p135  Minor Circuit

From the Veal in Angkor Thom, the Minor Circuit proceeds eastward through the Gate  p136 of Victory to Ta Keo, Ta Prohm and Banteai Kedei, then back to Angkor Wat. Distance: •11.25 miles.

Ta Keo

Just outside the Gate of Victory, with its restored "Giant's Causeway" (mentioned on pages 31 and 93), are two symmetrical sandstone temples, •195 by 130 feet: Thommanon, on the left (north) of the highway and Chau‑sai, on the right (south). Both are Brahmanic and are elaborately carved, but are scarcely worth a visit unless one has time to spare.

Less than a mile beyond, however, is Ta Keo, or "Sanctuary of the Crystal God," one of the best monuments of Angkor.

(p137)

Ta Keo

Dating from the middle of the 10th century, it is a metamorphosis between the first epoch of classical Khmer architecture and the last. This pyramidal edifice •(114 feet high), built in four tiers on a base •390 feet long by 325 feet wide, faces east and is bounded by a moat •(650 feet) crossed by causeways on each of its four sides.

Inside the moat, and rising one above the other, are two enclosures, with galleries and oriented gates. From the east side of the second platform, notable for its two libraries, thirty steep steps ascend to the third terrace where are four corner towers and, in the center, a pedestal supporting a main shrine  p139 dedicated to the worship of Siva. The view is worth the effort.

This entire monument is unique in that it is almost bereft of mural carvings or ornamentation. A few choice ones do exist on the east facade, on the first and second terraces and especially on the base of the third terrace near the steps leading to the sanctuary. Otherwise it is quite plain and simple, both understandable and logical in its construction.

Marchal has stated that the sole reason for the dearth of sculptures here is the fact that the sandstone of which the temple is constructed is obviously harder than that of other edifices and was, therefore, less adaptable to the usual sculptural delicacies. But, he continues, "the Khmers have proved by this example that they could produce a work of very fine appearance, without wanting the richness of carved decorations that occupy a preponderating place everywhere else."

Although dedicated to Siva, according to the inscriptions found here, a few statues of the Buddha have been introduced and are still venerated by pilgrims.

Ta Prohm

Half a mile south of Ta Keo is the west gate to the great Buddhist temple (though it may have been a cloister) and legendary treasure  p140 house of Ta Prohm, or "Ancestor Brahma," one of the largest and most interesting of Khmer monuments. Built in the 12th century, it is encompassed by a wall •3,250 feet (⅝ths of a mile) long (east and west) and •2,275 feet (⅖ths of a mile) wide (north and south).

Under Jayavarman VII (1182‑1201), according to an inscription found therein, 18 high priests and 2,740 ordinary priests officiated at Ta Prohm; 2,232 acolytes resided within the enclosure, 615 of whom were choristers who took part in the ceremonies, and 66,625 other men and women frequently visited it as communicants. Among its treasures were listed gold and silverware, 35 diamonds, 2 fans adorned with pearls, 40,620 pearls, 4,540 precious stones, 1 gold cauldron, brass dishes, plates, etc.

One should enter through the west gate, surmounted by the four-headed visage of Lokesvara and walk through •(⅝ths of a mile) to the demolished east gate. Huge trees with gigantic roots raise their enormous trunks on all sides. Profuse vegetation chokes the various courtyards, wrapping the rambling edifice in silence and in shade.

(p143)

Within Ta Prohm

In fact, the temple has been but partially cleared — intentionally, according to former Curator Marchal, so as "to respect as much as possible the characteristic collaboration of Nature and Man."

(p138)

Modern Cambodian in Ta Prohm

 p141  He advises the visitor "not to fail casting a glance through the frames of the apertures opening on rather dark galleries, over some interior perspectives. Some of the visions so beheld will remain unforgotten." For this reason he also urges one to see Ta Prohm only in the strongest possible light.

From the west gate, a flagstone path, once guarded by lions and Nagas, leads over a wide moat to an inner enclosure, within which a second flagstone pathway, obstructed by trees with cyclopean roots, leads to a series of galleries and concentric walls where numerous chapels, rooms and cloisters are crowded within a relatively small area without any claim to symmetry.

(p153)

Plan of Ta Prohm (Inner Enclosure)

Within a large gallery to the south is an image of the Buddha, seated between two other personages, all of which have been battered and broken, probably by the Brahman clergy who later occupied this monastery.

Towards the east are numerous passages and galleries that emerge eventually into a small courtyard, •78 feet on a side, wherein is the main sanctuary. The tower surmounting it, in great contrast to the elaborate ornamentation on every side, is devoid of all decoration. At one time it must have been embellished with a surface of metal or carved wood, for Ta Prohm is a temple of sculptures, of twisted ornaments and foliage patterns  p142 profusely scattered on every wall and pilaster. Note especially the fronton of the small library in the southeast corner of this central courtyard, with its dancing apsaras, and the two small closed cloisters, with a chapel in their center, one on the north, the other on the south, both beauti­fully sculptured.

On either side of the little south cloister are two large laterite buildings without decoration. They are assumed to have been either hospitals, asylums or storehouses.

After leaving the inner sanctuary by the door on the east, cross a second courtyard and enter a large cruciform room, without windows except for ornamented false windows on its facades. This room, delight­fully carved with apsaras both in the center and in friezes over the entrances, probably was used for ritual dances. Its size contrasts greatly with other rooms in the monastery.

Along an interior moat dividing the three central galleries are about a hundred cells for monks, while beyond is a rather small edifice in ruins, with a central nave and aisles of large square pillars, the purpose of which is still unknown.

