Our description continues by imagining that the monument is on our right when entering from the east. There is no longer a gallery in the true sense of the word with a continuous sequence of reliefs, but instead a series of independent buildings, cells and sections of galleries, clearly separated from each other. The various panels must be considered individually, as they only occasionally follow a common thread of narrative development in the subjects illustrated.
Eastern Gallery, South wing
Room between two towers. On the wall facing South are reliefs showing ascetics, mountain landscape. Shiva appears standing at a door with his left arm held high (217). On the door lintel is a sort of lizard, a Khmer iconographic element still unexplained, which appears also at Angkor Wat, in the Southwest Corner pavilion(see No.4), and at Phnom Kbal Spean (Kpal Sban)in the Ku;em ,pimtaoms tjes reoet is better interpreted as a Shiva Bhikshatana murti (page 50) rather than the metamorphosis of Ravana into a chameleon in order to sneak into the women’s apartment of Indra’s palace, as Glaze suggested (Glaize 1993). a similar scene is sculpted also in the Northern Gallery, western wing.
To the left, shva is shown sitting in a small temple, and then, again, descending the mountain, together with an acolyte, to bless a worshipper A cow in the act of suckiling a calf is depicted in front of as rishi, of the mountain inhabited buy wild animals, including a boar.
In front and to the left, one can barely discern roughly sketched palace scenes, presided over by a royal personage.
2. Small room. In the upper register, to the right
the relief shows the king in a palace surrounded by ascetics; below this,, are rural and hunting scenes; to the left (east face) stand Brahmins in front of a brazier near a temple over which apsaras are flying.
3. low gallery. To the right of the door there is an illustration of princesses in a palace amongst maidens. The large panel, on two registers, in front and to the left shows the often repeated military parade where the Khmers and the very likely the Chams mingle; a royal personage standing on an elephant, preceded by the ark with the sacred fire, is represented in narrative continuity over the corner of the wall, leading to the adjacent pavilion.
4. southeast corner pavilion
The reliefs depict a group of marching warriors and a general standing on an elephant.
Southern Gallery, eastern wing
5. low gallery. This panel is dilapidated and difficult to interpret. It illustrates an army parade (of Chams?); a fight between two high-ranking personages; soldiers coming from the opposite direction, probably of the same nationality. Next follows a palace scene, then a man climbing up a coconut tree, followed by an enormous Garuda in between the tail and the head of gigantic fish (218), symbolic of the Ocean surrounding Mount Meru, here represented as a mountain inhabited by ascetics and animals. The illustration of the parade continues. with another high-ranking figure passing in front of pasaces,either with empty rooms decorated only with scanty accessories. or with others occupied by princesses.smelling flowers or combing their hair in front of a mirror.
6. Small room. a large scale royal personage fighting against a lion (facing south) and an elephant (on the other wall, facing West) which he has brought down and whose rear segs he grasps.
7. Between two towers.starting from the same wall, facing East, to the lift, there is =, above, a parade of soldiers, a king leaving his palace is situated is seated between her modems.
In front, from left to right, a combat scene can barely be seen close to another prince and his army, then a palace on the water’s edge, with another building with some people standing around a brazier. The rock of the relief is exfoliating.
Following this, comes a procession of men carrying on their shoulders an empty throne. all coming out of a palace inhabited only by women, the lord bring absent, In the lower register, the eroded relief shows a princess preparing to put a baby into a cage (220): giving the impression that the unfortunate child is about to be dropped into a nearby pond.
Next. a fisherman casting a net stands in a small boat in the presence of a richly dressed princess in a very decorated boat (219).over which apsaras are flying. from the pond an enormous lotus-shaped pedestal emerges. tor some idol or personage whose image has been obliterated, close to a group of worshippers who pay their homage.
It is possible that this scene serves as introduction to the legend represented in a panes to the rear right, which has been identified by Coedes as the story of Pradyumna, son of Krishna and Rukmini. The boy is thrown into the sea by the demon Shambara, where he is swallowed by a fish captured by fishermen in their nets (221). In cutting open the fish, Pradyumna (who is the incarnation of Rati, the wife of Kama). takes him to a hiding place. He will subsequently marry her and finally dill Shambara. One can see the boy alive in the stomach of the fish that the ding orders to be cut open, and then when the is presented to Mayavati who greets him with a wave of her arm.
Southern Gallery, Western wing
8. between two towers. The panel facing West is damaged, although one can just discern a figure lying down on a palace, with his wife seated on a bed, lamenting.
