Carved into the red sandstone cliffs overlooking Agastya Lake, the cave temples of Badami are masterpieces of Early Chalukya temple art. Built between the 6th and 8th centuries CE, these rock-cut shrines feature intricate sculptures and elegant mantapa-style architecture. Together, they represent one of the finest examples of early Hindu and Jain cave temples in India.
Carved out of a red sandstone hill overlooking the beautifulย Agastya Lake, the four cave temples of Badami are great works of religious art and a showcase of Chalukya temple architecture. Because of their stunningly beautiful carvingsโenhanced by the color and pleasant texture of the red sandstoneโthey stand out among the cave temples of India. Visiting them is a fascinating experience.
The rock-cut cave temples were constructed by meticulously carving out the stone material from the rock to create beautiful structures, sculptures, and sculptural reliefs. It is mind-boggling how the ancient Indians managed to carve such magnificent temples out of rocks without the aid of sophisticated machinery or tools.
A Bit of History
Built by the Badami Chalukyas between the 6th and 8th century CE, these rock-cut cave temples are the forerunners of the religious monuments built in Southern India. Besides these cave temples, Chalukyas built many freestanding temples in and aroundย Badami. The dynasties that followed continued this tradition, and temple building flourished across the region. Hundreds of beautiful temples, big and small, dedicated to different gods and goddesses, now dot the landscape of Karnataka and the surrounding regions.
Overview of the Cave Complex
Built next to each other and connected via stone staircases, the four cave temples are labeled Cave 1, Cave 2, Cave 3, and Cave 4, based on the sequence of their approach from the main entrance to the temple complex. In other words, you would visit Cave 1 first and Cave 4 last.
The chronological order of their construction is not known because of the lack of inscriptions. Only Cave 3 has inscription detailing its dating. Nevertheless, it is generally believed that they were excavated in the same sequence as their approach.
Mantapa-Style Architecture
Each rock-cut cave temple has a courtyard, with the temple structure elevated above it. The faรงades of all four temples are rectangular, with a central flight of steps leading to the interior. When viewed from the courtyard, the rectangular faรงade appears as though it is embedded within a massive rock face. Within this faรงade, a row of pillars extends from the base to the ceiling of the temple.
All four caves follow the mantapa-style architectural layout, consisting of an inner sanctum and three distinct sections.
The garbhagriha (inner sanctum) is located at the rear of the cave, preceded by three successive pillared halls: the antarala (ante-chamber), the sabhamantapa (main hall), and the mukhamantapa (verandah).
Garbhagriha (Inner Sanctum): The garbhagriha is a small chamber carved into the rock at the rear of the cave. This is where the principal deity of the temple is housed.
Antarala (Ante-chamber): The antarala is a small hall between the garbhagriha and the sabhamantapa. It serves as a transitional space where rituals or offerings may be performed before entering the garbhagriha. A short flight of steps leads from the antarala into the sanctum.
Sabhamantapa (Congregation Hall): The sabhamantapa is a large hall adjoining the antarala, supported by rows of pillars. It serves as a congregation space where devotees gather before proceeding to worship. The hall shares a row of pillars with the antarala on the sanctum side and with the mukhamantapa on the courtyard side.
Mukhamantapa (Verandah or Porch): The mukhamantapa is a narrow hall between the sabhamantapa and the entrance. The squarish pillars on the side facing the courtyard are visible on the cave facade. This hall is often the most ornate part of the cave, with narrative reliefs carved on the lateral walls and ceiling depicting stories related to the templeโs theme.
The Four Cave Temples at a Glance
Each of the four cave temples at Badami is dedicated to a different deity or religious tradition and contains distinctive sculptural reliefs depicting important mythological themes.
Facades of the four cave temples of Badami
The following table provides a quick overview of the caves, their dedications, and their carvings.
