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86-907: According to Hab Touch, director of the National Museum of Cambodia , the krama may date back to the Pre-Angkor Norkor Phnom era, between the first and fifth centuries CE. Over the period, many Shivas and other Hindu gods wearing the kben (a simple hip wrapper rolled at the waist takes the form of a large krama) have been recovered at the Angkor Borey site. A man was even pictured wearing a krama-style head covering in some instances. Records from around 1296–1297, by Chinese envoy and diplomat Zhou Daguan show several fabrics of high quality were produced locally in Angkor Thom , with others imported from Champa and Siam , but

172-492: A 10th Century temple, Banteay Srei , with the intention of selling them to an art museum. Although Malraux claimed that he was acting within the law, Groslier immediately had him arrested, scarring the former's reputation in Indochina. Groslier would later contemptuously refer to Malraux as " le petit voleur " ("the little thief"). Between 1920 and 1939, Groslier's family frequently traveled between France and Cambodia so that

258-901: A European art museum – by pretending to be mere sightseeing tourists and scholars. Malraux had even received special permission from the authorities to explore the Banteay Srei site. However, upon meeting Groslier, Malraux inadvertently aroused the former's suspicions by referring repeatedly to the "commercial value" of the pieces in the Sarraut Museum. On December 23, in his boat, the Hainan , Malraux arrived at Banteay Srei, seized four priceless statues depicting devata , which he divided into pieces and put into crates, and headed south, intending to ship his cargo to Thailand . Groslier, who had been tipped off, reached Kampong Chnang by car just as Malraux' boat arrived, went on board, identified

344-523: A life raft to save Cambodia's national arts from vanishing... Those arts he had only years ago described as 'immortal' now seemed to Groslier to be on the verge of vanishing." (From this point to the end of his life, Groslier continually resided in Cambodia, returning to Europe only for brief vacations or for educational initiatives on behalf of his professional mission, e.g., the 1931 Paris International Exposition (see below).) Groslier proved brilliant at

430-643: A major role in preparing the Cambodian exhibitions for the Colonial Exposition that opened in Vincennes , just outside Paris, on May 6, 1931. The event was designed to be the most spectacular colonial show in history. However, it occurred at a time when the entire concept of colonialism — what the French called their mission civilisatrice (civilizing mission) — was increasingly seen by many, in

516-528: A more captivating or wonderful guide? It was also during this period that he added another title to his long list of accomplishments: novelist. In 1926, he published his first novel, La Route du plus fort ( The Road of the Strongest ), an overview of colonialism more critical than he could ever have made in his scholarly works. Two years later, he published his most acclaimed work of fiction Le Retour à l'argile ( Return to Clay ). In his earlier book, In

602-431: A national cultural heritage that is today fundamental to Khmer identity." Though the two institutions were administered by Frenchmen (including of course, Groslier), he pursued his own agenda by transferring true control of both to Cambodians. In 1917, he installed the former royal architect Tep Nimit Mak as an administrator of the school, and later assembled, with great difficulty, Cambodian master artists to teach. As

688-439: A new Cambodian art museum and organize a school of Cambodian arts. From 1917 to his retirement in 1942, Groslier changed the focus of his work from that of merely describing Cambodian culture for a European audience to what he called a "rescue mission" to save the indigenous national art forms of Cambodia from destruction. His vision for the museum was to build collections from the full range of Cambodia's traditional works of art. At

774-616: A place of worship. A permanent exhibition, Post-Angkorian Buddha, supported by UNESCO and a number of individuals and local businesses, opened in 2000 to extend the religious function of the museum. Under the auspices of the Cambodian Department of Museums, the museum not only manages its own collection, staff, and premises but also supports and oversees all other state-run museums in Cambodia. Its activities are further supported by private individuals, foreign governments, and numerous philanthropic organizations. The activities of

860-464: A scholarly study of Cambodia's unique traditional dance arts, the first that a European had ever undertaken. (Before Groslier, few French colonial scholars even mentioned dance in their analyses of Cambodian culture.) Although he witnessed just three evening performances for King Sisowath 's birthday, and three additional "supplications" in the throne room, Groslier, with the special help of Gravelle, gained access to royal dancers and teachers connected to

