Saturday, August 6, 2022

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Sunday, January 19, 2020


កាលពីសប្តាហ៍មុនខ្ញុំបានសិក្សាស្វែងយល់ពីខេត្តសៀមរាបជាមួយសិស្សរបស់ខ្ញុំ។ មាននិស្សិតសាកលវិទ្យាល័យរដ្ឋតិចសាស់ចំនួន ១៣ នាក់ដែលសិក្សានៅទីនេះរយៈពេលជាង ១ ខែ។ ប្រទេសកម្ពុជាត្រូវបានគេស្គាល់ថាជាប្រាសាទអង្គរវត្ត។ វាជាប្រាសាទដ៏អស្ចារ្យ - ជាប្រាសាទធំជាងគេបំផុតនៅលើពិភពលោក។ ប៉ុន្តែវាមានតែមួយក្នុងចំណោមមនុស្សរាប់រយនាក់ប៉ុណ្ណោះនៅក្នុងឧទ្យានបុរាណវិទ្យាអង្គរ។
ប្រាសាទមួយក្នុងចំណោមប្រាសាទដែលខ្ញុំចូលចិត្តជាងគេគឺបាយ័ន។ មនុស្សគ្រប់គ្នាកត់សម្គាល់ឃើញមុខធំ ៗ និងសន្តិភាពចំនួន ២១៦ នៅលើប៉មទាំង ៥៤ ។ មនុស្សជាច្រើនជឿថាទាំងនេះគឺជាមុខរបស់ស្តេចចារវរ្ម័នទី ៧ ដែលបានកសាងប្រាសាទបាយ័ន។ ពួកគេពិតជាតំណាងឱ្យ  ព្រះពោធិសត្វអាវាឡិកស្វាវ៉ារ៉ា - ឡូកូសវីរ៉ា ។
Bayon's many faces
Cambodians believe the number 9 is very lucky so numbers whose digits add up to 9 are particularly lucky.
54 towers – 5 + 4 = 9
216 faces – 2 + 1 + 6 = 9
In addition to these 216 faces, there are an additional 11000 carved figures. Lovely Apsara dancers adorn the pillars and walls.
Bayon's many faces Apsara
Bas reliefs circle the ground floor of the temple. The upper levels of the relief show military scenes from a war with the Chams (Muslim enemies from the South). Below the military scenes are scenes from everyday life.
Bayon's many faces Bas-relief
The Cambodian army couldn’t afford real armor so they are featured in loin cloths. You can also tell them by their elongated earlobes. Their enemy, the Chams, all wear uniforms and have helmets with flowers on the top. Chinese mercenaries fighting with the Cambodian army have very slanty eyes and beards.
Bayon's many faces Chinese
Bayon’s many faces include scenes from every day life like this marriage proposal, dining scenes, gambling, and even animals chasing Cambodians up trees.
Bayon's many faces Marriage proposal
On our first trip, we were so enthralled with the towers and Apsara dancers that we missed the bas-reliefs on the lower levels. Now, I set aside half a day to explore Bayon’s many faces. Each time I visit, I find something new.

Saturday, September 2, 2017

.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.

ក្បាច់ភ្ញីភ្លើងក្នុងទំរង់ត្របកឈូកចំហៀង ឬកន្ទុយហង្សor a tangent tattoo

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.

ក្បាច់ភ្ញីភ្លើងក្នុងទំរង់ផ្កា ក្រពុំនិងផ្ការីក

The bud in Kbach Phni Pleung is initially drawn in a manner similar to the bud in Phni Tes (142). The top of the bud is adjusted to waver or flicker like :1 flame (143). In Figure 144, a central spine is added, while figure 145 shows the process of c/zaik. Figure 146 shows the addition ofa sheath, or xratoeb, on the right side of the bud.

Saturday, July 8, 2017

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.


Wednesday, July 5, 2017

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.

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).

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 .

Tuesday, July 4, 2017

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។

Monday, July 3, 2017


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 '
Kab មើលឃើញពីចំហៀង

ក្បាច់ភ្ញីវល្លិ​ kbach phni voa

ស្លឹកមូលដ្ឋានត្រូវបានគេយកទៅលាយក្នុងទឹកដោះគោឬកែលម្អពីប្រភពធម្មជាតិ។ Kbaclt Phni Voa ផ្តល់ឱ្យវិចិត្រករពិសេសសេរីភាពក្នុងការអភិវឌ្ឍនិងបំរែបំរួលចាប់តាំងពីស្លឹកដើមទងផ្កានិងផ្កាបានយកស្ទើរតែដោយផ្ទាល់ពីធម្មជាតិអាចត្រូវបានប្រើនៅក្នុងរបស់ខ្លួនបន្សំ។ ស្លឹកដែលបែងចែកជាភីនីវ៉េនិងភីនីសហាក់ដូចជាដូចគ្នាបេះបិទ។ ទោះបីជាការរៀបចំលម្អol'P | 1n វ៉ុនមានបន្ទាត់ច្រើនខណៈពេលដែលការរៀបចំរបស់ Phni Tesមាននិន្នាការក្នុងការប្រើស្លឹកដែលឱបហើយនៅជុំវិញដើម។

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 Tesseem almost identical. although ornamental arrangements ol‘P|1ni Von are more linear. while Phni Tes arrangementstend to use leaves which hug and surround stems.