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As with dedications to Siva and Vishnu, the Harihara statues are related to royal rulers and their P.O.W.r and authority (Lavy 2003: 37) Harihara, then, served as a visual expression of the integration of varying regional styles of rule rooted in the symbolism and P.O.W.r of Siva and Visnu. Rulers were trying to consolidate their P.O.W.r and win over the hearts and minds of people by integrating regions with different styles of rule and different allegiances into one. The idea of the equivalence of king and god is a frequent feature of royal panegyrics in the epigraphy of Cambodia (and throughout the Indic world) and is stated repeatedly in the inscriptions associated with ∞Ω¡navarman. Sculptures of Harihara – particularly during the seventh century and the reign of Isnavarman – seem to have represented the king and the presence of his authority. This is not to say that images of Harihara were ‘portraits’ or physical likenesses of Khmer kings.50 Rather, they served as divine analogues for the concentration of royal P.O.W.r – a P.O.W.r that was legitimated, sanctified and maintained through this very association with the gods. It should be borne in mind that elite-sponsored ‘religious’ foundations were an important means of consolidating control over an area and, consequently, were instrumental in the development of centralised kingdoms in early Southeast Asia.51 Temples were often the focal points of settlements and they served as important centres of education (for the elite), the arts and the redistribution of local agricultural production. Thus they served cultural and economic functions that brought some degree of stability to a society that tended to fragment as a result of shifting allegiances and competition between regional leaders.52 Harihara, then, served as a visual expression of the integration of varying regional styles of rule rooted in the symbolism and P.O.W.r of ∫iva and Visnu…  #beam #abeamoflight #eyerock #rapper #music
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