Prasat Banteay Srei 5, Siem Reap, Central Sanctuary

Within the inner enclosure through gopura I, behind the libraries are three shrines-- the central and one to the north and other to the south.
The central and the south shrine are dedicated to Shiva and the one at north to Vishnu.

Figure 4

Central Sanctuary or the main shrines:

the three towers of inner sanctuary, rear view

view from outside moat

rear view of temple

The central shrine is slightly taller than the other two shrines. This is clearly seen from rear view of the temple.

Also, central shrine is the only one to be connected by a mandapa (chamber) in front.

view from west side, entrance to central sanctuary and south library

view from west side, notice the false doors. The entrance to temple was only from the east

southern shrine behind southern library

Right ahead in the above picture is the southern shrine and next to it is mandap of central shrine, both being dedicated to Lord Shiva. Six steps lead to inside of each temple.

The pinnacle of shrines is crowned with a "kalasha" which stands on a lotus. Kalasha is supposed to contain the "amrit" or elixer of life.

Guardian figures: Yaksha on the left, Hanuman on the right side

The central area is cordoned off and visitors can only admire the structures from a distance. Guardian figures in kneeling position are seen at entrance of all shrines. The ones seen are replicas, originals have been moved to the museum.
The cordoning off the area is essential in preserving the structure but at the same time it makes it extremely difficult to take pictures.

Yaksha are seen in front of central shrine facing east and other two on the west side (rear side) of the same shrine.

Other guardian figures have human torso with head of a lion, monkey or garuda. Guardian figure with monkey head (Hanuman) is seen on the north and south of mandapa of the central shrine.
Garuda guards facing east of north shrine and Narasimha guards the southern shrine facing east.

temple guardians

southern shrine with guardians facing east

Beside the door to temple entrance can be seen standing figures of men and women.

The male figures(devpaal) hold a wooden shaft in one hand and a fly wisp in other hand. The hair is tied up in a Cambodian style. Their torso is devoid of any clothing but wear tight short pants. They stand on a pedestal supported by three lions.

false doors

devkanya

The devkanya (female) do not have any clothes in their upper body. The hair is pulled back in a chignon behind. They have heavy jewelry around their neck, ears and waist. They wear a simple long skirt. In one hand they hold a lotus bud and  the other hand holds the end of a tassel and stand on a pedestal of three geese.

I now focus my attention on the three shrines.

Prasat Banteay Srie 4, Siem Reap

Once inside the inner enclosure, two identical constructions are seen. These are called the two libraries. From where you stand, the one on the left side is the southern library and on to your right is the northern library. Each library has two pediments one on the east and the other on west containing scenes from Hindu mythology. The pediments need to be seen to believed. Behind the libraries are seen three towers of the shrine.

entrance to innermost enclosure

Figure 2

The libraries are made of laterite, pink sandstone and wood. They have false doors towards east and are open on the west facing the temple entrance.

two libraries

Southern library:
The library has two pediments, one facing east and the other west. Pediments in both directions have beautifully illustrated scenes.

The east pediment (#a in Figure 2 above) depicts a scene depicting Ravana and Lord Shiva.

full view of southern library

false door

Most of the temples opened in one direction (east). To maintain symmetry false or fake doors  were made which had no opening. The above picture is below the lintel and is flanked by colonettes.

The above scene on tympanum from Ramayana is known as Ravananugraha (रावणानुग्रह), Ravana and anugraha: to plead. Ravana pleads Shiva to remove his toe and set him free.

It shows Lord Shiva (#1) in Abhaymudra,(no fear gesture) with his consort, Parvati (#2) or Uma on Mount Kailash, his abode. Ravana (#4), the King of Lanka who was a great devotee of Lord Shiva got egoistic and under that impression tried to shake Mount Kailash where Lord Shiva resides. Lord Shiva molifies him by just placing his toe over him and trapping him under Kailash for thousands of years. Trapped, Ravana cried (Raav (राव) which means crying) and sang praises of Shiva who finally blessed him. Henceforth, Ravana was popularly called by this name. His name was actually Dashgriva (दशग्रीव), das: ten, griva: neck,  a person with ten necks. Ravana did not physically have ten heads, he had knowledge about the ten directions.
Lord Shiva granted him an invincible sword (#7).