On leaving the east, or main, gate, if one cares to inspect the Buddhist scenes sculptured on the lateral facades he will observe that all the central figures have been effaced or destroyed, probably by Sivaites of a later date.

 p145  To the north of the forest path between the inner and outer walls is a small pavilion of peculiar shape, conceivably a resthouse for pilgrims and wayfarers.

Banteai Kedei

•Less than a quarter of a mile south of the east entrance to Ta Prohm is the west gate of Banteai Kedei, a Buddhist "Fortress of Cells" dating from the 12th century.

(p144)

Main Monastery at Banteai Kedei

Some commentators maintain, however, that it was dedicated to Siva during the reign of Rajendravarman II (949‑968) and was ransacked during the 15th century by Buddhists who replaced its Brahmanic statues and carvings with those of the Buddha.

But due to its similarity to and improvement in plan over Ta Prohm, it is now generally believed to have been built about the time or perhaps subsequent to the former.

Banteai Kedei is enclosed within three walls, the outer measuring •2,275 feet or ⅖ths of a mile (east and west) and •1,625 feet or ³⁄₁₀ths of a mile (north and south), and the inner •1,040 feet by 975 feet. Like Ta Prohm, it is a fortified monastery, though neither so large nor so interesting.

•About 650 feet inside the west gate is an elevated cruciform terrace around which runs a balustrade of Nagas and Garudas. Within the second wall, also surrounded by a moat, is another terrace leading to a double wall  p146 •(205 feet by 160 feet) that encompasses the open courtyard around the monastery.

In the northwest and southeast angles of the courtyard are two small edifices wrongly called libraries, each enshrining a female deity or devata. These are especially notable in that they still occupy their original pedestals — a rare circumstance anywhere in Angkor.

Within the main building most, if not all, of the images have been mutilated or thrown to the ground and their pedestals overturned by vandals in quest of hidden treasure.

Beyond this pavilion is a cruciform dancing hall similar to that at Ta Prohm, though this one is almost in ruins with only a few pillars still standing.

Outside the east portal of the inner wall is another elevated terrace, similar to that on the west, with a balustrade of Nagas and Garudas. Then appear two small sanctuaries, in ruins, on either side of the avenue leading to the outer wall, which is penetrated by a gate in a fair state of preservation ornamented with Garudas as well as the four-faced visage of Lokesvara.

From the east gate of Banteai Kedei, just opposite Sra Srang ("Basin of Ablutions"), we return either to the Bungalow des Ruines at Angkor Wat •(6½ miles) or to the Grand Hôtel d'Angkor at Siemreap •(10 miles), where an abbreviated tour of "Wondrous Angkor" must end.

 p149  But if one has the time he should not forgo

Banteai Srei

Of all the architectural gems submerged in Angkor's jungle-ocean, this exquisite little monument, termed "The Citadel of Women," is in a class by itself. Situated 28 miles from the Grand Hôtel d'Angkor, 13 miles northeast of Angkor Thom, it can easily be seen in a generous half day. The last •eleven miles are sandy, occasionally rough, with a •600-yard walk at the road's end, but the reward well exceeds the effort.

(p147)

Banteai Srei: An Exquisite Architectural Gem

Erected during the second half of the 10th century by Jayavarman V, Banteai Srei's diminutiveness and elegance of proportion, its richness and splendor of decoration set it quite apart in Khmer art. Comprising three sanctuaries, the middle one is preceded by a narrow entrance pavilion and two small libraries at the southeast and northeast angles of its partially demolished brick enclosure.

When discovered in 1913, the buildings were in a sad state of disrepair. But by following the methods employed in the Netherland Indies with such striking success, particularly at the Borobudur and at Prambanan, former Curator Marchal finally completed Banteai Srei's restoration in 1935. First, he dismantled the buildings stone by stone, numbering each one. Then, reinforcing  p150 the foundations with concrete, he re‑erected the shrine as it now stands, virtually perfect — the only one in all Cambodia so nearly intact.⁠a

Nothing about Banteai Srei explains its name, "Citadel of Women." It is not particularly feminine, except in its daintiness. It has no dignity or solemnity. As a whole, it seems rather cold and detached, occasionally cheerless. Yet certain portions are quite intimate, almost impudent — a series of tiny temples and terraces, of incredible prodigality conceived and created by some fabulous giant in a palpable fairyland.

Why this anomaly has a place among the stupendous architectural phenomenon of Angkor, only the gods know. It is just one more of this mysterious region's baffling riddles. Banteai Srei has nothing in common with the rest of Angkor except its lavish carved decoration its dedication, at one time or another, to Vishnu. Even the almost universal concentric squares are lacking. So are the Naga balustrades. And instead of guardian lions before the prim little steps leading to the narrow terraces about each small temple are pairs of jovial seated figures with comical faces. Marchal calls special attention to the fine "yaksha," with curled hair, round eyes and disquieting smile, seated in front of the central sanctuary's western entrance.

Banteai Srei is a fitting finale to anyone's visit to "Wondrous Angkor."

(p148)

Banteai Srei's Incredible Prodigality of Lavish Ornamentation

[A larger version of the photo opens here.]

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Thayer's Note:

a Dickason's "so nearly intact" is really pushing it: our author passes over the egregious vandalism of the monument and theft of the reliefs of this beauti­ful temple, which remained by and large unpunished, by a young man who would later become one of twentieth-century France's best-known writers. It was these depredations by André Malraux in 1923, undertaken purely for his personal financial gain, that eventually gave a spur to the special restoration of the Banteai Srei by Marchal. The details are given on various webpages, the best probably being the very detailed page at Angkor Database. Despite that, it remains unclear to me that all the stolen statuary did in fact make it back to this "nearly intact" temple.

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