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Khmer dancer wearing a samloy robab in the style of sampot sarobap ka'at kbal neak, or "sampot folded like the head of a naga".

A sampot (Khmer: សំពត់ /sɑmpʊət/ Khmer pronunciation: [sɑmpɔt]),[1] a traditional dress in Cambodia.[2] The traditional dress is similar to the dhoti of Southern Asia.[pʰâː nûŋ]).[3][failed verification]

Etymology

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Sampot (Khmer: សំពត់, romanized: saṃba't) is a modern Khmer term[4] that refers to "cloth",[5][6][4] "woman's skirt",[5] and "a piece of cloth used as a lower garment, specifically the Khmer sarong."[6][4] It is derived from several terms, including "saṃbata, sambata, saṃbūta, saṃmbuta, sambattha, and sabvata,"[6] which can be found in groups of the Inscription Modern Angkor Wat (IMA) from the 16th and 17th centuries CE, during the middle Khmer period.[6] The root of the word sampot is ba't[6] and ba'ta,[4] which mean "to encircle, surround."[6][4] The terms *sbat[6] and 'sba'ta[4] are derived from this root and mean "to gird, wrap, or envelop (the body)."[4]

Indian scholar Ramanlal Nagarji Mehta suggests that the Khmer word sampat-hol for textiles may date back to the Sanskrit word sam-patola[7] (Sanskrit: सम्-पटोल), meaning "like a Patola."[7] It is highly likely that the fabric and technique were brought by Hindu immigrants in the 3rd or 4th centuries CE, if the Khmer word is derived from Sanskrit.[7]

The term "Sampot" also entered the Thai court as sompak[8] (Thai: สมปัก) and song pak.[9] (Thai: สองปัก) According to historical records, "An official letter from the Dutch East India Company (VOC) in Ayutthaya to an official in Surat", dated 2 December 1662,[10] during the 16th and 17th centuries of the Ayutthaya period, the Siam court ordered textiles from India and Cambodia known as "pha poom, sompak poom (pha sompak puum), and sompak lai."[11][8] These textiles were later narrowed down by the Siamese court as the traditional attire worn by Siamese nobles that was bestowed upon Siamese nobles by the King of Siam.[8]

Origins

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Lord Vishnu wearing a sampot, 7th century pre-Angkor (likely Funan era).
Lord Vishnu wearing a sampot, 7th century pre-Angkor (likely Funan era).

The sampot dates back to the Funan era when a Cambodian king ordered the people of his kingdom to wear the sampot at the request of Chinese envoys.[12] Scholars conclude it can be contended that the Khmer chong kben corresponds to the dhoti worn in the Indian subcontinent, and the sampot samloy with bunched pleats secured in the waist to the sari and the knotted form to the lunghi.[13][14] Inscriptions, bas-reliefs, and Zhou Daguan's report have shown that backstrap looms were used to weave since ancient times.[15] The ancient bas-reliefs however provide a complete look at what fabrics were like, down to patterns and pleats. Silk woven sampots are used in weddings and funerals.[16]

Male and female deities in the pre-Angkor era are depicted in short and longer free-hanging sampot samloy, respectively, that are knotted at the waist.[17] These are depicted in bas-reliefs and sculpture only on women starting at about the 900s. With it emerged styles retained by Cambodians to this day: the first entails pleating edge panels of the sampot into a bundle that hangs forward then is fastened with a belt. The second style is simple: the sampot is wrapped around and casually tucked into the waist. Then, into the late 12th-early 13th century, we see the sampot’s central field pattern pushed back into a fold on itself and secured with a belt. The contrast this method creates between the central field and the patterned end panels displays the intricately patterned sampot very well.[18]

9th-10th century Khmer statue wearing sampot samloy, Guimet Museum, Paris.

