Consistently, I have found the two sister-queens in saint-like poses, attired regally in gold necklaces, tiaras, earrings, and rings denote their goddess-queen status. Why does one find only three statues of these celebrated queens, while King Jayavarman’s Buddha-like representations can be found in hundreds of various forms? It is not surprising that I have found that the goddess-queens were sculpted in pairs adorning virtually every main entryway in Bayon, Preah Khan, and Banteay Kdei! They have been called apsaras, and sometimes, referred to as devatas, but never as queens. The bas-reliefs and stone sculptures are carved pictorials that can be understood in any language in any time. They have always existed as goddesses-queens among us. This is a revealing exposé of these two sisters-queens in order to understand their undeniable mystique, intelligence, and influence during the King’s inspiring reign.
I believe that as Khmers with a rich heritage and due respect for our good kings and queens, had we known about the existence of Queen Indradevi and Queen Jayarajadevi we would have saved their precious sculptures and placed them next to King Jayavarman VII in a museum where they rightly belong. We would have not called the queens apsaras and left them hidden in Preah Khan, endangered by collapsing stone walls.
In conclusion, the queens’ sculptures display exquisite workmanship. They are the most impressive sculptures found in all the Angkor grounds. Queen Indradevi and Queen Jayarajadevi deserve to be protected and placed in a museum for the entire world and the Khmer people to cherish.
Queen Indradevi
Queen Jayarajadevi
The new CONSERVATION POLICY at work with BUSTED, DISPLACED, COLLAPSED BLOCKS of STONE
— IS watching these UNIQUE, HERITAGE images reduce to RUBBLES...
Notes on the Royal Bas-Reliefs of the Inner 2nd Gallery of Bayon:
A day in the Royal Life of King Jayavarman VII, Queen Jayarajadevi, and Queen Indradevi , as illustrated in a bas-relief at Bayon, 2nd floor inner gallery on the East side, 17 March 2010
From top to bottom, the hierarchy of the social classes and etiquettes is observed. Top level above the roofing, celestial apsaras give blessings to the King and Queens. For each royal, note the elaborate roofing of their palace.
Top level below the roofing (3rd floor), the King’s image is larger and his head is elevated above the others. The next largest image is of Queen Jayarajadevi, to the left of King Jayavarman VII, the 1st recognized wife. Her head is elevated above Queen Indradevi, who is to the right of the King. All royals are sitting above a platform; next to each are servants fanning with long handle fans.
On the 2nd floor, on the right side, the court ladies and noblemen sit on the floor watching the dancing apsaras perform to the tune of an all-women orchestra of musicians.
On the 1st floor, the commoners congregate. In the seemingly anecdotal bas-relief of their royal history, the queens have also defined for us the two categories of the “apsara”, celestial and dancing.
In the same inner gallery on the North side, there is a horizontal bas-relief depicting the royal court as well.
In this bas-relief, the royal hierarchy of the court is clearly depicted (from right to left) as the King with his TWO Queens, and the dancing apsaras, respectively, and the noblemen facing the king.
Also, there exists a distinct representation in the attire and posture of the dancing apsaras in King Jayavarman VII’s era versus the standing, dancing apsaras of Angkor Wat’s era.
Clearly depicted these 2 bas-reliefs are the distinctions and differences, as well as the importance, of women figures during the reign of King Jayavarman VII -- from the celestial apsaras giving blessings, to the two queens sitting with their King, to the dancing apsaras and ladies of the royal court. This is an amazing lesson from the past that ends the confusion surrounding of the word “apsara” – which the Queens are NOT (as we have incorrectly labeled them).
The truth has now prevailed.