Cave 1 is one of the four rock-cut cave temples carved out of a red sandstone hill near Badami in Karnataka, India. As its name suggests, it is the first cave encountered from the main entrance of the cave complex.
For detailed descriptions of the other three caves, refer to the following pages:
Dated to approximately to 550 CE, Cave 1 is the first of the four rock-cut caves in the Badami hills. It is a mantapa-style temple dedicated to Shiva. Visitors first enter the courtyard of the temple through a flight of steps and then ascend a second flight of steps to enter the interior of the temple.
Facade and Entrance
Ground plan
Excavated from the massive red sandstone boulder at 60 feet above ground level, Cave – 1 has an impressive rectangular faรงade measuring approximately 70 ft x 20 ft. As seen in the image, the faรงade is supported by four pillars and approached by a flight of steps. Flanking the faรงade on either side are two life-size sculptural reliefs, carved into the walls that extend from the faรงade.
The garbhagriha(sanctum sanctorum) is a small chamber housing the Shivalinga that was carved out of the stone at the rear-side of the cave. Like any traditional mantapa-style temple, there is a sabhamantapa(congregation hall) in front of the garbhagrihaand a mukhamantapa(verandah) in front of the sabhamantapa.
The faรงade shows the pillars of the mukhamantapaand the staircase leading to it. Inside the mukhamantapaand sabhamantapa, there are more pillars embellished with beautiful carvings. Extending the facade on the right and left are the walls carved with beautiful sculptural reliefs, which are described below.
Nataraja Performing Tandava Nritya
Carved into the right side extension, this large-size sculptural relief depicts Nataraja (Dancing King), a form of Shiva, performing the Tandava Nritya, a vigorous cosmic dance of creation, preservation, and destruction.
Nataraja carved into a wall on the right side of the Cave – 1 facade
Nataraja in this image is standing with an elegant dancing pose on a lotus flower pedestal, and his 18 hands carry a variety of objects, including a trishula(trident) and an ax. His vehicle Nandi is standing behind him, and his son Ganesha is standing to his left. An unidentified figure is seated behind Ganesha.
Dwarapala with Shiva-Parvati and Vrishabha-Kunjara
Dwarapala with Shiva-Parvati and Vrishaba-Kunjara
Carved into the left-side extension, this relief depicts the dwarapala (door-keeper) of Shiva. The dwarapala is holding a trishula (trident) with his right hand. Carved below the dwarapala is Vrishabha-Kunjara (Bull-Elephant), an illusionary sculpture with a single head joined by the torsos of the bull and elephant. It looks like an elephant from one side and a bull from the other side. Carved above the dwarapala is a relief of Shiva and Parvati seated on Nandi, Shivaโs vehicle.
To the right of dwarapala are the pillars of the mukhamantapa and to the left are the flights of steps to Cave 2.
Mukhamantapa: Richly Decorated Porch
As mentioned, the mukhamantapa is the front porch of the cave temple. It is ornate with beautifully carved reliefs on the lateral walls and the ceiling, which are described below.
Ardhanarishvara: Fusion of Shiva and Parvati
Ardhanarishvara and sage Bhringi carved on the right side wall of the mukhamantapa
Carved into the right-side wall of the mukhamantapa, this narrative sculptural relief depicts the story of Ardhanarisvara, a manifestation of Shiva as half man and half woman.
In this relief, Ardhanarishvara, who has man-like features on the right half and woman-like features on the left half, is standing with an elegant tribhanga stance (i.e., body bent in three places, neck, waist, and knee).
While appearing to play a musical instrument, Ardhanarishvara is gently leaning on his vehicle Nandi. Standing with the folded hands (i.e., namaste gesture) behind Nandi is Bhringi, a sage with three legs who appears like a skeleton. Standing to the left of Ardhanarishvara is an unidentified female figure carrying a bowl with her left hand. Flying above Ardhanarishvara are the Vidyadhara couples.