946-436: A school of Cambodian arts. Sarraut believed that the future of colonial rule lay not in assimilating cultures but, in his words, in "understanding [them] so that they may evolve, under our tutelage, in the framework of their civilization." In the words of one scholar: "From 1917 to 1942, Groslier had shaped his career as a rescue mission and established institutions, principally an art school and museum, which he described as

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1032-626: A son, George Groslier, was born to the couple. In 1889, his mother became pregnant with a second child, but due to the primitive medical situation in Cambodia, she was forced to travel to Saigon for the delivery. She gave birth to a daughter, who immediately died, so Angélina decided to return to her family home in France to protect two-year-old George from the harsh climate and dangers of colonial life. Groslier began his education in Marseilles and discovered his talents for writing and painting. At

1118-485: A third the size of what was needed... Every night during the rainy season we had to remove every piece of silk from the looms, because of leaks in our worm-eaten roof. It was a tedious task for masters and students alike. We had recruited a handful of professors and artisans to get the classes going. Not one failed to show up. Not one quit their job. Not a one. In fact, these educators were so enthusiastic that they refused their vacations. Outside its walls, all of them promoted

1204-446: A vestige of ancient times surviving to this day, mixed in with modern custom. You stumble upon it suddenly, as if in the depths of a forest. It might be a jewel, a humble bit of pottery, the shape of a statue's lip, a corrupted word of Sanskrit. The whole country holds vigil over its own sleeping past, deriving no profit from it, but unwilling to let it go. As Maxime Prodromidès observes, what set George Groslier apart from other authors

1290-470: A visiting French journalist, François de Tessan, arrived at the school and came away with a very favorable impression of both the school and Groslier, who proudly described to de Tessan its dedicated masters and students: "As you can see," [Groslier] told me, "we have settled in and are well equipped. But for two years, at its very beginnings, the School of Arts was functioning in a dark, nondescript warehouse

1376-472: A voyage to a home that the family owned in France, where they would remain for three years. Four days later, Groslier began a solitary journey from Phnom Penh via the Mekong River, ostensibly to inspect pagodas along his route, but actually to record, for a literary work, his impressions of the river, its wildlife and the people along its banks. (He made a second, similar journey in early 1930.) The result

1462-400: A way of satisfying foreign tourists' hunger for souvenirs, and thus discourage the foreigners from stealing the original artworks of the country. This arts program, according to Copin, served the interests of the colonial power, France; however, "it also served the interests of Cambodia, spotlighting the kingdom as a unique entity within the landscape of Indochina, and fostering an assemblage of

1548-480: Is Cambodia 's largest museum of cultural history and is the country's leading historical and archaeological museum. It is located in Chey Chumneas , Phnom Penh . The museum houses one of the world's largest collections of Khmer art , including sculptural, Khmer ceramics , bronzes, and ethnographic objects. Its collection includes over 14,000 items, from prehistoric times to periods before, during and after

1634-521: Is a symbol of life's journey, from birth to death. It holds great socio-cultural significance, expressing greetings, respect, and marking important life events. Whether celebrating a new addition to the family, honoring weddings, or paying tribute to the departed, Krama is a cherished emblem of the Cambodian cultural heritage , passed down through generations. National Museum of Cambodia The National Museum of Cambodia ( Khmer : សារមន្ទីរជាតិ )

1720-718: The Angkor group, including Ta Prohm . He published his experiences in his second book, A l'ombre d 'Angkor; notes et impressions sur les temples inconnus de l'ancien Cambodge ( In the Shadow of Angkor: Notes and Impressions on the Unknown Temples of Ancient Cambodia ), penning lively accounts that blended his subjective impressions with objective details. [The Khmer people]... resemble this forest. Like her, they are full of mystery. In their gestures, in their types, in their habits, in their implements, you sometimes discover

1806-610: The French army and was employed as a balloonist in the early part of World War I . It was during this time that he met and married sportswoman Suzanne Cecile Poujade; they eventually had three children. He was ultimately reassigned to French Indochina because of his knowledge of the Khmer language . Upon his arrival in Phnom Penh in May 1917, he was charged with a new mission: to found

