Angkor Wat sunrise. © Copyright Gary Ng.

Siem Reap, Cambodia – Angkor Wat temple, the symbol of modern Cambodia, embodies the genius, beauty and power of the Khmer civilization that first civilized what is now Southeast Asia.

Angkor Wat is unlike any other ancient temple on Earth because of the treasure it protects: its vast walls and corridors enshrine a delicate legacy, the exquisite portraits of more than 2,000 Khmer women known as devata. Whether they represent goddesses from heaven or queens here on earth is unknown.

Each day, these sanctified women welcome a new sunrise with the promise of abundance, fertility, peace and enlightenment for this land, and for all who wish to see their message. The heart of Angkor Wat is very much alive and the devata still offer humankind hints of our celestial place in the universe.

Special thanks to architect and photographer Gary Ng, who captured this magnificent series of sunrise photos at Angkor Wat on his first visit to Cambodia. For more of his work, please visit http://gnostec.wordpress.com/

Angkor Wat sunrise. © Copyright Gary Ng.

Angkor Wat sunrise. © Copyright Gary Ng.

Angkor Wat sunrise. © Copyright Gary Ng.

Angkor Wat sunrise. © Copyright Gary Ng.

Angkor Wat sunrise. © Copyright Gary Ng.

Angkor Wat sunrise. © Copyright Gary Ng.

Angkor Wat was built as a Hindu temple honoring Vishnu between 1,115-1,150 AD. Cambodia adopted Buddhism in the 13th century and Buddhist monks have maintained the temple since that time. © Copyright Gary Ng.

Angkor Wat enshrines more than 2,000 portrait carvings of ancient Khmer women. Their identity and meaning remain a mystery. © Copyright Gary Ng.

Angkor Wat, Cambodia – This article identifies working counts and locations of all devata (sacred female) images in Angkor Wat. We have numerically identified 1,796 devata at the temple, not including those on the high towers.

In her 1926 study, Sappho Marchal cited 1,737 devata, possibly not counting some that are partially completed, worn away, covered by stone blocks (sealed doorways on level A1) or “aerial devata” located on Angkor Wat’s top towers.

Angkor Wat's main structure with key devata locations labeled.

DatAsia’s numbering system identifies devata carvings sequentially in five defined structural areas.

A1 – Angkor Wat Top Level (Bakan) + Central Tower

A2 – Angkor Wat Second Level + 2 Libraries

A3 – Angkor Wat Third Level (outside only) + 2 Libraries

Angkor Wat West Gopura (entry gate)

A4 – The West Gopura – Entry gate to Angkor Wat

A5 – Angkor Wat South + West Gates (no devata at North Gate)

Our numbering convention identifies the Level; Structure; Inside/Outside Location (relative to the center of the temple); Sequential Devata Number + Additional Details (this can include the feature, photographer, raw photo number, etc.)

e.g. A4-GW-I-009-K
This means the devata is located in area A4, Gate West, Inside, Devata #009, photo by Kent Davis

All numbering begins at the southwest corner of each structure and goes sequentially counter clockwise (from South to North on the West Gopura).

Devata Inventory at Angkor Wat

Angkor Wat Devata - West Gopura

A1 – 407

Central Tower – 64   (#001-062)
Central Tower Aerial – 16 (NW-NE-SW-SE x 4)
OUTSIDE – 201   (#001-198)
INSIDE – 126   (#001-124)

A2 – 647

A2 OUTSIDE – 341   (#001-328)
A2 INSIDE – 222   (#001-217)

A2 Libraries
North – 44   (#001-044)
South – 40   (#001-040)

A3 – 414

OUTSIDE – 241   (#001-241)
INSIDE- 0

A3 Libraries
North – 46   (#001-046)
South – 20   (#001-020)

Angkor Wat Devata - West Gopura

West Inside Chambers
Center – 28   (#001-028)
North & South – 8+8   (#001-016)

Cruciform Gallery
North – 34  ( #001-034)
South – 29   (#001-029)

A4 – Gate West – 259

West (OUTSIDE) – 119   (#001-119)
East (INSIDE) – 124   (#001-122)
Entry Chamber North – 8   (#001-008)
Entry Chamber South – 8   (#001-008)

A5 – 69

A5-South Gate – 25   (#001-024)
A5-East Gate – 40   (#001-040)
A5-West Library – 4*   (#001-004)

Total: 1,796 unique devata

*These devata are a different style and appear to have been added during the reign of Jayavarman VII or later. There are other devata with questionable styles that may also have been added later.

