navinnseab/khmer-wikipedia-article huggingface dataset:
សូរ (​ភាសាសាស្ត្រ​): Register phonation

Register phonation
In a number of East Asian languages, tonal differences are closely intertwined with phonation differences. In Vietnamese, for example, the ngã and sắc tones are both high-rising but the former is distinguished by having a glottal stop in the middle. Similarly, the nặng and huyền tones are both low-falling, but the nặng tone is shorter and pronounced with creaky voice at the end, while the huyền tone is longer and often has breathy voice. In some languages, such as Burmese, pitch and phonation are so closely intertwined that the two are combined in a single phonological system, where neither can be considered without the other. Confusingly, such systems are termed register, which is unrelated to "register tone" as described above.
សូរ (​ភាសាសាស្ត្រ​): Tone terracing and tone sandhi

Tone terracing and tone sandhi
Tone terracing

Tones are realized as pitch only in a relative sense. 'High tone' and 'low tone' are only meaningful relative to the speaker's vocal range and in comparing one syllable to the next, rather than as a contrast of absolute pitch such as one finds in music. As a result, when one combines tone with sentence prosody, the absolute pitch of a high tone at the end of a prosodic unit may be lower than that of a low tone at the beginning of the unit, because of the universal tendency (in both tonal and non-tonal languages) for pitch to decrease with time in a process called downdrift.

Tones may affect each other just as consonants and vowels do. In many register-tone languages, low tones may cause a downstep in following high or mid tones; the effect is such that even while the low tones remain at the lower end of the speaker's vocal range (which is itself descending due to downdrift), the high tones drop incrementally like steps in a stairway or terraced rice fields, until finally the tones merge and the system has to be reset. This effect is called tone terracing.

Sometimes a tone may remain as the sole realization of a grammatical particle after the original consonant and vowel disappear, so it can only be heard by its effect on other tones. It may cause downstep, or it may combine with other tones to form contours. These are called floating tones.

Tone sandhi

In many contour-tone languages, one tone may affect the shape of an adjacent tone. The affected tone may become something new, a tone that only occurs in such situations, or it may be changed into a different existing tone. This is called tone sandhi. In Mandarin Chinese, for example, a dipping tone between two other tones is reduced to a simple low tone, which otherwise does not occur in Mandarin, whereas if two dipping tones occur in a row, the first becomes a rising tone, indistinguishable from other rising tones in the language. For example, the words 很  'very' and 好  'good' produce the phrase 很好  'very good'.
សូរ (​ភាសាសាស្ត្រ​): Tone terracing

Tone terracing

Tones are realized as pitch only in a relative sense. 'High tone' and 'low tone' are only meaningful relative to the speaker's vocal range and in comparing one syllable to the next, rather than as a contrast of absolute pitch such as one finds in music. As a result, when one combines tone with sentence prosody, the absolute pitch of a high tone at the end of a prosodic unit may be lower than that of a low tone at the beginning of the unit, because of the universal tendency (in both tonal and non-tonal languages) for pitch to decrease with time in a process called downdrift.

Tones may affect each other just as consonants and vowels do. In many register-tone languages, low tones may cause a downstep in following high or mid tones; the effect is such that even while the low tones remain at the lower end of the speaker's vocal range (which is itself descending due to downdrift), the high tones drop incrementally like steps in a stairway or terraced rice fields, until finally the tones merge and the system has to be reset. This effect is called tone terracing.

Sometimes a tone may remain as the sole realization of a grammatical particle after the original consonant and vowel disappear, so it can only be heard by its effect on other tones. It may cause downstep, or it may combine with other tones to form contours. These are called floating tones.
សូរ (​ភាសាសាស្ត្រ​): Tone sandhi

Tone sandhi

In many contour-tone languages, one tone may affect the shape of an adjacent tone. The affected tone may become something new, a tone that only occurs in such situations, or it may be changed into a different existing tone. This is called tone sandhi. In Mandarin Chinese, for example, a dipping tone between two other tones is reduced to a simple low tone, which otherwise does not occur in Mandarin, whereas if two dipping tones occur in a row, the first becomes a rising tone, indistinguishable from other rising tones in the language. For example, the words 很  'very' and 好  'good' produce the phrase 很好  'very good'.
សូរ (​ភាសាសាស្ត្រ​): Word tones and syllable tones

Word tones and syllable tones
Another difference between tonal languages is whether the tones apply independently to each syllable or to the word as a whole. In Cantonese, Thai, and to some extent the Kru languages, each syllable may have a tone, whereas in Shanghainese, the Scandinavian languages, and many Bantu languages, the contour of each tone operates at the word level. That is, a trisyllabic word in a three-tone syllable-tone language has many more tonal possibilities (3 × 3 × 3 = 27) than a monosyllabic word (3), but there is no such difference in a word-tone language. For example, Shanghainese has two contrastive tones no matter how many syllables are in a word. Many languages described as having pitch accent are word-tone languages.