Two even more intricate styles during this time include first the refined sampot fashion of the apsaras seen on Angkor Wat. Pieces of fabric sweep out from the waist of the sampot, from a chong kben undergarment, permitting the panels to cascade elegantly over and down the sampot skirt cloth. The central field of both pieces of fabric bear floral patterns and “weft-oriented bands” on the end sections.[19] The elaborate sampot counterpart for male depictions is a chong kben richly adorned with added lengths of fabric. A pendant sash, or pamn muk, hangs front and center. During the pre-Angkor era, unadorned or plain “warp-striped” pieces of fabric were used. By the Baphuon period in the 11th century, pleated cloth was popular. [20] “Random or ordered” floral patterns for the sampot’s central field became fashionable by the 12th and 13th century.[21]

Khmer devata, or apsara, in her elegant, richly-patterned sampot at Angkor Wat (12th century).

For an 1856 Gift of Mutual Respect, Siamese King Mongkut and his Second King Phra Pin Klao presented US President Franklin Pierce three woven pairs of Khmer silk sampot chong kben of hol variety, in addition to “a similarly-patterned silk shoulder cloth.” The method and design showed high sophistication, suggesting a long history of practice for such skill to develop over time and refine.[22] Author and archaeologist Lisa McQuail wrote that King Mongkut describes the Thai silk items included in the Harris Treaty Gifts as “second quality,” likely because they were not as fine as the Khmer hol silks included.[23]

In the run-up to the 1993 Cambodian general election, Khmer leader Son Sann in a heated debate called for a sampot test to be used to establish whether or not women could vote or not in the election; walking a few yards in a tight sampot would be a sign of true Khmer identity, in contrast with the Vietnamese women who would usually wear pants under the áo dài.[24]

Silk weaving was an important part of Cambodia's cultural past. People from Takéo Province have woven silk since the Funan era. Complex methods and intricate patterns have been developed to make the cloth, one of which is the hol method which involves the uneven twill technique. The reason they adopted such an unusual method remains unclear.[25][26]

Khmer ballerina Neang Sok in Khmer sbai & sampot samloy, 1860s by Émile Gsell.

[27]

In 1858–1860, Henri Mouhot, a French naturalist and explorer, embarked on a journey to mainland Southeast Asia (Indochinese Peninsula) where he had the opportunity to meet the king of the Khmer court. In his diary, Travels in the Central Parts of Indo-China (Siam), Cambodia, and Laos, during the years 1858, 1859, and 1860, Mouhot described the attire of the Cambodian king during his encounter:

Like his subjects, he generally wears nothing but the langouti, the native dress. His was composed of yellow silk, confined at the waist by a magnificent belt of gold studded with precious stones.[28]

— Henri Mouhot, Travels in the Central Parts of Indo-China (Siam), Cambodia, and Laos… (1858–60).

In George Groslier's Recherches sur les Cambodgiens (1921), a French director of Cambodia Arts during the French protectorate of Cambodia, observed the sampot:

The word sampot must be a very old word, as old as the garment because it means: "cloth" and not a special part of the Khmer costume. Originally, it was a fabric tunic like this horizontal strip of cloth in Chinese texts, and therefore a garment tunic. From cotton, it became silk, and was decorated with polychrome designs as we studied at the beginning of this chapter. At first glance, it is nothing other than the widened belt and is draped much like it. Until the 12th century it seems narrower than the current sampot and is only worn by men and certain sacred dancers (?). Women wear a sarong and we know that the fashion for the sampot common to both sexes is modern and probably a Siamese innovation.[29][note 1]

— George Groslier, Recherches sur les Cambodgiens (1921).

The George Groslier's original work describes: "The sampot is the Siamese national costume, long adopted by the Cambodians. It is a rectangular piece of fabric, rolled around the waist and tucked from the front to the back between the legs."[30]
Khmer girls in dance practice outfit: aww nay (or av nay) with a sampot chong kben, 1906.
Lord Vishnu depicted in Khmer sampot chong kben, 6th century.

