navinnseab/khmer-wikipedia-article huggingface dataset:
មីយ៉ាន់ម៉ា: សិល្បៈ

សិល្បៈ 
គំនិតសិល្បៈប្រពៃណីភូមាត្រូវបានប្រជាជនភូមា និងប្រជាជនមកពីបរទេសពេញនិយម និងគោរព។ សិល្បៈ​សហសម័យ​ភូមា​បាន​អភិវឌ្ឍ​យ៉ាង​លឿន​តាម​លក្ខខណ្ឌ​ផ្ទាល់​ខ្លួន។ សិល្បករដែលកើតក្រោយទសវត្សរ៍ឆ្នាំ 1980 មានឱកាសកាន់តែច្រើនក្នុងការអនុវត្តសិល្បៈនៅក្រៅប្រទេស។

មួយក្នុងចំនោមអ្នកដំបូងគេដែលសិក្សាសិល្បៈលោកខាងលិចគឺ Ba Nyan រួមជាមួយ Ngwe Gaing និងវិចិត្រករមួយចំនួនទៀតដែលពួកគេជាអ្នកត្រួសត្រាយនៃរចនាប័ទ្មគំនូរលោកខាងលិច។ ក្រោយមក ក្មេងៗភាគច្រើនបានរៀនគោលគំនិតពីពួកគេ សិល្បករសហសម័យល្បីៗមួយចំនួនគឺ Lun Gywe Aung Kyaw Htet MPP Yei Myint Myint Swe Min Wai Aung Aung Myint, Kin Maung Yin, Po Po និង Zaw Zaw Aung
មីយ៉ាន់ម៉ា: សមាគមសេដ្ឋកិច្ចអាស៊ាន

សមាគមសេដ្ឋកិច្ចអាស៊ាន
(ASEAN Political-Security Community-AEC)

មានគោលបំណងដើម្បីធ្វើឱ្យអាស៊ានមានទីផ្សារនិងមូលដ្ឋាននៃការផលិតជាមួយគ្នា និងមានការផ្លាស់ប្ដូរទំនិញ សេវាកម្ម ការវិនិយោគ ហិរញ្ញវត្ថុ និងកម្មករជំនាញដោយសេរី។ អាស៊ានបានរៀបចំផែនការការចាត់តាំងសមាគមសេដ្ឋកិច្ចអាស៊ាន(ASEAN Economic Community Blueprint) ដែលជាផែនការលើកកម្ពស់សេដ្ឋកិច្ច ដើម្បីសម្រេចគោលបំណង ៤ យ៉ាងគឺ

១. រកទីផ្សារ និងមូលដ្ឋានការផលិតតែមួយ (single market and production base) ដោយមានការផ្លាស់ប្ដូរទំនិញ សេវាកម្ម ការវិនិយោគ និងកម្មករជំនាញដោយសេរីនិងធ្វើចលនាប្រាក់វិនិយោគដោយសេរីឱ្យបានកាន់តែច្រើន។

២. ការបង្កើនកម្រិតសមត្ថភាពក្នុងការប្រកួតប្រជែងខាងសេដ្ឋកិច្ចរបស់អាស៊ាន ដោយផ្ដោតសំខាន់លើគោលនយោបាយទ្រទ្រង់សហគមសេដ្ឋកិច្ច ដូចជា នយោបាយការប្រកួតប្រជែងការគ្រប់គ្រងអតិថិជន សិទ្ធិកម្មសិទ្ធិបញ្ញា នយោបាយពន្ធដារ និងការអភិវឌ្ឍគម្រោងមូលដ្ឋាន(ហិរញ្ញវត្ថុ ការដឹកជញ្ជូន វិទ្យាសាស្ដ្របច្ចេកទេស និងថាមពល)។            

៣. ការអភិវឌ្ឍសេដ្ឋកិច្ចបែបសមភាព ឱ្យមានការអភិវឌ្ឍឧស្សាហកម្មខ្នាតតូចនិងខ្នាតមធ្យម និងការបង្កើនកម្រិតសមត្ថភាពដោយឆ្លងកាត់គ្រោងការផ្សេង។