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1892-503: The Kempeitai , Groslier died under torture . He was later officially recognized as Mort pour la France ("Died in the service of France"). All Groslier's major work was inspired by his profound love and respect for the Cambodian people and their culture. Referring to his numerous talents, literary scholar Henri Copin has written: Through these disciplines of learning and art he roamed majestically, like that familiar Asiatic figure

1978-530: The Khmer Empire , which at its height stretched from Thailand , across present-day Cambodia, to southern Vietnam . The National Museum of Cambodia is located on Street 10 in central Phnom Penh, to the north of the Royal Palace and on the west side of Veal Preah Man square. The visitors' entrance to the compound is at the corner of Streets 13 and 178. The Royal University of Fine Arts is located on

2064-599: The Royal University of Fine Arts , are still in operation today. In 1885, a French couple, civil servant Antoine-Georges Groslier and his wife Angélina (née Legrand), arrived in Cambodia to serve the French Protectorate . The Protectorate was established when King Norodom of Cambodia signed a treaty with France to protect his country from incursions by neighboring Siam (present-day Thailand ) and Annam (present-day Vietnam ). On February 4, 1887,

2150-545: The Royal University of Fine Arts . This university that form its foundation as the Ecole des Arts Cambodgiens in 1920 was intimately linked with students, artisans and teachers who worked to preserve Cambodian cultural traditions, can still be found to the rear of the museum. During the Khmer Rouge regime (from 1975 to 1979), all aspects of Cambodian life including the cultural realm were devastated. The museum, along with

2236-407: The devata (in falsely-labeled crates), and arranged for the police to arrest the perpetrators as soon as they arrived at Phnom Penh that evening. The incident created an enormous scandal in both colonial Indochina and France itself, despite the fact that Malraux was, at that time, virtually unknown outside French literary circles. As Copin puts it, "the controversial court cases that ensued shook

2322-510: The Cambodian way." Within the school, George established a series of workshops or guilds based on the "six great arts of Cambodia" including jewelry, painting and temple planning, metal work and casting, sculpture, furniture making and carpentry and weaving. Groslier went on to organize the guilds to produce and sell Cambodian art through a worldwide network, enabling artists to gain an income and self-sufficiency. He also encouraged them to produce reproductions of traditional Khmer masterpieces as

2408-635: The Fifth Squadron, now stationed in Bar-le-Duc , about 60 km south of Verdun . The town was the railhead and key supply point for the Battle of Verdun , a horrific conflict that left 250,000 dead and 500,000 wounded between February and December 1916. Although she was not authorized to accompany him, Suzanne made her way to the town to join him, using documents issued under her maiden name to avoid detection. In August 1916, Romania entered

2494-559: The Khmer Rouge regime. Together with the adjacent Royal University of Fine Arts and its Department of Archaeology, the National Museum of Cambodia works to enhance knowledge of and preserve Cambodian cultural traditions and to provide a source of pride and identity to the Cambodian people. The museum also serves a religious function; its collection of important Buddhist and Hindu sculpture addresses community religious needs as

2580-453: The National Museum of Cambodia.) His vision, shared and supported by Sarraut and by his peers, was for the museum to build traditional collections from the full range of Cambodia's ancient works of art, including sculptures, bronzes , inscriptions, ceramics , jewelry, fragments of monuments, wooden objects, paintings and manuscripts . Simultaneously he enlisted Cambodians in preserving their own heritage by providing an organization to catalog

2666-498: The Shadow of Angkor , he had indicated that he had no desire to write about Phnom Penh, as it was of little interest to him in comparison with the country's ancient temples. But by the time he wrote this novel, his attitude had changed radically. In this story about a French engineer who takes a Cambodian mistress, he sympathetically describes native urban life, contrasting it favorably with the world of Grolier's fellow Western colonists. Many races had slowly wrought this people over

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2752-568: The age of seven, he attended the Universal Exposition in Lyon , which featured exhibits on French Indochina , including Cambodia. He grew up with an awareness of and interest in the land in which he had been born, but no great desire to return there. In 1904, at the age of 17, George published his first book, a self-published poetry collection entitled La Chanson d'un Jeune ( Song of a Youth ). Beginning about 1905, Groslier attended