In 1936, Harriet Winifred Ponder, a British traveller who journeyed through Southeast Asia and the South Pacific, documented her experiences in Cambodia. In her writings, Cambodian Glory, she described the traditional Cambodian attire:

The true national dress of Cambodia was the 'langouti', a sort of skirt, like the Javanese sarong, worn by both men and women. The 'sampot', a similar garment, but with one end pulled through between the legs to give the effect of a baggy pair of knickers, is a fashion imported from Siam.[31]

— H.W. Ponder, Cambodian Glory (1936).

In Angkor Empire (1955) by George Benjamin Walker, recorded the origin of the modern sampot, which was compiled from these historian authorities: R. C. Majumdar, Reginald Le May, Kalidas Nag, Horace Geoffrey Quaritch Wales, George Charles Brodrick, Lawrence Palmer Briggs, Cedric Dover, and French scholars of the French School of the Far East:

Her dress is the sampot. Authorities say it is from Siam. Why, no one can guess. Authorities tell us all sorts of curious things on the strength of their knowledge of the ancient texts and the historians' histories. It requires no knowledge of mediaeval Siamese history to see plentiful evidence of the sampot in the bas-reliefs, which preceded Siamese influences by centuries. The sampot is like the Indian lungi or the Malayan sarong; a length of cloth, often gaily coloured, tied around the waist and hanging down like a skirt. Sometimes it is caught up between the legs and fixed behind like a dhoti, in the fashion of the women of Maharashtra.[32]

— George B. Walker, ANGKOR EMPIRE (1955).

Textiles

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The Khmer chong kiet (ikat) technique.
The Khmer chong kiet (ikat) technique.
Khmer hol silk fabric.
Khmer hol silk fabric.

Chong kiet refers to the Khmer ikat technique. For patterns, weavers first resist-dye portions of weft yarn prior to weaving. The noun "kiet" in the Cambodian dictionary is defined as, "a silk material dyed by the Cham method, i.e. by binding up different areas in turn so that they do not take up the color." "Kiet" as a verb means, "tighten, roll up, draw up." In Khmer, chong kiet means "tying strings."[33][34]

Hol (ហល) is a weft chong kiet (ikat) silk bearing multi-colored designs achieved via resist-dying.[35] Hol utilizes uneven twill ground weave, yielding single or two-color fabrics produced by weaving three threads so that the "color of one thread dominates on one side of the fabric, while the two others determine the color on the reverse side."[36] The result is a brighter tone one side than the other, while the shade of the hol pattern itself remains consistent.[37] From this comes sampot hol.[38] Khmer people living in the eastern part of present-day Thailand also utilize this uneven twill, unlike the Thais who weave hol in plain weave, demonstrating a practice learned long before modern borders. During at least the 18th century, it was common for powerful Siamese officials to request hol silk garments from Khmer weavers in Cambodia.[39] Traditionally, aside from the natural color of the silk, the hol palette consists of the following colors: yellow; indigo; maroon; red; blue for highlights; red "overdyed with indigo" to get purple, and yellow "overdyed with indigo" to get green.[40]

Khmer phamuong silks.
Khmer phamuong silks.

Phamuong សំពត់ផាមួង /pʰaa muəŋ/ [41] are single-colored, weft-faced twill (or taffeta) silks that may utilize contrasting warp and weft colors for a shimmery, "shot silk" effect. Always woven in plain groundweave, the silk fabric is typically unpatterned.[42][43] The etymology of the word comes from the Thai words ผ้าม่วง which used to refer to the cloth being originally purple but became to be a generic term for the type of silk.[citation needed] The textile is usually hand-produced using a two-framed traditional loom.[44] There are currently 52 colors used in phamuong.[citation needed] The phamuong chorabap is a luxurious fabric using up to 22 needles to create.[citation needed] Phamuong variation are rabak, chorcung, anlounh, kaneiv and bantok.[citation needed] It usually uses floral and geometric motifs. The most valued silk used to create the phamuong is Cambodian yellow silk, known for its fine quality in the region.[citation needed] New designs draw inspiration from ancient patterns on old silk.[citation needed]

