Doubts on the age of carving
of some pediments at Banteay Srei
Old opinion
Once
I wrote an article published on Aseanie June (2004: 1-46, 34 figures) I
expressing some doubts on the date of the making of the western pediment of the
northern library of the famous Banteay Srei temple. The age of the pediment of
the western side of the northern library may have been younger than 697,
official age pf the construction of the temple. In here I must review the entire
situation
I did
not believe it could have been carved in 967 CE. age of the building of the
temple. The reliefs illustrates the story of Krishna and Balarama proceeding on
chariots to the arena where a tournament was to be held to elect the most
powerful man in the kingdom, on invitation of the evil King Kamsa. The terminal
event is shown with great detail inside the royal palace. Around the figure of
Krishna killing Kamsa, there are four palace scenes showing terrified members
of the king’s harem and of courtiers.
The
sculptors had confidence in visually conceiving and depicting complex emotional
scenes with a refined handling of the chisel not seen until the reliefs of the
corner pavilions of Angkor Wat (second half 11th century).
I have
used the title ‘Archeology of images’
from the allegory of digging into past images to obtain new information,
ideas, assumptions and theories, just
like true archeologists do into earth to find objects and artifacts allowing progress in knowledge of the site and write
its history. I use this term since 2004.
In transferring my work to Facebook I have been assisted by Yem Sothon
(Admin.), who I thank greatly, as
well as Facebook organization.
Revised opinion
There
were 3 temples built towards the end of the first millennium in east part of the
Northern Baray, all probably planned by the royal architect Kavindari-mathana
during the reign of Rajendravarman. They were: Pra` Rup (consecrated in 961 CE.),
East Mebon, (953CE.) and Banteay Srei in (967CE.). The latter was built by
Rajendravarman’s counselors the Yahinavaraha brothers. I believe that the size
and quality requested to the architect for the decoration of the temple/s required
organized workshops. The combination of powerful non-royal intelligent promotors
and a genial architect brought to the creation of Banteay Srei. The date given
by inscriptions refer to the dedication of the temple to a god (Shiva and
Vishnu) with a special ceremony of the opening the eyes of the presiding statue.
It doesn’t necessarily refer to the completion of the temple that happened
under the following King Yajayavarman V.
With
regard to the ability to narrate story visually, my narrativity, the reliefs of
Banteay Srei are the best early example.
There
was, however a temple that had priority. On the unfinished lintel of the
southern tower of Pra Rup, the image of
Rama on the shoulders of Hanuman (Ramayana)
was intended to be carved (my Fig.3) fighting Ravana with multiple heads, to
the extreme right and another evil figure (Indrajit?) to the extreme left.
Regretfully the lintel is left unfinished but still in place, meaning that the
lintel was carved in situ, once fixed high over high on the door. There is no
space here to talk about the development of Vishnu narrative in Thai temples
(Phimai, Phnom Rung) (See Roveda 2004).
Temples before Banteay Srei
To
understand the decoration of this temple I had to study the iconography the
temples of Preah Koh (880CE.), Lolei, (893CED.) Kulen (8-9th
century) and a few other temples.
The
lintels of Preah Ko are typified by a carved makara with large mouth vomiting an arched ribbon/garland that
often carry some strange features (riding soldiers, worshippers) The makara’s head is sometimes replaced by
a large elephant’s body with a deity on top. The arching shape of the garland
(variation on the shape of the letter M) is not diagnostic since several types
may coexist in the same temple (Koh Ker’s central small shrine). The lintels of
the towers in Preah Ko were deeply carved with original motifs and mythic
figures. They usually have large falling pendulous elements terminate in naga’s heads, or simply in large curls
of leaves. All small figures on these lintels are not involved in any narrative
scheme, they are pure ornament.
In
general I noticed that in the early temples Pra Koh, Lolei and Kulen, over the
lintel there was a band carved with figures (deities or hermits (rishis) in small shrines (Fig.21). Often
this band is lost. In the space above this lintel there is a recess reserved to
the pediment (Fig.23) but initially occupied by a god’s statue. (Fig.22).The
example of Kulen (my Fig27) is extraordinary because it is well preserved, with
the original lintel and pediment with a small figure inside a shrine of a
palace, presumably a god. I conclude that there narrative pediments are rare
and unrecognizable in brick temples (Fig.21 and 22). The first real example
occur on temples with pediments made of stone (sandstone).
Banteay Srei and contemporaneous temples
The
temples of Pra Rup, East Mebon, and Banteay Srei were all built around the
reign of king Rajendravarman. They are very revealing for the evolution of
visual narrative.
According
to Jacques the temple of Pre Rup was probably planned by Rajendravarman’s architect,
Kavindrari-mathana, and under the council of Yahinavaraha. The temple formally
dedicated in 961 and early 962 CE (Freeman and Jacques 1999: 158). The nearby
temple of East Mebon was also built by Kavindrarimathana and dedicated in 953
under the rule of Rajendravarman.
