Over the course of history, we have read and seen how with the rise of great kingdoms and empires these opposing sides of what human hands can do often unfold in parallel to one another. During territorial expansions, the brute nature of the hands was always favored. But as a realm grew, its monarch usually picked those whose hands were gifted with the ability to produce things on the finer side – a lavish palace or a richly-decorated temple for instance – to create the most beautiful and magnificent structure to cement his/her reign, or to celebrate a victory, or to impress foreign dignitaries.
However, there have been people who were able to leave such a legacy in spite of not being a ruler. In the 10th-century Khmer empire, one such individual seemed to emerge at the right place and at the right time. During the rule of Rajendravarman II – the Khmer king who built Pre Rup and East Mebon – there was a courtier named Yajñavaraha. His main roles were as the palace’s physician as well as mentor to the crown prince, who also happened to have a penchant for music and astronomy. His important position in the inner circle of the court was mainly attributed to the fact that he was the grandson of Harshavarman I, the king of the Khmer empire who reigned at the beginning of the 10th century. With his brother Vishnukumara, Yajñavaraha commissioned a temple dedicated to Shiva which was located further away from the capital in a town called Isvarapura. His sister Jahavi also helped collect donations for the construction of the new shrine which was never intended to rival the grandeur and massive scale of the state temples situated in Yasodharapura – the capital.
Donations were necessary as this structure was not funded by the state. But maybe this also explains why the new temple of Isvarapura was built quite differently from its contemporaries. The most notable deviation from the prevailing temple-building norm back then was the scale. This compound, which we now know as Banteay Srei, was a lot more compact in size and lacked the multi-level platforms on which other temples were normally built. Also, although officially a Shaivite temple, this east-facing compound which can be roughly divided in half along its east-west axis was dedicated to two deities of the Hindu Trimurti: the southern part was reserved for Shiva, while the north for Vishnu. This, however, has a precedent as Rajendravarman’s state temple (Pre Rup) also had shrines dedicated to both of them. But what is most striking and emblematic of Banteay Srei is the incorporation of exceptionally fine and delicate carvings depicting iconic scenes from both the Mahabharata and Ramayana, two Hindu epics originating in India which had inspired artisans and sculptors across Southeast Asia to immortalize chapters of the stories in stone as well as in the form of dances and puppets. The use of red sandstone as the main material for the construction of this temple further accentuates the intricate reliefs adorning all corners of the compound.
Seeing through all the way to the structures in the inner enclosure
A look at the core structures of the temple compound
A few days before our visit to Banteay Srei, we went to the Angkor National Museum in Siem Reap, a privately-run museum housing some of the most precious artifacts from the Angkorian period. In a section where decorated pediments and lintels from various ancient temples around the city were displayed, James stopped at one particular object which was originally part of Banteay Srei. Its carvings were remarkably detailed and of high quality, making it stand out among other pieces of ancient art in that room.
“I think Banteay Srei is going to be my favorite temple!” James confidently claimed.
Fortunately, he was right. We went to this temple on the day with the best weather during our week-long stay in Siem Reap. It was a quarter to nine in the morning when we arrived at the eastern gate of the temple compound. The skies were blue, the sun was casting its warm rays onto the red sandstone, and there were no other tourists in sight. Above us, a flock of parakeets were busy chirping and flying from one tree branch to another, breaking the otherwise tranquil ambiance below. As I walked closer to see the first pediment and the columns underneath, I won’t lie that I was wonderstruck with what I saw. The famous fine carvings of Banteay Srei were right before my eyes, and what people have said and written about this temple is right: it may be modest in size, but it’s rich in decorations. Through the door frames of this outer gate, I could clearly see the main sanctuary at the far end. However, we took our time and checked other structures on the right- and left-hand sides of the main pathway first, which were no less beautiful.
The core compound sits within an enclosure with an artificial moat situated directly behind the walls. While the structures I just saw with their elaborate reliefs were impressive, I was speechless upon seeing those sanctums, for each one was richly embellished with stone carvings of outstanding finesse. No words could adequately describe the sublime beauty before me. While I was still trying to process this sight, I pointed my camera at different corners of the structures, attempting to capture the many details on each shrine. A few weeks after the trip when my mom was shown photos of Banteay Srei, she thought those fine decorations were woodcarvings because they look so smooth and fine it’s hard to believe they were carved out of stone.
The Khmer empire might have built among the most magnificent structures the world has ever seen. But to me, Banteay Srei undoubtedly embodies the highest achievement of ancient Khmer craftsmanship, as well as mankind’s pursuit of magnificence, however small. It’s like poetry in stone, a beauty that is not fleeting, but is rather enduring. Yajñavaraha must have been proud to know that more than a thousand years after the completion of the temple he envisioned, it is still standing with its building blocks and original statues and carvings largely intact, and perennially draws admiration from those who see it in person.
Fine and intricate carvings from more than a thousand years ago