៤. ការរួមជាមួយនឹងសេដ្ឋកិច្ចពិភពលោក ផ្ដោតលើការធ្វើទំនាក់ទំនងនយោបាយសេដ្ឋកិច្ចរបស់អាស៊ានជាមួយប្រទេសក្រៅតំបន់ ដើម្បីឱ្យអាស៊ានមានសក្ដានុពលច្បាស់លាស់។
មីយ៉ាន់ម៉ា: សមាគមសង្គម និងវប្បធម៌អាស៊ាន

សមាគមសង្គម និងវប្បធម៌អាស៊ាន
(ASEAN Socio-Cultural Community-ASCC)

អាស៊ានបានកំណត់គោលដៅបង្កើតសមាគមសង្គមនិងវប្បធម៌អាស៊ានក្នុងឆ្នាំគ.ស ២០១៥ ដោយសង្ឃឹមថានឹងក្លាយជាសមាគមដែលមានប្រជាជនជាមណ្ឌលកណ្ដាល មានសង្គមដែលចេះស្រឡាញ់ និងចែករំលែក ប្រជាជនអាស៊ានមានជីវភាពរបស់នៅល្អ និងមានការអភិវឌ្ឍគ្រប់វិស័យ ដើម្បីលើកកម្ពល់គុណភាពជីវិតរបស់ប្រជាជន ធានាការប្រើប្រាស់ធនធានធម្មជាតិយូរអង្វែង រួមទាំងធានារក្សាអត្ដសញ្ញាណអាស៊ាន(ASEAN Identity) ដើម្បីធានាភាពជាសមាគមសង្គមនិងវប្បធម៌អាស៊ាន ដោយបានរៀបចំធ្វើផែនការការបង្កើតសមាគមសង្គមនិងវប្បធម៌អាស៊ាន(ASEAN Socio-Cultural Community Blueprint) ដែលប្រកបដោយកិច្ចសហប្រតិបត្ដិការ ៦ ផ្នែកដូចជា៖

១. ការអភិវឌ្ឍធនធានមនុស្ស

២. ការគ្រប់គ្រងនិងសេវាកម្មសង្គម

៣. សិទ្ធិនិងយុត្ដិធម៌សង្គម

៤. ស្ថេរភាពបរិស្ថាន

៥. ការបង្កើតអត្ដសញ្ញាណអាស៊ាន

៦. ការកាត់បន្ថយការអភិវឌ្ឍយឺតយ៉ាវ

ទាំងអស់នេះត្រូវមានដំណើរការនៃការប្រជុំថ្នាក់អជ្ញាធរមូលដ្ឋាន ថ្នាក់រដ្ឋមន្រ្ដី គណៈរដ្ឋមន្រ្ដីសមាគមសង្គមនិងវប្បធម៌អាស៊ាន។
មីយ៉ាន់ម៉ាខាងក្រោម

តំនភ្ជាប់=//upload.wikimedia.org/wikipedia/commons/thumb/8/89/Burma_indo_china_1886.jpg/220px-Burma_indo_china_1886.jpg|រូបភាពតូច| ភូមា​ក្រោម​មាន​ពណ៌​ផ្កាឈូក ផ្ទុយ​នឹង ​ភូមា​ខាង​លើ ​មាន​ពណ៌​ទឹកក្រូច។
មីយ៉ាន់ម៉ាខាងក្រោម (    ហៅម្យ៉ាងទៀតថា ភូមាខាងក្រោម ) គឺជាតំបន់ភូមិសាស្ត្រនៃ ប្រទេសមីយ៉ាន់ម៉ា និងរួមបញ្ចូល តំបន់ដីសណ្តអ៊ីរ៉ាវ៉ាឌី រាប ( តំបន់អៃយ៉ាវ៉ាឌី តំបន់បាហ្គោ និង តំបន់យ៉ាំងហ្គោន ) ក៏ដូចជាតំបន់ឆ្នេរនៃប្រទេស ( រដ្ឋរ៉ាឃីន និង រដ្ឋមន និង តំបន់តានន្ទថារី )។

នៅក្នុង ភាសាភូមា ប្រជាជនដែលមានដើមកំណើតមកពី ប្រទេសភូមាខាងលើ ជាធម្មតាត្រូវបានគេហៅថា អាយ៉ាថា សម្រាប់បុរស និង អាយ៉ាថូ សម្រាប់ស្ត្រី ចំណែកឯអ្នកដែលមកពីប្រទេសមីយ៉ាន់ម៉ាក្រោមត្រូវបានគេហៅថា អោកថា (အောက်သား)   សម្រាប់បុរស និង អោកថូ សម្រាប់ស្ត្រី។ 