Read the Ardhanarishvara with Sage Bhringi page for a brief explanation of the story behind Shiva’s manifestation of Ardhanarishvara.
Harihara: Fusion of Shiva and Vishnu
Fusion of Shiva and Vishnu as Harihara
Situated on the left lateral wall of the mukhamantapa, this beautifully carved relief depicts Harihara, a symbolical fusion Vishnu and Shiva, two principal deities of the Hindu Trinity.
This composite form is created by combining half the features of Shiva and half those of Vishnu. As a result of this fusion, Harihara is revered by followers of both the Shaiva and Vaishnava traditions
As seen in the image, Harihara is carved with Shivaโs features on the left side and Vishnuโs features on the right side. Shivaโs consort Parvati and his mount Nandi stand beside the Shiva half, while Vishnuโs consort Lakshmi and his mount Garuda appear on the Vishnu half, reinforcing the dual identity of the deity.
A stunningly beautiful sculpture depicting Harihara can be found in one of the devakoshtas of the Durga Temple at Aihole, about 22 miles east of Badami. Like the Badami cave temples, this free-standing temple was built by the Badami Chalukyas and is richly adorned with sculptures and reliefs of comparable artistic excellence.
Coiled Nagaraja
Coiled Nagaraja carved into the ceiling
This intricately carved relief depicts Nagaraja, the mythical king of serpents, with multiple serpent heads and a human head above a torso extending into a spiraling serpent body.
As seen here, the Nagaraja has five serpent heads surrounding his human head. His coiled serpent bodyโgradually tapering as it spirals outwardโfits harmoniously within a finely engraved wheel. Enclosing the wheel is a square panel richly decorated with flower-like patterns.
An inside view showing the garbhagriha entrance and pillars
Shivalinga inside the garbhagriha
The image captures the interior of Cave 1, where a flight of steps leads up to the entrance of the garbhagriha. Inside the sanctum, the shivalinga is not a separately installed structure but is carved from the rock itself, created at the same time this cave temple was excavated.
Notice that the shivalinga rests on a square-shaped yoni, an uncommon feature, as most shivalingas in Indian temples are set onoval-shaped yonis.
Known for its exceptional beauty, intricate carvings, and fine workmanship, Banteay Srei is a gem among hundreds of temples that dot the Cambodian landscape. Located 16 miles northeast of Siem Reap, it isย relatively a small temple complex containing multiple single-story structures. Unlike many other temples in Cambodia, it is not built like a temple-mountain.Dedicated to Shiva, the Banteay Srei Temple has some of the stunningly beautiful bas-reliefs that depict gods, demigods and scenarios based on the episodes from the Hindu epics Mahabharata and Ramayana. The bas-reliefs, most of which adorn the pediments, are deeply cut and finely carved. Even after 1000 years, most of the sculptures and bas-reliefs have retained their original sharpness.
A Masterpiece of Khmer Temple Art
Known for its exceptional beauty, intricate carvings, and fine workmanship, Banteay Srei is a gem among hundreds of temples that dot the Cambodian landscape. It is a smaller temple complex containing multiple single-story structures. Unlike many other temples in Cambodia, it is not built like a temple-mountain.
The Banteay Srei Temple has some stunningly beautiful bas-reliefs that depict gods, demigods, and scenes based on the episodes narrated in the Hindu epics Mahabharata and Ramayana. The bas-reliefs are deeply cut and finely carved. Even after 1000 years, the carvings have retained their original sharpness.
Unlike most of the other Cambodian temples, Banteay Srei was built predominantly using red sandstone. Because of the color and texture of the sandstone, its carvings appear pleasant and colorful.
Banteay Srei is about 16 miles northeast of Siem Reap and is on the way to the Phnom Kulen mountain range. Many tourists who visit Angkor Wat often miss Banteay Srei because it is not in the Siem Reap region, home to many well-known Hindu/Buddhist temples. You can accomplish the Phnom Kulen and Banteay Srei visits in a single-day trip.
