The Royal Harp

The existence of the Khmer harp, of Indian origin, is attested from the 7th century in Cambodia. It was performed within the temples and at the Royal Court until around the 14th-15th centuries before disappearing.

The Royal Harp was built on the basis of the latest Sounds of Angkor's research. At the beginning of the reconstruction of the Khmer harp in 2012, Sounds of Angkor had a limited number of images. But today, many bas-reliefs have been discovered. Thus, by crossing the ancient sources, Sounds of Angkor managed to propose an instrument close to the Angkorian original.

Several scientific elements made it possible to build The Royal Harp:

• The soundbox and the neck have a shape and proportions similar to the models represented on the bas-reliefs. Since there was no standardization in the Angkorian period, the approximations are natural. Only the so-called "arched harp" typology, according to the criteria of Western organology, makes it possible to distinguish the Khmer harp from others Asian harps.
• We do not know the number of strings of the Angkorian harp. At least eleven, but certainly more if we refer to some bas-reliefs. Since the beginning of the reconstructions, we have set our sights on the number sixteen which allows the development of a large musical repertoire.
• The tuning pegs and the winding direction of the strings are offered by a high-relief at the Elephant Terrace.
• Garuda's head was modeled from several Bayon and Elephant Terrace instruments.
• There are also arbitrary criteria in our reconstruction, including decorative. Indeed, the bas-reliefs do not reveal any decor or texture. It is why we opted for a standard Angkorian pattern.

The Royal Harp combines sobriety and nobility, raw wood and gold leaf, a choice made on the advice of a close friend of His Majesty. Several symbols, visible or not, are hidden in this instrument. We do not reveal them by all, but here are some of them. First of all Garuda's head. The Garuda is, in Brahmanism, the vehicle of the god Vishnu, and in Buddhism, the guardian of the teachings. Thus, The Royal Harp embraces the two religions of which the Royal Court of Cambodia is the heiress.

The main string of the harp, the most serious, has nineteen strands and the soundbox is nineteen centimeters wide. The number nineteen refers to the nineteen souls or vital principles (pralung) of the Khmer ... It is the animist part of The Royal Harp without which it would not be totally Khmer!

• Body and head: wild jackfruit, khnor prei (Moraceae), a wood widely used in the traditional Khmer instrument manufacturing.
• Pegs, neck/head junction ring, key: rosewood, kranhung (Fabaceae), one of the most precious and hard in Cambodia. It was once reserved for royalty.
• Tailpiece: thnong wood (Fabaceae), a precious essence that, with its beautiful pink color, brings a touch of elegance to the object.
• Soundboard: goat skin from Nepal treated according to ancient processes.
• String (16): nylon microfiber. The ancient strings were probably made of silk, but because of solidity, we used microfiber that offers the same sound.
• Decoration: 600 sheets of 24-carat gold of traditional size (4x4 cm) cover the frieze and Garuda's head.

A Franco-Khmer team of six people based in Siem Reap made The Royal Harp:

• Patrick Kersalé. French ethno-archaeomusicologist, specialist of the Khmer harp and ancient musical instruments of Cambodia. Project Manager, gold sheet.
• Leng Pohy (Authentic Khmer sculpture workshop). Woodcarver and stone, manufacturer of old musical instruments. Sculpture of the structure.
• Thean Nga. Luthier, manufacturer of old and traditional musical instruments, multi-material expert: wood, horn, bone, leather, coconut, calabash, rattan, horsehair, bamboo. Pegs production and goat skin laying.
• Sat Sim. Khmer sculptress. Sculpture of the frieze of the soundbox.
• Lim Theam. Franco-Khmer artist, founder of Theam's Gallery (formerly Theam's House). Draft of Garuda's head.
• Philippe Brousseau (Jayav'art Workshop). French artist, sculptor, draftsman, painter, specialist in papier-mâché, acrylic lacquer and textures. Preparation of the support for the laying of the gold sheets.
• To this team are added Nepalese correspondents, Rita Maharjan and Shiva Raj Parajuli, who mobilized to order and transport the goat skin.