Cutting of the Hair Ceremony, Royal Palace, May 1901: Photographic Documents

Original title: Documents photographiques sur les Fêtes ayant accompagné la coupe solennelle des cheveux du prince Chandalekha, fils de Noroudàm, en mai 1901, à Phnom-penh, recueillis et annotés Par M. H. Dufour, Architecte diplômé par le Gouvernement. [Photographic documents on the festivities related to the solemn cutting of the hair of Prince Chandalekha, son of Norodom, in May 1901, Phnom Penh, collected and annotated by Mr. H. Dufour, Architect qualified by the Government.]

Published in the very first issue of the Bulletin de l’Ecole française d’Extrême-Orient (BEFEO), this was the first — and only, for many years to come — ​‘photo feature’ to find its way to the columns of the prestigious publication. The fine photographic work by Henri Dufour came as a complement to Adhémard Leclère’s informed study on an ancient Khmer tradition that has survived modern times only in a few villages of contemporary Cambodia, mostly in the Angkor region. 

Presentation

A défaut de sensations de vie ensoleillée, de couleur, de son, qu’elles sont impuissantes à rendre, ces reproductions nous pourront néanmoins conserver le dessin, la ligne et l’allure générale des personnages qui ont figuré dans les fêtes qui ont, en quelque sorte, sanctionné l’arrivée à l’âge d’homme d’un des derniers fils du vieux roi du Cambodge: à ce titre, elles né seront pas déplacées dans les pages du Bulletin de l’Ecole française ď Extrême-Orient (fig. 29 à 38). Malgré quelques intrusions peu heureuses de vêtements ou d’objets occidentaux dont le spectateur a fait facilement abstraction, nous avons cru, en assistant à ces processions solennelles dont les théories se développaient au milieu de la déférence de tout un peuple pressé en foule serrée sur leur passage, percevoir un dernier et lointain écho des âges à la fois obscurs et splendides de la vieille Inde brahmanique, et, plus près, une vision légère de l’époque disparue dont les ruines d’Angkor restent comme le plus beau témoignage de puissance et de sérénité. Présenté dans l’ordre suivi pendant les défilés, on trouvera chaque sujet accompagné d’une courte notice que nous aurions bien aimé pouvoir étendre ; mais un simple séjour d’une huitaine de mois au Cambodge né nous autorise pas à hasarder des hypothèses encore peu fondées, ou à nous avancer dans des explications plus détaillées sur les moeurs et l’origine des traditions restées mystérieuses d’une race aussi fermée que l’est celle des Khmêrs, dont les descendants actuels s’ignorent, pour ainsi dire, eux-mêmes. C’est grâce à l’obligeance éclairée de S. A. le prince Mayura qu’on verra figurer ici quelques détails sur les vêtements, et leur identification ; il nous a paru intéressant aussi de faire suivre du terme cambodgien, chaque fois que nous avons pu nous le procurer, les noms des objets cités. Nous croyons enfin remplir un devoir réel envers ceux qu’intéresserait le peuple cambodgien en conseillant de consulter, à ceux qui né l’ont fait déjà, le beau travail de Janneau sur la langue du pays ; ils y trouveront des renseignements et des développements précieux sur des sujets à peine effleurés dans ces quelques pages. H. Dufour

[Lacking the sensations of a sunny life, color and sound, which they are powerless to render, these reproductions will nevertheless be able to preserve for us the figure and general appearance of the characters who appeared in a celebration which, in a way, sanctioned the coming to manhood of one of the last sons of the old king of Cambodia: as such, they will not be out of place in the pages of the Bulletin de l’Ecole française d’Extrême-Orient (fig. 29 to 38). Despite some unfortunate intrusions of Western clothing or objects that the spectator easily ignored, we believed, while attending these solemn processions whose theories were developed amidst the deference of a whole people pressed in a tight crowd on their passage, to perceive a last and distant echo of the ages at once obscure and splendid of old Brahmanic India, and, closer to us, a light vision of the vanished era of which the ruins of Angkor remain as the most beautiful testimony of power and serenity.