2838-619: The age of two and grew up in Marseille. Aspiring to become a painter, he tried but failed to win the prestigious Prix de Rome . Shortly afterwards, he returned to Cambodia, on a mission from the Ministry of Education. There he met and befriended a number of French scholars of traditional Cambodian culture. Under their influence, he wrote and published, in France in 1913, his initial book on this subject: Danseuses Cambodgiennes – Anciennes et Modernes ( Cambodian Dancers – Ancient and Modern ). It

2924-582: The ancient temples of Angkor Wat . As one scholar has said, "This vision of the grand Angkorean past was the wellspring of his love for Cambodia and its culture." Through the Angkor Society for Conservation of the Ancient Monuments of Indochina, he also met the writers Charles Gravelle and Roland Meyer, whose interest in the sacred and royal art of Cambodian dance matched his own. In addition to his administrative duties, Groslier initiated

3010-470: The arrest of André Malraux, the future novelist and French Minister of Cultural Affairs . In France in 1919, when he was eighteen years old, the young Malraux had eagerly read an article by Groslier's friend, Parmentier, that appeared in an official publication by L' École française d'Extrême-Orient (EFEO), describing the impressive temple monuments of Cambodia, including those at a 10th Century temple, Banteay Srei (The Temple of Women). The article revealed

3096-426: The art school, Groslier did not try to make the native culture adapt to that of the colonizing power; on the contrary, he insisted that the school be run by Cambodians for Cambodians and that no European influence be allowed. He was also intolerant of any attempts by Europeans to loot or damage native art. In 1923, the 22-year-old writer André Malraux , later to become world-famous, removed some bas-relief statues from

3182-484: The art, archaeology and history of the Khmer people of Cambodia, Groslier's books include detailed travelogues as well as works of fiction – such as the novel Retour à l'Argile ( Return to Clay (1928)), which won Le prix de littérature colonial (Grand Prize of Colonial Literature) in 1929 – describing his impressions of, and interactions with, Cambodians. Both institutions he founded, the National Museum of Cambodia and

3268-515: The book was, however, delayed until 1916 due to the outbreak of the First World War . In June 1914, Groslier returned to France to enlist in the French army; the war began only weeks later. In 1915, Groslier was assigned to serve as a balloonist at Versailles Aerostation. Observation balloons were vital to the war effort as a means of aerial reconnaissance , and as these vehicles, for that reason, were favored targets for enemy fire, it

3354-616: The centuries. The Chinese had lightened the complexion, and the Siamese [i.e., Thais] and the Annamites [i.e., Vietnamese] had refined its forms, after the Aryan, perhaps, had widened its eyes. And thus the country abounded, end to end, with lovely girls, robust and complex, generated through these successive grafts, ripened in the heat, their nudity polished in childhood by the air and the waters... One would see no gesture, pose or movement that

3440-449: The colonial administration from Indochina to Paris." In July of the following year, Malraux was sentenced to three years and Chevasson to 18 months in prison. However, there were many irregularities in the conduct of the case by the prosecution. It created a "secret dossier," withheld from the defense, with which it sought to demonize Malraux and Chevasson by their association with left-wing bohemians , whom it called " Bolsheviks ," and by

3526-438: The competition than had been the case with many famous artists (e.g. Eugène Delacroix , Gustave Moreau , Édouard Manet and Edgar Degas ), Groslier was eliminated at the final level, and the young painter took this as a crushing defeat. However, this setback turned out to be a fortunate one, as it created the opportunity for his future career in Cambodia. In 1910, the Ministry of Public Education, whose head, Albert Sarraut ,

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3612-437: The country. Of those repatriated and put on display at the museum, a stone sculpture from the 10th century of the female goddess Uma from the ancient royal capital of Koh Ker , was highly anticipated. 11°33′57″N 104°55′44″E  /  11.5658°N 104.9290°E  / 11.5658; 104.9290 George Groslier George Groslier ( French: [ʒɔʁʒ ɡʁolje] ; February 4, 1887 – June 18, 1945)