Variations

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Sampot charobab worn samloy-style at Angkor Wat.
Sampot charobab worn samloy-style at Angkor Wat.
An example of sampot hol, samloy-style.
An example of sampot hol, samloy-style.
  • Sompot chong kben (Khmer: សំពត់ចងក្បិន) is a unisex garment worn by wrapping it around the waist, stretching it away from the body and twisting the knot. The knot is then pulled between the legs and held by a belt.[45] Scholars conclude it can be contended that the Khmer chong kben corresponds to the dhoti worn in the Indian subcontinent.[14] The sampot chong kben has also been adopted in Thailand and Laos, where it is known as a chong kraben.[46]
  • Sampot samloy (Khmer: សំពត់សម្លុយ) is a draped sampot tied in a free-hanging, "wraparound skirt" or "tube skirt" style,[47][48] as opposed to pants-like chong kben. Sampot samloy is depicted in Khmer sculpture going all the way back to Funan, and often feature pleats and folds.[49]
  • Sampot seep (Khmer: សពត់ ស៊ូប) refers to a samloy-style sampot fabricated with darts and a waistband.[50]
  • Sampot bot, which translates more or less to "folded skirt," refers to a sampot skirt form secured via a long, flat fold along the side. This method is said to have emerged from western influence.[51][52]
  • Sampot hol (Khmer: សំពត់ ហល) is a weft chong kiet (or Ikat) silk sampot (usually women's) bearing multi-colored designs achieved via resist-dying.[53] Hol utilizes uneven twill groundweave, resulting in a brighter face on one side of the fabric than the other while the tone of the pattern itself remains consistent.[54]
  • Sampot anlonh (Khmer: សំពត់អន្លូញ) refers to woven silk skirt cloth with a chequerboard design formed from two-colored weft and warp stripes over an undecorated groundweave, creating stripes along it's entirety.[55][56] It is commonly worn by women in the countryside.[57] The sampot anlonh is similar to the Burmese longyi.[citation needed]
  • Sampot rbauk (Khmer: សំពត់ល្បើក) is a long, silk damask-patterned sampot. Patterns are done in silk or silk-esque thread and described in animal and plant terms, and often worn for formal events.[58][59][60]
  • Sampot charobab (Khmer: សំពត់ចរបាប់), also spelled sarobab and known as just sampot robab, is a long, brocaded silk with metallic silver and gold thread featuring pattern and motifs, such as jasmine floral, in different colors than the actual fabric.[61] It is worn by ballerinas in Khmer classical dance, by royalty, and also for weddings or other formal events.[62][63] Charobab can be worn as samloy robab and in chong kben style.[64][65] The samloy robab form is often draped in the fashion of sampot sarobap ka'at kbal neak, or "sampot folded like the head of a naga".[66]
  • Sampot soeng (Khmer: សំពត់ស៊ឹង) is a monochromatic skirt with a patterned design along the lower hem. Originally a more popular tradition in Laos, sampot soeng became popular in the 1980s when Cambodians, having emerged from war, purchased the affordable soeng from Laos. Eventually, Cambodians began weaving their own for personal use and to sell.[67][68]
  • Sampot tep apsara (Khmer: សំពត់ទេពអប្សរា) is a type of sampot from the Khmer Empire era associated with courtly apsaras. Its depiction can still be seen on the bas-reliefs of Angkor Wat.[69] Generally, the sampot tep apsara is both knotted at the waist and secured with a belt. Long pleats are gathered at the front, running the full length to the wearer's ankles. The sampot tep apsara is actually knotted twice at the waist, one on the left and one on the right; the left knot is longer, while the right knot is more decorative. Scholars trace this garment to the sari of India.[citation needed] Today, the sampot tep apsara is worn by traditional dancers in modern Cambodia.

