Saturday, July 28, 2018

ដកស្រង់រូបផ្សេងៗមកប្រើក្នុងក្បាច់ភ្ញីភ្លើង

 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
ការប្រើប្រាស់តួអក្សរទេវកថានៅក្នុង Kbach Plmi Plcung
តួអក្សរធម្មជាតិត្រូវបានគេប្រើជាញឹកញាប់នៅក្នុង com
Khach Phni Pleung ។ នៅខាងក្រោយប៉ៃ
រូបភាពខាងឆ្វេងបង្ហាញរូបភាពដំណើរការនៃ '
និងស្ត្រិចស្ត្របថនោយបងា្ហាញពីលទ្ធភាពដ្រលអាចកើតឡើងបាន
Kab មើលឃើញពីចំហៀង





















ក្បាច់ភ្ញីវល្លិ​ kbach phni voa



ស្លឹកមូលដ្ឋានត្រូវបានគេយកទៅលាយក្នុងទឹកដោះគោ
ឬកែលម្អពីប្រភពធម្មជាតិ។ Kbaclt Phni Voa ផ្តល់ឱ្យ
វិចិត្រករពិសេសសេរីភាពក្នុងការអភិវឌ្ឍនិង
បំរែបំរួលចាប់តាំងពីស្លឹកដើមទងផ្កានិងផ្កាបានយក
ស្ទើរតែដោយផ្ទាល់ពីធម្មជាតិអាចត្រូវបានប្រើនៅក្នុងរបស់ខ្លួន
បន្សំ។ ស្លឹកដែលបែងចែកជាភីនីវ៉េនិងភីនីស
ហាក់ដូចជាដូចគ្នាបេះបិទ។ ទោះបីជាការរៀបចំលម្អ
ol'P | 1n វ៉ុនមានបន្ទាត់ច្រើន។ ខណៈពេលដែលការរៀបចំរបស់ Phni Tes
មាននិន្នាការក្នុងការប្រើស្លឹកដែលឱបហើយនៅជុំវិញដើម។


The basic leaf used in Kbach Phni Voa is distilled
or improved from natural sources. Kbaclt Phni Voa gives
the artist particular freedom in its development and
variation, since leaves, stems, buds and flowers taken
almost directly from nature can be used in its
combinations. Leaves divided as Phni Voa and Phni Tes
seem almost identical. although ornamental arrangements
ol‘P|1ni Von are more linear. while Phni Tes arrangements
tend to use leaves which hug and surround stems.

















.ក្បាច់ភ្ញីភ្លើង Kbach Phni Pleung

The basic form of Kbach Phni Pleung is said to
derive from the shape of tongues of flame in a brightly
burning fire. These flames are “improved”, or stylised,
into an ornamental form characterised by a small base,
thicker middle, and flickering rip.

នាងបុញ្ញាកាយចេញពីផ្លើង(ក្នុងរៀងរាមកេរ្តិ៍)






ក្បាច់ភ្ញីអង្គរ​ kbach phnni angkor

Figure 141 offers another possible
division in which the details of the round
center are adjusted to fit the degree or
division in the surrounding petals. Figures
142 and 143 cannot really be called Chan
flower shapes anymore since the Chan
flower shape requires :1 round center
surrounded by petals. The examples
offered in figures 141 and 145 can instead
perhaps be called square shapes divided as
Kbnch Angkor.



រូបភាព 141 ផ្តល់លទ្ធភាពមួយទៀត
ផ្នែកដែលពត៌មានលំអិតនៃជុំនេះ
កណ្តាលត្រូវបានលៃតម្រូវដើម្បីកំណត់សញ្ញាប័ត្រឬ
ការបែងចែកនៅក្នុងបំពង់ជុំវិញ។ តួលេខ
142 និង 143 ពិតជាមិនអាចត្រូវបានគេហៅថាចាន់ទេ
រូបរាងមិនមានទៀតទេចាប់តាំងពីចាន់
រូបរាងផ្កាត្រូវការ: 1
ព័ទ្ធជុំវិញដោយផ្កាកុលាប។ ឧទាហរណ៍
ផ្តល់ជូនលេខ 141 និង 145 អាចជំនួសបាន
ប្រហែលជាត្រូវបានគេហៅថារាងរាងការ៉េបែងចែកជា
Kbnch អង្គរ។






ក្បាច់ភ្ញីភ្លើងក្នុងទំរង់ត្របកឈូកចំហៀង ឬកន្ទុយហង្ស

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.

ក្បាច់ផ្ការំយោល kbach pka romyol


Sometimes natural examples strongly influence
ornamental flowers, and botanical names can even be used
to designate these ornaments. Figure 156 shows an
ornament sometimes called the razrzfzzol flower (Hfbisczrs
.<agz'z't1yb[z'zzs). Figure 137 shows this flower open, sur-
rounded by Phni Tes leaves. In figure 138, an additional
flower and a bud have been added to the same type of
model. 



kbach phnnites ក្បាច់ភ្ញីទេស

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).

kbach dok chan angkor ក្បាច់ដកចាន់អង្គរ

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.












ទំរង់ត្របកឈូកចំពីមុខក្បាលនាគមានរាងជាក្បាច់អង្គរ

Figures 13 through 17 illustrate different ways of
internally dividing the basic frontal lotus petal shape by
Kbach Angkor. Again, initial division (jaik) is shown on
the left of figures 13-16, while completed division
is shown on the right. The ornaments would
never be used in this split form, although
we find it useful as :1 way of illustrat-
ing steps in the process of internal
division. Figure 16 inserts the
figure ofa deity at the center of
the ornament. while figure 17
transforms the center of the
ornament into the head of
a ncak, or mythical serpent.





khbach phni angkor


On the following pages we show sketched exam-
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 work.



On the following pages we show sketched exam-
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
    

ក្បាច់ភ្ញីភ្លើង Kbach Phni Pleung

The basic form of Kbach Phni Pleung is said to
derive from the shape of tongues of flame in a brightly
burning fire. These flames are “improved”, or stylised,
into an ornamental form characterised by a small base,
thicker middle, and flickering rip.