A Bit of History
Banteay Srei is unique in that it is commissioned not by a king (like many other famous temples in the region) but by the courtiers of a king. Yagnavaraha and Vishnukumara were the courtiers who built this temple on the land granted to them by King Rajendravarman. According to an inscription, Yagnavaraha is the grandson of King Harshavarman and the teacher of the future king Jayavarman V. He was known to be a great scholar, philosopher, and philanthropist who fought for justice.
The building of this temple started in 967 CE. The name Banteay Srei is recent, which in Khmer means Citadel of Women or Citadel of Beauty. The name could be referring to the beautiful carvings of women (apsaras and devatas) on the bas-reliefs.
The original name of Banteay Srei was Tribhuvanamaheshwara, which refers to Shiva as the Lord of the Earth, Heaven, and Hell. Note: In Sanskrit, Tribhuvana means three worlds or realms consisting of earth, heaven and hell, and Maheshwara means great god.
The town surrounding the temple used to be known as Isvarapura, which in Sanskrit means Isvara’s town. Isvara is another name for Shiva. After the temple was built, Isvarapura became a town having residents supporting the temple.
Temple Complex
A view of the Banteay Srei Temple from the outer enclosure
As mentioned, the Banteay Srei Temple was surrounded by a town. The entrance to the temple is through the town gopura (gate), located on the east side. The town gate opens into a long causeway, which leads to the main entrance to the temple.
The Banteay Srei Temple complex has three rectangular concentric enclosures built on the east-west axis. The main temple structures are in the innermost enclosure. The innermost and the middle enclosures are close to each other and are surrounded by brick walls. Separating the outer and middle enclosures is a moat.
The entrance to the temple complex is on the east side and is through a gopura built with an ornate door an exquisitely carved pediment above it. The door opens into the causeway, which leads to the eastern entrance to the outer enclosure.
Gate and Causeway
Entrance to the temple complexPediment of the gopura
The gate at the eastern entrance to the temple
Causeway from the entrance to the middle enclosure
The gopura (gate) is mostly made of red sandstone. The door frame and the pediment are beautifully carved. The bas-relief on the pediment depicts Indra riding his vehicle three-headed elephant called Airavata. At each end of the pediment is Makara, a mythical sea creature, spewing multi-headed naga, a mythical serpent.
According to an inscription, this gate used to be the entrance to Isvarapura. It is believed that a wooden wall existed surrounding Isvarapura.
The causeway that leads to the outer enclosure is about 67 meters long. There are 32 boundary marking stones lined along the path.
Outer Enclosure
The outer enclosure measures 110 x 95 sq m, and a laterite wall encloses it. The original construction had the gopuras in the middle of the east and west walls. Only the west gopura exists now, and part of the east gopura is lying on the ground where the original gopura once stood.
Pediment from the east gopura depicting the Ravana abducting Sita scene
The image on the left shows this structure. It is the east-facing pediment of this gopura, and the west-facing pediment is on display at a museum in France.
As you can see from the image, the bas-relief on this pediment depicts Ravana abducting Sita, a well-known episode in Ramayana in which Ravana, a rakshasa and the King of Lanka, kidnaps Sita, Rama’s wife.
Gopura on the west side of the outer enclosure
The image shows the west gopura with an ornate pediment. The beautifully carved bas-relief on the pediment depicts Shiva and his consort Parvati (a.k.a Uma) seated on his vehicle Nandi, the bull.
Under Nandi is Kaala, the time demon often associated with Shiva, who, according to Hindu mythology, is the timekeeper of the universe and controls the time cycles by creation, preservation, and destruction.
Surrounding the bas-relief is the decorative carving of Makara, a mythical sea creature, disgorging yakshas from its heads on the left and right ends.
Note: Yakshas in Hindu mythology are the demigods who protect natural treasures, such as water and forests.
