There are some real gems to be found in the collections of the provincial museums in Cambodia

There are some real gems to be found in the collections of the provincial museums in Cambodia, which deserve a lot more promotion to the Cambodian public and tourists alike. I’ve previously focused on the beautiful rendition of Krishna Lifting Mount Govardhana lintel at the Kompong Thom Provincial museum, so I return to the same museum for a second equally fascinating artifact, a 7th century sandstone lintel with what I believe might be a royal court narrative, found at the Chenla Empire capital of Isanavarman I, identified as Ishanapura, and now known as Sambor Prei Kuk, which is located in Kompong Thom province. There are at least 186 brick temples at the former capital, offering unique visual narratives on lintels and decorative panels amongst its three main temple complexes. The central group, with Prasat Tao at its heart, is where this particular lintel was located and moved to the conservation depot for safe-keeping before its eventual transfer to the provincial museum. The decorative art styles through the centuries were identified by the exhaustive work of Lajonquiere, George Groslier, Henri Parmentier and Philippe Stern among others, who categorized and classified every lintel they could find. We have them to thank for our knowledge of the artistic styles, aided by inscriptions, which give us the timeline of the pre-Angkor period. Our particular lintel fits neatly into the stylistic changes brought about by the art style known as Prei Kmeng, which began in 635AD and lasted until the close of the seventh century, and which followed on from that of the Sambor Prei Kuk style. So, what are we looking at? The lintel’s upper register contains a horizontal decorated arch, with both ends curving inwards to frame the narrative below. There are three large fleuron medallions with floral motifs, though it’s the royal court narrative that brings the lintel to life. The lower register framed by the foliage-decorated arch, is populated by ten individual figures, two of which are human heads at either end, while another four seem with to be praying or offering their respectful homage. The subject of their veneration are two central figures, who may well be royalty, one sat holding a mace and another with one arm across his chest. Perhaps the king and his military commander? Both of these majestic figures are decorated with necklaces, dangling pendant earrings, clothing wrapped around their body and conical crowns with a diadem at the front. To the left, two more of the royal courtiers are holding a fan and a fly whisk. Facial features include enlarged lips, some topped by a moustache, while their curly hair ringlets are crowned with a conical chignon. Another two figures, much larger in stature than the royal party, bookend the lintel, and appear to be kneeling with their hands in the praying position, on top of a pedestal. They may well be female, wearing large headdresses with feathered wings, so could be identified as angelic in nature. This is my interpretation as I’ve yet to read any scholarly opinion on the narrative. Some damage to the bottom of the scene doesn’t help in the identification. It’s definitely one of the most interesting lintels from Sambor Prei Kuk, many of which tend to be floral in their design, so look out for it on your visit to the provincial museum.