In daily life

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The sampot is deeply rooted in Cambodian culture. Despite the French bringing a degree of westernisation to the country, Cambodians continued to wear the sampot. Royalty and government officials wore the sampot chang kben with a formal jacket. Cambodians still wear the phamuong sompot chong kben on special occasions today, and rural and poor Khmers still prefer them to western-style clothing for their comfort.[70]

The material used by poor and rural Cambodians is not hand-woven silk but printed batik-patterned cloth imported from Indonesia. It is still popular with both men and women alike and is regarded by the people of Cambodia as their national garment.[citation needed]

See also

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Further reading

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  • Gillian Green (2003). Traditional textiles of Cambodia. Bangkok: River Books. ISBN 974-8225-39-9.

Notes

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  1. ^ In French: Le mot sampot doit être un bien vieux mot» aussi vieux que le vêtement car il signifie : « étoffe » et non pas une partie spéciale du costume khmer. A l’origine, il était Tunique étoffe comme cette bande de toile horizontale des textes chinois, et donc Tunique vêtement. De coton, il est devenu de soie, s’est orné de dessins polychromes ainsi que nous Tarons étudié au début de ce chapitre. Au prime abord, il n’est pas autre chose que la ceinture élargie et se drape à peu près comme elle. Jusqu’au xue siècle il semble plus étroit que le sampot actuel et n’est porté que par les hommes et certaines danseuses sacrées (?). La femme, elle, se vêt du sarong et nous savons que la mode du sampot commun aux deux sexes est moderne et probablement innovation siamoise.[29]

