Banteay Srei is known for the intricacy of its carvings. This carving is
of a kala, a mythical creature
representative of time and of the god Siva.
Banteay Srei (or Banteay Srey) is a 10th century Cambodian temple dedicated
to the Hindu god Shiva. Located in the area of Angkor in Cambodia, at 13.5989 N, 103.9628
E, it lies near the hill of Phnom Dei, 25 km (15 miles) north-east of the main group of temples that once belonged
to the medieval capitals of Yasodharapura and Angkor
Thom. Banteay Srei is built largely of red sandstone, a medium that lends itself to the elaborate decorative
wall carvings which are still observable today. The buildings themselves are miniature in scale, unusually so when
measured by the standards of Angkorian construction. These factors have made the temple extremely popular with
tourists, and have led to its being widely praised as a "precious gem", or the "jewel of Khmer art."
Foundation and dedication
Consecrated in 967 A.D., Banteay Srei was the only major temple at Angkor not
"Banteay Srei" (Citadel of Women) is the modern name of a 10th century
Khmer temple originally called "Tribhuvanamahesvara" (Great Lord of the Threefold
World), an appellation of the god Siva.
built by a monarch; its construction is credited to a courtier named Yajnavaraha, who served as a
counsellor to king Rajendravarman II. The foundational stela says that
Yajnavaraha was a scholar and philanthropist who helped those who suffered from illness, injustice, or poverty.
Originally, the temple was surrounded by a town called Isvarapura.
It has been speculated that the temple's modern name, Banteay Srei, is due to the many devatas carved into the red
Yajnyavaraha's temple was primarily dedicated to the Hindu god Shiva. Originally, it was carried
the name Tribhuvanamahesvara — great lord of the threefold world — in reference to the Shaivite linga that served
as its central religious image. However, the temple buildings appear to be divided along the central east-west axis
between those buildings located south of the axis, which are devoted to Shiva, and those north of the axis, which
are devoted to Vishnu.
It has been speculated that the temple's modern name, Banteay Srei, is due
to the many devatas carved into the red sandstone walls.
The temple's modern name, Banteay Srei — citadel of the women, or citadel of beauty — is
probably related to the intricacy of the bas relief carvings found on the walls and the tiny dimensions of the
buildings themselves. Some have speculated that it relates to the many devatas carved into the walls of the
Expansion and rededication
Banteay Srei was subject to further expansion and rebuilding work in the eleventh century. At
some point it came under the control of the king and had its original dedication changed; an inscription of the
early twelfth century records the temple being given to the priest Divarakapandita and being rededicated to Shiva.
It remained in use at least until the fourteenth century.
The temple was rediscovered only in 1914, and was the subject of a celebrated
case of art theft when André Malraux stole four devatas in 1923 (he was soon arrested and the figures
returned). The incident stimulated interest in the site, which was cleared the following year, and in the 1930s
Banteay Srei was restored in the first important use of anastylosis at Angkor. Until the discovery of the
foundation stela in 1936, it had been assumed that the extreme decoration indicated a later date than was in fact
the case. To prevent the site from water damage, the joint Cambodian-Swiss Banteay Srei Conservation Project
installed a drainage system between 2000 and 2003. Measures were also taken to prevent damage to the temples walls
being caused by nearby trees. Unfortunately, the temple has been ravaged by pilfering and vandalism. When toward
the end of the 20th century authorities removed some original statues and replaced them with concrete replicas,
looters took to attacking the replicas. A statue of Shiva and his shakti Uma, removed to the National Museum in
Phnom Penh for safekeeping, was assaulted in the museum itself.
Many niches in the temple walls contain carvings of devatas or
Materials and style
Banteay Srei is built largely of a hard red sandstone that can be carved like wood. Brick and laterite were
used only for the enclosure walls and some structural elements. The temple is known for the beauty of its sandstone
lintels and pediments.
The pediment representing the fight between the asura brothers Sunda and Upasunda over
the apsara Tilottama is
located in the Musée Guimet.
A pediment is the roughly triangular space above a rectangular doorway or openings. At Banteay
Srei, pediments are relatively large in comparison to the openings below, and take a sweeping gabled shape. For the
first time in the history of Khmer architecture, whole scenes of mythological subject-matter are depicted on the
A lintel is a horizontal beam spanning the gap between two posts. Some lintels serve a structural purpose,
serving to support the weight of the superstructure, while others are purely decorative in purpose. The lintels at
Banteay Srei are beautifully carved, rivalling those of the 9th century Preah Ko style
Shiva Nataraja is depicted on the eastern gopura of the inner enclosure
Many niches in the temple walls contain carvings of devatas or dvarapalas.
Noteworthy decorative motifs include the kala (a toothy monster symbolic of time), the guardian
dvarapala (an armed protector of the temple) and devata (demi-goddess), the false door, and the colonette. Indeed,
decorative carvings seem to cover almost every available surface. According to pioneering Angkor scholar Maurice
Glaize, "Given the very particular charm of Banteay Srei — its remarkable state of preservation and the excellence
of a near perfect ornamental technique — one should not hesitate, of all the monuments of the Angkor group, to give
it the highest priority." At Banteay Srei, wrote Glaize, "the work relates more closely to the art of the goldsmith
or to carving in wood than to sculpture in stone".