តាមប្រវត្តិសាស្ត្រ ភូមាក្រោមបានសំដៅទៅលើផ្នែកនៃ មីយ៉ាន់ម៉ា ដែលត្រូវបានបញ្ចូលដោយ ចក្រភពអង់គ្លេស បន្ទាប់ពីការបញ្ចប់នៃ សង្រ្គាមអង់គ្លេស-ភូមាទីពីរ ក្នុងឆ្នាំ 1852  បូករួមទាំងអតីតអាណាចក្រ អារ៉ាកាន និងទឹកដីនៃ តេណាសិរិម ដែលអង់គ្លេសបានកាន់កាប់នៅក្នុង 1826 តាមរយៈ សន្ធិសញ្ញាយ៉ាន់ដាប៊ូ ។  ភូមា​ក្រោម​មាន​កណ្តាល​នៅ ​ទីក្រុង​រ៉ង់ហ្គូន ហើយ​មាន​ឆ្នេរ​សមុទ្រ​នៃ ​ប្រទេស​មីយ៉ាន់ម៉ា ​ទំនើប​ទាំងអស់ ហើយ​ក៏​ជា​អាង​ទឹក​ខាង​ក្រោម​នៃ ​ទន្លេ​អ៊ីរ៉ាវ៉ាឌី រួម​ទាំង​ក្រុង ​ព្រេម។ រហូតមកដល់ដើមសតវត្សន៍ទី 19 ប្រទេសមីយ៉ាន់ម៉ាក្រោមមានប្រជាជនច្រើនលើសលប់ដោយកុលសម្ព័ន្ធ មន និង ការ៉ែន ហើយជាបន្ទាយប្រវត្តិសាស្ត្ររបស់ជនជាតិមន។
មីយ៉ាន់ម៉ាខាងលើ

តំនភ្ជាប់=//upload.wikimedia.org/wikipedia/commons/thumb/8/89/Burma_indo_china_1886.jpg/220px-Burma_indo_china_1886.jpg|រូបភាពតូច| ភូមិសាស្ត្រនយោបាយនៃប្រទេសភូមា ដូចដែលបានយល់ដោយអង់គ្លេស ឆ្នាំ ១៨៨៥។ ភូមាខាងលើពណ៌ទឹកក្រូច; ភូមាអង់គ្លេស (ភូមា ខាងក្រោម ) និងកម្មសិទ្ធិរបស់អង់គ្លេសផ្សេងទៀតមានពណ៌ផ្កាឈូក
មីយ៉ាន់ម៉ាខាង​លើ (    ​ អាចហៅម្យ៉ាងទៀតថា ភូមាខាងលើ ) គឺជាតំបន់ភូមិសាស្ត្រនៃ ប្រទេសមីយ៉ាន់ម៉ា ដែលតាមប្រពៃណីគ្របដណ្តប់លើ ទីក្រុងម៉ាន់ដាឡាយ និងតំបន់ជុំវិញរបស់វា (សម័យទំនើប តំបន់ម៉ាន់ដាឡាយ, តំបន់សាហ្គាំង, តំបន់ម៉ាហ្វេយ៍  ) ឬនិយាយយ៉ាងទូលំទូលាយជាងនេះទៅទៀតគឺ រដ្ឋកាឈីន និង រដ្ឋសាន ។

ក្នុង ​ភាសា​ភូមា ប្រជាជន​ដែល​មាន​ដើម​កំណើត​មក​ពី​ភូមា​ខាង​លើ​ត្រូវ​បាន​គេ​ហៅ​ជា​ទូទៅ​ថា អា-យ៉ា ថា ( အညာသား ) ចំណែក​ឯ​អ្នក​មក​ពី ​ប្រទេស​មីយ៉ាន់ម៉ា​ក្រោម  ត្រូវ​បាន​គេ​ហៅ​ថា អោកថា(အောက်သား ) 