The A1 exterior towers may also have as many as 16 devata each, which could increase the inventory by 64 additional devata.

NOTE: Original DatAsia numbers were assigned to correspond with the German Apsara Conservation Project database so that data could be compared.

Unfortunately, the GACP database has numerical anomalies due to later additions. For this reason, some numbers have more than one devata (e.g. 100a, 100b). This, therefore, results in areas such as A1 Outside, where the numerical sequence only goes to 198 but covers a population of 201 devata.

Another issue is that the GACP system numbers counterclockwise, even for devata inside levels A1 and A2. This means that they are numbered right to left (…3, 2, 1) instead of left to right (1, 2, 3…), which is less intuitive when viewing.

When the Devata.org database is complete a final, sequentially perfect number will be assigned to each devata portrait. In the meantime, however, we continue to use the legacy system for easier cross referencing.

The restored temple of Chau Say Tevoda. Note the new stone sections in lighter color.

Between 1,120-1,150AD, Angkor Wat’s sponsor, King Suryavarman II, also began building the elegant Hindu temple of Chau Say Tevoda. Yasovarman II is credited with additional work during his brief reign (1,160-1,166AD). Finally, Jayavarman VII (ruling 1,181-1,215 AD) added new decorative elements to harmonize with the religious transformation he initiated converting the state from Hinduism to Buddhism.

The central shrine is encircled by sacred female images called devata.

Two of the Khmer civilization’s greatest kings, Suryavarman II and Jayavarman VII, also installed the greatest number of sacred female images, or devata, in their temples. The style and unique qualities of the devata at Chao Say Tevoda make this small temple well worth a detour on any visit to Angkor.

The Khmer kings Suryavarman II and Jayavarman VII enshrined images of more than 4,000 sacred women in their temples. No one knows exactly why.

Chau Say Tevoda includes a central sanctuary, two libraries and four gopura (gateway) structures, one for each cardinal point. Directly to its north sits Thommanon temple, which was also built by King Suryavarman II based on a similar design.

Thommanon also features prominent devata in fine condition (see Devata.org’s Thommanon photo gallery here) but there are significant stylistic differences in the women populating the two temples. For years, Thommanon was in far better condition thanks to extensive restoration done by the EFEO in the 1960’s under the direction of Bernard Philippe Groslier.

Many of the women at Chao Say Tevoda express strength in their beauty.

Unfortunately, Chao Say Tevoda had been devastated by centuries of natural erosion, and all that remained were 4,000 pieces of stone masonry, many of which had tumbled down an embankment into the Siem Reap River.

On March 29, 2000, H.R.H. Princess Buppha Devi with APSARA Authority and other Cambodian dignitaries welcomed H.E. Yang Tin Ai, Ambassador for the People’s Republic of China as his government initiated a massive restoration project of the temple that included both Chinese and Cambodian workers. Tim Tye’s Asia Explorers website offers a few excellent photos taken while the restoration.

The Chinese restoration project was controversial because they chose to totally reconstruct the temple buildings by including newly fabricated stones. While American and Japanese teams rejected this approach it conformed to UNESCO and ICOMOS guidelines allowing for their use of 2-9% of modern replica stones in heritage reconstruction.

The Chinese restoration team included replicas of missing stone sections (seen above in lighter colors).)

The results are dramatic. The new sections are easy to identify and, while the replicas do not equal the artistic quality of the original Khmer sections, they do help visitors experience the temple in a condition closer to what was originally built.