Tone sandhi is an intermediate situation, as tones are carried by individual syllables, but affect each other so that they are not independent of each other. For example, a number of Mandarin suffixes and grammatical particles have what is called (when describing Mandarin) a "neutral" tone, which has no independent existence. If a syllable with a neutral tone is added to a syllable with a full tone, the pitch contour of the resulting word is entirely determined by that other syllable:

+ Realization of neutral tones in Mandarin Tone in isolation Tone pattern withadded 'neutral tone' Example Pinyin English meaning high    bōli glass rising    bóbo elder uncle dipping    lǎba horn falling    tùzi rabbit

After high level and high rising tones, the neutral syllable has an independent pitch that looks like a mid-register tonethe default tone in most register-tone languages. However, after a falling tone it takes on a low pitch; the contour tone remains on the first syllable, but the pitch of the second syllable matches where the contour leaves off. And after a low-dipping tone, the contour spreads to the second syllable: the contour remains the same () whether the word has one syllable or two. In other words, the tone is now the property of the word, not the syllable. Shanghainese has taken this pattern to its extreme, as the pitches of all syllables are determined by the tone before them, so that only the tone of the initial syllable of a word is distinctive.
សូរ (​ភាសាសាស្ត្រ​): Tonal polarity

Tonal polarity
Languages with simple tone systems or pitch accent may have one or two syllables specified for tone, with the rest of the word taking a default tone. Such languages differ in which tone is marked and which is the default. In Navajo, for example, syllables have a low tone by default, while marked syllables have high tone. In the related language Sekani, however, the default is high tone, and marked syllables have low tone. There are parallels with stress: English stressed syllables have a higher pitch than unstressed syllables, whereas in Russian, stressed syllables have a lower pitch.
សូរ (​ភាសាសាស្ត្រ​): Uses of tone

Uses of tone
In East Asia, tone is typically lexical. This is characteristic of heavily tonal languages such as Chinese, Vietnamese, Thai, and Hmong. That is, tone is used to distinguish words which would otherwise be homonyms, rather than in the grammar, though some Yue Chinese dialects have minimal grammatical use of tone. (In Old Chinese, tones may have grammatical functions.) However, in many African languages, especially in the Niger–Congo family, tone is crucial to the grammar, with relatively little lexical use. In the Kru languages, a combination of these patterns is found: nouns tend to have complex tone systems reminiscent of East Asia, but are not much affected by grammatical inflections, whereas verbs tend to have simple tone systems of the type more typical of Africa, which are inflected to indicate tense and mood, person, and polarity, so that tone may be the only distinguishing feature between 'you went' and 'I won't go'. In colloquial Yoruba, especially when spoken quickly, vowels may assimilate to each other, and consonants elide, so that much of the lexical and grammatical information is carried by tone. In languages of West Africa such as Yoruba, people may even communicate with so-called "talking drums", which are modulated to imitate the tones of the language, or by whistling the tones of speech.

Tone as a linguistic feature may be less binary than it is typically conceived to be; the first image at right shows the distribution of all languages possessing more than two tones ('complex' tone), regardless of whether they are register or contour (or mixed) systems.

Note that tonal languages are not distributed evenly across the same range as non-tonal languages.  Instead, the majority of tone languages belong to the Niger-Congo, Sino-Tibetan and Austroasiatic groups, which are then composed by a large majority of tone languages and dominate a single region. Only in limited locations—South Africa, New Guinea, Mexico, Brazil and a few others do tone languages seem to occur as individual members or small clusters within a non-tone dominated area.  In some locations, like Central America, this may represent no more than an incidental effect of which languages were included when examining distribution; for groups like Khoi-San in Southern Africa and Papuan languages, whole families of languages possess tonality, but simply have relatively few members, while for some North American tone languages multiple independent origins are suspected.