ពាក្យ "ភូមា​ខាង​លើ" ត្រូវ​បាន ​អង់គ្លេស ​ប្រើ​ជា​លើក​ដំបូង​ដើម្បី​សំដៅ​ទៅ​តំបន់​កណ្តាល និង​ភាគ​ខាង​ជើង​នៃ ​ប្រទេស​ភូមា​បច្ចុប្បន្ន ។ បន្ទាប់ពី សង្គ្រាមអង់គ្លេស-ភូមាលើកទី២ ឆ្នាំ១៨៥២ មីយ៉ាន់ម៉ាក្រោម ត្រូវបានបញ្ចូលដោយ ចក្រភពអង់គ្លេស ខណៈភូមាខាងលើនៅតែឯករាជ្យនៅក្រោម អាណាចក្រភូមា រហូតដល់ សង្គ្រាមអង់គ្លេស-ភូមាលើកទី៣ ឆ្នាំ១៨៨៥។ ភូមា​ខាង​លើ​ត្រូវ​បាន​គេ​ស្គាល់​ផង​ដែរ​ថា​ជា "ភូមា​ត្រឹមត្រូវ" និង​អាណាចក្រ ​អវៈ ។ តាមប្រវត្តិសាស្ត្រ ភូមាខាងលើមានភាគច្រើនជា បាម៉ា (ចំណែកឯប្រទេសភូមាក្រោមជាប្រវត្តិសាស្ត្រនិយាយភាសា មន រហូតដល់ដើមសតវត្សទី 19) ចំណែកតំបន់ព្រំដែន ដែលកំណត់ដោយរដ្ឋបាលអាណានិគម រួមមានតំបន់ជនជាតិភាគតិច ដូចជា រដ្ឋសាន និង រដ្ឋកាឈិន សម័យទំនើប។

ភាពខុសគ្នារវាងមីយ៉ានម៉ាខាងលើ និងខាងក្រោម ត្រូវបានរកឃើញផងដែរនៅក្នុងនាយកដ្ឋានរដ្ឋាភិបាលមួយចំនួន (ឧទាហរណ៍ ក្រសួងអប់រំ មាននាយកដ្ឋានដែលត្រូវបានចាត់តាំងឱ្យនៅភូមាខាងលើ ឬក្រោម) ខណៈដែលសារព័ត៌មានមួយចំនួនធ្វើឱ្យមានភាពខុសប្លែកគ្នារវាងស្ថាប័នទាំងពីរ។ ការបោះពុម្ពជាភាសាភូមារបស់ The Myanmar Times គឺជាឧទាហរណ៍មួយ។ កាសែតនេះឧទ្ទិសផ្នែកមួយទៅកាន់ព័ត៌មានពីភូមាខាងលើ។  នៅក្នុងលក្ខខណ្ឌនៃភាពខុសគ្នានៃភាសា មានភាពខុសប្លែកគ្នាក្នុងនាទីរវាងភាពខុសគ្នា នៃភាសាភូមា ដែលនិយាយដោយ ភូមា ខាងលើ ជាពិសេសនៅក្នុងជម្រើសវាក្យសព្ទ (ដូចជាពាក្យ គិនសីប ដែលខុសគ្នាពីភាគីខាងមាតា និងខាងមាតានៃគ្រួសារ ដែលមិនត្រូវបានធ្វើឡើងនៅក្នុងសុន្ទរកថាភូមាក្រោម)។ ទោះបីជាយ៉ាងណាក៏ដោយ មានភាពឯកសណ្ឋានគួរឱ្យកត់សម្គាល់នៅក្នុងភាសាភូមាដែលនិយាយពាសពេញជ្រលងទន្លេ អ៊ីរ៉ាវ៉ាឌី ដែលរាប់បញ្ចូលទាំងតំបន់ដីសណ្ត និងតំបន់ឆ្នេរនៃប្រទេសមីយ៉ាន់ម៉ាក្រោមផងដែរ។
មីល្លី

មីល្លី (និមិត្តសញ្ញា៖ m) ជាបុព្វបទនៅក្នុងប្រព័ន្ធខ្នាតអន្តរជាតិ សំដៅលើ 10−3 = 1/1 000 ។See section  4.3 Decimal multiples and submultiples of SI units: SI prefixes, Table 5. បុព្វបទនេះត្រូវបានដាក់អោយប្រើនៅឆ្នាំ១៧៩៥។ សង់ទីក្លាយពីភាសាឡាតាំងថា  mille ដែលមានន័យថា មួយភាគមួយពាន់។
មីសឺន

