ការដកស្រង់ត្រូវបានប្រើនៅក្នុងរចនាប័ទ្មនៃម៉ាក

ការប្រើប្រាស់តួអក្សរទេវកថាក្នុង Kbach Plmi Plcung
 តួអក្សរទេវកថាត្រូវបានប្រើជាញឹកញាប់
 មួយភាគនៃ Khach Phni Pleung ។  នៅក្នុងផៃខាងក្រោម
 fi ឈឺចិត្ត, ផ្នែកខាងឆ្វេងនៃ ure បាចបង្ហាញពីដំណើរនៃ ‘
 ហើយមើមខាងស្តាំនៃជីវតាអាចបង្ហាញពីលទ្ធភាពដែលអាចកើតមាន
 Kab បានឃើញពីចំហៀង

The use of mythical characters in Kbach Plmi Plcung

Mythical characters are often used in com

tions of Khach Phni Pleung. In the Following pai

figures, the left side of the figure shows the process Of‘

and the right sicle of the figure shows a possible final ll

Kab seen from the side

ក្បាច់ភ្ញីភ្លើង

តួលេខ ១០១-១០៤ បង្ហាញឧទាហរណ៍នៃរូបរាងរបស់
ផ្កាឈូកដែលមើលឃើញពីចំហៀង (ឬវត្កុទេវកថា
រាងកន្ទុយ) បែងចែក  Kbach Phni Pleung ។ 

 ជា រូបរាងត្រូវបានគូសបញ្ជាក់ (១០១) ហើយបន្ទាប់មកបែងចែកជាផ្នែក
 (១០២-១០៤) ។  នៅក្នុងឧទាហរណ៍នេះគ្រឿងតុបតែងត្រូវបានគូរ ដោយគ្មានមគ្គុទេសក៍។


Figures 101-104 show examples of the shape of
the lotus petal seen from the side (or the mythical goose
tail shape) divided _as Kbach Phni Pleung. The overall
shape is outlined (101) and then internally divided
(102-104). In this example, the ornament has been drawn
freehand with no guides.

ក្បាច់ភ្ញី អង្គរ khbach phni angkor

khbach phni angkor

On the following pages we show sketched exam-
នៅទំព័របន្ទាប់យើងបង្ហាញការគូសវាស -
 ផ្លិតនៃផ្កាឈូកខាងមុខរាងចែកចេញជាក្បាច់យ៉ាងល្អិតល្អន់
 ខេបអង្គរ។  ទាំងនេះគឺជាឧទាហរណ៍ដ៏សាមញ្ញនិង
 គ្រឿងលំអរស្មុគស្មាញផ្សេងទៀតអាចត្រូវបានបង្កើតអាស្រ័យលើសេវាកម្ម)
 រសជាតិបុគ្គលនិងការច្នៃប្រឌិតរបស់សិល្បករក៏ដូចជា
 គណៈកម្មាធិការនេះ

ples of frontal lotus petal shapes intricately divided as
Kbach Angkor. These are simply examples and manv
other complex ornaments can be created, depending oi)
the individual taste and creativity of the artist as well as
the patron commissioning a 

kbach phnnites

ទេវកថាឬផ្កា (ដូចក្នុងនេះ
ឧទាហរណ៍) ត្រូវបានចង (ជុង) នៅចំណុចពង្រីក
 ដើម្បីបម្រើជាគ្រឿងលម្អមេ (233) ។  ផ្កាមាន
 ឈ្លបដើម្បីឡោមព័ទ្ធជុំវិញនិង
 គ្រាប់ត្រូវបានបន្ថែមដើម្បីបំពេញចន្លោះទទេ (២៣៤) ។
 តួលេខ ២៣៥ និង ២៣៦ បង្ហាញពីការពន្យល់បន្ថែម
 លម្អទៅក្នុងទម្រង់  (២៣៧) របស់វា។

A mythical figure or a flower (as in this

example) is tied (jong) at the point of extension

to serve as the master ornament (Z33). Petals are

clrawn to surround the stern, and flowers and

buds are added to fill empty spaces (234).

Figures 235 and 236 show the Further elaboration

ofthe ornament into its final Form (237).

Art khbach khmer

Figure 159 shows another detailed division

of the Chan flower shape. procetling from petal to

petal cloclavise from the top lefi petal of the figure

to the bottom right petal of the figure. Again, we

use this method ofillustration to explain the process

of division, noting that the ornament as a whole

would never be used in this uneven Form. In figure

140, complex division occurs with the round center

divided into various types of shapes (buffalo

teeth, /rrlrzgjang, frontal lotus petals). Again we use

this method to illustrate possibilities; an actual

ornament would only malte use of one of these

shapes to divide its center.

The Chan flower shape can be divided into great

internal detail. In figure 135, the left petals of the figure

have inserted hearts and show initial division (jaik), while

petals on the right of the figure show the process of c/1121'/2

by which each leaf is separated to become what can also be

called a /e/m'l2. Smaller background Frontal lotus petal

shapes are inserted between the Fourmain petals. Figure

136 shows more complex division of the same shape.

while figure 137 shows one possible final Form with its

round center divided into Four peeled back petals. Figure

138 shows another Chan flower shape with slightly

smaller petals outlined by double borders. The round

center OF the ornament has Your tiny’ Frontal lotus petal

shapes with tips turned back; a circle of‘ fish eggs shapes

ring this center on the right ofthe figure, while a circle of

chauk leaves ring; this center on the lelit of the figure.