3698-468: The court. Groslier was a very prolific writer throughout his career, but the period between the mid-1920s through the early-1930s was particularly productive for him. In the second half of 1924, he published Angkor , and in 1925, he published two books: La Sculpture khmère ancienne ( Ancient Khmer Sculpture ) and a massive two-volume work, Arts et Archéologie Khmers ( Khmer Arts and Archeology ). On September 17, 1929, his wife and children set out on

3784-439: The creatures he meets: river fishermen, peasants, bonzes, old women who will not be sweet-talked by this European who speaks their tongue and behaves for all the world like a native son of the land. We proceed from discovery to discovery, from temple and ruin to the minutia of daily life, from the droll to the picturesque, and see it all through the eyes of a deeply cultured man, there to illuminate every encounter. Could one hope for

3870-477: The eastern façade that made the building even more imposing. Control of the National Museum and Arts Administration was ceded by the French to the Cambodians on 9 August 1951 and following Independence in 1953, the then Musée National de Phnom Penh was the subject of bilateral accords. In 1966 Chea Thay Seng was the first Cambodian director of the museum and dean of the newly created Department of Archaeology at

3956-405: The elephant, all while exploring the past and absorbing the present of the country that witnessed his birth and, ultimately, his death. Drawing from this matchless wellspring of riches, he was able to convey, in writings both knowledgeable and sensitive, the ties and emotions that bound him to the land of the Khmer and its singular culture. In addition to his extensive body of scholarly writings on

4042-573: The environment is crucial to ensure the quality of the materials used. Krama is a versatile textile, serving as a scarf , belt , blanket , bandanna , lower garment, and decorative cloth in daily life. It is also used to wrap ritual offerings during religious ceremonies and celebrations. Local communities, primarily women, play a central role in Krama production, from preparing yarn to weaving. Men participate in activities such as planting cotton and sourcing natural dyes. Women are responsible for passing on

4128-472: The fact of Clara's Jewish origins. Furthermore, the basic legal case against Malraux was very questionable. It was true that the Governor General of Indochina had designated EFEO as the protector of Indochinese archeological sites and forbade anyone except members of EFEO from taking any artifacts out of the country. However, Banteay Srei had never been officially designated as a protected site. In

4214-460: The first edition totaled only 30 copies, this seminal work became, in one scholar's words, "the first commentary in any language – Asian or European – on one of the world's most refined performing arts whose roots stretch to antiquity." The book's value also lies in revealing performance practices for this art form that have since vanished. Groslier, for instance, noted in his book that wires were used to suspend some performers in mid-air during one of

4300-481: The first place. And Malraux, because he perceived himself to be the victim of what he regarded as corrupt colonial forces, began to champion the cause of the Indochinese people against the French colonists, establishing the previously apolitical artist as a serious left-wing author. One scholar defines the Banteay Srei incident and its aftermath as "how Malraux became Malraux." In 1930, he incorporated aspects of

4386-400: The future Prime Minister of France , would become his lifelong mentor and friend, commissioned Groslier to carry out an educational assignment in Cambodia. Upon his return to his birthplace, Groslier was soon working with prominent leaders in the field of Khmer archaeology, including Jean Commaille, Henri Parmentier and Henri Marchal . By all accounts, he was awed by his first glimpse of

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4472-503: The incident into a novel about two looters journeying through the Cambodian jungle in search of treasure, titled La Voie royale . (In 1935, the book appeared in English as The Royal Way .) Although Groslier's daughter recalls that her father privately referred to Malraux as le petit voleur ("the little thief"), he never otherwise spoke of the incident, perhaps agreeing that Malraux, though guilty of stealing, had been treated unfairly by

4558-468: The institution grew, Groslier maintained his hands-off approach. As Ingrid Muan describes: Despite his own training as a painter, Groslier would never teach at the school. "I am not Khmer," he declared, and the "fundamental principle" of the School was "only to make Cambodian art and only to have it be made by Cambodians." The one restriction placed upon these "masters" was that they "purge all Western influence" from their teaching.... "We don't expand on