មីសឺន () គឺជាកន្លែងដែលប្រមូលផ្ដុំទៅដោយប្រាសាទបែបព្រហ្មញ្ញសាសនាដែលបានបាក់បែកដោយអន្លើៗនៅប្រទេសវៀតណាម ទីនោះត្រូវបានសាងសង់ឡើងរវាងសតវត្សទី៤ និង ទី១៤ នៃគ.ស. ដោយព្រះមហាក្សត្រចាម្បា (ជៀមថាញ់ជាភាសាយួន)។Andrew David Hardy, Mauro Cucarzi, Patrizia Zolese Champa and the Archaeology of Mỹ Sơn 2009 ប្រាសាទទាំងនេះឧទ្ទិសដល់ព្រះឝិវ ត្រូវបានគេស្គាល់ដោយឈ្មោះក្នុងតំបន់ផ្សេងៗ ដែលឈ្មោះពិតប្រាកដបំផុតនោះគឺ ភទ្រេឝ្វរ។

Mỹ Sơn is located near the village of Duy Phú, in the administrative district of Duy Xuyên in Quảng Nam Province in Central Vietnam, 69 km southwest of Da Nang, and approximately 10 km from the historic town of Trà Kiệu. The temples are in a valley roughly two kilometres wide that is surrounded by two mountain ranges.

From the 4th to the 14th century AD, the valley at Mỹ Sơn was a site of religious ceremony for kings of the ruling dynasties of Champa, as well as a burial place for Cham royalty and national heroes. It was closely associated with the nearby Cham cities of Indrapura (Đồng Dương) and Simhapura (Trà Kiệu). At one time, the site encompassed over 70 temples as well as numerous stele bearing historically important inscriptions in Sanskrit and Cham.Ngô Văn Doanh, My Son Relics, p.3-4.

Mỹ Sơn is perhaps the longest inhabited archaeological site in Indochina, but a large majority of its architecture was destroyed by US carpet bombing during a single week of the Vietnam War.

The Mỹ Sơn temple complex is regarded one of the foremost Hindu temple complexes in Southeast Asia and is the foremost heritage site of this nature in Vietnam. It is often compared with other historical temple complexes in Southeast Asia, such as Borobudur of Java in Indonesia, Angkor Wat of Cambodia, Bagan of Myanmar and Ayutthaya of Thailand. As of 1999, Mỹ Sơn has been recognized by UNESCO as a world heritage site. At its 23rd meeting, UNESCO accorded Mỹ Sơn this recognition pursuant to its criterion C (II), as an example of evolution and change in culture, and pursuant to its criterion C (III), as evidence of an Asian civilization which is now extinct.
មីសឺន: ភទ្រវម៌្ម ("ផ្វានហ៊ូតា") និង ភទ្រេឝ្វរ

ភទ្រវម៌្ម ("ផ្វានហ៊ូតា") និង ភទ្រេឝ្វរ 
left|thumb|This stone linga is dated to the 10th century. It stands next to the temple known as "B4."
The earliest historical events documented by the evidence recovered at Mỹ Sơn relate to the era of King Fànhúdá (, Sanskrit Bhadravarman, literally "Blessed armour" but also meaning the Jasminum sambac flower), who ruled from 380 until 413, and who spent the latter part of his reign waging war against the population of Chinese-occupied northern Vietnam.Georges Maspero, The Champa Kingdom, p.29. At Mỹ Sơn, Bhadravarman built a hall containing a lingam to worship Shiva under the Sanskrit name Bhadreśvara "Blessed Lord", a composite created from the king's own name and the word īśvara "lord" commonly used to refer to Shiva.Ngô Văn Doanh, My Son Relics, p.56.

King Bhadravarman caused a stele to be erected at Mỹ Sơn the inscription on which recorded his foundation. The stele indicates that the king dedicated the entire valley of Mỹ Sơn to Bhadreśvara. The text ends with a plea from Bhadravarman to his successors: "Out of compassion for me do not destroy what I have given."Maspero, G., 2002, The Champa Kingdom, Bangkok: White Lotus Co., Ltd.,   Drawing upon the doctrines of saṃsāra and karma, he added, "If you destroy [my foundation], all your good deeds in your different births shall be mine, and all the bad deeds done by me shall be yours. If, on the contrary, you properly maintain the endowment, the merit shall belong to you alone."Ngô Văn Doanh, My Son Relics, p.192-193. Bhadravarman's successors heard his plea, it seems, for Mỹ Sơn became the religious hub of Champa for many generations.
មីសឺន: ឝម្ភុវម៌្ម

ឝម្ភុវម៌្ម 
thumb|right|The great temple "A1" dedicated to the god Sambhubhadresvara by King Sambhuvarman in the 7th century is now a pile of rubble: scholars were able to make this diagram before its destruction during the Vietnam War.
More than two centuries after Bhadravaman's foundation, the temple to Bhadresvara was destroyed by fire. In the 7th century, King Sambhuvarman (Phạm Phạn Chi in Vietnamese, Fan Che as transcribed from the Chinese), who reigned from 577 until 629, rebuilt the temple, reinstalled the god under the name Sambhu-Bhadresvara, and erected a stele to document the event.Higham, C., 2014, Early Mainland Southeast Asia, Bangkok: River Books Co., Ltd.,  The stele affirmed that Sambhu-Bhadresvara was the creator of the world and the destroyer of sin, and expressed the wish that he "cause happiness in the kingdom of Champa."Ngô Văn Doanh, My Son Relics, p.14,196. The stele also applauded the king himself, claiming that he was "like a terrestrial sun illuminating the night" and that his glory rose "like the moon on an autumn evening."Georges Maspero, The Champa Kingdom, p.44.

Ironically, perhaps, Sambhuvarman's reign was marred by one of the most devastating invasions ever suffered by the country of Champa. In 605 AD, the Chinese general Liu Fang led an army southwards from the area of what is now northern Vietnam, defeated the elephant-riders of Sambhuvarman, and sacked the Cham capital, making off with an enormous booty that included over one thousand Buddhist books as well as the gold tablets commemorating the reigns of the previous eighteen kings.Georges Maspero, The Champa Kingdom, p.43. Heading back north with their heist, the Chinese invaders were struck by an epidemic that felled a large number of them, including Liu Fang. Sambhuvarman, for his part, returned home to his kingdom, began the process of rebuilding, and made sure to send regular shipments of tribute to the Chinese court, in order through appeasement to prevent a recurrence of the recent disaster.

French scholars investigating Mỹ Sơn at the beginning of the 20th century identified a then still existent edifice distinguished for "its majestic proportions, the antiquity of its style, and the richness of its decoration" as the temple of Sambhu-Bhadresvara constructed by King Sambhuvarman.M.L. Finot, "Les inscriptions de Mi-Son," p.910. The edifice, which is known to scholars as "A1", was practically destroyed by US aerial bombing in the Vietnam War and is now little more than a formless pile of bricks.
មីសឺន: ប្រកាឝធម៌

ប្រកាឝធម៌ 
King Prakasadharma (Po Kia Pho Pa Mo, as transcribed from the Chinese) ruled Champa from 653 AD to approximately 687.Georges Maspero, The Champa Kingdom, p.45. Upon ascending to the throne, he also assumed the name Vikrantavarman. During his reign, he expanded the borders of Champa toward the South and sent ambassadors and tribute (including tame elephants) to China. Inscriptions link him not only to Mỹ Sơn, but also to the nearby urban settlements of Trà Kiệu and Đồng Dương. He began the religious practice of donating "kosas" or decorated metallic sleeves to be placed over a lingam. Unusually for a king of Champa, he was devoted not only to Shiva, but also to Vishnu.Ngô Văn Doanh, My Son Relics, p.66-70.

One of the most important steles to be found at Mỹ Sơn is that erected by Prakasadharma in 657 AD. The purpose of the stele was to commemorate the king's establishment of a god identified as the ruler of the world, i.e. Shiva, with a view to overcoming the seeds of karma that lead to rebirth. The stele is important because it sets forth the king's ancestry and is of great help in reconstructing the sequence of Champa's rulers. Among his ancestors, notably, the king claimed a Cambodian king named Isanavarman I. And like the Cambodian kings, he traced his ancestry to the legendary couple of the brahman Kaundinya and the nāga-princess Soma.Ngô Văn Doanh, My Son Relics, p.197-203.
មីសឺន: ដំណើរវិវត្តន៍ចុងក្រោយ

ដំណើរវិវត្តន៍ចុងក្រោយ 
right|thumb|A Cham artist of approximately the 10th century depicted a Cham temple tower in this fragment located in the museum at My Son.
Subsequent kings renovated the older temples and constructed additional ones. For many centuries, the building of temples and shrines of varying sizes continued, and Mỹ Sơn served as the religious and cultural center of the Cham civilization in central Vietnam, as well as the burial place of kings and religious leaders.

