Banteay Srei - The Citadel of the women
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."
Prasat Banteay Srei The tenth century temple of Banteay Srei is renowned for its intricate
decoration carved in pinkish sandstone that covers the walls like tapestry. This site warrants as much time as your
The roads have been recently repaired and it takes about 30 minutes from Siem Reap to get to the
temple. To reach Banteay Srei, follow the main road north out of Siem Reap, turn right at Angkor Wat and follow the
road to Srah Srang where you turn right past Pre Rup.
At the East Mebon there is a check post where you need to obtain
clearnce. Turn right again at the road before the East Mebon; pass through the village of Phoum Pradak, where there
is a junctions (if you continue straight, after about 5 minutes, you will reach Banteay Samre). At this point, you come to a fork; take the road on the left and follow it
to Batneay Srei which you will reach shortly after crossing two rivers - on your left hand side.
Banteay Srei is an exquisite miniature; a fairy palace in the heart of an immense and mysterious
forest; the very thing that Grimm delighted to imagine, and that every child's heart has yearned after, but which
mature years has sadly proved too lovely to be true. And here it is, in the Cambodian forest at Banteay Srei,
carved not out of the stuff that dreams are made of, but of solid sandstone.
Location: 25 kilometers (15.5 miles) north-east of East Mebon
Access: enter and leave the temple by the east entrance
Date: second half of the 10th century (967)
King: Rajendravarman II (reigned 944-968) and Jayavarman V (reigned 968-1001)
Religion: Hindu (dedicated to Shiva)
Art style: Banteay Srei
The enchanting temple of Banteay Srei is nearly everyone's favorite site. The special charm of
this temple lies in its remarkable state of preservation, small size and excellence of decoration.
The unanimous opinion amongst French archaeologists who worked at Angkor is that Banteay Srei is
a 'precious gem' and a 'jewel in Khmer art'. Banteay Srei, as it is known by locals, was originally called
Isvarapura, according to inscriptions. It was by a Brahmin of royal descent who was spiritual teacher to Jayavarman
V. Some describe it a s being closer in architecture and decoration to Indian models than any other temple at
Angkor. A special feature of the exquisite decoration was the use of a hard pink sandstone (quartz arenite) where
enabled the 'technique of sandalwood carving with even an Indian scent to it'.
Foundation and dedication
Consecrated in 967 A.D., Banteay Srei was the only major temple at Angkor not 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
It has been speculated that the temple's modern name, Banteay Srei, is due to the many devatas
carved into the red sandstone walls.
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.
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 buildings.
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.
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.
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 in quality.
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".
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 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.
The Second Enclosure
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
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 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.