4644-532: The king's court. He assembled hundreds of original sketches, numerous paintings and detailed written information, which he brought back with him to France. Funded by a subscription from the Minister of Colonies and the "High Patronage of His Majesty Sisowath, King of Cambodia," Groslier published Danseuses Cambodgiennes – Anciennes et Modernes ( Cambodian Dancers – Ancient and Modern ) in Paris in 1913. Although

4730-436: The men were eventually allowed to return to France without serving any jail time. Malraux depicted himself as the victim in the affair, as he sincerely believed that, in taking the statues, he had been acting within the law as it then existed. At least one commentator agrees that Malraux and his accomplice were treated harshly: "...if these two young men were to be imprisoned for taking the sculpture from Banteay Srei, should not

4816-426: The most coveted coming from the western seas. Cambodians did not raise silkworms at the time, did not know how to sew, but did know how to weave cotton cloth from kapok. The inference is that their basic sampot hip wrappers were woven from cotton and were around the size of a considerable krama. Krama can be seen in some of the first photos of Cambodian costumes taken around the end of the nineteenth century. In 1896,

4902-452: The museum include the presentation, conservation, safekeeping, interpretation, and acquisition of Cambodian cultural material, as well as the repatriation of Cambodian cultural property. Looting and illicit export of Cambodian cultural material are a continuing concern. Outside of Cambodia, the museum promotes the understanding of Cambodian arts and culture by lending objects from its collection for major international exhibitions. This practice

4988-482: The nation's historical resources "to give all Khmers a stake in that past." As the museum preserved Cambodia's past, Groslier organized the School of Cambodian Arts ( École des Arts Cambodgiens , now known as the Royal University of Fine Arts), next to the museum, to serve the future by training new generations of artists. Groslier's explicit goal was, as he expressed it, to "do nothing but Cambodian art in

5074-434: The new museum was laid on 15 August 1917. Some two-and-a-half years later, the completed museum was inaugurated during Khmer New Year on 13 April 1920 in the presence of H.M King Sisowath , François-Marius Baudouin, Résident-supérieur, and M. Groslier, director of Cambodian Arts, and Conservator of the museum. The original design of the building was slightly altered in 1924 with extensions that added wings at either end of

5160-422: The pedagogical methods of the [Cambodian] master," Groslier declared: "No change is to be brought to their habits, their working methods, or the materials they use." The doctrine of the "impenetrable sphere" of pure "Cambodian art" is shown clearly by the absence of French personnel in official photos taken of the School and its students shortly after it was put under Groslier and his French colleagues. In 1923,

5246-522: The performances he witnessed, which no longer occurs in Cambodian traditional dance performances today. Sarraut, the Minister of Public Education (and soon to be Governor General of Indochina ), was so satisfied with Groslier's work that he issued him a new title: Chargé de Mission au Cambodge par le Ministère de l'Instruction publique et des Beaux-arts (Project Manager in Cambodia for the Minister of Public Education and Fine Arts). On April 1, 1913, George returned to Cambodia with new assignments. Over

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5332-439: The prestigious École nationale supérieure des Beaux-Arts , studying under classical painter Albert Maignan , who was then in his sixties. (Groslier would dedicate his first book about Cambodia to the older painter.) In 1908, Maignan supported Groslier in his bid to compete in the challenging Prix de Rome art competition. A victory in this contest would have essentially ensured a successful career, but despite advancing further in

5418-436: The public relations challenge of rallying French colonial public opinion (and the administration) to the cause of saving Cambodian art. He portrayed Cambodian culture as being as venerable and exalted as French culture and bemoaned the fact that "everything here that has withstood time, wars, and religions has now succumbed to civilization... Our steamships and automobiles generate a smoke in which champa flowers wither..." In

5504-515: The remainder of 1913, he traveled the length and breadth of the country documenting the most remote Khmer monuments and recording his impressions and adventures. Groslier traveled on his own, isolated in remote jungles, rivers and mountains in primitive and demanding conditions, assisted only by native helpers. Some of the Khmer temples he documented included Wat Phu , Preah Vihear (to which he had to hike 50 kilometers on foot), Beng Mealea , Lolei , Bakong and Banteay Chhmar , as well as temples of