If generally considering only complex-tone vs. no-tone it might be concluded that tone is almost always an ancient feature within a language family that is highly conserved among members.  However, when considered in addition to 'simple' tone systems that include only two tones, tone as a whole appears to be more labile, appearing several times within Indo-European, several times in American languages, and several times in Papuan families.  This may indicate that rather than a trait unique to some language families, tone is a latent feature of most language families that may more easily arise and disappear as languages change over time.
សូរ (​ភាសាសាស្ត្រ​): អាហ្រ្វិក

អាហ្រ្វិក
In African linguistics (as well as in many African orthographies), usually a set of accent marks is used to mark tone. The most common phonetic set (which is also included in the International Phonetic Alphabet) is found below:
High toneacuteáMid tonemacronāLow tonegraveà

Several variations are found. In many three-tone languages, it is common to mark High and Low tone as indicated above, but to omit marking of the Mid tone, e.g., má (High), ma (Mid), mà (Low). Similarly, in some two-tone languages, only one tone is marked explicitly.

With more complex tonal systems, such as in the Kru and Omotic languages, it is usual to indicate tone with numbers, with 1 for HIGH and 4 or 5 for LOW in Kru, but 1 for LOW and 5 for HIGH in Omotic. Contour tones are then indicated 14, 21, etc.
សូរ (​ភាសាសាស្ត្រ​): អាមេរិក​ខាង​ជើង

អាមេរិក​ខាង​ជើង
Several North American languages have tone, one of which is Cherokee, an Iroquoian language. Oklahoma Cherokee has six tones (1 low, 2 medium, 3 high, 4 very high, 5 rising and 6 falling).

In Mesoamericanist linguistics, /1/ stands for high tone and /5/ stands for low tone, except in Oto-Manguean languages, where /1/ may be low tone and /3/ high tone. It is also common to see acute accents for high tone and grave accents for low tone and combinations of these for contour tones. Several popular orthographies use ⟨j⟩ or ⟨h⟩ after a vowel to indicate low tone
Southern Athabascan languages that include the Navajo and Apache languages are tonal, and are analyzed as having 2 tones, high and low. One variety of Hopi has developed tone, as has the Cheyenne language.

The Mesoamerican language stock called Oto-Manguean is famously tonal and is the largest language family in Mesoamerica, containing languages including Zapotec, Mixtec, and Otomí, some of which have as many as five register tones (Trique, Usila Chinantec) and others only two (Matlatzinca and Chichimeca Jonaz). Other languages in Mesoamerica that have tones are Huichol, Yukatek Maya, the Tzotzil of San Bartolo, Uspanteko, and one variety of Huave.
សូរ (​ភាសាសាស្ត្រ​): អា​មេ​រិ​ច​ខាងត្បូង

អា​មេ​រិ​ច​ខាងត្បូង

A number of languages of South America are tonal. For example, various analyses of the Pirahã language describe either two or three tones. The Ticuna language isolate is exceptional for having five register tones (the only other languages in America to have such a system are Trique and Usila, mentioned above).
សូរ (​ភាសាសាស្ត្រ​): អឺរ៉ុប

អឺរ៉ុប
Both Swedish and Norwegian have simple word tone systems, often called pitch accent, that only appears in words of two or more syllables. Each word has a mandatory tone, which varies by dialect. Words whose pronunciation differs only in tone are frequently morphologically unrelated, and may be spelled differently, as in the Norwegian 'cider' ("sweet cider") and 'sider' ("pages"). The two word tones are called toneme 1 and toneme 2 in Norway and acute accent and grave accent in Sweden.

In Limburgish tones can also occur in words of one syllable: dáág (one day), dààg (several days).
សូរ (​ភាសាសាស្ត្រ​): Practical orthographies

Practical orthographies
In practical alphabetic orthographies, a number of approaches are used. Diacritics are common, as in pinyin, though these tend to be omitted. Thai uses a combination of redundant consonants and diacritics. Tone letters may also be used, for example in Hmong RPA and several minority languages in China. Or tone may simply be ignored. This is possible even for highly tonal languages: for example, the Chinese navy has successfully used toneless pinyin in government telegraph communications for decades, and likewise Chinese reporters abroad may file their stories in toneless pinyin. Dungan, a variety of Mandarin spoken in Central Asia, has, since 1927, been written in orthographies that do not indicate tone.Implications of the Soviet Dungan Script for Chinese Language Reform Ndjuka, where tone is less important, ignores tone except for a negative marker. However, the reverse is also true: in the Congo, there have been complaints from readers that newspapers written in orthographies without tone marking are insufficiently legible.
សូរ (​ភាសាសាស្ត្រ​): Number of tones