Presented in the order followed during the parades, we will find each subject accompanied by a short notice that we would have liked to be able to extend; but a simple stay of about eight months in Cambodia does not authorize us to risk hypotheses that are still poorly founded, or to advance in more detailed explanations on the customs and the origin of the traditions that have remained mysterious of a race as closed as that of the Khmers, whose current descendants are, so to speak, ignorant of themselves. It is thanks to the enlightened kindness of His Highness Prince Mayura [see below] that we will see here some details on the clothes, and their identification; it also seemed interesting to us to follow the names of the objects cited with the Cambodian term, whenever we were able to obtain it. Finally, we believe we are fulfilling a real duty towards those who would be interested in the Cambodian people by advising those who have not already done so to consult the remarkable work of Janneau on the language of the country; they will find there valuable information and developments on subjects barely touched upon in these few pages. H. Dufour

Author’s Captions

1. L’éléphant du roi, sur la croupe duquel se tient assis le chef des cornacs royaux, portant sur l’épaule son kang-ve de cuivre doré; la bête est guidée sous les oreilles par les fers de deux cornacs marchant à ses côtés. Les éléphants qui le précédent sont sellés de palanquins découverts sur lesquels les Yaksas, tourmenteurs d’hommes, exécutent leurs contorsions grimaçantes ; dans le fond se dresse la tribune si élégante de forme que Noroudàm fît construire au commencement de son règne pour assister solennellement aux combats d’éléphants et de bêtes sauvages. [The King’s elephant, with the Chief Royal Mahout sitting on its rump , carrying his gilded copper kang-ve over his shoulder. The beast is guided under its ears by the picks of two mahouts walking at its sides. Preceding elephants are saddled with open palanquins on which the Yaksas, tormentors of men, perform their grimacing contortions; in the background stands the elegantly designed platform that Norodom had built at the beginning of his reign to solemnly witness the fights between elephants and wild beasts.]
2. Chevaux des mandarins cambodgiens, armés en guerre, faisant suite aux files d’éléphants. Brides brodées, étriers en ciselé, larges plaques de cuir peintes avec des ornements fleuris or et vert, protegeant les jambes du cavalier contre la transpiration de sa monture, peut-être aussi de boucliers latéraux pour les flancs de la bête. Deux gros cordons tressés tombant de côté laissent pendre des floches de soie presque jusqu’à terre. Des faisceaux de plumes de paon et d’argus, fichés en arrière sur le troussequin de la selle, et qui rappellent l’ornementaion de la proue des barques mandarines, sont ici l’emblème de la guerre. [Horses of the Cambodian mandarins, armed for war, following the lines of elephants. Embroidered bridles, chiseled stirrups, large leather plates painted with gold and green floral ornaments, protecting the rider’s legs from the perspiration of his mount, perhaps also side shields for the beast’s flanks. Two large braided cords falling to the side leave silk tassels hanging almost to the ground. Bundles of peacock and argus pheasant feathers, fixed behind the the saddle cantle, evocative of the ornamentation of the prow on mandarin boats, are here the emblem of war.]
3. Défilé des Pravongs (personnages issus depuis plusieurs siècles de la famille royale). Ils sont revêtus de leur grand costume de procession, veste et sampot blancs; ils tiennent dans leurs mains une tige fleurie de lotus rouge (phca chauc) et sont coiffés du lamphac en coton blanc, cerclé d’un anneau d’étoffe rouge et or. On aperçoit en avant un brahme Bakou et son fils. [Parade of Pravong (individuals who have been members of the royal family for several centuries). They are dressed in their grand processional costume, white jacket and sampot; they hold in their hands a flowering stem of red lotus (phca chauc) [ផ្កាឈូក: lotus flower] and wear the white cotton lamphac, encircled by a ring of red and gold fabric. In front we see a Baku Brahmin and his son.]
4. Mandarins revêtus du costume d’ange composé d’une grande et légère tunique (aov-phay) bordée d’une bande d’ornements dorés, d’un sampot et d’un pantalon ancien brodé de vieux ornements khmers, jaunes et pourpres sur fond violet ; cette dernière partie du vêtement est désignée sous le nom de kho-chueung-cho (renseignement dû au prince Mayura). [Mandarins dressed in ​‘angel costume’ consisting of a large, light tunic (aov-phay) bordered with a band of golden ornaments, a sampot and old trousers embroidered with old Khmer ornaments, yellow and purple on a purple background; this last part of the garment is designated under the name of kho-chueung-cho (information courtesy of Prince Mayura).]
5. Le prince Chandalekha porté sur le yanamat d’or ; à ses côtés, coiffé du lamphac, se tient Essara Vinicchay, le Tiang-vang Sala- Utor ou président de la Cour suprême ; dans la main droite du prince est une feuille de latanier dorée sur laquelle sont inscrites quelques formules de pàli, destinées I à conjurer les démons. Le kiev-jat, en forme de petite tiare, rassemble et abrite ses cheveux, sur le sommet de la tête. Un large collier d’or à multiples rangs couvre ses épaules. Le cordon brahmanique (sang-var) est croisé sur sa poitrine ; à son intersection reluit un beau bijou formé de losanges d’or disposés en trémie et incrustés de diamants. Le prince est couvert de tout un costume tissé et plaqué de lames d’or. A ses chevilles, de lourds anneaux (kang-chueung) de même matière. Il avance, immobile comme une idole, sur son yanamat orné de Garudas, à travers la foule étendards et des parasols, au-dessus des torses nus de ses porteurs vêtus sur les reins d’une légère ceinture blanche. Un peu plus tard les derniers rayons du soleil à son déclin noieront dans une brume de pourpre et de cuivre toute cette vision réalisée de la vieille