The Chinese team completed their work in 2009, when the improved temple again began receiving visitors.

May the devata of Chao Say Tevoda bestow blessings on the Chinese for their important contribution of restoring this Khmer cultural treasure.

NOTE: A complete photo gallery of all the unique Chau Say Tevoda devata is in preparation. The link will be posted here in the future. In the meantime a trinity of devata appears below:

This devata's crown, with central element, is unusual. None of the symbolic attributes that devata display have yet been interpreted.

This alert looking devata is crowned by her long, thick, braided hair dressed in coils.

This graceful crowned devata is similar to her sisters at Angkor Wat. Note that she holds a "rooted bud" (Devata.org terminology) exactly like the sacred women surrounding the central sanctuary on the top level of Angkor Wat.

Siem Reap, Cambodia – This huge temple city, once filled with as many as 100,000 acolytes, now rests peacefully in the lush jungle of northern Cambodia.

Today acolytes are few, but sacred images of Khmer women still abound, protecting the temple with their auspicious presence.

The sacred woman in this photo gallery have been exposed to harsh tropical sun for more than 700 years but still retain their charm and mystery. For comparison, be sure to visit the other devata temple photo galleries.

The brilliant colors of the friendly Preah Khan devata pictured at the right are natural, but enhanced by increasing the camera’s color saturation.

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Preah Khan Photos – Devata of Light

Angkor Wat's builder, King Suryavarman II built Athvea temple in the 12th century.

The Buddhist wat next to the temple features scenes from the Reamker.

Siem Reap, Cambodia - Wat Athvea is an active Buddhist temple about 6 km. south of Siem Reap that, like many others, is built next to an ancient Hindu temple. It’s on the west side of the road to the Tonle Sap and it’s well worth a short detour to see this peaceful and relatively un-touristed Khmer monument.

The temple’s design and distinctive style of the devata (sacred female images) inside indicate that it was built in the 12th century, during the reign of King Suryavarman II (circa 1,115-1,150 AD), who also built Angkor Wat.

The temple is unusual because it lacks all but the most basic decorative carvings…with the exception of some exceptional Angkor Wat style devata. Originally at least six women were planned to preside over the west interior chamber of the main structure but only four were completed and of those only three remain in good condition.

Upon entering from the west, devata #1 stands south of the door in fine condition. To the left is #2, however she has deteriorated to the point that only her headless torso with parts of both arms and a section of her sampot (a traditional Khmer wrap worn around the waist) remain.

Directly ahead two more completed devata stand at the far left and far right (#3 and 6) of the facing opening to the central sanctuary. There are also two uncompleted devata outlines etched onto this wall (#4 and 5). As a final note, this chamber does feature inscriptions on the columns, but these may have been added at a later date.

All three remaining devata are exquisitely adorned with lotus crowns, heavy necklaces and belts, armbands, finger rings and rich sampots (Khmer style waist wrap) made with floral patterned fabric.

Their attributes are comparable to the most sacred women found at the highest level of Angkor Wat, implying that this temple was founded for an important reason.

The Buddhist wat next door is quite charming, with hand carved gilded wood window panels featuring scenes from the Reamker. There are also a number of colorful and well maintained burial stupas on the wat grounds.

Wat Athvea Photo Album

Sacred female image from Chao Say Tevoda

From the 8th-14th centuries, the Khmer civilization unified most of Southeast Asia, implementing systems of government, religion, education, agriculture and architecture that still color the region today.

Khmer nobility and peasants alike chose to live in homes of wood, bamboo and thatch as they reserved the more permanent materials of stone and brick only for temples to their gods. Today, thousands of their religious structures still dot the landscape of Cambodia and Thailand, offering us clues to understanding the amazing people who built them.

The best photo index of Khmer temples in Cambodia and Thailand is available free thanks to the efforts of “Khmersearch,” a skilled (and generous) German photographer. Panoramio hosts his high resolution photo collection of  ancient Khmer temples, hospitals, dharmasalas, ruins and water features. Each photo is geographically located using Google Earth.