Number of tones
Languages may distinguish up to five levels of pitch, though the Chori language of Nigeria is described as distinguishing six surface tone registers. Since tone contours may involve up to two shifts in pitch, there are theoretically 5 x 5 x 5 = 125 distinct tones for a language with five registers. However, the most that are actually used in a language is a tenth of that number.

Several Kam–Sui languages of southern China have nine contrastive tones, including contour tones. For example, the Kam language has 9 tones: 3 more-or-less fixed tones (high, mid and low); 4 unidirectional tones (high and low rising, high and low falling); and 2 bidirectional tones (dipping and peaking). This assumes that checked syllables are not counted as having additional tones, as they traditionally are in China: For example, in the traditional reckoning, the Kam language has 15 tones, but 6 occur only in syllables closed with /p/, /t/ or /k/ while the other 9 occur in syllables not ending in one of these sounds. Preliminary work on the Wobe language of Liberia and Côte d'Ivoire, and the Chatino languages of southern Mexico suggests that some dialects may distinguish as many as fourteen tones, but many linguists have expressed doubts, believing that many of these will turn out to be sequences of tones or prosodic effects.
សូរ (​ភាសាសាស្ត្រ​): Bibliography

Bibliography
 Bao, Zhiming. (1999). The structure of tone. New York: Oxford University Press. ISBN 0-19-511880-4.
Chen, Matthew Y. 2000. Tone Sandhi: patterns across Chinese dialects. Cambridge, England: CUP ISBN 0-521-65272-3
Clements, George N.; Goldsmith, John (eds.) (1984) Autosegmental Studies in Bantu Tone. Berlin: Mouton de Gruyer.
 Fromkin, Victoria A. (ed.). (1978). Tone: A linguistic survey. New York: Academic Press.
 Halle, Morris; & Stevens, Kenneth. (1971). A note on laryngeal features. Quarterly progress report 101. MIT.
 Haudricourt, André-Georges. (1954). "De l'origine des tons en vietnamien". Journal Asiatique, 242: 69–82.
 Haudricourt, André-Georges. (1961). "Bipartition et tripartition des systèmes de tons dans quelques langues d'Extrême-Orient". Bulletin de la Société de Linguistique de Paris, 56: 163–180.
 
 Hyman, Larry. 2007. There is no pitch-accent prototype. Paper presented at the 2007 LSA Meeting. Anaheim, CA.
 Hyman, Larry. 2007. How (not) to do phonological typology: the case of pitch-accent. Berkeley, UC Berkeley. UC Berkeley Phonology Lab Annual Report: 654–685. Available online.
 Kingston, John. (2005). The phonetics of Athabaskan tonogenesis. In S. Hargus & K. Rice (Eds.), Athabaskan prosody (pp. 137–184). Amsterdam: John Benjamins Publishing.
 Maddieson, Ian. (1978). Universals of tone. In J. H. Greenberg (Ed.), Universals of human language: Phonology (Vol. 2). Stanford: Stanford University Press.
 Michaud, Alexis. (2008). Tones and intonation: some current challenges. Proc. of 8th Int. Seminar on Speech Production (ISSP'08), Strasbourg, pp. 13–18. (Keynote lecture.) Available online.
 Odden, David. (1995). Tone: African languages. In J. Goldsmith (Ed.), Handbook of phonological theory. Oxford: Basil Blackwell.
 Pike, Kenneth L. (1948). Tone languages: A technique for determining the number and type of pitch contrasts in a language, with studies in tonemic substitution and fusion. Ann Arbor: The University of Michigan Press. (Reprinted 1972, ISBN 0-472-08734-7).
 