Middle Enclosure
The middle enclosure measures 38 x 42 sq m and has gopuras on the east and west sides connected by a brick wall, some portions of which have collapsed. The causeway mentioned before leads to this enclosure, and the moat filled with water on either side of this causeway surrounds this enclosure.
The gopuras on the middle enclosure are ornate with exquisitely carved artwork of creative patterns and narrative bas-reliefs.
East Gopura
The image shows the east-facing view of the eastern wall with a gopura in the middle. As you can see, it is an elaborate structure with three doorways and extending it on either side is the brick wall that surrounds this enclosure.
Gopura on the east side
The approach to the middle enclosure is through a causeway, i.e., the mud path in front of the gopura. A small part of the moat can be seen in the image on either side of this causeway. A narrow terrace surrounds the wall on its outer side, separating the moat and the wall.
Just like the other gopuras in the temple, the east gopura has two facades: east facing and west facing. The faรงade shown in the image is the former. The middle door of this gopura is flanked on either side by a false window and a door. The two identical structures visible behind the gopura are the libraries situated inside the inner enclosure. The structures within the middle and inner enclosures harmoniously blend with the surroundings.
East facing pediment
The image shows the pediment above the middle door. In the center of this highly ornate pediment is a triangular area with a beautifully carved bas-relief depicting Kaala, a time monster associated with Shiva as he is the timekeeper of the universe, and an unidentified deity above Kaala.
The rest of this triangular area is filled with foliage. Enclosing this area is an exquisitely carved artwork of symmetrical patterns.
Gaja Lakshmi
Gaja Lakshmi
The west-facing pediment depicts Gaja Lakshmi – one of the eight avatars of Lakshmi- seated on a lotus flower flanked by two gajas (elephants ) performing abhisheka (showering with water and food) and riding Uluka the Owl. Uluka is often associated with Lakshmi, but not always as her vahana (vehicle).
Lakshmi is Vishnu’s wife and goddess of wealth in Hindu mythology. She is known as Ashtalakshmi because of her eight avatars (manifestations), each symbolizing an aspect of wealth. The Gaja Lakshmi avatar symbolizes wealth through strength. According to a myth, Gaja Lakshmi is a by-product of Samudra Manthana (Churning of the Ocean of Milk).
Note: Angkor Wat has a bas-relief depicting the story of the Samudra Manthana carved on the eastern gallery located at the lower level of the temple.
West Gopura
Vali – Sugriva fight depicted on the west gopura Kaala (time demon) depicted on the lintel of the west gopura
Gopura on the west side of the middle enclosure
The pediment depicts the fight between the brothers Vali and Sugriva and Rama is trying to help Sugriva. This popular theme from Hindu epic Ramayana is portrayed in many Hindu temples in India and Southeast Asia.
Surrounding Walls
Walls of inner and middle enclosures of the Banteay Srei temple
The inner and middle enclosures are much closer than the outer and middle enclosures. Both the inner and outer enclosures are surrounded by brick walls. As seen in the image below, a narrow empty space separates the enclosures.
Inner Enclosure
This is where the main temple structures are located. The enclosure measures 24 x 24 sq m with a brick wall surrounding it. Built inside this enclosure are the main temple structures, including two libraries and three sanctuary towers. Attached to the middle sanctuary tower is mantapa, a covered hall with an entrance facing east and side entrances facing north and south.
Structures in the innermost enclosure – A view from the northeast side
The image shows the view of the innermost enclosure from the northeast side. The rightmost structure is the north library and next to it is the east gopura. The structure that has two kneeling dwarapalakas (guardians of the door) in front is the mantapa. The tips of the three sanctuary towers are seen at the far end of the image.
Structures in the innermost enclosure – A view from the southwest side
The image above shows the view of the innermost enclosure from the southwest side. The leftmost structure is the south library and next to it is the east gopura. The view shows the west-facing facades of these structures. The three sanctuary towers are in the front.
