The Missing Picture (2013). Drawing on transnational film theory and the geological turn in media studies, it confronts Western and non-Western conceptions of trauma to ultimately demonstrate how the film's handcarved clay figurines embody both the materiality of mourning in Cambodia and the environmental implications of Pol Pot's failed agrarian utopia.

On March 24, 2011, Sotheby's New York unexpectedly removed its showcase lot, the 'Duryodhana', from its Indian and Southeast Asian auction scheduled to occur that same day. This last-minute adjustment occurred in response to a letter received hours earlier from the Secretary General of Cambodia's National Commission for the United Nations Educational, Scientific and Cultural Organization (UNESCO), who alleged that the sculpture had been illegally removed from Cambodia and asked that Sotheby's delete the lot from the auction. One year after Sotheby's voluntarily pulled the lot, the United States government filed a civil forfeiture action in the United States District Court for the Southern District of New York, 'United States v. A 10th Century Cambodian Sandstone Sculpture'. By filing this action, the U.S. government aimed to take title to the Khmer sculpture and return it to Cambodia.

ABSTRACT IN ENGLISH: Comparison of bas relief medallions at Angkor with medallion patterns on Chinese silk and Indian cotton textiles provides compelling evidence that fabrics from these regions were actually in use in the courts of Khmer kings. They served two purposes. One was as items of opulent palace decoration; this role transferred to stone temples, homes of the gods. Second, they represented a canopy or ceiling above a sacred space. Another group, here termed 'pseudomedallions,' is described and their function speculated on. While the original textiles at Angkor have long since disappeared, their representations in stone survive as a memorial to these practices. // ABSTRCT IN FRENCH: En comparant les médaillons des bas-reliefs d'Angkor avec les motifs de médaillon sur les soieries de Chine et les cotonnades d'Inde, il ressort clairement que ces textiles ont été en usage à la cour des rois khmers. Cette utilisation fut double: pour la décoration luxueuse des palais, étendue à celle des sanctuaires de pierre, maisons des dieuxe; pour confectionner un dais ou couvrir un espace sacré. Un autre groupe de ' pseudo-médaillons ', est également décrit et sa fonction envisagée. Alors que les textiles originaux présents à Angkor ont depuis longtemps disparu, leurs représentations lapidaires ont survécu, témoignant de leur utilisation passée. Reprinted by permission of Brill Academic Publishers

De l'établissement de modestes sanctuaires de village à ceux de colossaux monuments d'état, l'entreprise d'édification des temples d'Angkor a exigé une grande variété de spécialistes. Peu d'études ont suffisamment considéré ces structures du point de vu des hommes qui les ont construites - les artisans et artistes presque tous anonymes qui ont érigés les structures et taillé les bas-reliefs et l'ornementation architecturale. L'épigraphie ne peut nous fournir que de rares informations et, jusqu'à présent, peu de données archéologiques nous permettent de savoir comment était l'organisation de ces groupes. En considérant les différences et les similitudes dans les linteaux décoratifs, qui sont parmi les objets les plus répandus de la sculpture Khmer, cet article propose une explication de l'organisation du processus d'ornementation des temples à travers les sites de construction et des modes d'utilisation des gabarits souples par les artistes Khmer. From the foundation of modest village shrines to colossal state monuments the venture of Angkorian temple building required a variety of specialists. Few studies have sufficiently considered the structures from the perspective of the people who made them - the almost entirely nameless craftsmen and artists who erected the edifices and carved the bas-reliefs and architectural ornamentation. There is modest information in epigraphy, and as yet little archaeological data to indicate what the organisation of these groups may have been like. By considering difference and similarity in decorative lintels, among the most ubiquitous objects of Khmer sculpture, this paper will suggest how the process of temple ornamentation was organised across the construction site and how Khmer artists employed flexible design templates. 小さい村の神殿から国家の巨大な建造物まで、アンコール寺院の建造には様々な専門家を必要としていた。建物を建設し、浅浮き彫りを彫刻 したほとんど無名な職人達や美術家、つまり造った人々の角度からその構造を検討する研究は少ない。そのグループの組織の様子を窺わせる 碑銘、ましてや考古学から得られる情報は極わずかである。クメール文化の最も流布したものの一つである装飾のまぐさ石の相違を検討する ことによって、本稿は寺院の装飾過程のなかで、建造現場で組織されたあり方とクメール芸術家達のしなやかな型の使用を解明しようと企てる。

Analysis of the earliest sculpture and epigraphy of Southeast Asia reveals contrasting geographic patterns regarding the worship of Hindu deities. During the seventh century, efforts to consolidate political authority by Khmer rulers led to the deployment of Harihara, a god that embodied multiple conceptions of power and could serve as a ready statement of political and religious unification.

The archaeological research program of the Phnom Kulen sites was established in 2008 with support from the London, UK-based Archaeology and Development, a charitable company. From 2008, a three-year program has been planned according to the funds available. This archaeological research program has aimed at underscoring the different stages of human occupation on the Phnom Kulen massif, the seat of a potential capital associated with a holy site close to the Angkorian capitals. The program has also included two additional fields of activity: training of young Cambodian archaeologists and support for the local people, subjects that will not be discussed

[...]as Ly notes only when a viewer's eyes drift from the pictures to captions bearing series title, “Bomb Ponds”, does she or he realise that these pools are places where bombs fell, instantly pulverizing communities and poisoning aquifers. [...]if so, do they provide their painters a chance to create an image of tranquility in a land where the sight of amputees and landmines sites are pervasive? ‘Magical realism’ stands in contrast with tactics adopted by the few billboard painters and carpenters who survived internment at torture and detention centres established by the Khmer Rouge. [...]two of Cambodia's best-known artists, Sareth Svay and Sopheap Pich (who curiously remain unmentioned in the book), have systematically engaged with this past. Ly also overlooks the impact of foreign aid-workers and non-governmental organisations (such the founders of Reyum Institute of Arts and Cultures who have nurtured a generation of crafts persons and found new markets for their works) as well as dedicated educators at the University of Fine Arts in Phnom Penh.

It was in 1860 that Henri Mohout first looked with sudden awe on the ruined towers of Angkor in the Cambodian forest. Following Mohout's romantic account of this vast monu mental complex heaped up by Khmer arti sans under the regulating intelligence of their God-kings, several generations of devoted French epigraphists, are historians, and...