Many Saivite stories follow. In front, facing South, on a panel of very poor quality, the god shiva is represented twice; stanking on a throne, then on an open lotus, in the middle of his devotees, one of whom is lying flat on the floor; some sort of casket or reliquary is carried on a small cart. To the rear left, there is another image of Shiva holding the trident, over apsaras dancing to the accompaniment of an orchestra.
9. Small room. Facing West, at the base, one can see a palace, with some pigeons perched on the roof. Higher up is a view of a temple where a four-armed figure of Vishnu seems to descend towards a standing figure of Shiva holding a trident. On the wall facing South is a linear palace scene. with many closed, or false. doors. but without the four-armed figure.
10. Low gallery.representations of flying apsaras and a standing person. probably Shiva. wearing a Brahmin’s cord. receiving the homage of the Brahmins. Next. a mountain landscape with wild animals (a tiger devours a man) forms the background to a temple with two closed doors.
Some princesses are walking around a pond, while a group of three apsaras dance on lotuses; above Shiva is seated in his celestial palace in the middle of his court.
Nearby there is the temple of Shiva, represented standing erect in the middle of a fish-filled pond, whose shores are crowded with ascetics and animals:a tiger pursues an ascetic, while other religious people are in conversation inside a palace and many devotees knees in front of the god. At the centre of the panes there is a large figure, possibly the king, prostrated in homage to the venerated statue of Vishnu (223), which is standing, covered with real garments and ornaments, in a simple temple probably made of wood, surrounded by flying apsaras. This scene is similar to the one seen in the relief above.
Then follows a scene showing the organisation of a royal pilgrimage to the god’s sanctuary. There are horses in the procession coming from a palace, illustrated to the left, with a staircase guarded by lions; higher up, someone seems to be giving orders, while many servants hastily get ready to depart. To the end of the panes, at the rear, are princesses walking around a garden on the shore of the pond, where one of them picks some lotuses.
Southwest Corner pavilion
11. Incomplete reliefs of different execution from the previous one, illustrating elephants and people.
Western Gallery, Southern wing
12. Low gallery. To the right, women appear in a palace whose main hall is empty, In front, Vishnu subjugating an army of asuras (according to Coedes), is represented with four arms holding his usual attributes, standing on Garuda. and seeming to act either on his own behalf or that of a figure behind him. Next, a palace scene with empty rooms.
13. Small rom. Another palace scene with apsaras dancing to the sound of an orchestra, to the lift, facing south, women are swimming and picking lotuses in a pond on the shores of which there is an ascetic; above, dancers, and above them, a scene of two people vigorously wrestling,.
14. Between two towers. to the right, facing North, illustration of the adoration of Vishnu with four arms, treated in a more complete way than in the reliefs of the outer gallery. Some coolies are hauling a stone block sliding on rollers, while others are actually laying the blocks with the help of a special system of leverage to put them in place: others transport materials. Then. facing West. of the inauguration ceremony of the temple. this involves the adoration of Vishnu, whose statue is located over a gargoyle (somasutra) channelling water from the interior of the monument; flying apsaras and crowds of servants carrying dishes contribute to the scene.
A water festival scene follows (so badly eroded that the description is based on old records), with chess players on a small, richly decorated boat, surrounded by other boats, and a cockfight. (It is a similar subject to the water festival of Dvaravati in the Southwest comer pavilion of Angkor Wat). To the left, facing South, under a palace scene, are Shiva and Vishnu dancing, and several episodes from the lives of the ascetics; a some meditate in caves. others swim in a pond among lotuses. not far from a bird which holds a fish in its beak.
Western Gallery, Northern wing
15. Between two towers. On the wall facing North are poorly-preserved palace scenes then, facing West, on three registers, is a parade of warriors , mainly cavalrymen, with two high dignitaries in their chariots pulled by horses. facing South, the continuation of the parade.
16. small room.facing North, two lords of the palace are being entertained by young princesses as they are dressed by their maids; then, to the left, a temple containing a canopy on a step-pyramid, possibly a crenation pavilion. facing West, an assembly of brahmins, some of whom are around a sort of fire: in the top register, there is an archer stringing his bow, while another is getting hold of a bow.
17. wow Gallery. Another archery scene with, to the left, a lord in his palace.