References

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  1. ^ "SEAlang Dictionary". www.sealang.net. Retrieved 2023-10-11.
  2. ^ Emma C. Bunker, Douglas Latchford. Adoration and glory: the golden age of Khmer art. Art Media Resources, 2004, p. 35
  3. ^ James C. Ingram. Economic change in Thailand 1850-1970. Stanford University Press, 1971, p. 10 By
  4. ^ a b c d e f g Green, Gillian (2003). Traditional textiles of Cambodia: Cultural Threads and Material Heritage. Bangkok: River Books. pp. 197, 214. ISBN 9789748225395 OCLC 54755716
    • p. 197. "The word sampot is used in modern Khmer vocabulary to mean ' a piece of cloth ' as well as ' woman's skirt'."
    • p. 214. "Huffman (1978: 110, 537). The root of the word of sampot is ‘ba'ta’ pronounced /put/ meaning ‘to encircle, surround! The word ‘sba'ta’, pronounced /sput/ is constructed employing this root. It means ‘to gird, wrap, envelop (the body): From this root samba'ta /samput/ is derived. It is glossed as ‘the sampot or Khmer sarong (sic); (by extension) length of cloth; cloth; material’ (Jenner 1982:1 87, 8)."
  5. ^ a b Huffman, Franklin Eugene; Im Proum (1978). English-Khmer Dictionary. New Haven, CT.: Yale University Press. pp. 110, 537. ISBN 0300022611, 9780300022612 "cloth n. sell x សំពត់", "skirt n. woman's x សំពត់."
  6. ^ a b c d e f g Jenner, Philip Norman; Cooper, Doug (2011). A Dictionary of Middle Khmer. Canberra, A.C.T.: The Australian National University, Research School of Pacific and Asian Studies Pacific Linguistics. p. 352. ISBN 9780858836396
  7. ^ a b c Mehta, Ramanlal Nagarji. "Patolas," in Baroda State Museum and Picture Gallery (India) (1949). Bulletin of the Baroda Museum and Picture Gallery, Vol. 7 (Parts 1–2). Baroda: Museum and picture gallery Baroda. p. 67. "In Cambodia the word for textiles in Patola technique is Sampat-hol, which may go back to a Sanskrit equivalent like Sam-Patola, i.e. "like a Patola". If the Cambodian word may be of Sanskrit origin, it is very likely that also the fabric and its technique might have been brought from there by the Hindu immigrants in the 3rd and 4th centuries A.D."
  8. ^ a b c Chandracharoen, Thirabhand (2019). Phaa khien thong: Phra phuu saa borom raa chaa phi sek phra ma haa ka saat sayam [Gold patterned textile: The Royal Coronation Attire of the Kings of Siam] ผ้าเขียนทอง: พระภูษาบรมราชาภิเษกพระมหากษัตริย์สยาม (in Thai). Bangkok: Matichon. p. 41. ISBN 9789740216513 "เครื่องแบบขุนนาง เรียกว่า "สมปักลาย" ซึ่งคำว่า สมปัก ดังปรากฏในเอกสารโบราณเหล่านั้นเป็นคำเขมรหมายถึงผ้านุ่ง แต่สยามนำคำนี้มาใช้โดยกำหนดความหมายให้แคบลง มิได้หมายถึงผ้านุ่งทุกประเภทสำหรับชนทุกชั้นดังความหมายเดิมในภาษาเขมร แต่หมายถึงผ้านุ่งที่ขุนนางได้รับพระราชทานจากพระมหากษัตริย์เป็นเครื่องแบบมีลวดลายตามลำดับชั้นยศในทำเนียบศักดินา มีสีสัน ตามสังกัดและหน้าที่การใช้สอย" [The traditinal attire worn by Siamese nobles was known as "Sompak Lai". This term "Sompak," derived from Khmer, means "lower garment." However, the meaning of this word was later narrowed down by the Siamese court. Unlike its original meaning in Khmer, it did not refer to all types of lower garments worn by Siamese nobles of different social classes. Instead, it specifically referred to the lower garment that was bestowed upon Siamese nobles by the King of Siam. These garments were adorned with patterns that denoted their rank in the feudal system, and were also distinguished by colors that represented their affiliation and role.]
  9. ^ Lisuwan, Wibun (2007). Saranukrom pha khruang thaktho [Encyclopedia of woven textiles and weaving machines of Thailand] สารานุกรมผ้า เครื่องถักทอ (in Thai). Bangkok: Muang Boran. p. 139. ISBN 9789747385083 OCLC 144781024 "ผ้าปูมเขมร ผ้ามัดหมี่ของเขมรที่ราชสำนักสยามสั่งซื้อเข้ามาเป็นผ้านุ่งของขุนนาง เป็นผ้าขนาดใหญ่กว้างยาวมาก มักมีเชิงคล้ายผ้าปาโตลาของอินเดีย เรียกผ้าปูมเขมร บางทีเรียกสมปักหรือสองปัก" [Pha poom khamen" is a type of Khmer silk fabric that was traditionally worn by nobles in the Siamese royal court. This cloth is known for its large size, wide width, and long length, often featuring a border similar to that of Indian patola cloth. It is also referred to as "sompak" or "songpak."]