 Yip, Moira. (2002). Tone. Cambridge textbooks in linguistics. Cambridge: Cambridge University Press. ISBN 0-521-77314-8 (hbk), ISBN 0-521-77445-4 (pbk).
សូរព្យញ្ជនៈ

សូរព្យញ្ជនៈ (ភាសាអង់គ្លេស: Consonant Sound) ជាសូរសំលេងដែលបន្លឺតាមទីតាំងផ្សេងៗ ដូចជា ក, ប្រទល់ធ្មេញ ជាដើម។ ក្នុងភាសាខ្មែរ ព្យញ្ជនៈ ទាញសូរស្រៈតាមខ្លួន ជាពួក អ ឬ អ៊។ ក្នុងភាសាអង់គ្លេស គ្មានលក្ខណៈបែបនេះទេ។
សូរព្យញ្ជនៈ: ទីតាំងសូរព្យញ្ជនៈខ្មែរ

ទីតាំងសូរព្យញ្ជនៈខ្មែរ 
 កណ្ឌជៈ (សំលេងក្នុងឋានបំពង់ក) មាន​ ក, ខ, គ, ឃ, ង, ហ, អ
 តាលុជៈ (សំលេងត្រង់ពិដាន គឺ ត្រង់ក្រអូមមាត់) មាន ច, ឆ, ជ, ឈ, យ
 សកដ្ឋាននាសិកដ្ឋានជៈ (សំលេងត្រង់ពីឋាន) មាន ញ, ណ, ន, ម
 មុទ្ធជៈ (សំលេងកើតក្នុងក្បាល) មាន ដ, ឋ, ឌ, ឍ, រ
 ទន្តជៈ​​ (សំលេងកើតត្រង់ ប្រទល់ធ្មេញ) មាន ដ, ថ,​ ទ, ធ, ល, ស, ឡ
 ឱដ្ឋជៈ (សំលេងកើតត្រង់រឹមបបូរមាត់) មាន ប, ផ, ព, ភ
 ទន្តោដ្ឋជៈ មាន វ
សូរព្យញ្ជនៈ: សូរព្យញ្ជនៈអង់គ្លេស

សូរព្យញ្ជនៈអង់គ្លេស 
ខាងក្រោមជា IPA ព្យញ្ជនៈរបស់ភាសាអង់គ្លេស៖

 /k/ 
 /k/ = ខ ឬ ឃ​ ឧទាហរណ៍ Cat /kæt/
 /k/ = ក ឬ គ ពេលនៅបន្ទាប់ពី ព្យញ្ជនៈ e.g. Scan /skæn/
 /k/ អាចជាៈ
 c (e.g. cat, country, cute...)
 ch (e.g. Chromosome, chaos...)
 k (e.g. kid...)

 /g/ 
 /g/ = ហ្ក ឬ ហ្គ e.g. Game /geɪm/
 /g/ អាចជាៈ
 g (e.g. gun, get, gate...)
 gh (e.g. ghost...)
 gu (e.g. guide...)

 /ŋ/ 
 /ŋ/ = ង ឬ ង៉ e.g. Sing /sɪŋ/
 /ŋ/ អាចជាៈ
 ng (e.g. bring...)

 /tʃ/ 
 /tʃ/ = ឆ ឬ ឈ e.g. Chat /tʃæt/
 /tʃ/ អាចជាៈ
 ch (e.g. Children...)
 tch (e.g. Watch...)

 /dʒ/ 
 /dʒ/ = ច ឬ ជ e.g. Jame /dʒeɪm/
 /dʒ/ អាចជាៈ
 g (e.g. Giant...)
 j (e.g. Jack...)

 /t/ 
 /t/ = ថ, ធ​ ឬ ត, ទ e.g. Tea /tiː/, Still /stɪl/
 /t/ = អាចជាៈ
 t (e.g. Teacher....)
 tt (e.g. Better...)

 /d/ 
 /d/ = ដ ឬ ឌ e.g. Do /duː/
 /d/ = អាចជាៈ
 d (e.g. Die...)

 /n/ 
 /n/ = ន ឬ ណ e.g. Nice /nais/
 /n/ = អិន e.g Station /ˈsteɪʃn/
 /n/ អាចជាៈ
 n (e.g. No...)
 ion (e.g. Question...)