I found this extensive collection while researching the obscure temples of Prasat Mebon and Prasat Toap near Banteay Chhmar. In fact, many of the structures featured are virtually unvisited sites that are difficult to find, making this online resource especially unique.

Note that his photo collection offers only visual verification of the sites and does not include historical details.

We at Devata.org express our gratitude to Khmersearch for the time and effort devoted to creating this important record of Khmer history. The temple list below is organized by country (Cambodia and Thailand).

Temples featuring devata (sacred women) appear in green (note that devata are not necessarily included in Khmersearch images). Links to Devata.org photo sets and related devata articles appear in red.

Cambodia

“All Cambodia Sites”

Thailand

By Cindy Lane – The Anna Maria Island Sun

HOLMES BEACH, FL – Anna Maria Island is home to one of the world’s few researchers working exclusively on Angkor Wat, a Buddhist temple half a world and nine centuries away.

Kent Davis, former owner of Anna Maria’s Siam Garden Resort with his wife Sophaphan, is captivated by the women of Angkor Wat, a temple in Cambodia that he says is the largest religious structure in the world.

Originally a Hindu shrine, now a Buddhist temple, Angkor Wat is five times the size of the Vatican in Rome, he told about 40 members of the Artists’ Guild of Anna Maria Island meeting at the Episcopal Church of the Annunciation.

But while most women portrayed in Vatican art can be identified by contemporaneous writings, the “Daughters of Angkor Wat,” as he calls them, remain unknown.

Angkor Wat devata in the central tower facing north.

The 1,780 very different women are portrayed in stone, scantily dressed and heavily decorated with different jewelry, headdresses, flowers, fruits and other distinctions that have been the subject of his research since his first visit in 2005.

“I was not prepared for the temple’s human side,” said Davis, who coincidentally gave the presentation on the night of a full moon, four years to the day after his first visit to the temple.

Group of devata (sacred women) on Angkor Wat's second level.

With his photographs of each woman to guide him, he is on an Indiana Jones-style quest to track down who the women were, what they represent and why they were so important to the Khmer Empire, which built the moat-enclosed monument between 1116 and 1150 AD. The empire, which disappeared into the remote Cambodian jungle, was not a precursor to the Khmer Rouge, the “red” regime responsible for the genocides of 1.7 million people in the late 1970s, Davis said.

Built to represent the home of the gods in Hindu mythology, Angkor Wat’s architecture contains information on the seasons, the calendar and astronomical events, he said, but the overwhelming presence of the women’s images, with little having been written about them, is a mystery demanding investigation.

Three devata facing east on the top level of Angkor Wat.

Davis says their importance is evident, especially considering that the image of King Suryavarman II who commissioned the building of the temple is in a location far more inconspicuous than most of the women. But few have studied the subject, with only a handful of books written on the women, who may represent goddesses, priestesses or members of the royal court.

Davis is compiling a database tracking the characteristics of every woman portrayed at the temple, and plans to publish it his initial finding in the book, Daughters of Angkor Wat, due in early 2010…but the ending of what he calls “the world’s greatest archaeological mystery” has not yet been written.

His research can be found at www.devata.org.

Angkor Wat, Siem Reap, Cambodia

By Kent Davis

Indiana Jones just needed a whip and a machete when he headed to the jungle in search of lost temples. As a modern explorer,  I use a digital set of tools to bring my Khmer treasures back from Cambodia. The truth is, I learn more about the devata (images of Cambodia’s sacred women) reviewing high resolution photos at my desk in Florida than I ever do in the field. The beauty and the complexity of Angkor Wat and other Khmer monuments is overwhelming…better to explore each image and view at length at my desk.

I took all the photos in my Khmer temple photo gallery with the equipment below.