Banteayi
Srei was dedicated in 967 CE. just a year before the death of Rajendravarman, when
Jyavarman V was the new ruler. Yahinavaraha become guru of the new
king.
Banteay
Srei was built around the time of the construction of Pre Rup and East Mebon.
In
general, in the early temples of Preah Koh, Lolei and Kulen over the lintel there
was a band carved with figures (deities or hermits (rishis) encased in small shrines. Above it there was a recess
reserved to the carving the emplacement of a statue; regretfully this spaces
are nowadays empty. In temples made of bricks, this presumed pediment was
carved in the brick with the image of a god in a room or several rooms (Fig.21).
The
pediment of Kulen is special insofar it has a flat pediment with sets of carved
room with a god opining the central one. It is also extraordinarily well
preserved, with the original white wash and a figure inside a shrine or room of
a palace with a standing figure presumably a god (Fig27).
The
date 967 CE. refers to the consecration of Banteay Srei as initially built in
brick, laterite and some pink
sandstone’s ornamentation. This latter was completed later in all the temple. The
two libraries were possibly the last to be built and decorated.
The
mystery of carved advanced Banteay Srei’s visual narrativity on the two libraries’
pediments continues with pediments of a totally different style (Fig.9,10)
where the surface is occupied by few large figures carved in high relief,
showing energy an emotive feelings. These two pediments contrast with the
elegant style of the temple. They may have been carved to exemplify the
temple’s dedication to Shiva and his consort. (Uma, Parvati, Durga).
Banteay
Srei underwent reworking and elaboration by later kings and/or members the
elite. In Cambodia it was common to complete temples left unfinished by
previous rulers In my opinion the earliest clearly narrative are from Banteay
Srei at the end of the first millennium (947CE).
Workshops
Due to
the high level of decoration of architectural elements commissioned by the
sponsor I am of the opinion that (on the basis of the chiseling technique and
depth of carving-hand) there must have been several workshops at Banteay Srei, Pra
Rup and East Mebon,
Group A to D. Several workshops in charge of carving all sort of ornament
on architectural elements
(door
pillars, Lintels an some pediment’s frames and pediments in secondary sites).I
define the carvings as standard lintels or pediments with hieratic elements
imitating archaic models. Not narrative.
Group B. workshop doing shallow carved pediments
by stone-masons with gentle hand often comparatively shallow carved
illustrating narrative stories, from simple to complex narrative.
Group C. Workshop in charge of deeply
carved pediments. At Banteay Srei the deity represented belongs to Shiva’s
pantheon, justifying the dedication of the temple to Shiva, (Shiva,
Mahisadasuramardhani, Tilottama). Hieratic figures without narrative structure.
Group D. Workshop producing large
sculptural elements such as the delightful male and female guardians on Banteay
Srei’s corners of the towers They are the precursors of the much later apsara from from Bapuon to Bayon, with an
invasion at Angkor Wat. Also to this stone carvers of this workshop/s are the
excellent statues place in front of the towers they have to protect, squatting
at the side of the small staircase,
The age
of these workshop and if they worked contemporaneously or at different times
will remain forever source of debate amongst the prejudiced and free-minded scholars...!!!!!!!!
The rendering
of the visual narrative (narrativity)
By
narrativity I mean the action of narrating, visually in our case, a story or a
meaningful part of it.
This
can take place on any type of material (stone, plaster, wood, paper etc.).
In
Cambodian temple-sculpture, narrativity developed by stages. The study of the reliefs carved on the
Pre-Angkorean lintels of Sambor Prei Kuk should be taken separately because in very early temples, lintels have narrative
reliefs when in sandstone, (Shiva musicians and dancers at Sambo; procession for the anointment of
the king at Prasat Eng Khna and other less known examples..
To
my knowledge there is a gap in narrativity from the 8th to the 10th
century.
The
Preah Koh lintel continue the trend of
previous temples. A band or a
vegetal branch expelled by the mouth of
a makara, often with figurines over the
band/branch (horse-riding soldiers, worshippers; see Bosselier 1966: 150
Fig.35,36,37 and 38).When there is a central figure of a god it is heraldic,
immobile, frozen in time.
It
is only on a lintel of Banteay Srei that the stone-masons attempted to narrate
in detail one event a myth This is the lintel narrating the story of Shiva
fighting Arjuna, both are shown standing on a pedestal with the shape of a
boar. At the top of the curved
band-garland are two figures, both shooting an arrow to the boar and then
arguing who killed the beast first, as in the textual myth, the Arjunakiratha (Fig 13).
Very
interesting is the study of the pediments of the two Banteai Srei’s libraries.
The
four pediments of the two libraries are related to the deity venerated in the
temple towers., Thus the north library,
facing Vishnu’s’ tower has stories of Krishna (Fig.6 and 7) .The southern
library, at a side of Shiva’s Tower has Shiva stories(Fig.4 and5).My doubts on
a younger age based on the high level of narrativity suggesting a younger age
than 967 may find a mild confirmation in
the opinion of Finot and Parmentier (1926) that all the three towers and two
libraries had been made around the year 1300! (opinion sharply denied by modern
experts).
