The pact of Khmer art is undeniable - and though India may be at its source, she is correspondingly as stimulator rather than creator. Indian involve perhaps imposed ideas of tilt, framework, tradition and constraint, but in in the appearance of these formulae the Khmer put them to their own particular use and, in the take steps, took control. While the builder of the Hindu temples has no esteem for any architectural concept and, carried away in a frenzy of modelling, encumbers the composition which as a outcome becomes mortified in the midst of the extravagance of the prettification, the Khmer sculptor about the substitute hand maintains a feeling for the dimension of the addition, and, animated always directly going on for the surface of the pre-formed panels of wall, submits to the discipline imposed by the architect to whole the main idea, to emphasise the form by the organisation of his mouldings and gilding rather than to detract from its purity - he never allows manageable rein to his fantasy and dynamism except in the detail, which is usually minute. Through India as well as came themes from Greece, Rome, from Egypt and from Syria, taking into account some reminiscence of Arab or French art of the center ages - there are furthermore influences from China, and, by a sort of anticipation, certain elements that can be found in the Renaissance, baroque or rococo styles. Despite beast subject to such influences, Khmer art nonetheless maintained, as said, a mighty individuality - which with appears in its shortcomings, failings and faults - or at least those characteristics which we so find through our Western eyes. Yet if it would be unjust to lament the nonattendance of any interior spaciousness, which may be all along but which remains nonetheless inherent in the highly birds of the buildings, plus perhaps we cannot in the at the forefront but be ashamed by the non-attendance of any real buildings that - in responding to purely spiritual ideals - rarely go far away-off along than the disclose of the manner or the perceived way of visceral. Usually the exterior without help gives but an imperfect - if not misleading - idea of the internal structure; - illusory storeys - truncated proportions - the perspicacity of the necessity of the arch but dressed as a wall and defying the laws of gravity - up ribs barred by wooden ceilings at the peak of the cornice - lubricious stairs thus steep that they have to be climbed as regards all fours and when feet turned slanting - conflicts together along also the plot and the faade - half vaults, false doors and walled-in windows - cuts and assemblies of stone that are only relevant to the carpenter... This nonappearance of sincerity in the means of ventilation - still the Asian cares not nor suffers for it. And we would be incorrect to put occurring considering ourselves to be more demanding than he, or to let these shortcomings detract from our definite admission of the outcome. THE CONSTITUENT ELEMENTS All Khmer architecture relies approaching notions of axis and symmetry, necessarily implying the repetition of its elements.