Plan of Banteay Srei
Like most Khmer temples, Banteay Srei is oriented towards the east. It consists of three
concentric rectangular enclosures constructed on an east-west axis. A causeway stituated on the axis leads from an
outer gopura, or gate, to the third or outermost of the three enclosures. The inner enclosure contains the
sanctuary, consisting of an entrance chamber and three towers, as well as two buildings conventionally referred to
The outer Gopura
The gopura is all that remains of the outer wall surrounding the town of
Isvapura. The wall is believed to have measured approximately 500 m square, and may have been constructed
of wood. The gopura's eastern pediment shows Indra, who was associated with that direction, mounted on his
three-headed elephant Airavata. The 67 m causeway with the remains of corridors on either side connects the gopura
with the third enclosure. North and south of this causeway are galleries with a north-south orientation.
The combat between Vali and Sugreeva is depicted on the western
The Third (Outer) Enclosure
The third enclosure is 95 by 110 m; it is surrounded by a laterite wall breached
by gopuras at the eastern and western ends. Neither pediment of the eastern gopura is in situ. The
west-facing pediment is now located in the Musée Guimet in Paris. It depicts a scene from the Mahabharata in which
the Asura brothers Sunda and Upasunda fight over the Apsaras Tilottama. The east-facing pediment is lying on the
ground. It depicts a scene from the Ramayana in which a demon seizes Rama's wife Sita. Most of the area within the
third enclosure is occupied by a moat divided into two parts by causeways to the east and west.
A pediment shows Narasimha clawing Hiranyakasipu.
The Second Enclosure
A pediment shows Ravana shaking Mount Kailasa.
The second enclosure sits between an outer laterite wall measuring 38 by 42 m, with gopuras at
the eastern and western ends, and a brick inner enclosure wall, measuring 24 by 24 m. The western gopura features
an interesting bas relief depicting the duel of the monkey princes Vali and Sugreeva, as well as Rama's
intervention on Sugreeva's behalf. The inner enclosure wall has collapsed, leaving a gopura at the eastern end and
a brick shrine at the western. The eastern pediment of the gopura shows Shiva Nataraja; the west-facing pediment
has an image of Durga. Likewise, the laterite galleries which once filled the second enclosure (one each to north
and south, two each to east and west) have partially collapsed. A pediment on one of the galleries shows the
lion-man Narasimha clawing the demon Hiranyakasipu.
The First (Inner) Enclosure
Another pediment shows the burning of Khandava Forest.
Between the gopuras on the collapsed inner wall are the buildings of the inner enclosure: a
library in the south-east corner and another in the north-east corner, and in the centre the sanctuary set on a
T-shaped platform 0.9 m high. Besides being the most extravagantly decorated parts of the temple, these have also
been the most successfully restored (helped by the durability of their sandstone and their small scale). In 2010,
the first enclosure is open to visitors again, but the inner temples are roped off and inaccessible.
The two libraries are of brick, laterite and sandstone. Each library has two pediments, one on
the eastern side and one on the western. According to Maurice Glaize, the four library pediments, "representing the
first appearance of tympanums with scenes, are works of the highest order. Superior in composition to any which
followed, they show true craftsmanship in their modelling in a skilful blend of stylisation and realism."
The east-facing pediment on the southern library shows Shiva seated on the summit of Mount Kailasa, his
mythological abode. His consort Uma sits on his lap and clings anxiously to his torso. Other beings are
also present on the slopes of the mountain, arranged in a strict hierarchy of three tiers from top to
bottom. In the top tier sit bearded wise men and ascetics, in the middle tier mythological figures with
the heads of animals and the bodies of humans, and in the bottom tier large animals, including a number
of lions. In the middle of the scene stands the ten-headed demon king Ravana. He is shaking the
mountain in its very foundations as the animals flee from his presence and as the wise men and
mythological beings discuss the situation or pray. According to the legend, Shiva stopped Ravana from
shaking the mountain by using his toe to press down on the mountain and to trap Ravana underneath for
The west-facing pediment on southern library shows Shiva again seated on the summit of Mount Kailasa.
He is looking to his left at the god of love Kama, who is aiming an arrow at him. Uma sits to Shiva's
right; he is handing her a chain of beads. The slopes of the mountain are crowded with other beings,
again arranged in a strict hierarchy from top to bottom. Just under Shiva sit a group of bearded wise
men and ascetics, under whom the second tier is occupied by the mythological beings with the heads of
animals and the bodies of humans; the lowest tier belongs the common people, who mingle sociably with
tame deer and a large gentle bull. According to the legend, Kama fired an arrow at Shiva in order to
cause Shiva to take an interest in Uma. Shiva, however, was greatly angered by this provocation, and
punished Kama by gazing upon him with his third eye, frying Kama to cinders.
The east-facing pediment on the northern library shows the god of the sky Indra creating rain to put
out a forest fire started by the god of fire Agni for purposes of killing the naga king Takshaka who
lived in Khandava Forest. The Mahabharatan heroes Krishna and Arjuna are shown helping Agni by firing a
dense hail of arrows to block Indra's rain. Takshaka's son Aswasena is depicted attempting to escape
from the conflagration, while other animals stampede about in panic.
The west-facing pediment on the southern library depicts Krishna slaying his wicked uncle Kamsa.
The mandapa and central tower, seen from the northeast.
The sanctuary is entered from the east by a doorway only 1.08 m in height: inside is an entrance
chamber (or mandapa) with a corbelled brick roof, then a short corridor leading to three towers to the west: the
central tower is the tallest, at 9.8 m. Glaize notes the impression of delicacy given the towers by the antefixes
on each of their tiers. The six stairways leading up to the platform were each guarded by two kneeling statues of
human figures with animal heads; most of those now in place are replicas, the originals having been stolen or
removed to museums.