Tholarge panel has crumbled over most of its length. It represents the Churning of the Ocean of Milk and what is left shows that it was well modelled. At the beginning there is an assembly of Brahmins, then under a flight of birds and apsaras, the by of the naga with the asuras towards its head, and the devas, helped by Hanuman, towards the tail. a replica of the naga crawls along the bottom ot the sea, illustrated as represented by a column resting on the customary turtle and held in place by the god in human form with four arms. Another figure tops the scene, as at Angkor Wat, above a capital shaped like asotus. The two discs of the sun and the moon are shown, as will as jar destined to contain the contain the amrita (224), the elixir of immortality desired by gods and demons. To the sift, a god seated on a bird seems to want to pacify the group of asuras which complete the composition; their chief stands on a chariot pulled by fierce lions.
18. Northwest Corner pavilion
Only the inner corner-wall is preserved, carrying a representation of a military parade.
Northern Gallery, Western wing
19. Low gallery. Depiction of palace scenes on three registers, followed, on two, by a parade of servants who seem to carry offerings and are approaching, or following a sarger figure; next a mountain inhabited by wild animals (elephants, rhinoceros, na gas and other snakes, etc), with a pond and a sanctuary with closed doors. Below there is another, larger temple, which is also closed, its entrance guarded by Dvarapalas.
Kneeling ascetics seem to welcome another sacred procession coming from the left. headed by two sarge figures carrying tridents. Perhaps they have landed on the shore because the scene becomes nautical, with a group of three junks, richly decorated and of large dimensions. The first two are surmounted by min with short hair and a lord holding a trident. the other by a figure wearing a hat shaped like a inverted flower, surrounding a central couple. engaged in a variety of amusements beneath a flock of birds. To the lift of the panel. we return to the mainland. where. in a mountain palace amongst ascetics. several personages are enthroned; at least one of them is armed with a trident and may be Shiva.
20. Small room. Facing North, under a group of flving apsaras. There is a clumsily modeled Shiva with ten arms. Dancing the tandava which regulates the rhythm of the universe. Vishnu is to his right. Brahma (with four heads) to his lift, with Ganesha. Below this. A devouring Rahu can just be seen, on a part of the wall at the back, higher up the mountain. Inhabited by ascetics, another aspeet of the Trimurli is represented: Shiva is seated between Vishnu and brahma (225), looking down at an enormous charging boar.
21 between two towers. Facing East, Shiva, seated, is shown surrounded by ascetics and women, of whom the first is his wife Uma; Nandi the bull is also close by.
In front, facing North, in a mountain landscape where ascetics are praying, Shiva appears standing at a door with his left arm held high. On the door lintel is the strange lizard of Khmer iconography, as seen in the Eastern Gallery (217), South wing. Glaize suggested (1993) that it may represent Shiva Bhikshatanamurti (see page 1411), although the rather feminine look of the personage standing at the door may refer to the goddess Ganga (the river Ganges) descending to earth.
There follows the scene of shiva killing Kama (also visible at Angkor Wat), the panel illustrates Kama, the god, furious at this outrage, strikes his wife Rati mourning him.
Next, the bull Nandi is represented on a hiss. The panes ends with a scene of a prince sitting is his palace at the top of a mountain. To the lift. Facing West, a very clumsily carved Shiva and Uma on Nandi.
Northern gallery, Eastern wing
22. Between two towers. To the right, facing East, a representation of Shiva riding Nandi. With his wife Uma setting on his thigh (226), passing in front of a palace where the naga king, with multiple snake heads, can be seem.
In front, (not visible in 226) the scene probably represents preparations for the cremation of a personage carried by the people visible in the lower register; above, a funerary urn and the cremation pavilion surmounted by a kala head.
Then follows (according to coedes) an episode of the Mahabharata, which we have already encountered elsewhere. This is the episode known as arjuna’s penance, dealing with the duel between Arjuna and shiva disguised as a hunter over the boar that both claim to have dilled first, and which is actually an incarnation of the rakshasa Muka. Shiva, eventually reveals himself and Arjuna submits to him. For this Shiva gives him the Pashuputa sword that will assist him in his future adventures.
To the left of the door is seated figure in a palace at the top of a mountain, surrounded by women. Then follows the ever-popular legend of Ravana shaking Mt. Kailasa, But only showing Ravana, who has been almost completely squashed by shiva under the mountain that he was shaking to annoy the god (The same story appears in a relief at Angkor Wat, where the sculptors have not forgotten to represent the Puspaka chariot pulled by hamsas, and at Banteay Srei). On a panel at the end, facing West, there are two superimposed palace scenes.