Structures in the innermost enclosure – A view from the northwest side
The image shows the view of the innermost enclosure from the northwest side. The rightmost structure is the north library and next to it is the east gopura. The view shows the west-facing facades of these structures. The three sanctuary towers are in the front.
Gopuras
The image shows the east-facing facade of the east gopura. The door frame and the pediment of this gopura are beautifully decorated.
Gopura and entrance to the inner enclosureShiva Tandava Nritya (Shiva’s Cosmic Dance) Nandi in front of the east gopura
The pediment depicts the scene Shiva Tandava Nritya, i.e., Shiva performing his cosmic dance of creation, preservation, and destruction.
The lintel depicts Indra, the dikpala (guardian) of the east direction, riding his vehicle Airavata, a three-headed elephant. Each Airavata head is shown as a monster-like figure attached to the elephant head. As you can see from the image below, Indra, whose head is missing, is holding the elephant trunk with the right hand, and the monster head with the left hand. The other two Airavata heads are at the ends.
A damaged statue of Nandi is in front of the gopura.
Mysterious Libraries
Built like mini shrines, the libraries are the unique elements of the Khmer temple architecture. Although their exact purpose is still a mystery, the likely intention of building them was to use them as repositories of manuscripts. It is worth noting that there is no concept of libraries in the architectures of Hindu temples in India.
The Hindu religious texts, which include four Vedas, two epics and 18 Puranas, are large and numerous. The manuscripts of these texts were likely brought from India and were considered precious and sacred. The libraries were likely built to preserve them in a safe place and were designed like shrines to allow people to worship them. However, there is no evidence that the libraries were ever used as repositories of manuscripts.
Located near the entrance of the inner enclosure, the two identically designed library structures, one on the north and the other on the south, are equidistant from the center. In other words, they are like the mirror images of each other.
They are aligned along the east-west direction with ornate facades facing east and west, each of which has a beautifully decorated door, lintel and pediment. The facade facing west has the doorway to enter the building, whereas on the east side, there is just a false door built only for decorative purposes.
The bas-reliefs on the pediments depict stories from the Hindu epics Ramayana and Mahabharata.
South Library
The south library is dedicated to Shiva. Both the east and west facades depict stories about Shiva.
East Facade
The east-facing pediment depicts an episode from Ramayana in which Ravana with his 20 hands tries to lift Mount Kailash, the heavenly abode of Shiva and his consort Parvati (a.k.a Uma) as Shiva sits calmly with his consort Parvati on his lap.
East facing facade of the south library
Ravana Shaking Mount Kailash
According to the story, Ravana was enraged by Shivasโ vehicle Nandi who did not let Ravanaโs plane (Pushpak Vimana) to pass over Shivaโs abode. When Ravana tries to lift Mount Kailash, Shiva holds it down, which enrages Ravana further and he starts shaking the mountain.
Ravana shaking Mount Kailash
West Facade
The west-facing pediment depicts a story from Shiva Purana in which Kama (a.k.a Kamadeva), the god of love and carnal desire, strikes Shiva with Kamabana (Kamaโs arrows) to arouse passion and desire in Shiva, who is in the state of meditation.
According to the story, after the death of his wife Sati, Shiva goes into a state of meditation to grieve her death. This results in a great imbalance in the world. Meanwhile, Sati is reborn as Parvati, and all the gods want Shiva to marry Parvati. Sensing this need, Indra sends Kama to arouse passion and desire in Shiva for him to be interested in Parvati.
West-facing facade of the south library Kama firing arrows at Shiva
West-facing south library facade
North Library
The north library is dedicated to Vishnu. Both the east and west facades depict stories about Krishna, who is one of the avatars (manifestation) of Vishnu. The library is built on a raised platform with two levels.