 /p/ 
 /p/ = ផ ឬ ភ e.g. Pad /pæt/
 /p/ = ផ ឬ ភ e.g. Speak /spiːk/
សូរព្យញ្ជនៈ: /k/

/k/ 
 /k/ = ខ ឬ ឃ​ ឧទាហរណ៍ Cat /kæt/
 /k/ = ក ឬ គ ពេលនៅបន្ទាប់ពី ព្យញ្ជនៈ e.g. Scan /skæn/
 /k/ អាចជាៈ
 c (e.g. cat, country, cute...)
 ch (e.g. Chromosome, chaos...)
 k (e.g. kid...)
សូរព្យញ្ជនៈ: /g/

/g/ 
 /g/ = ហ្ក ឬ ហ្គ e.g. Game /geɪm/
 /g/ អាចជាៈ
 g (e.g. gun, get, gate...)
 gh (e.g. ghost...)
 gu (e.g. guide...)
សូរព្យញ្ជនៈ: /n/

/n/ 
 /n/ = ន ឬ ណ e.g. Nice /nais/
 /n/ = អិន e.g Station /ˈsteɪʃn/
 /n/ អាចជាៈ
 n (e.g. No...)
 ion (e.g. Question...)
សូរ្យគ្រាស

សូរ្យគ្រាស (ភាសាអង់គ្លេស៖ Solar Eclipse និងជាភាសាបារាំង៖ Éclipse solaire) គឺជាបាតុភូតធម្មជាតិមួយដែលអាចមើលឃើញពីផែនដី នៅពេលដែលដំណើរគោលចរនៃព្រះចន្ទឆ្លងកាត់ចន្លោះផែនដីនិងព្រះអាទិត្យ ហើយបានបាំងពន្លឺព្រះអាទិត្យ។

thumb|សូរ្យគ្រាសដែលត្រូវគេថតបាននៅថ្ងៃទី១១ ខែសីហា ឆ្នាំ១៩៩៩ (សូរ្យគ្រាសពេញលេញ)
សូរ្យគ្រាសថ្ងៃទី២៤ ខែតុលា ឆ្នាំ១៩៩៥

សូរ្យគ្រាស ជាសរុបរួមបានកើតឡើងនៅថ្ងៃទី២៤ ខែតុលា ឆ្នាំ១៩៩៥ ។ សូរ្យគ្រាស កើតឡើងនៅពេលដែល ព្រះច័ន្ទ ឆ្លងកាត់រវាង ផែនដី និង ព្រះអាទិត្យ ដោយហេតុនេះធ្វើឱ្យរូបភាពរបស់ព្រះអាទិត្យមានភាពងងឹតទាំងស្រុង ឬមួយផ្នែកសម្រាប់អ្នកមើលលើផែនដី។ សូរ្យគ្រាសសរុបកើតឡើងនៅពេលដល អង្កត់ផ្ចិតជាក់ស្តែង របស់ព្រះច័ន្ទមានទំហំធំជាងព្រះអាទិត្យ ដំំំណើររារាំងពន្លឺព្រះអាទិត្យដោយផ្ទាល់ទាំងអស់ ធ្វើឱ្យថ្ងៃក្លាយជាយប់ងងឹត។ សូរ្យគ្រាសកើតឡើងនៅក្នុងផ្លូវតូចចង្អៀតមួយឆ្លងកាត់ផ្ទៃផែនដី ជាមួយនឹងសូរ្យគ្រាសមួយផ្នែកដែលអាចមើលឃើញនៅលើតំបន់ជុំវិញដែលមានទទឹងរាប់ពាន់គីឡូម៉ែត្រ។ ផ្លូវនៃចំនួនសរុបបានឆ្លងកាត់ ប្រទេសអ៊ីរ៉ង់ អាហ្វហ្គានីស្ថាន ប៉ាគីស្ថាន ឥណ្ឌា ភាគនិរតីនៃ បង់ក្លាដែស ភូមា ថៃ កម្ពុជា វៀតណាម កោះស្ព្រាតលី ចុងភាគឦសាននៃ សាបា របស់ ម៉ាឡេស៊ី ហ្វីលីពីន និង ឥណ្ឌូនេស៊ី ។

ឯកសារ:SE1995Oct24T.gif
សូរ្យវរ្ម័ន (ចាម)