But first a disclaimer…my skill as a photographer is pretty much limited to Point…and Shoot…I count on technology to do the rest! If you want to see what truly gifted photographers do in Cambodia, please visit the exceptional online photo galleries of Jaro Poncar and  John McDermott for images of Angkor Wat and other Khmer temples. For Cambodian dance and performance arts visit the galleries of photographers Anders Jiras and Andrew Page. And don’t miss Gary Ng’s beautiful shots of an Angkor sunrise on his first visit to Cambodia.

Camera Review

Pentax K20D 14.6MP Digital SLR Camera with Shake Reduction

I bought my K20D to do research photography in rough environments in Cambodia, Thailand and Laos. I’m not a technical equipment expert but I have plenty of experience using cameras as a tool of my trade. This review relates a few tips and personal impressions about this terrific camera.

I actually bought a K10D in January 2007 for a series of research trips in Southeast Asia. I took about 15,000 trouble-free photos with that camera when it was, unfortunately, destroyed in an accident (a fire, incidentally, and I think it would have survived just about anything else).

In November 2008 I bought a K20D as a replacement. I bought my K10D with the standard lens. This time I bought the body and lens separately, which gave me a much better camera for my application. I decided on a Sigma 18-50mm f/2.8 EX DC SLD ELD Aspherical Macro Lens for Pentax and Samsung Digital SLR Cameras, which I’ll review separately.

After my experience with the K10D it was a no-brainer to buy the K20D. Features are similar so there was no learning curve, and all my accessories (Pentax BG2 Battery Grip, Tamron AF 70-300mm f/4.0-5.6 Di LD Macro Zoom Lens, Pentax AF540FGZ Flash were compatible. The K20D is an even better camera with higher image resolution, color enhancement and (I think) improved image stabilization.

Battery life is outstanding – Up to 600 shots on one charge, including many with fill in flash and checking each shot in the LCD screen as it’s taken. With an extra battery this camera far exceeds my endurance for a day of shooting.

Two boy scout tips will make life better (or at least more relaxed) with this camera:

1. Buy an extra battery and charger – The uncommon format used in this camera makes these items very difficult to find in local camera stores (impossible to find where I go). No battery or no charger = no pix. I got this inexpensive kit with 2 Replacement Pentax D-LI50 Batteries and Mini Battery Charger for the K10D & K20D Digital SLR Cameras. Good insurance.

2. Take an extra USB cable to download your pix to computer. Like the batteries, the tiny D-shell connection to the K20D body is not a common size. On one trip when I lost this I ended up buying a flashcard USB reader because the cable was nowhere to be found…at least in Cambodia.

November 2008 I shot 7,000 trouble free photos in 9 days. High heat, high humidity and occasional jolts (oops) never slow this rugged piece of equipment down. A great camera that is easy to use in difficult shooting situations.

Lens Review

Sigma 18-50mm f/2.8 Macro Lens for Pentax

In 2007 I bought a Pentax K10D with the standard factory 18-55mm f/3.5-5.6 Lens. In 2008 I upgraded to the Pentax K20D 14.6MP Digital SLR Camera with Shake Reduction (Body Only) and chose to buy this lens separately. A great decision that gave me much better results.

I was worried about losing the extra 5mm of zoom but the lower light f2.8 capability absolutely made this lens the way to go. I’m a research photographer doing work in Khmer temples in Cambodia. My light conditions constantly range from “too much” to “not enough”. This lens performed perfectly in all conditions.

Mechanical motions are smooth and didn’t change in a recent 9 day temple shoot of 7,000 photos in 9 days. The lens feels solid and performed reliably.

I drove myself nuts researching dozens of lenses before deciding on this one. It seemed to offer the best ratio between performance and cost. I am delighted with my choice.

Monopod Review

Manfrotto 681B Professional Aluminum Monopod (Black)

Manfrotto 234RC Monopod Head Quick Release

Taking this on my December 2009 trip to Banteay Chhmar, Angkor Wat and the temples of Siem Reap and will report back soon. Anders Jiras recommended using a monopod when I met him in Phnom Penh in December 2009 — I’ve been looking forward to heading back with one ever since.