East Facade
The doorway of the facade has a beautifully decorated false door flanked by pilasters. Because this facade is facing east, Indra, who is the dikpala (guardian) of the east, is the theme of the carvings on both the lintel and pediment.
Check the list of Ashta Dikpalas, the eight guardians of directions.
The bas-relief on the lintel depicts Indra riding his vehicle Airavata, a three-headed elephant. As you can see from the image, Indra is in the middle sitting above an elephant head. At each end of the lintel, there is an elephant with a human-like figure sitting on it.
As you can see from the image, there are three pediments. The innermost is the narrowest and is in the front, and the outermost is the widest and is on the back. Each pediment is enclosed by a finely carved creeper which is resting on an intricately decorated pillar.
East facing facade of the north library
Carved into the lowermost pediment is a narrative bas-relief depicting a well-known episode in Mahabharata, Burning of the Khandava Forest. Here is the story in brief:
Burning of the Khandava Forest
According to the story, the fire god Agni wanted to burn the Kandhava Forest because of a stomach ailment. Disguised as a brahmin, he went to Arjuna, one of the Pandavas, and requested that he was hungry and needed to be satiated. Because Arjuna could not refuse a request from a brahmin, he agreed to Agni’s request. Agni then revealed himself and said to Krishna he was hungry, and the only way he could satiate his hunger was to help him consume the Khandava Forest by letting him burn it. Arjuna reluctantly agreed to help him.
The Kandhava Forest was also the home of Takshaka, the king of nagas (snakes), and Maya, the architect of the asuras. When Agni started the fire, Takshaka was not in the forest, but his family was inside. So, he begged his friend Indra, king of the devas (demigods) and heaven, to help them to escape the fire. Indra agreed and used his power to bring rain to the forest to douse the fire. Arjuna tried to stop the rain by creating a layer of arrows. Meanwhile, Krishna stayed on the other side of the forest and helped Arjuna stop the rain.
While this battle was going on, Takshaka’s wife swallowed her son Ashvasena and tried to fly out of the forest. Realizing that she was trying to escape with her son, Arjuna cut her head off with his arrows but could not prevent Ashvasena from escaping the forest.
Maya also escaped the forest and then sought asylum from Arjuna. Eventually, Agni consumed the entire Khandava Forest and cured his stomach ailment.
Burning of the Khandava Forest
This is one of the most beautiful and detailed bas-reliefs in the temple. On the top is Indra riding his vehicle Airavata and trying to bring down the rain on the forest. The layer underneath Indra depicts flowing water, giving an impression of rain coming down. On the left is Arjuna shooting arrows to stop the rain. Below the water, there are two layers of arrows, created by Arjuna, preventing the water from coming down. On the right is Krishna, an avatar of Vishnu, holding his signature weapon, Sudarshana Chakra, helping Arjuna. Between Arjuna and Krishna is the forest with a chaotic scene of animals, Takshaka’s family, and Maya and other asuras trying to escape the fire.
Notice the two multi-headed nagas in the middle of the arrow layers. These are Takshakaโs wife and their son Ashvasena. As mentioned in the story, Ashvasena escaped Arjuna’s arrows through the brave action of his mother, who swallowed him to shield him from the barrage of arrows. Although she died in the ordeal, she enabled Ashvasena to escape the fire.
West Facade
The west pediment shows Krishna killing Kamsa, a popular theme portrayed in many Hindu temples in Cambodia and Indonesia (See Prambanan and Prambanan Bas-Reliefs).
Krishna killing KamsaKrishna killing Kamsa
West-facing north library facade
Sanctuary Towers (Prasats)
Aligned along the north-south direction, the three sanctuary towers in the inner enclosure are close to each other and symbolically represent the Hindu Trinity, Shiva, Vishnu, and Brahma. The sanctuary towers are the most sacred buildings in the temple.