ព្រះបាទសូរ្យវរ្ម័ន (ម.គ.ស ?-២៤២) រជ្ជកាល (ម.គ.ស ២៦២-២៤២) ជាស្ដេចចាមសោយរាជ្យទី៣ ក្នុងរឿងព្រេង និងក្នុងពង្សាវតារខ្មែរ ព័ត៌មានទាក់ទងនឹងស្ដេចអង្គនេះបានពីរឿងនិទាន។ ទ្រង់បានសោយរាជ្យបាន ២០ វស្សា។ អ្នកស្នងរាជ្យបន្តព្រះអង្គគឺព្រះបាទធរណិន្ទ្រវរ្ម័ន។
ទ្រង់​គ្រងរាជ្យ​បាន​២០​ឆ្នាំ​ដែរ និង​គោរពបូជា​ថ្ម​ស្វ័យ​ម្ភុ​ដូចគ្នា។
សូរ្យវរ្ម័នទី២

សូរ្យវរ្ម័នទី២ 250pxSuryavarman II sculpture of the walls of Angkor Wat, an architectural masterpiece created by him in the 12th century.រជ្ជកាល ១១១៣-១១៥០
(ចក្រភពខ្មែរ)គ្រងរាជ​ ១១១៣ព្រះនាមពេញព្រះកម្រតែងអញ ស្រីសូរ្យវរ្ម័នទេវរាជមរណៈនាម បរមវិស្ណុលោកក្សត្រមុន ធរណីន្ទ្រវរ្ម័នទី១រាជបន្ត ធរណីន្ទ្រវរ្ម័នទី២សន្តិវង្ស រាជវង្ស​មហិធរៈបុរៈ អំបូរខ្មែរលើប្រសូត្រ មិនមានកំណត់ត្រា ចូលទីវង្គត់ ១១៥០ (ជន្មាយុ)​
មិនមានកំណត់ត្រាជំនឿសាសនាព្រហ្មញ្ញសាសនា​ 
លទ្ធិជំនឿ: ព្រះវិស្ណុ

សូរ្យវរ្ម័នទី២ (អង់គ្លេស: Suryavarman II) (Kh-Pronoun: Soriya Varaman II) (ប្រ.ស|គ.ស ០០០-១១៥០) រជ្ជកាលគ្រងរាជ (គ.ស ១១១៣-១១៥០) ក្រោយគ្រងរាជសម្បត្តិផ្លូវការណ៍ក្នុងឆ្នាំ ១១១៣ នៃគ.សករាជ ទ្រង់មានព្រះបរមនាមថា "វ្រះបាទ ធូលីជេងវ្រះកម្រតេងអញ ឝ្រីសូយ្យ៌វម៌្មទេវរាជ" ប្រែជាខេមរៈភាសា "ព្រះបាទដែនដីខាងជើង ព្រះកម្រតែងអញ ស្រីសូរ្យវរ្ម័នទេវរាជ"​ ។ ការសោយរាជ្យរបស់ព្រះអង្គត្រូវបាន ពណ៌នាអំពីការធ្វើឃាតស្ដេចចំនួន ២អង្គ ហើយព្រះអង្គត្រូវជាចៅក្មួយ នៃរាជវង្សស្ដេចភាគខាងជើងនេះ គឺព្រះបាទ ធរណីន្ទ្រវរ្ម័នទី១ និង ស្ដេចចាមមួយអង្គទៀត នៅតំបន់ សម្បូរព្រៃគុហ៌ ខេត្តកំពង់ធំ នេះផងដែរ ។  Nicholas Tarling (1992) 	The Cambridge History of Southeast Asia: From early times to c. 1800, Publisher: Cambridge University Press p.706 ISBN: 0521355052, 9780521355056  ហើយ ព្រះអង្គជាក្សត្រដ៏អស្ចារ្យ ដែលបានសាង ប្រាសាទ អង្គរវត្ត ដែលជា ប្រាសាទបុរាណដ៏ល្បីល្បាញបំផុត នៅក្នុងប្រទេសកម្ពុជា ប្រាសាទនេះ គឺជាអច្ឆរិយៈវត្ថុដ៏អស្ចារ្យមួយរបស់ពិភពលោកផងដែរ ដែលត្រូវបានសាងសង់ក្នុងសតវត្សទី១២ វាជាផ្នូរវិមានសម្រាប់ពិធីបុណ្យបញ្ចុះសពរបស់ព្រះបាទ សូរ្យវរ្ម័នទី២ និង ជាកន្លែងរំលឹកដល់ ព្រះវិស្ណុ ដែលជាអាទិទេព នៃសាសនាហិណ្ឌូផងដែរ ។ International 
History Channel (Television network) (2009) Angkor Wat: The Eighth Wonder, Publisher: International Masters Publishers p.24