In Preah Khan, for example, it was painful to return home only to find less than crisp images of my Khmer goddesses. And this time, a new trick…one can use a monopod to easily elevate your camera another 6′ in the air…so my 6′ + 2′ for my arms + the 6′ monopod and the camera on a timer…wait until you see my next pix of the Hall of Dancers and the Nagini of Preah Khan! (-:

Tripod Review

Manfrotto 715SHB Digi Tripod

I’ve switched from a tripod to the monopod above for easier access to tight locations.

Scanner Review

Canon CanoScan 8800F Color Film/Negative/Photo Scanner

If you need a general all around scanner, this baby is for you. Great features, very versatile and a super price. Hey, an *incredible* price for the features! One immediate benefit is that this scans with instant-on LED light…no waiting a couple minutes for it to warm up like other scanners.

There are plenty of other reviews on Amazon from people smarter than me that will give you loads of technical info about all the features.

But are you looking to scan film?

Did you just have the great idea…”Hey! I’m going to take all my old film and digitize it so I can burn a DVD/post it on my blog/etc.”???

Me, too.

Well buckle up, my friend, it’s going to be a bumpy ride. If you want to digitize that giant pile of 35mm negatives you have in your drawer let me ask YOU a four questions…

• Do you work at home?
• Do you have a *lot* of free time on your hands?
• Do you run 2 computers at the same time?
• Do you have ADD?

If you answered yes, then your analogue past life is about to go glamorously digital. See…here’s the thing…scanning negatives is s……..l………o……….w. And tedious. And low quality

NOTE: I have been taken to task for this last comment…apparently some folks think scans from their 35mm images are better than what they get in this digital age. Hundreds of slides and negatives later, I disagree.

My experience (x 1,000) is that my 35mm negatives from the 70′s and 80′s are pretty sad compared to what you shot yesterday on your digital pocket camera. Sure, I shot plenty of grainy pix in poor light with ASA 200-400 film, but I also shot plenty of 100 speed. I now use a Pentax K20D 14.6MP Digital SLR Camera saving images at 7-9 megs. I’ve found nothing from a 35mm slide or negative that holds a candle to that.

Once I realized that my antique film medium itself is deficient, I stopped indulging myself in the fantasy that scanning at 9600dpi (extrapolated) would make a bit of difference. My slides and film just wouldn’t stand up to that.

I ended up scanning at 1200 dpi. It takes 2 minutes per frame.

If you’re lucky, you’ll have 6 frame strips and you can scan two strips at a time. That’s 24 minutes. If you’re not lucky (i.e. most of the time) the film strips are cut to 4 images. Two of those means 16 minutes. Then add the time to change strips.

You cannot use your computer for ANYTHING else while scanning. Don’t even think about it! So you will have to change film strips every 16 minutes…or every 24 minutes. Take your pick. So get ready to be interrupted every 16-24 minutes until you’ve relived your life.

Got a 36 exposure roll to digitize? Have over an hour to kill with 3-5 interruptions? Don’t need your computer for anything else (or have a spare computer humming)?

Then you’re ready for the adventure of negative film or slide scanning.

I’m not complaining, just reporting the facts. The alternative is to use a commercial service and pay around 50 cents per image. And if you think $18 is steep for the one *decent* frame off that roll of your trip to Thailand in 1991…I agree.

Conclusion – This scanner is as good as it gets…in this price range. Have fun!(-:

Devata at Rajarani temple in Orissa

Bhubaneshwar, Orissa – Set like a gem among fertile ricefields, the 11th century Rajarani Temple is a breathtaking example of of Orissan style. It is also an immediate architectural predecessor of the Khmer Empire’s greatest monuments.

As at Angkor Wat, the Bayon, Preah Khan, Thommanon, Ta Som and other Khmer temples, we find female images as the majority of figures on Rajarani’s main structure. Playful celestial nymphs, devata, apsara or yaksini, dance upon lotus buds, framed by lush plants and foliage. Unlike the subdued “courtly devata” of the Khmers, these maidens are quite playful, and we see them engaged in romantic dalliance, enticing visitors, holding pet birds, adjusting jewelry, cradling children and gazing at themselves in mirrors.