Asie. [Prince Chandalekha is carried on the golden yanamat; at his side, wearing the lamphak, stands Essara Vinicchay, the Tiang-vang Sala-Utor or President of the Supreme Court; in the prince’s right hand is a golden latanier leaf on which are inscribed some Pali formulas, intended to ward off demons. The kyiv-jat, in the form of a small tiara, gathers and shelters his hair on the crown of his head. A wide gold necklace with multiple rows covers his shoulders. The Brahmanic cord (sang-var) is crossed over his chest; at its intersection gleams a beautiful jewel formed of gold lozenges arranged in a hopper and encrusted with diamonds. The prince is covered with a whole costume woven and plated with gold plates. At his ankles are heavy rings (kang-chueung) of the same material. He advances, motionless as an idol, on his yanamat adorned with Garudas, through the crowd of standards and parasols, above the bare torsos of his bearers dressed around their waists in a light white belt. A little later the last rays of the setting sun will drown in a mist of purple and copper this completely realized vision of old Asia.]
6. Précédées de la Chas-thom (la très-âgée), des femmes (danseuses, princesses du palais, filles de mandarins) portent les objets personnels du roi, prêtés pour la circonstance au prince ; le sabre (pra-seng) orné d’une guirlande de fleurs de méaly, le grand éventail concave à long manche (vichni), le crachoir (spon), la boîte à bétel, etc. Les porteuses sont revêtues de la sebay verte ou écharpe, jetée sur l’épaule gauche et tombant par derrière ; celles le sabre et l’écran portent un large collier d’or (say-nuom), elles ont les bras ceints du ban-phap et toutes ont les poignets charges de lourds anneaux (kang-day) du métal précieux. Une longue chaîne également d’or (kse-meas) composee de plusieurs lignes pesantes, descend jusqu’à la hanche dont elle épouse souplement les mouvements pendant cette marche si particulière et réellement antique des danseuses Khmères. [Preceded by the Chas-thom (‘the very-old-lady’), women (dancers, princesses of the palace, daughters of mandarins) carry the personal objects of the king, lent to the prince for the occasion; the sabre (pra-seng) adorned with a garland of méaly flowers [ផ្កាម្លិះ jasmine flower], the large concave fan with a long handle (vichni), the spittoon (spon), the betel box, etc. The bearers are dressed in the green sebay or scarf, thrown over the left shoulder and falling behind; those carrying the sabre and the screen wear a wide gold necklace (say-nuom), their arms are girded with the ban-phap and all have their wrists loaded with heavy rings (kang-day) of the precious metal. A long chain also of gold (kse-meas) composed of several heavy lines, descends to the hip, where it smoothly follows the movements during this very particular and truly ancient march of the Khmer dancers.]
7. Petites filles des mandarins, appartenant au palais, vêtues d’une écharpe de soie blanche plissée et d’un sampot en coton de cette même couleur, qui symbolise la pureté; ce dernier est retenu sur les hanches par une ceinture ; toutes ont à la main la tige tremblante d’une fleur de lotus rouge et blanche : c’est la palme antique du Cambodge.
8. Ensemble du défilé précédant le yanamat ; il est encadré par de nombreux parasols de cinq étages (aphirom), spéciaux à la famille royale ; le violet, le vert clair et l’or dominent l’ornementation de ces parasols. La grande case de l’éléphant blanc s’aperçoit sur la gauche, abritée en partie par un gros manguier. [The entire parade preceding the yanamat, surrounded by numerous five-tier parasols (aphirom), special to the royal family; purple, light green and gold dominate the ornamentation of these parasols. The large hut of the white elephant can be seen on the left, partly shaded by a large mango tree.]
9. Noroudàm, qui attendait l’arrivée de son fils sur une petite estrade, l’accueille et l’aide à quitter le yanamat. Tout le cortège précédant le prince s’est massé dans l’intérieur du palais autour du Pnôm-Kailàs édifié sur la grande place. Autour de ce massif factice sont plantés de grands parasols décoratifs à dix rangs de couronnes. Huit bayadères, ayant en main des plumes de paon, qui exécutaient des danses en l’honneur de Çiva, se sont arrétees en voyant le yanamat ; au son de toutes les musiques, les suivantes, toutes les femmes et les enfants de la procession continuent à défiler devant le roi et rentrent dans les enceintes privées. [Noroudàm, who was awaiting his son’s arrival on a small platform, welcomed him and helped him leave the yanamat. The entire procession preceding the prince gathered inside the palace around the Pnôm-Kailàs built on the main square. Around this artificial mass were planted large decorative umbrellas with ten tiers of crowns. Eight bayadères, holding peacock feathers, who were performing dances in honor of Çiva, stopped upon seeing the yanamat; to the sound of all the music bands, the following ones, all the women and children of the procession continued to parade past the king as they returned to the private enclosures.]
10. Les femmes de la suite du prince le quittent a l’entrée du Pnôm-Kailàs où il se rend pour recevoir les aspersions et rentrent dans les enceintes privees. La première est Nou-Nâm, âgée de dix-sept ans, première danseuse du roi. C’est la Mayurichatt. Elle porte fermé le petit parasol (chatt) de forme bulbeuse et recouvert complètement de plumes de paon (mayura). La porteuse du sabre et celle du grand écran ont la tete ornée d’un magnifique diadème rayonnant, le kbang-na. [The women of the prince’s retinue leave him at the entrance to the Pnôm-Kailàs where he goes to receive the sprinklings and return to the private enclosures. The first is Nou-Nam, aged seventeen, the king’s first dancer. She is the Mayurichatt. She carries the small, bulbous umbrella (chatt) closed, completely covered with peacock feathers (mayura). The bearer of the sword and the one carrying the large screen have their heads adorned with a magnificent radiant diadem, the kbang-na.]