Below Shiva are seen his devotees (#3) who are worried about Ravana's action.  Then are ganas (गण) (#5), his attendants mostly with heads of animals. Terrified animals can be seen running away (#6)

The scene is symbolic of the natural force of earthquakes.

a close up section of the top part with Uma/Parvati sitting on left lap of Shiva

lower section of typanum, how intricate and detailed the etching is

In the lower section where Ravana's head is facing we see Garuda, and next to him is Ganesha and on left side is Hayagriva, Vishnu with the head of a horse, and Hanuman in the extreme corner.

Garuda in corner of pediment

The West Pediment:
On the opposite side (b), the western pediment illustrates a scene of Kamdeva shooting an arrow of love at Shiva. Kamadeva is the God of love, Kama: desire, love and deva: god.

According to Shiva Purana, after Lord Shiva's wife, Sati  whom he loved immensely, died Shiva vowed to lead a life of ascetic. This troubled the Gods who wanted Shiva to marry as his son alone could kill the demon king, Tarakasur. Kaamdeva, the god of love was sent to Shiva to shoot his arrow of love at Shiva so that he could marry Parvati. When Shiva came to know that Kaamdeva had interfered, he opened his third eye and reduced him to ashes.
Later with the intervention of Gods, Kaamdeva was revived.

In the above scene we see Lord Shiva (#1) giving a rosary to Parvati (#2). Kaamdeva (#3) is ready to shoot the arrow of love at Shiva. In the lower section we ascetics (#4) and below that his ganas (#5).
In the lowermost section are the worldly people (#6).

On the side is a small scene again of Narsimha avatar slaying Hiranyakashyapu (#7).

makar on side

Makar is a mythological creature with the body of a serpent, has a trunk like elephant. The head is like a dragon or a mix of lion and crocodile.

Northern library:

The pediment on east (c) of this library depicts a scene from Mahabharata of fire in Khandava forest (खांडव वन )

Narsimha avatar on the side

In the above part of tympanum, Indra (#1) seen astride his mount the elephant, Airavat. Takshak (#2), the king of snakes is seen in the center. Since, Indra was the protective deity of snakes, he agreed to help the snakes by dousing the fire with water. He unleashed torrential rains (#3) to put out the fire. Geese (#5) support the arrows to prevent them from falling down.

The lower part of tympanum shows Arjun (#6) showering arrows to block the water from entering the forest. Arjun (#6) makes a roof of arrows (#4) to stop the water from entering the forest (#8).

Frightened animals (#9) take shelter in the forest (#8). Demons (#10) running away.

Terrified demons (#10) running away.
In the center (#7) are said to be Krishna and his brother Balram.

On the lintel is Indra on Airawat

The western pediment of northern library shows Krishna (#1 in figure 3 below) slaying his uncle (#2) Kansa. This scene is taken from Shrimad Bhagwatpurana (# d )

Krishna slaying Kamsa in the latter's palace which is depicted in so much detail

Garuda with head missing and Narasimha in the corner of pediment

Figure 3

Kansa was the ruler of Mathura and maternal uncle of Krishna and his brother Balrama. He was an oppressive ruler and it was prophesied by Sage Narada that he would be killed by his sister's eighth child. Terrified by this news, Kansa imprisoned his sister and her husband. He killed her children as soon as they were born.
When Lord Krishna was born, due to heavenly interventions, all guards of the prison went off to sleep, the prison gates opened and Vasudeva, Krishna's father took the child out to his friend Nanda in Gokul and exchanged his son for his daughter. Once back in the prison, everything came back to normal.
The next morning when Kansa came to kill the new born child, the child transformed into Goddess Shakti and told Kansa that the person to end his life was already born.

Coming to know of this, Kansa made various attempts to kill Krishna but to no avail. Finally, Kansa  on the pretext of killing Krishna invited him to his palace. He sent elephants to trample him, demons to wrestle with him. Overpowering all these, Krishna killed Kansa.
The above scene illustrates Krishna (#1 in Figure 3 above) slaying Kamsa (#2).

The day is still celebrated in Mathura to mark an end to the oppressive rule of Kansa.

Just behind the libraries is the Central Sanctuary.

contd. to Central Sanctuary

Prasat Banteay Srei 3, Siem Reap

Next we move to the innermost enclosure or make our way through the eastern gopura I.

