The cultural links, between Cambodia or the ancient Kambuja and India are stated to have begun from the early centuries of the Christian era. The local tradition speaks of the first arrival of an Indian named Kaundinya, in that country in the remote past, who is also believed to have become the ruler of the land following his marriage with a local princess. By about the beginning of the fifth centry A.D., when Srutavarman occupied the royal throne of Kambuja, it developed a unique and colourful cultural blend of the original Cambodian and imported Indian elements. This is amply reflected in the ancient Cambodian art with its two distinct phases, the pre- Khmer and Khmer. The early phase covering the time span from fifth to seventh centry A.D. bears conspicuous Indian impress whereas the classic Khmer phase, dating between the ninth and twelfth century A.D., manifest well developed tradition of the Cambodian art exemplified by characterstic local features as could also be noticed in Angkor Wat.
What is most interesting, is that Cambodia maintained contacts both with the northern and the southern regions of India and it is on this account that we notice here, the Sanskrit inscriptions in Pallava script and north Indian structual types in developed forms. Many other elements appear to have been drawn commonly from epic and Puranic traditions of India as a whole.
What is notable in Bhandari's narration is the close genealogical links between a royal house of ancient Kambuja and that of Pallavas of Kanchi as a result of which following the death of Pallava King Paramesvara Varman II (728-32), a prince from Cambodia also named as Paramesvara (alias Pallavamalla) was brought to south India and installed on the Pallava throne under the title of Nandivarman II. The writer has also recorded a note on the famous Cambodian royal cult of Devaraja and on the concept of Meru as a structural form available at Angkor Wat.