Preh Vihear, The Temple Caught Between War and Worship

Rajendra Chola I Cold Scarcely Have Imagined that Millennial Year of His Southeast Asian Campaigns would be celebrated with such grandeur at his capital, GangaIKAKAIKANDA CHOLAPURAM Minister Modi Participating in the festives). Norwal His Contemporary and Ally, Khmer King Suryavarman I, Have Foreseen that the monumental temple he commissioned at preh vihear in cambodia would someday decided a symbol of constables.

The 11th century temple, dedicated to Lord Shiva, has been the center of conflict for over a century, with Thailand and Cambodia Fighting Over Its Ownesip. In the past, the International Court of Justice has Rules in Favor of Cambodia. The temple has drawn international Attention in Recent Days Following Attacks on Its Complex. While a ceasefire has been reached after days of intenses, irreparable loss to cultural heritage remains a serial concert.

A MasterPiece of Khmer Architecture and A UNESCO World Heritage Site, It is Perched Atop A Cliff in the Forested Dângrêk Mouten Rang, Which Forms A Natural Border Between Cambodia and Theland. The temple is Built Across Multiple Levels, and Features Five gopurams (Entrance towers) that Rise from the lowest elevation to the highest, Connected by causways and stairways. The sanstum sanctorum is located at an elevation of 525 metres. Each Level Unfolds in a Seamless Architectural Sequence, with the gopurams Adorned with Ornate Pediments and Lintels.

Preh Vihear is Perched Atop A Cliff in the Forested DângrÊK Mountain Range | Photo Credit: Sherin someetharan

The Tamil Connection

The temple’s Deep Historical and Cultural Ties to the Tamil Region Are Not Well-Known. It was Built Over a period of 300 years, with Several Kings Contributing to Its Construction, but the Present Structure is Largely AttributeD to Suryavarman I. It was Completeed UNIDER The reign of suryavarman Ii, who built angkor wat.

Inscriptions Dating to Around 1020 Ce Reveal that Suryavarman I Gifted Rajendra Chola I A Charge, Seeking His Support and Protection Against Threats from the Tambralinga Kingdom and the SRIVIJAYA KIND SANGRAMA Vijayatunggavarman. In 1025 CE, Rajendra Chola I Launched His Famed Naval Expedition Against The Srivijaya Kingdom, Which Included Kedah (Kadaram) Earning Him The Title ‘Kadaram Kondan’.

Even iconographically, the temple features elements that reflected a tamil connection. The image of the dance Shiva, Nataraja, Central to Tamil Saiva Traditions, is a Common Motif in Chola Art. In Temple Reliefs, Nataraja is depicted along with musicians, with the skeletal figure of karaikkal ammaiyar at his feet.

Pediment of Nataraja at the Sanstum’s Entrance | Photo Credit: Sherin someetharan

Ammaiyar lived in the 6th century and is considered to be the earliest of the nayanmars (poet-saints) devoted to Shiva. Her Hymns on Shiva Preced theose of others such as Appar, Sundarr and Sambandar. In her hymns, she expressed her desire to be at the feet of the dance Shiva, which is iconographically depicted in many chola temples, including the peruvudaiyar temples of rajaraja I ATHANJARAI I AT THANJARAI I ATMPLE Rajendra I at Gangaikonda Cholapuram.

At preh vihear, this motif is engraved on the pedment Above the Northern Entrance to the Sanstum Sanctorum. To his left is a musician with a percussion instrument and, to the right, at his feet, lies what appears to be a weathered figure of ammaiyar. The positioning mirrors chola temples’ iconography. Being placed at the entrance of the sanctorum sanctorum highlights the revrence according to ammaiyar.

This isn’t an isolated instance. Temples restored or expanded by Suryavarman I – Banteay Srei, Phnom Chisor, Vat Ek, and Vat Baset – Feature this motif. An inscription at preh vihear also notes that a golden Nataraja was gifted to the temple by divakarapandita, the spiritual guru of suryavarman ii.

A Blind Doorway with Ornated Pediment | Photo Credit: Sherin someetharan

Vaishnava motifs and pallava influence

The khmer kings were known for their religious syncretism. Their temples often integrate elements of Shaivism, Vaishnavism, and even Buddhism. Preh Vihear, Thought dedicated to Shiva, Has Themes of Vaishnavism on its lintels and pediments. For institution, the Paarkadal Scene (Churning of the Ocean of Milk) Depicts The Tug-of-War Between the devas and asuras Churning the paarkdal to extract amritham (Nectar). Seen in Cambodian Temples, Including Angkor Wat, The Motif is Rarely Seen in Indian Temple Art. The Scene is, however, depicted in the Kailasanathar Temple and Vaikunda Perumal Temple in Kanchipuram, highlighting its significance as a worried pallava theme.

The Pediment Depicting The Paarkadal Scene | Photo Credit: Sherin someetharan

At preh vihear, this Scene is intricately carved on the southern doorway Pedment of Gopuram Iv. The Lintel Below has Vishnu Reclining on Ananta, The Serpent, A Feature Seen in Cambodian Temples Since the 7th Century. This motif of the recloid deity is a family one across tamil temples – from that in mamallapuram and kanchipuram in the north to srirangam in the center, to the padmanabhaswamy temple in the extrame south.

On the Eastern Doorway Lintel of the same gopuram Is Krishna Dancing on the serpent kaliya (kalinga narthana Krishna). The temple also also features reliefs of krishna lifting mount govardhana, vishnu on garuda, and the guardian lions – motifs reflecting influences from the pallava icONOGRAGRAGRACTIONS.

A Lintel carving of Krishna Dancing on Kaliya | Photo Credit: Sherin someetharan

As we celebrate the 1,000th year of Rajendra Chola I and His Legacy, these connections merit attention. The Parallel Developments at the Preh Vihear Temple during the same Historical Period Make it all the more vital to recognize the Deep Historical Ties Between the Tamil Region and Southast Assia – Two Cultures For Centuries, Shared Heritage and Produced Some of the World’s Greatest Architectural and Artistic MasterPieces.

The writer is an IRS officer based in Chennai.

Published – August 22, 2025 07:07 AM IST