Figure 1

The ornate carving on tympanum (#A above in Figure 1) depicts Shiva doing Ananda Tandava (आनंदताण्डव).
A perfect bas relief on pediment for entering a Shiva temple in the central tower.

Lord Shiva on a pediment just before entering the innermost enclosure

Kaal mukh and garuda on the side panel

Shiva doing Ananda tandava

In this form Shiva dances  with enjoyment in contrast to Rudra tandava where he dances in a violent mood. Ananada tandava, where he dances with joy.

Tandava is a dance form by Shiva. That is why Shiva is also considered as the master of dancers, Nataraja. Nataraja means the King of dancers.

The pediment on gopuram on the eastern side shows Shiva (#1) in Nataraj or the dancing pose. A drummer is seen below (#2). On to the left is his disciple, Karaikal Ammaiyar(#3).

Karaikal Ammaiyar was one of the only three lady saints who propounded the worship of Shiva during the Bhakti Movement. The tradition of placing Karaikal Ammaiyar has been observed in some Shiva temples in India built during the Chola empire which reached its zenith during 10th to 12th century. That means this concept influenced the architecture of Banteay Srie.

on lintel is a headless form

Goddess Durga as Mahishasur Mardini:
The tympanum on opposite side of gopura I (#B indicated in Figure 1 above) on western side (opposite tympanum #A) shows the slaying of demon Mahishasur by Goddess Durga. The lintel depicts God Hayagriva slaying two demons Madhu and Kaitabh. This can also be viewed from inside the central sanctuary towards east.

Mahishasur -- Mahisha (महिश): a buffalo, asur(असुर): demon with body of a buffalo
So, Mahishasur means demon with body of a buffalo.

Mahishasur wanted to wage war against the devtas (gods) and for that he performed severe penance and asked Lord Brahma for the boon of immortality. Brahma said immortality was not possible but he would be killed by a woman.
Mahishasur scoffed but was relieved, as being killed by a woman was next to impossible since there was no one who could match his strength. He started his atrocities against the devas, as they are the enemies of asurs.
When his atrocities became too much, the devtas went to the Trimurti (Brahma, Vishnu and Shiva) and asked to be relieved of Mahishasur. The trinity combined their energies and gave rise to a woman, Durga who came on her mount, lion, and slayed Mahishasur.

Goddess Durga is depicted with eight arms which is clearly seen in the above picture. The arms hold various weapons.The hind portion of the slayed asur in the form of a buffalo can be seen where the arrow points. Lion, her mount is seen on the side.

On the lintel is Hayagriva, an incarnation of Vishnu who killed demons Madhu and Kaitabh who wanted to steal Vedas from Brahma.

contd. to Prasat Banteay Srie 4, Siem Reap

Prasat Banteay Srei 2, Siem Reap

The causeway between Gopura IV and III leads to the second enclosure through a beautifully carved entrance or gopura III.

 map of second enclosure, not to scale

Eastern gopura III:

eastern gopura of the temple's second enclosure

Between the gopura III and II lies the moat. Moat around temples is a representation of the cosmic ocean, anantsagar (अनन्तसागर )

moat and passage leading to eastern gopura II

laterite blocks

Eastern gopura II:-

On entering this enclosure (east inner), on the pediment is GajLakshmi (#5) with elephants on either side of her. Gaja: elephant

Gaja-Lakshmi

On this pediment, Lakshmi, the consort of Vishnu is showered with water by two elephants holding a pot in their trunk.

Garuda, the mount of Vishnu on the lintel

Entering through the gopurams are seen Shivlinga yonis (#6)

empty Shiva yonis

A stone lotus flower, which is a representative of creation and is used to symbolize Vishnu, Brahma and Lakshmi.

straight ahead is entrance to central sanctuary

Since Shiva was the main temple deity, Nandi is seen sitting outside just in front of entrance.

Crossing the gopura #7, a damaged Nandi (#8 ), the mount of Lord Shiva is seen in a sitting position.

Nandi (badly damaged)

other view

Before the inner enclosure towards the south gallery, Shiva devouring Kaal can be seen on the lintel.

south gallery entrance

work on tympanum

 lintel showing Shiva devouring Kaala

After this, we enter the innermost enclosure.

contd. to Prasat Banteay Srie 3, Siem Reap