23. Small room. Unspecified procession of common people, on three registers.
24. Low gallery. several topics are represented here: servants carrying offerings (?), and, below a register of ascetics in meditation, a pond with stepped edges. Next, Three sanctuary-towers (227), evoking the silhouette of Angkor Wat,
surmounted by tridents, each sheltering a statue. The statue of the central shrine has been defaced, giving rise to two interpretations: either it was a Shiva or a inga, and therefore the statues in the other two sanctuaries were Vishnu and Lakshmi, of it was a defaced Buddha, and in this case, the two accompanying statutes would have represented Avalokiteshvara and Tara. There three temples, in a natural setting of coconut trees, seem to by the objective of a pilgrimage of villagers bringing offerings. Far away, Shiva is blessing his devotees under a cloud of apsaras; it seems that there is a king, followed by his army, approaching to ask favours of his god.
The usual parade is depicted, with soldiers with shaven heads, musicians, elephants and horses; some princesses follow, carried on palanquins, as well as a large casket and a covered cart pulled by oxen. The procession passes in front of empty houses, then a king is shown stepping into his six-wheeled chariot at the exit of the palace, where some dancing is gladdening the evening of the departure.
25. Northeastern corner pavilion
Fragmentary elements of a procession on three registers.
Eastern Gallery, Northern wing
26. Low gallery. Here is shown a grand army parade, whose soldiers have two types of hair style: shaven heads and inverted flower hats. At the base the musicians are parading, the infantry with the cavalry, princely chariots pulled by horses, and others with a canopy pulled by men. Higher up, is the rk presumably with the sacred fire,an empty throne, and the king brandishing a bow, sitting on an elephant (badly stained), followed by other chiefs. Then a large palanquin on hamsas mounted on six wheels, pulled by men, is occupied by a purince between two ladies; finally, come princesses in palanquins surrounded by small people or children.
After the small door, a small panel shows a prince, or perhaps the king, imploring the favour of a god before going to war, lying prostrate before Shiva, close to an empty throne.
27. Small room. In a pond surrounded by steps, two boats can be seen sailing in waters full of fish, two of which have human heads. Two divers seem to be searching for a precious object, perhaps the shapeless block that can be seen above, carried shoulder-high on a sort of a throne. Apsaras and birds fly over this scene.
To the sift, facing East, the relief illustrates a scene that was initially interpreted as an act of vandalism: some iconoclasts seem to be in the process of knocking over and breaking a statue of a woman, with a lot of ropis pulled by men and elephants.
Bosch (1933) proposed a better interpretation. Rather that trying to knock down and destroy something, the personages are busy freeing a ueman from her prison in the mountain (228). Below her head they are digging open the rock with pickaxes, and the elephants pull it apart. Further down, they utilise the old technique of breaking rocks by fire and water (or vinegar). It seems that this scene relates the popular legend of a king or prince, who, when passing by a mountain. heard a female voice singing or moaning among the rocks. He asks his min to open the mountain and free the woman whom he eventually marries. From this action, spring water started to flow.
This would explain the relationship between this panes and the previous scene where people are diving in the water, which can be seen as the freed spring of fresh water becoming an object of veneration and of healing. One could also imagine that this somehow relates to the legend of the Leper King, illustrated in the nearby gallery. in which case the Shiva of the last panel of the low gallery would represent a simple healing rishi, in front of whom the king, whose life he had saved, would prostrate himself. But these are just working hypotheses.
28. Room Between two towers. Here is a representation, on three registers, of the so-called legend of the Leper King. Identified by Goloubew ; it should be read from lift to right. A king is enthroned in his palace (230), close to his spouse, surrounded by the court and dancing girls. He is then shown fighting an enormous naga (229),while below, the crowd comment on the event. The monster he vomited poison over him and therefore the king contracts leprosy. While himself remaining seated in his palace. He gives orders to his servants. Who, descending a staircase, seem to hurry to the forest to consult the healing ascetics. Strange events take place in the forest: people are dying of fainting in the arms of others. or, too sick to walk themselves, are carried on people’s shoulders, probably to see a saintly man. a rishi. 6 are we dealing with the king’s soldiers chasing away the people who are already there. in their haste to reach the saintly man and obtain the medicine for the king?
Next, women surrounding the sick king are examining his hands for the progression of the illness. Later still he can be seen lying down, with an ascetic standing at his side.
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