ADB Input

Siam-Cambodia: Influences and ​‘loan traditions’ on each side

H.G. Quaritch Wales, observing in the 1930s the differences in Siamese and Cambodian royal processions, noted 

The constitution of the central body [of the procession] no doubt follows closely the arrangement in force in the days when Ayudhya was capital; and that almost every feature in it was derived from the Khmers is evident when one compares it with the coronation procession of King Sisowath (1906), and with those depicted on the bas-reliefs of Ankor Vat (eleventh century A.D.). In the modern Cambodian royal procession we find ceremonial instruments, processional umbrellas, state umbrella, sunshade and fan, noblemen supporting the king, and the royal palanquin. We notice, however, a few differences : the presence in the Cambodian procession of an amazon guard from the inner palace, an institution abolished in Siam with the harem ; the inclusion of elephants, a mode of royal progression which was never popular in Bangkok, and is used nowadays only when the King visits the North, where the elephant is still the traditional royal mount ; and, finally, the presence of a chariot which is a typically Khmer form of royal vehicle. The Cambodian king, indeed, halts three times in his pradaksina circuit of the city. Each of these halts is at one of the cardinal points, and the king, on descending from his vehicle, is presented by a Brahman with holy water with which he bathes his face and pours out a libation to the Goddess of Earth. At each of these halts the king changes his vehicle, thus making use of four in all palanquin, chariot, horse, and, finally, elephant, the four traditional royal modes of conveyance. But in Siam, although the royal chargers take part in the procession, the King remains on his palanquin throughout. Another point of interest is that the Cambodian king changes his head-dress each time he changes his vehicle. The Hindu gods had each a different vehicle. Can it be that this change of head-dress and vehicle symbolizes the king’s representation of several of the gods of the Hindu pantheon ? Thus it appears that Cambodia still preserves certain features which have been lost in Siam. [H.G. Quaritch Wales, Siamese States Ceremonies: Their History and Function, London, Bernard Quaritch, 1931, p 109].