The Dikpalas: Guardians of the Eight Directions

Agni, god of fire and guardian of the southeast

In addition to these heavenly beauties, the temple features eight “dikpalas”: guardians protecting the tower at the compass points. The guardians begin with the head of the demigods Indra in the east; Agni the god of fire (southeast); Yama god of death (south); Nirriti goddess of the black asuras, also known as Kali, (southwest); Varuna the god of water (west); Vayu the god of air (northwest); Kubera the god of weath shown with a wish-granting tree (north); and Īśāna, the face of Siva and master of all knowledge (northeast).

Northeastern Thailand, a region whose strong people were shaped by Khmer influence, is still to this day called Isaan, derived from Īśāna, the Hindu god of the northwest.

Like their Indian counterparts, Khmer temples were designed to incorporate alignment to certain compass points, however there are surprising variations. Asger Mollerup, a Danish author, linguist and archeo-astronomer, clearly establishes that the Khmers (like the ancient Indians, Chinese and Greeks) had a grasp of planetary movements far beyond what modern people believe they had. Circa 1,000 AD, the Khmers were familiar with the astronomical principles detailed in the Surya Siddhanta.

His article from the Thai site Muang Borarn Journal, considers the orientation of the Khmer temple of Phanom Rung in relation to celestial events. For a wealth of additional information, consult Mollerup’s research website, Sundial, Calendar & Khmer Temples, including this article about the “Navagraha,” or celestial deities of directions, that he examines in a number of Khmer temples.

Images of the Gods by Vittorio Roveda

Other astronomical research relating to Khmer temples by Jean-Pierre Lacroix and Robert Bywater is available at their site AncientCartography.net.

How divine images of Hindu gods and symbols in Khmer monuments relate to compass point associations is therefore an interesting area of inquiry. In his book, Images of the Gods, author and researcher Vittorio Roveda points out the surprising fact that Angkor Wat contradicts the Hindu rules of guardian placement: the gods there actually appear opposite from their prescribed locations. Roveda’s theory is that the temple designers and iconographers envisioned a mirror image in their construction plan, for reasons that are still unknown.

The chart below may inspire readers to make some new discoveries:

Adapted from Wikpedia “The Guardians of the Directions”

Ancient Angels and Modern Cambodian Dance

Above the figures of the major Rajarani gods we see flying angels. What’s curious is that these angels are in the identical pose that the ancient Cambodian dance traditions uses to symbolize flying to this very day! This inspired this article about the history of divine flight. If the link is not yet active, the article isn’t complete, but will be soon.

Flying entities above the god adopt a pose with the trailing leg bent upwards, identical to the pose still used to signify flying in Cambodian dance.

Flying entities above the god adopt a pose with the trailing leg bent upwards, identical to the pose still used to signify flying in Cambodian dance.

Cambodian dancer in the same flying pose depicted in more than a millennium of Indian art. Courtesy "Earth in Flower" by Paul Cravath

The Origin of Rajarani’s Name

In this region of Orissa, “rajarani” is the local name of the rich red and gold sandstone that the temple is made from. However, there is a debate about the temple’s name that is inspired by the name of the city Bhubaneswar itself: all Hindu temples dedicated to the God Shiva in that town end in the suffix “eswar.” Non-Shaivite temple names are based on the presiding deity (e.g. Parvati temple).

The Orissan king who built Rajarani temple died before the temple was complete. The ceremony to install the main deity was therefore never performed, leaving Rajarani eternally godless. At least one scholar has argued that the Rajarani name was applied at a much later date because of the local stone used, and that this shrine was originally built to honor Shiva, like many others in the town.

Rajarani temple is an extraordinary statement to the brilliance of the Indian architects, builders and spiritual leaders of Orissa. I hope I am one day able to supplement the modest gallery below: