Inner sanctuary or altar room containing the main deity of the temple. In Indian ancient science of architecture (vāstuvidyā), the sanctum sanctorum where the presiding deity is installed.

According to Dr. Sarita Ranjan, "beneath the mandala’s central square is the space for the formless shapeless all pervasive all connecting universal spirit, the Purusha. This space is sometimes referred to as Garbhagriha - a small, perfect square, windowless, enclosed space without ornamentation that represents universal essence."

One Khmer inscription, K.809 N:3 (878/87 CE), mentions śivagarbha as a sanctuary dedicated to Shiva as a toponym.

Gopura in Indian architecture refers to a tower above a gateway or archway, "towers at the entrances of a temple". The term is also used as saṃdoha, a "meeting place" of the Yoginis.

An ingot is a mass of metal that has been cast into a size and shape (bar, plate, sheet) to be stored, exchanged, or worked on into a semi-finished or finished product.

A Lao mouth organ mostly made of bamboo, with pipes connected with a small, hollowed-out hardwood reservoir into which air is blown. National instrument of Laos, with khene music inscribed in 2017 on UNESCO List of Intangible Cultural Heritage of Humanity. Used among the ethnic Lao Isan, some Tai ethnic groups such as Tai dam in north Vietnam, Muong people, and Lao population of the province of Stung Treng, Cambodia. In Cambodia, central element in lakhon ken ល្ខោនគែន, dance drama genre featuring the khene as main instrument.

Klon [or glawn, gaun] is a Thai and Lao term referring to 1) poetic verse in general, 2) a specific prosodic form in Thai and Lao poetic traditions.

kram: in middle period Cambodia, referred to proceeding, succession, order, justice, customary law, ordinance. "Cau krama" (IMA 30: 23-4), ‘head of law', judge, magistrate’.

Law codes were called kram, subsisting in modern times as in រាជក្រម reachkram: "royal code, royal edict". ក្រមការ kramkara, "order", "code of conduct", also meant "official, functionary" in middle period.

Kshatriya: one of the four varnas of Hindu society representing warrior aristocracy, along with Brahmins, Vaishyas, and Shudras. An administrator or a warrior.

Paul Pelliot has argued that the kings of Chenla, who were kstariya, could not directly descend from Kaundinya [Preah Thong], who was a brahmin. In Vaishnavism it is stated that the kstariya, ruling class, must govern the world in accordance with the rules and regulations enacted by great brāhmaṇas and saintly persons.

In Cambodia, there was a frequent mix of warrior and priest/scholar classes, a blend that led to a new group called Brahmakshatriyas. For instance, the K. 359 inscription from the 6th century reports the union of Brahmin Somasraman to a sister of King Bhavavarman I, himself a ksatriya. Several kings of Chenla bore the title Ksatriya in their ruler name, and the term came to mean "king" or "queen" in Khmer language.

An indigenous ethnic group with native lands ranging from Khorat Plateau (Northeast Thailand) to the banks of the Mekong River in southern Laos and south to north central Cambodia. One of the "hill tribes", with more than 30,000 identified in modern Cambodia. Known as the "iron masters" of Ancient Cambodia, specializing in iron mining and processing, especially in the Kompong Thom/Preah Vihear area.

Kuy (often Kuay among contemporary linguists) is a Katuic language of the Mon-Khmer language family. Three major dialects of the Kuy language have been identified: ntra, ntua and mla.

1. Royal actress or dancer.
2. ល្ខោនខោល l'khon khol, 'Masked theater', with a repertoire from the Reamker. In Cambodian masked theater, derived from ancient royal dance, each character bears a specific color: green for Ream (Rama), yellow for Preah Leak (Lakshmana), red for Seyda (Sita), white for Hanuman and its 18 monkey warriors, brick red for Krong Reap (Ravana), blue for Tupi (King of Buffaloes).
3. ល្ខោនគែន l'kon ken, a theater and dance form developed during the first reign of King Sihanouk (1945-195), in which the ken, a traditional Mon-Khmer and Laotian reed music instrument, played a central part.

An Indo-Aryan language spoken in parts of India (some of Bihar and Jharkaland states) and Nepal (Koshi and Madhesh provinces). One of the 22 official languages of India.

Although classical Maithili texts were written in Mithilaksar (Tirhuta) script, the script nowadays mostly used by Maithili speakers is Devanagari.

1. In India and ancient Southeast Asia, a town where Brahmanas lived; grama refering to smaller settlements. In Vedic texts, it is stated that each nagara or grama had its protecting female deity, nagara devata or grama devata.
2. The name Angkor is derived from nokor នគរ, a Khmer word meaning "kingdom" derivating from Sanskrit nagara.

1. Khmer honorific meaning 'nobleman' or 'lord'. Initially envoys of the Angkor kings, then title in used during the Oudong monarchy from the 18th century, substituting Ponhea (ពញា - equivalent to Phraya (พญา) in Thai). The title "Oknha" was transformed into Thai as Okya (ออกญา) by the Ayutthaya Kingdom. The word Oknha occurs in ancient Vietnamese records.
2. Since 1993, title bestowed by the King (later by the Cambodian government) on civilians (non-royalty) distinguished for their goods deeds. Recently, 'oknha' has become a Khmer version of 'tycoon', as since 2017 wealthy people donating a minimum of 500,000 USD to the State can obtain the title.