The
pediment of the southern library facing east depicts Ravana shaking mount
Kailash to call Shiva and stop him flirting with Parvati (my Fig.4).The figure
of Shiva holding Parvati is carved with great kindness, intimidating the
hermits at his side. The mountain of Shiva is inhabited by many hermits (rihis) and some deities with animal
head. All the inhabitants are shallow carved.
The
pediment of the western face of the same southern library is also dedicated to
Shiva (my Fig.5) in the famous myth of love, with Kama shooting an arrow of
candy to Shiva who immediately reduce him to ashes. Parvati begged Shiva to
allow love (Kama) to return to Earth otherwise life would be meaningless. Also
in this relief, the inhabitants of Shiva’s mountain are manly bearded rishis and some others being with human
body but animal’s faces. They are shallow carved.
The
pediment of the northern library facing west is the one that brought me to
suspect a later date due to its complexity of the visual narrative (Figh.7). It
depicts three events of the story of Krishna being invited to a tournament to
be killed by a champion wrestler. Krishna manages to escape and, in turn, kill
the evil king Kamsa (Roveda 2004, 22-23).
The
pediments facing east depicts a story of the Burning of the Candava Forest (Roveda
2005: 349) involving Agni, Krishna and Arjuna (not the “Rain of Indra”).
I
have to examine the famous Bnteay Srei’s large pediments now in museums. No
information was given on the presumed location inside the temple. The beautiful
pediment resting at Phnom Penh National Museum narrates the fight of Bhima and
Duryodhama (my Fig.8) with the figure of the fighting brother gently suspended
in thin air unaware of the lethal blow expecting him.
The
other large pediment is that of the Musée Guimet of Paris. It illustrate the
myth of the apsara Tilottama (Fig 8)
quite symmetric and little narrative.
The
most important pediments were those part of the dedication of the temple to
Shiv and his consort. The pediment with Shiva dancing (Fig.1) and Uma killing
the buffalo of ignorance (Fig.2)
Conclusion
By
expanding my research on Bantey Srei, I can formulate some new theories:
1
In
Cambodia existed large workshops, perhaps guilds. I believe that the two
libraries were completed by B-group workshop later, but I cannot specify the
date apart from an unspecific 100/1020 CE.
2
Brick’s
temples with stone lintels developed in time a recess over the lintel destined
to become a pediment. In some cases, a sort pf primitive pediment was defined with
rooms of palaces occasionally with a figure or the face of deity at the center.
Pediments ere of secondary importance.
3
In
the history of iconography I have noticed that-over time- lintels were made
larger to accommodate more complex myths. When the lintels became insufficient,
pediments were given the role to support the main mythological theme or scene.
This shifting of importance seems to have taken place at Banteay Srey, around
the end of the first millennium,
ESSENTIAL
BIBLIOGRAPHY
Boisselier,Jean, Le Cambodge, Asie du Sud-Est,
Manuel ‘archéologie d’Extrèeme Orient, Picard, Paris,1966
Finot, Parmentier and Goloubev, A guide to the temple of Banteay Srei at Angkor, 1926, translation
and reprint White Lotus, 2000, Bangkok
Freeman, Michael and Jacques Claude, Ancient Angkor, River Books Guides, Asia Book, 1999
Pilgkinghorne, Martin, Artists and ateliers: Khmer decorative lintels from the nine to tenths
centuries, Udaya, Numero7 and 8, Phnom P:enh, 2007
Roveda,Vittorio, Th Archeology of Khmer Images,
Aséanie, No.13, 2004, Bangkok.
Bangkok, December
2016
Fig.1 – Group
A. Banteay Srei. Shiva Nataraj
|
Fig.2 - Group
A. Banteay Srei. Durga Mahishasauramardani
|
Fig.3 -- Group A. Banteay Srei. Detail of Shiva
|
Fig.4 – Group
B . Ravana shaking mount Kailasa to stop Shina frolicking with Parvati
|
Fig.5 -
Group B. Banteay Srei. Shiva disturbed
by Kama
|
Fig.6 –Group
B. Banteay Srei. The burning of the Kandava Forest.
|
Fig.7 –Group B. Banteay Srei. Krishna killing Kamsa |
Fig.8 – Group
B Banteay Srei. . Two brothers fighting
for the possession of the apsara Tilottama
|
Fig 9
– Group B. Banteay Srei. The Pandfava hero Bhishma jumps in the air
with an heavy mace to kill
the Kaurava Duryodama.
|
Fig.10 – Group
C. Banteay Srei. Rama killing Valin
|
Fig. 12 – Group
C. Banteay Srei. Lintel displaying Ravana kidnapping Sita.
Three are to traces of Rama and Lakshmana.
|
Fig.213
bis –Group A Banteay Srei, Door pillar with deep carved ornaments.
|
Fig.14 –Group
E. Banteay Srei. Female guardian of the temple
|
Fig.15 –Group
E. Banteay Srei. le guardian of the temple
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