The four arms of the pavilion’s cruciform plan are carved with reliefs, in places poorly preserved because of water infiltration.
1.Over the Northern door A Ramayana scene is represented: Rama killing Marica, the golden gazelle, which, by distracting Rama, world facilitate Sita’s abduction by Ravana (19, page 31).
2. Northern arm, East wall A scene from the Harivamsa is sculpted here: Krishna lifting Mount Govardhana. Krishna, in the company of Balarama, is shown pushing up the mountain with his arm to protect the shepherds and their flocks from the torrential rain released by Indra’s fury. Notice how groups of small lozenges are used to represent the rocks.
3. Northern arm, West wall A scene from the Bhagavad Purana showing the Churning of the Ocean of Milk. In the upper part. two discs representing the sun and the moon can be observed.
4. Western arm, North wall The story narrated on this wall was originally unidentified. Then Glaize in 1944 suggested it was a scene showing Ravana in the shape of a chameleon. sneaking into the apartments of Indra’s women. Later it was considered to represent the story of Shiva Bhikshatanamurti ( from the Brahmanda Purana). when the god appeared naked in the pine forest to test the self-control of the ascetics. stirred by jealousy of their wives (181). A further. entirely different interpretation could be that the scene refers to the argument between Shivar and Brahma about who was the real creator of the Universe, which induced Shiva to murder a Brahmin. To expiate this sin, he had to become a beggar for 12 years. naked, as in all other interpretations, without even a loincloth (bhikshatanamurti).
5. Over the Western door
Representation of a scene probably from the Harivamsa when Krishna as a young boy drag a heavy stone mortar to which his stepmother Yashoda has attacked him, uprooting two arjuna trees (46, page 45).
6. Western arm, South wall (over the window)
The panel shows Ravana shaking Mount Kailasa where Shiva and Uma were enthroned. Ravana is represented here with many arms and heads.
Shiva is not shown making any move with his foot to make the mountain squash Ravana, as narrated in the Valmiki text, but is just sitting quietly in the Indian posture. The artists have represented the moment (Przyluski, 1921) when Yaksa, Vidyadhara and Siddha exhort Ravana to propitiate Shiva by prostrating himself and singing. Therefore Shiva is relaxed as he receives Ravana’s homage, while the latter’s hands are still fixed (motionless) to the mountain.
7. Southern arm, West wall (above the window). Here, the episode of Shiva reducing kama to ashes is depicted. Shiva is shown in meditation at the top of a mountain, with Uma at his side, when he is the disturbance, strikes the unfortunate kama with a thunderbolt, whereupon he dies in the arms of his sopouse Reti.
8. Over the Southern door The murder of Pralamba and the dousing of a fire by Krishna are illustrated (180).
9. Southern arm, East wall (over the window) Depiction of the Ramayana scene of Rama killing Valin. In the upper part, the duel between the two enemy brothers, Valin and Sugriva,, the monkey king. To assure the victory to his ally Sugriva, Rama intervenes by shooting a lethal arrow, treacherously hiking behind a bush, at Valin (184, page 120). Below, Valin lying dead in the arms of his spouse Tara (183, page 119-20). who has her hair arranged in a three-pointed mukuta. Below yet again, his monkey are grieving(185, page 120). The panel close to the door. in several registers, shows the monkeys in a variety of attitudes and expressions. Przyluski (1921) has pointed out that while Valin is represented with an arrow in his back, Rama is holding his bow (without an arrow) in one hand and a bundle of arrows in the other, possibly in the act of loading his bow. Thus Rama may not have been the one who killed Valin. Perhaps the sculptors departed from the original text in order to attenuate the impact of Rama’s treachery.
10. Eastern arm, South wall
A poorly preserved and unidentified panel: at the centre a seated figure, perhaps Shiva meditating or teaching a group of ascetics.
11 Over the Eastern door
This panel is also not clearly identifiable, probably it represents Krishna (or Vishnu) receiving the offerings destined for Indra.
12. Eastern arm, North wall
Depiction of the Dvaravati water festival, where two boats with oarsmen (represented as superimposed) appear, with apsaras flying above them. In the upper boat are chess players, while the lower shows people playing with children; to modern Loy Kratong water festival of Thailand, has been suggested.
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