This exquisite Khmer goddess lives in the heart of Preah Khan temple.
While her elaborately carved stone chamber is in the heart of Preah Khan its access path is not obvious. Most visitors never see her.
All of her features and accouterments emanate grace, purity and power. From her elaborate jeweled flower crown to her complex skirt, all covered with jewels.
Her features, however, embody a blend of South and Southeast Asia. Almond eyes, extended earlobes, full lips and yet her sharp nose and cleft chin speak of Brahman blood.
Perhaps her chamber was more accessible at one point in the past, but the sealed opening to the left speak of her worship becoming more private, and perhaps even secret, over the centuries.
In addition to rich jeweled necklaces, belts, armbands, wristbands and anklets she is garlanded with a flower band, such as that used by the apsaras in their heavenly dance.
Directly over her head a divine being blesses her with joined hands.
She stands upon a lotus pedestal and holds a bunch of long stemmed buds in her left hand, which also displays a distinctive mudra (a spiritually symbolic hand position). The carving is so distinct that even the details of her fingernails are still clear after 800 years.
Her neck is lined, and three distinct lines also appear below her navel.
This frontal view emphasizes another South Asia attribute: an extreme Waist-Hip Ratio of (conservatively) .50. Refer to Wikipedia for an overview of WHR research. Discovered by Dr. Devendra Singh this attribute is a reliable scientific indicator of reproductive health, fertility, physical attractiveness, intelligence of offspring and much more.
The skill of the Khmer craftsmen is such that she appears as a living woman emerging from stone.
The next two front images are of varying clarity due to the hand-held photos in low light.
This close up reveals that she was once adorned with real gems on her forehead, eyebrows, pendents, navel and possibly on the florets of the crown.
Her elaborate dress features floral fabric, a woven "tail" extending down and an elaborate bejeweled belt.
Just a few feet away, but hidden on the other side of walls of solid stone, another goddess stands in her now toppled alcove. This area was very dim, and difficult to access so my photos are not very clear.
A heavy stone block detached from the ceiling dangles precariously, but the goddess remains serene. Her aquiline features resemble another powerful women key to the Khmer history of this era - none other than the king's partner Queen Jayarajadevi, who played a major role in converting the empire to Buddhist beliefs.
Her lowered left hand grasps the divine floral garland with a distinctive mudra. Her raised right hand, obscured by the stone and darkness, holds the stem of a flower bud. This mirrors the pose of her nearby sister, providing a harmonious balance. Another unusual detail is in the floral swirls to the right of the image - most are derived from plant shapes but at the right center there is a muscular monkey god with a crowned, kneeling woman directly below.
The centuries of shifting stones have dislocated the head, but the details of the carving still remain sharp. Compare the next two photos with this goddess to see the resemblance to Queen Jayarajadevi.
In this statue Queen Jayarajadevi is thought to be portrayed in the image of the goddess Tara.
Queen Jayarajadevi, thought to be portrayed in the image of the goddess Tara. Her graceful features, especially her aquiline nose, are similar to the second goddess residing in the heart of Preah Khan.
Although not substantiated by inscriptions, it seems quite likely that this women is, in fact, Jayarajadevi - the first queen of Jayvarman VII. And legend has it that the goddess in the first chamber is none other than her older sister Indradevi, who married King Jayavarman VII after Jayarajadevi died. Is is possible that Indradevi had the statue...and memory...of her younger sister hidden in the small inner chamber?
This goddess exists in another inner chamber of the temple, but quite clearly does not resemble the other two statues (that may represent the two royal sisters who married the king).
Yet another goddess who, again, quite clearly does not resemble the other two statues (that may represent the two royal sisters who married the king
Her elaborate floral crown bears a distinct resemblance to Tantric goddesses of Tibetan origin. Research continues at Devata.org.
Standing on a lotus pedestal indicates divinity in Indian and Khmer art. This woman lives in heaven, not on Earth.