5590-405: The rest of Phnom Penh, was evacuated and abandoned. The museum, closed between 1975 and 1979, and was found in disrepair, its roof rotten and home to a vast colony of bats, the garden overgrown, and the collection in disarray, many objects damaged or stolen. The museum was quickly tidied up and reopened to the public on 13 April 1979. However, many of the museum's employees had lost their lives during

5676-427: The same penalty be exacted from the various Governors, High Commissioners, and administrators of Indochina who had done the very same thing to similar monuments?" The incident had two repercussions. It prompted the colonial administration to belatedly begin a serious restoration of the decrepit Banteay Srei site, headed by Groslier's friend Parmentier, whose earlier article had brought the site to Malraux' attention in

5762-639: The school, recruited students and sought ancient and rare objects." Groslier's approach was exactly the opposite of that of the founders of another Indochinese institution, the Hanoi-based School of Fine Arts of Indochina ( École Supérieure des Beaux-Arts de l'Indochine ), which sought to train Asian students in Western modes of art, rather than native styles. In 1923, Groslier proved his commitment to preserving Cambodia's heritage when he organized

5848-495: The site as neglected and overgrown with vegetation. Apparently, Malraux, before he left France, made a detailed study of the applicable laws and determined (at least to his own satisfaction) that the site was abandoned property to which no one could stake legal claim. In the summer of 1923, at the age of 22, he set out for Indochina with his wife, Clara, and a colleague, Louis Chevasson. The party concealed their true purpose – to take priceless traditional art objects and sell them to

5934-655: The summer of 1917, Groslier initiated a national survey to quantify the state of traditional arts, and produced a report that predictably painted a very pessimistic picture of its present condition. Groslier drafted the architectural plans for the Museum of Cambodia ( Musée du Cambodge ), known from 1920 as the Albert Sarraut Museum, which opened its doors to the public during the Cambodia New Year on April 13, 1920. (It continues to operate today as

6020-541: The three children could attend schools in France. In 1939, however, events leading up to the Second World War made such travel increasingly dangerous, and Suzanne was forced to remain in France with their two sons, while Nicole, their daughter, stayed with her father in Cambodia. When the Japanese military occupied Cambodia, because French colonies were then administered by the pro- Axis Vichy regime, violence

6106-522: The war and Groslier was transferred to that front on an Air Force assignment in September, to work again under his mentor, Albert Sarraut, who was mission leader. On the long, circuitous trip, his ship was falsely reported sunk, causing great sorrow to everyone but his wife, who was certain he was alive. By the time he arrived safe and sound in Bucharest , he had been promoted to corporal . He spent

6192-409: The weaving skills to the next generation. While individual weavers have become scarce, professional Krama groups and producers have taken up the mantle. The tradition endures in 15 active communities and associations, with skilled weavers imparting their knowledge. Educational associations also offer training to ensure the preservation of Krama's unique characteristics. Krama is not just a textile; it

6278-567: The west side of the museum. The museum is under the authority of the Cambodian Ministry of Culture and Fine Arts. The museum buildings, inspired by Khmer temple architecture, were constructed between 1917 and 1924, the museum was officially inaugurated in 1920, and it was renovated in 1968. The museum promotes awareness, understanding and appreciation of Cambodia's culture and heritage, aiming to educate and inspire its visitors. George Groslier (1887–1945), historian, curator and author

6364-608: The winter on the Eastern Front working as a courier . At about this time, the Russian Revolution began, and his wife noted somewhat nervously in her diary that "George bore some resemblance to Stalin ." After completing his duties, George went to Liverpool and then to Paris to be reunited with his wife. Albert Sarraut was then charged with assembling an Air Force team in the Far East and, knowing Groslier

6450-453: The words of scholar Lindsay French, "Malraux, furious that EFEO should have such a monopoly over the temples, argued that since Banteay Srei had never been specifically 'classified' as a monument to be preserved, the stones were not legal artifacts and [therefore] there was no [legal] basis for his arrest." Over 50 prominent literary figures in France signed a petition for the release of the men. Both sentences were later reduced on appeal, and