  10. ^ Chirapravati, Pattaratorn (M. L.); Kim-Ju, Greg Morae. "Refashioning the Identity of Siamese Monarchs: Hybridized Siamese and Indian Dress Styles," in Ghosh, Lipi (2017). India-Thailand Cultural Interactions: Glimpses from the past to present. Singapore: Springer. p. 94. ISBN 9789811038549 doi:10.1007/978-981-10-3854-9_5
  11. ^ Cheesman (Naenna), Patricia (2004). Lao-Tai Textiles: The Textiles of Xam Nuea and Muang Phuan. Chiang Mai: Studio Naenna. p. 155. ISBN 9789742729158 OCLC 56846004
  12. ^ Schliesinger, Joachim (2011). Ethnic groups of Cambodia. Bangkok, Thailand: White Lotus Press. ISBN 978-9744801777.
  13. ^ Greene, Gillian (2003). Traditional textiles of Cambodia : cultural threads and material heritage. p. 33.
  14. ^ a b Green, Gillian. "Textiles at the Khmer Court". Arts of Asia. 30 (4): 92.
  15. ^ Greene, Gillian (2003). Traditional textiles of Cambodia : cultural threads and material heritage. pp. 28, 44.
  16. ^ Joachim Schliesinger. Ethnic Groups of Cambodia Vol 2: Profile of Austro-Asiatic-Speaking Peoples. 312 pag. ISBN 163-3232379, ISBN 978-1633232372
  17. ^ Greene, Gillian (2003). Traditional textiles of Cambodia : cultural threads and material heritage. pp. 31, 32.
  18. ^ Greene, Gillian (2003). Traditional textiles of Cambodia : cultural threads and material heritage. p. 32.
  19. ^ Greene, Gillian (2003). Traditional textiles of Cambodia : cultural threads and material heritage. p. 32.
  20. ^ Greene, Gillian (2003). Traditional textiles of Cambodia : cultural threads and material heritage. pp. 32, 33.
  21. ^ Greene, Gillian (2003). Traditional textiles of Cambodia : cultural threads and material heritage. p. 33.
  22. ^ Green, Gillian (2003). Traditional textiles of Cambodia: cultural threads and material heritage. p. 45.
  23. ^ McQuail, Lisa (2003). TREASURES OF TWO NATIONS THAI ROYAL GIFTS TO THE UNITED STATES OF AMERICA (PDF). p. 97.
  24. ^ Edwards, Penny (November 2001). "Restyling Colonial Cambodia (1860–1954): French Dressing, Indigenous Custom and National Costume". Fashion Theory. 5 (4): 389–416. doi:10.2752/136270401778998909. ISSN 1362-704X.
  25. ^ Textiles of the Highland Peoples of Burma, Vol. 2: The Northern Mon-Khmer, Rawang, Upland Burmish, Lolo, Karen, Tai, and Hmong-Mien-Speaking Groups, 2005. Michael C. Howard. White Lotus Co Ltd., ISBN 978-9744800749
  26. ^ Greene, Gillian (2003). Traditional textiles of Cambodia : cultural threads and material heritage. p. 62.
  27. ^ Greene, Gillian (2003). Traditional textiles of Cambodia : cultural threads and material heritage. p. 164.
  28. ^ Mouhot, Henri (1986). "Visit to the King of Cambodia," Travels in the Central Parts of Indo-China (Siam), Cambodia, and Laos, during the years 1858, 1859, and 1860. Bangkok: White Lotus. p. 189. ISBN 9748495116
  29. ^ a b Groslier, George (1921). Recherches sur les Cambodgiens: d'Après les textes et les monuments depuis les premiers siècles de notre ère. Paris: A. Challamel. p. 46. OL 6636257M
  30. ^ Groslier, George; Davis, Kent and Rodríguez, Pedro (2012). Cambodian Dancers Ancient & Modern; Based on his original work: Danseuses Cambodgiennes Anciennes et Modernes. (Translated by Pedro Rodríguez). Holmes Beach, FL: DatASIA. p. 11. ISBN 9781934431122 OCLC 844936572 see footnote 3.
  31. ^ Ponder, Harriet Winifred (1936). CAMBODIAN GLORY: The Mystery of the Deserted Khmer Cities and their Vanished Splendour; and a Description of Life in Cambodia To-day. London: Thornton Butterworth Ltd. p. 27. OCLC 1016360490 see footnote 1.
  32. ^ Walker, George B. (1955). ANGKOR EMPIRE. Calcutta: Signet Press. pp. 59–60.
  33. ^ Greene, Gillian (2003). Traditional textiles of Cambodia : cultural threads and material heritage. pp. 105, 310.
  34. ^ Asian Textile Studies (2021). "Cambodian Kiet". asiantextilestudies.com/.
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