Each tower has an inner sanctum, i.e., a chamber with the deity. Because Banteay Srei is a Shiva temple, Shiva is considered the dominant god of the trinity. The middle tower is dedicated to Shiva, and to show his dominance, it is taller than the other two. Its inner sanctum likely had a Shivalinga or a statue of Shiva. For this reason, it is taller than the other two towers, which likely had statues of Vishnu and Brahma.
The south and north sanctuary towers have three outward facades, each of which has a door with multi-level pediments and a lintel. The entrance is only on the east side and the rest three facades have false doors. The central tower has only one outward facade, which is on the west side.
Central Sanctuary Tower
The central tower is home to a Shiva Linga inside the inner chamber. It is taller than the other two. There is a mantapa in front of it on the east side. The pediment on the west side depicts Varuna riding three hamsas (sacred swans), the north side depicts Kubera, the south side depicts Yama riding a buffalo and the east side depicts Indra riding Airavata.
Mantapa
The mantapa is a covered hall that leads to the central sanctuary tower and is attached to the east facade of the central sanctuary tower.
North wall of the mantapaSouth wall of the mantapa
The images above show the north and south facing walls of the mantapa. As you can see, the design is similar but the carvings are different. The he doorway in middle and leading to the doorway is a stone staircase on both sides. Guarding the entrance are the two squatting dwarapalakas (guardians of the door), who have human bodies and monkey faces.
In the north wall image, the staircase on the right leads to the east-facing entrance of the north sanctuary tower and is guarded by the bird-faced dwarapalakas. Likewise in the south wall image, the staircase on the left leads to the east-facing entrance of the south sanctuary tower, guarded by lion-faced dwarapalakas.
South Sanctuary Tower
East facing facade of the south sanctuary towerSouth facing facade of the south sanctuary tower
The east-facing facade of the south sanctuary tower facades
The images show the east and south facing facade of the south sanctuary tower. The bottom pediment of the east facing facade depicts Shiva and his consort Parvati (a.k.a Uma) sitting on his vehicle Nandi. The lintel shows Indra riding his vehicle Airavata, a three-headed elephant. The doorway is beautifully decorated. On both sides of the door, devatas are guarding the door and in the front two dwarapalakas (guardians of the door) guard the door. The entrance to this structure is on this facade and the facades on the other three sides have false doors.
The bottom pediment and the lintel of the south facing facade depicts Yama, the god of death and justice, riding his vehicle male buffalo. The doorway with a false door is beautifully decorated. On both sides of the door, devatas are guarding the door.
Carved into the pediment is Kaala (time monster) devouring an elephant, and there is an unidentified deity on top of Kaala. The lintel also depicts Kaala.
North Sanctuary Tower
East facing facade of the north sanctuary tower North facing facade of the north sanctuary tower
The images above shows the east and north facing facades of the north sanctuary tower. The bottom-most scene on the pediment most likely depicts Bhima killing Jarasandha, the king of Magadha, by splitting his body into two. The lintel shows Indra riding his vehicle Airavata, a three-headed elephant. This is the only entrance to the sanctuary tower and the other three sides have false doors. It is guarded by two squatting dwarapalakas (guardians of the door) who have human bodies and faces of mythical bird Garuda who is Vishnu’s vehicle. The door frame is beautifully decorated and it is flanked on either side by devatas standing on top of hamsas (swans).
Unlike the east-facing facade, the north-facing facade has a false door, which is decorated with beautiful artwork. On both sides of the door, beautifully sculpted devatas are guarding the door. The bottom pediment depicts Kubera carried by yakshas and the lintel shows Bhima killing Jarasandha, the king of Magadha, by splitting his body into two.
West facing facade of the north sanctuary tower
The image above shows the west-facing facade of the north sanctuary tower. The bottom pediment depicts Varuna riding three hamsas (swans) and the lintel depicts Kubera carried by a yaksha (Kubera’s vehicle is a man or yaksha). The doorway is beautifully decorated. The door is a false door. On both sides of the door, devatas are guarding the door.