6536-533: The young French photographer and traveler Andre Salles was among the first to photograph Cambodian daily life. Many Khmer Rouge fighters wore red and white gingham krama scarves during Pol Pot's reign. Some Cambodians may decline a red and white gingham Krama scarf in favor a blue and white scarf or another color due to the legacy of the Khmer Rouge era. The production of Krama involves manual weaving using traditional hand looms called 'Kei' or 'Kei Dombanh'. Weaving and dyeing techniques are essential, and protecting

6622-422: Was a French polymath who – through his work as a painter, writer, historian, archaeologist , ethnologist , architect, photographer and curator – studied, described, popularized and worked to preserve the arts, culture and history of the Khmer Empire of Cambodia . Born in Phnom Penh to a French civil servant – he was the first French child ever born in Cambodia – Groslier was taken by his mother to France at

6708-434: Was dangerous work. The French media at that time were encouraging French women to become pen pals with soldiers as a way of boosting morale. A relationship developed between Groslier and a pen pal named Suzanne Cecile Poujade, resulting in their marriage in Paris on May 27, 1916. (During this brief break from service, he arranged the publication of his second book on Cambodia.) From there, Groslier returned to his unit,

6794-462: Was familiar with Cambodia and was fluent in the Khmer language, Sarraut had him reassigned to this mission in April 1917. Groslier headed back to French Indochina, accompanied by Suzanne. Upon Groslier's arrival in Phnom Penh in May 1917, Sarraut, now Governor General of Indochina, terminated his military service. He charged him with two new missions: to found a museum of Cambodian art and to organize

6880-424: Was his close contact with the Khmer people, with his passion split between the art and life of the country: Is this a travel diary, a breviary of subjective archeology, an ethnological meditation? Mixed works do not lend themselves to classification. Too much science, cry the pure writers. Too much poetry, cry the scientists. Groslier fortunately indulged in both, never minding the contradiction. Publication of

6966-623: Was in place before Cambodia's recent decades of unrest and was reinstituted in the 1990s, starting with an exhibition held at the National Gallery of Australia in 1992. Subsequent exhibitions have been held in France, the United States, Japan, South Korea, and Germany. In July 2024, 14 sculptures were repatriated to Cambodia from the U.S. and were displayed at the museum. This was a welcome success for Cambodia's efforts to bring back thousands of artifacts looted or trafficked out of

7052-582: Was initially avoided. But in March 1945, as the Allies made further advances in Asia, the Japanese relieved French officials of their authority, rounded up all foreign nationals, and placed them under guard in concentration camps. Because of his known enthusiasm for shortwave radio , Groslier was suspected by the Japanese of being part of the anti-Japanese resistance. On June 18, 1945, in Phnom Penh, while imprisoned by

7138-592: Was not essential and harmonious with the surroundings — each so immediate, so supple, so deft, so spare, drawing on the atmosphere for buoyancy, and on nothing but ambient light for finery. To those with open eyes, this living beauty is all the more engrossing for its presence in all places and at all times. The book received the Grand Prize of Colonial Literature ( Le prix de littérature coloniale ) in 1929, but afterwards fell into obscurity, until its re-release in modern French and English editions. Groslier played

7224-524: Was the book Eaux et lumières; journal de route sur le Mékong cambodgien ( Waters and Lights: Journal of a Voyage on the Cambodian Mekong ), published in 1931. Copin offers a highly laudatory description of the book's approach: In these pages the reader journeys alongside a double character, split between the learned archeologist, carrying out a government mission, and the adoptive son of Cambodia, by turns critical and empathetic as he sizes up

7310-419: Was the motivating force behind much of the revival of interest in traditional Cambodian arts and crafts, and it was he who designed this building that is today ‘traditional Khmer’ architecture . It is perhaps better described as a building enlarged from Cambodian temple prototypes seen on ancient bas-reliefs and reinterpreted through colonial eyes to meet the museum-size requirements. The foundation stone for

7396-468: Was the very first scholarly work ever published in any language on Cambodian dance. He then returned to Cambodia, traveling the length and breadth of the country to examine its ancient monuments and architecture. From this experience came his book A l'ombre d 'Angkor; notes et impressions sur les temples inconnus de l'ancien Cambodge ( In the Shadow of Angkor: Notes and Impressions on the Unknown Temples of Ancient Cambodia ). In June 1914, Groslier enlisted in

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