Most of the extant temples at Mỹ Sơn, such as the Isanabhadresvara, were built in the 10th century AD. The inscriptions from this period have not survived, except in fragmentary form.Ngô Văn Doanh, My Son Relics, p.71. At the beginning of the 10th century, the Cham center of power was at Đồng Dương, not far from Mỹ Sơn. By the end of the century, it had been displaced southward to Bình Định Province on account of military setbacks in wars with the Viet. However, Cham kings continued periodically to renovate the temples at Mỹ Sơn and even to build new foundations. The latest significant Cham record at Mỹ Sơn is a pillar inscription of King Jaya Indravarman V dated 1243 AD. By the early 15th century, the Cham had lost their northernmost lands, including the area of Mỹ Sơn, to the Viet.Ngô Văn Doanh, My Son Relics, p.170-171.
មីសឺន: ការសិក្សារបស់អ្នកប្រាជ្ញសម័យទំនើប

ការសិក្សារបស់អ្នកប្រាជ្ញសម័យទំនើប 
Following the conquest of central Vietnam by the Viet and the decline and eventual fall of Champa, the Mỹ Sơn complex fell into disuse and was largely forgotten. It was rediscovered in 1898 by the Frenchman M. C. Paris.Ngô Văn Doanh, My Son Relics, p.4-5. A year later, members of the scholarly society called École française d'Extrême-Orient (EFEO) began to study the inscriptions, architecture, and art of Mỹ Sơn. In 1904, they published their initial findings in the journal of the society called Bulletin de l'École française d'Extrême Orient (BEFEO). Henri Parmentier gave a description of the ruins at Mỹ Sơn, and M. L. Finot published the inscriptions that had been found there.Henri Parmentier, "Les monuments du Cirque de Mi-Son"; M.L. Finot, "Les inscriptions de Mi-Son."
មីសឺន: ការស្ដារ

ការស្ដារ 
In 1937, French scholars began to restore the temples at Mỹ Sơn. In 1937 and 1938, the main temple known as "A1" and the smaller temples surrounding it were restored. Other major temples were restored between 1939 and 1943. However, many historical buildings were destroyed during the Vietnam War. United States B52 aircraft carpet-bombed the region in August 1969. The surrounding area is still rendered dangerous through the presence of unexploded land mines.

thumb|200px|left|Bombs dropped by the US during the Vietnam War made craters that are still visible.

The majority of the temple sites in the centre of the complex have survived to this day. However, worries persist regarding the structural soundness of the remaining temples, some of which are vulnerable to collapse. Although many statues have been removed to France or to historical museums in Vietnam, such as the Museum of Cham Sculpture in Da Nang, others can be viewed in a temporary museum that has been set up on site in two of the temples, with the funding of benefactors from Germany and Poland.

From 2002 to 2004, the Ministry of Culture of Vietnam allotted around 440,000 USD to maintain the site. A draft plan of UNESCO was funded by the Government of Italy and sponsors from Japan to prevent further degradation. These efforts are also funded by the World Monuments Fund.
មីសឺន: ប្រភេទសំណង់អគារ

ប្រភេទសំណង់អគារ 
All of the remaining buildings at Mỹ Sơn are believed to be religious buildings. They are of the following types:Tran Ky Phuong, Vestiges of Champa Civilization.
 A kalan is a brick sanctuary, typically in the form of a tower, used to house a deity.
 A mandapa is an entry hallway contiguous with a sanctuary.
 A kosagrha or "fire-house" is a construction, typically with a saddle-shaped roof, used to house the valuables belonging to the deity or to cook for the deity.
 A gopura is a gate-tower leading into a walled temple complex.

right|thumb|This map shows the relative locations of the temple groups.
មីសឺន: ប្រព័ន្ធនៃការធ្វើគ្រឹហសញ្ញាណកម្មសំណង់

ប្រព័ន្ធនៃការធ្វើគ្រឹហសញ្ញាណកម្មសំណង់ 
When he began his studies of Mỹ Sơn in 1899, Henri Parmentier found the remnants of 71 temples. He classified them into 14 groups, including 10 principal groups each consisting of multiple temples.Ngô Văn Doanh, My Son Relics, p.5. For purposes of identification, he assigned a letter to each of these principal groups: A, A', B, C, D, E, F, G, H, K. Within each group, he assigned numbers to the edifices comprising it. Thus "My Son E1" refers to the edifice at My Son belonging to group "E" that has been assigned the number "1."Ngô Văn Doanh, My Son Relics, p.5-6.
មីសឺន: បច្ចេកទេសសំណង់

បច្ចេកទេសសំណង់ 
Most of the temples at Mỹ Sơn were made of red brick, and only one (the temple labelled "B1") was made of stone.M.L. Finot, "Les inscriptions de Mi-Son," p.912. Even the decorative carvings on the Cham temples were cut directly onto the bricks themselves, rather than onto sandstone slabs inserted into brick walls as is observable for example in the 9th century Cambodian temple of Bakong.