This figure, also called a kala (monster face) in Thailand, was a monster depicted beneath the Buddha during the Dvaravati period.

Accprding to Diskul (1970), "Panasbati seems to have a beak of a garuda (the king of birds), ears and horns of a bull, and wings of a hamsa (wild goose). These three animals are mounts of the three great Hindu gods, respectively Vishnu, Siva and Brahma. This placement of the Buddha upon Panasbati might be an attempt to indicate a belief that Buddhism was stronger than Hinduism. Such an iconography does not exist in India."

The Buddhist notion of "perfection", "transcendent perfection", as accomplished in the practices of the Boddhisatvas. There are six paramitas in Mahayana Buddhism, while the Pali canon of Theravada Buddhism lists ten paramis:

1. dana parami: Forsaking ones goods and possessions (animals or non living objects) by making gifts.
2. sila parami: Control of ones actions and speeches in order to refrain from evil actions.
3. nekkhamma parami: Renouncement of the life of the laity to the sake of a solitary life (bhikkhu, ermite).
4. panna parami: Development of knowledge and understanding through study and analytical reflection. Imparting knowledge to others. Making use of ones wisdom so as to take the highest benefits from it.
5. viriya parami: Effort to do good to others as much as possible and to the peril ones life.
6. khanti parami: Establishment of an always perfect tolerance, whatever, on others behalf, performed actions and uttered speeches might be.
7. sacca parami: Truthfulness (to tell only what is fair).
8. adhitthana parami: Decision to solely perform beneficial actions and to stick to them.
9. metta parami: Cultivation of a state of mind turned towards others happiness, to practice love towards all beings.
10. upekkha parami: Rejection of hatred and adoration. Not to stick to an idea in particular. Keeping ones mind even minded.

Parashurama [also known as Rama Jamadagnya, Rama Bhargava and Virarama] is the sixth avatar of the preserver god Vishnu in Hinduism, destroyer of evil, advised by Shiva to liberate Mother Earth from felons and demons, one of the Chiranjivis (Immortals) who will appear at the end of the Kali Yuga to be the guru of Vishnu's last incarnation, Kalki.

A Brahmin and hermit married to Dharani, an incarnation of Lakshmi, the wife of Vishnu, he is known for destroying the members of the Kshatryia caste who were abusing their power, armed with the Parshu [Parashu], an axe.

In the Ramayana, he challenges Rama to combat after the latter's wedding with Sita at Mithila, later deducing that Rama is himself an incarnation of Vishnu. Several temples in South India are dedicated to Parashurama, in particular in Kerala and Karnataka.

Pashupata Shaivism is one of the oldest major Shaivite Hindu schools, a movement influential in South India from 7th to 14th century, with mainstream current Mahapāśupata believing in Vedic Pāśupata penance, and schismatic Lakula Pasupata. The main aim of this ascetic and social-order-challenging sect was to get rid of all pains through tapasiya (penance) and by channeling Shiva's shakti.

The influence of Pashupata Shaivism was attested by Buddhist pilgrim monk Xuanzang, who traveled to India in the early 7th century. In Cambodia, the Pashupata followers were most respected at the Chenla court in Ishanapura (Sambor Prei Kuk), at Jayavarman II's Mahendraparvata, and later at Angkor Thom. According to Alexis Sanderson, "of Śaivism, Puficarātrika Vaisnavism and Mahāyāna Buddhism, the three Indie religions that flourished among the ruling and priestly elites of the Khmers up to the 14th century, Śaivism was predominant.

ពាក្យកាព្យ peakab indicates the homophony in កំណាព្យ kamnap, poetic style. Khmer poetics (and language) often recourse to homonymy, words that have different meanings but are pronounced the same way.

Traditional Khmer versification follows the stanza form called វគ្គនៃកំណាព្យ wek nei kamnap, from វគ្គ wek "session", "group of syllables". For melodious music, the Khmer has an all-together word, ពិរោះ piroah.

A tall tower-like spire, usually richly carved, common shrine element of Hindu and Buddhist architecture in the Khmer Empire (802–1431). Later adapted by Buddhist builders in Thailand, especially during the Ayutthaya Kingdom (1350–1767) and Rattanakosin Kingdom (1782–1932). In Thailand, only related with most important Buddhist temples.

Khmer for 'Lord Narayana': Vishnu.

Ravananugraha-murti ("form [of Shiva] showing grace to Ravana") is a benevolent aspect of Shiva, depicted seated on his abode Mount Kailash with his consort Parvati [or Uma], while the rakshasa-king (demon-king) Ravana of Lanka attempts to uproot it. According to Hindu scriptures, Ravana once tried to lift Mount Kailash, but Shiva pushed the mountain into place and trapped Ravana beneath it. For a thousand years, the imprisoned Ravana sang hymns in praise of Shiva, who finally blessed him and granted him an invincible sword and a powerful linga to worship.

The theme is found as early as the Gupta-Pallava era in India (300–600 CE), and was popular among artists of Ancient Southeast Asia, in particular on a lintel and pediment at Banteay Srei, Cambodia.