Nou Nam the royal dancer

If the author’s information is correct, Nou Nam, the first dancer of the Royal Ballet and the first to be identified by her name — apart from other remarkable dancers who married French expats like Ratt Pos, the ​‘Golden Apsara’ painted by George Groslier in 1911 -, was born in 1884. According to Groslier, who called her back from retirement in 1927 to direct younger dancers such as Ith Anong Nari, Kieuvan, Suon, she had been King Sisowath’s favorite after being King Norodom’s one, and had been ​“for 15 years a princess of motion, an all-powerful force at the Royal Palace. […] Married to a secretary, she’s now close to fifty. […] She enters my office, humble, thin, having retained of her beauty only those velvety, bold and intelligent eyes.” [George Groslier, Avec les danseuses royales du Cambodge, p 542 – 3.] 

“Those velvety, bold and intelligent eyes…” In this rehearsal at the Royal Palace photographed by Henri Turot in 1899, could the preeminent dancer be Nou Nam? [source: drawing by M. Parys after Turot’s phototgraphy, Le Monde illustré, 22 April 1899, via gal​li​ca​.bnf​.fr]

Cambodian Princes and Princesses in the Protectorate’s troubled times 

The princes mentioned in Dufour’s photographic contributions were:

• Coming of age, HRH Prince Norodom Chandalekha នរោត្តម ចន្រ្ទលក្ខណ៍ (1890- 28 May1971), one of the twenty-seven sons [along with thirty-four daughters sons] of King Norodom [Naradhama] ព្រះនរោត្តម (1834 – 1904, birth name posthumous title Preah Karuna Preah Sovannakot ព្រះករុណាព្រះសុវណ្ណកោដ្ឋ). After studying at Paris Ecole Coloniale, Chandalekha was aide-de-camp to HM King Sisowath from 1912 to 1926, and later a member of Phnom Penh Municipal Council until in 1932. He married four times, first wife: Anak Phan; second wife: H.H. Princess Ketsodasi, whose father was H.S.H. Prince (Mom Chau) Khun Jang Nabhavamsa of Siam and her mother HRH Princess Sri Varasakdi Biriuva, eldest daughter of King Sisowath; third wife: HRH. Princess Sudarakshmi (b.1889), former wife of H.R.H. Prince Sri Svasti Subarna Varman, and seventh daughter of King Sisowath; fourth wife: Anak Munang Saruni. He had four sons and six daughters, several of them — along with grandchildren — killed by the Khmer Rouge.
• His older brother whom Dufour quoted as his mentor in Cambodian royal protocol was HRH Prince Norodom Mayura នរោត្តម មយូរ៉ា (b. at Udong Royal Palace, 1864 — disappeared in Vietnam in 1918). His father was King Norodom I, his mother Brhat Munang Chau Sugandarasa Nari Ep, daughter of a Mandarin, King Norodom’s eighth wife. He married his half-sister HRH Princess Norodom Karanikakeva (b. 1864 — d. before 1920), daughter of King Norodom I by his sixteen wife, H.R.H. Princess Ubulavara, daughter of HM King Angga Duong. Accused by the French colonial administation of conspiring with the Governor of Battambang, he was condemned to death for his part in the revolt in Kompong Chhnang Province (1896−1897), sentence commuted to life imprisonment in Saigon. He was exiled to the northern Laotian town of Xieng Khouang in 1916. [biographical data from Christopher Buyens’ Royal Ark of Cambodia, The Varman Dynasty] Prince Mayura, King Norodom’s seventh son, belonged to the same generation than two other princes who openly challenged the ever-tightening control of the Cambodian royalty by the French Protectorate:
• HRH Prince Norodom Aruna Yunkanthor នរោត្តម អរុណយុគន្ធរ, (1860 at Udong Royal Palace — 27 June 1934 in Bangkok, Siam), third son of King Norodom by his ninth wife Brhat Nang Baladevi Sudachatri Pos (1840−1925), daughter of a Mandarin, had been named Heir Apparent by his father but was removed from the succession due to the hostility of the French officials. In 1900, he had sent a letter to the French Governor-General criticizing Thiounn​’s appointment to the position of Prime Minister — a critic repeated by the then exiled Prince Mayura in 1916; moreover, he was ​‘schooled in Sanskrit and Pali, conversant with Thai, Lao, and Burmese as well as French’, a skilled, independent mind which the French administration found dangerous, especially as he might inspire the nationalist feelings among the sangha (Buddhist community [see Penny Edwards, Cambodge: The Cultivation of A Nation, 1860 – 1945, 2007]. Aruna Yukhantor lived in in exile in Belgium, Singapore, and in Bangkok from 1913 to his death — his funerals were attended by dignitaries of the Siamese royal court. In 1891, he had married his half-sister HRH Princess Malika (1872 — 18 March 1951), daughter of H.M. King Norodom I. With three junior wives and the independent-minded Malika, a royal princess who fostered education for Cambodian girls, he had three sons and four daughters, including:

1. HRH Prince Yukanthor Kanthararak [1890-?], who followed him in exile before returning to Cambodia and instigated an anti-colonial movement in Battambang.
2. HRH Prince Yukanthor Krahianha Vajirvaram known as Yukanthor or Iukanthor Areno [Europeanized Areno Iukanthor] (1895, Phnom Penh — unknow, Phnom Penh where he returned to in 1938), self-exiled in Paris in 1919, married to the French harpist Raymonde Riou, a brilliant artist and writer who expressed his anti-colonial views through his art. [cf. Grégory Mikaelian, ​‘La bohème parisienne d’Areno Iukanthor (1919−1938): du prince de l’imitation à l’initation du prince’, Bulletin de l’AEFEK (BAEFEK) 24, Dec. 2021, 36 p.] Their only child, HH Princess Mahadévi Iukanthor (b. 3 Feb. 1925, Paris), was remarked at a young age as a Cambodian exotic dancer. She married a Chavane de Dalmassy.
3. HRH Princess Yukanthor Pingpeas [ប៉េងប៉ោះ ​‘Tomato’, affectionate first name alluding to her plumpness] (28 July 1892, Phnom Penh- 29 Oct. 1969, Phnom Penh) and HRH Princess Yukanthor Pingpeang [ពីងពាង ​‘Spider’, affectionate first name alluding to her thinness] (26 Dec. 1894, Phnom Penh — 26 Dec. 1966, Paris) were both amongst the most educated women in the Kingdom, and both were active during the Sangkum era. Princess Pingpeang, in particular, contributed to Cambodia’s smooth accession to independence in the Assembly of the French Union from 1946 to 1957.

• HRH Prince Duong Chakr នរោត្តម ឌួងចក្រ (1861, Udong Palace — 25 March 1897, Djelfa, Algeria) was King Norodom’s fifth son by Queen Khun Than (1835÷1840 — aft. 1915, according to Suppya Nut),thirteeenth wife and step-mother of Norodom since she had been the wife of his father King Ang Duong (known then as Queen Nuon. An accomplished court dancer, the daughter of a leader of the Chinese Hongmen 洪门 secret society, she was considered by the French administrators as a promoter of Siamese influence among the Cambodian royals, and her son, Duong Chakr, was arrested and shackled in chains in April 1890 for his support of the 1885 – 1887 uprising led by his uncle Si Votha ស៊ីវត្ថា (c. 1841 – 31 Dec. 1891). In 1891, he escaped to Bangkok, then going to Paris in June 1983 in order to campaign against the authoritarian ​‘coup de force’ instigated by French Resident-Superieur Charles Thomson in 1884. Two months later, he was arrested and exiled to Algeria, then under French military rule. With wives Romdenh, daughter of a court poet, An, daughter of a commoner, and Ouk, he had two sons and two daughters, including HH Prince Norodom Ritharasi (1894 — 1949), the first Cambodian certified medical doctor in 1929 and author of L’évolution de la médecine au Cambodge (1929). One of his grandsons, HH Prince Norodom Monthon (18 March 1902 — ?), served as minister in several departments from 1945 to 1954, and as Privy Council from 1964 to 1967. 

Biographical data have been checked against Christopher Buyens’ Royal Ark of Cambodia, The Varman Dynasty, and Julio Jeldres’ The Royal House of Cambodia, Phnom Penh, Sleuth Rith Institute/​Documentation Center of Cambodia, 2017 (augmented ed.).