To this day, the construction techniques used by the Cham builders are not completely understood. Myson map Index Issues that have not been completely resolved include issues about the firing of the bricks, the mortar between the bricks, and decorative carvings found on the bricks.
right|thumb|The temples at Mỹ Sơn are made of a reddish brick. Decorative carvings have been cut directly into the bricks.
 At what point in the building process were the bricks hardened by fire? Were the bricks hardened first, and then arranged in order to build the structures, or were the structures built out of partially hardened bricks, after which the entire structures were heated by fire to finish the hardening of the bricks? The hypothesis that the entire structures were reheated following assembly is supported by evidence that the mortar between the bricks was at some point subjected to high temperatures. The contrary hypothesis is supported by the observation that the structures bear no signs of scarring from large intense fires such as would be needed in order to reheat them as whole.Ngô Văn Doanh, My Son Relics, p.29-30.
 How were the bricks stuck together? One hypothesis is that the builders at Mỹ Sơn developed a way to glue bricks together using tree resin native to central Vietnam. Another hypothesis is that the builders used a sticky mortar made from the same clay as the bricks themselves. The latter hypothesis is supported by chemical tests that have found no trace of any organic substance between the bricks, but instead have found mineral substances similar to those present in the core of the bricks. Today the mortar that once held the bricks together has largely decayed, and even a strong wind can knock loose bricks from the structures.Ngô Văn Doanh, My Son Relics, p.27-29.
 At what point in the process were the decorative carvings made? Were the walls constructed and then carved, or were the bricks carved first and then assembled so as to create the walls? An examination of the carvings reveals no broken lines as would be expected if the bricks were carved first and then assembled; and as a result scholars have concluded that the Cham craftsmen made their carvings directly onto finished brick walls.Ngô Văn Doanh, My Son Relics, p.30-31.
មីសឺន: សិលាចារឹក

សិលាចារឹក 
The people of Champa maintained written records in both Sanskrit and old Cham. They wrote on perishable materials, such as large leaves, and also created inscriptions in stone. They used scripts borrowed from India. None of the writings on perishable materials have survived. However, numerous stone inscriptions have been preserved, transcribed, and translated into modern languages.Ngô Văn Doanh, My Son Relics, pp.182-185.

Many of Champa's most important inscriptions are on steles, that is to say on slabs or pillars of stone erected precisely for the purpose of hosting inscriptions. Scholars have found approximately 32 steles at Mỹ Sơn, dated between the 5th and the 12th century AD.Ngô Văn Doanh, My Son Relics, p.182.

The subject-matter of Cham inscriptions is mostly political and religious. They are written from the perspective of kings or very high potentates seeking to affirm their legitimacy and their relationship to the divine. Many of the inscriptions document a gift to a god, such as a gift of land, of people, or of treasure, or a foundation dedicated to a god, such as the foundation of a temple, an altar, or a pedestal. The inscriptions also provide us with important information such as the name of the country (typically Campadesa in the Sanskrit inscriptions, nagara Campa in the Cham inscriptions), and the names of some of its most important cities: Simhapura ("Lion City"), Virapura ("Knight City"), Rajapura ("King City"), Vijaya ("District"). Finally, a number of the inscriptions allude to or describe interesting historical events, such as the ongoing wars between Champa and Cambodia in the 12th century.Ngô Văn Doanh, My Son Relics, p.185-187.
មីសឺន: តំណក្រៅ

តំណក្រៅ 

 Bulletin de l'Ecole française d'Extrême-Orient, 1901-1936. Now online at gallica.bnf.fr, this journal documents cutting-edge early 20th-century French scholarship on My Son and research on other topics of Southeast Asian studies.
 Explore My Son with Google Earth on Global Heritage Network
 UNESCO decree
 UNESCO page on My Son