THIRD GALLERY

North and South corridors are 202.14 m long and the East and West corridors 114.22 and 114.24 m respectively. The circumference is 1728.40 cubits.

There is a main image of Visnu in the main western entrance to this gallery that has a circumference of 354.36 cubits.

The principle east-west axis for the third gallery is 1035 cubits (actually 1034.42 cubits).

Each side of the third gallery has two large panels of scenes; eight panels total. Proceeding counterclockwise starting with the west facade the panels show: the battle of Kuruksetra starting in the south half of the west wall; the procession of King Suryavarman and heavens and hell along the south wall; the Churning of the Sea of Milk and Visnu versus the Asuras along the east wall; Krna versus the Asura Bana; the battle of Devas and Asuras along the north wall; and the battle of Lanka on the north half of the west wall.

The scene of the Battle of Kuruksetra is probably symbolic of the king's battle to unite the Khmer world. When king Suryavarman found and won that battle for his throne, he united his family and the Khmer nation.

The length of the panel depicting the Battle of Kuruksetra is 54 cubits. There are 44 Kaurava commanders and 32 Pandava commanders along with one extra higher leader for each.

The scenes of the Battle of Kuruksetra and the Churning of the Sea of Milk are opposite one another. The Battle of Kuruksetra is symbolic of destruction, west and the setting sun, the autumn equinox, new moon in the west, darkness, two warring factions. The Churning of the Sea of Milk is symbolic of creation, the spring equinox, east and the rising sun, full moon in the east, brightness, order, two cooperating forces (despite their status as enemies). Both have axial divisions based on 54 cubits.

The scenes of Visnu lying on the Sea of Milk and the Churning of the Sea of Milk are symbolic of creation.

There are 10 gods on the north of the place where Visnu lies at the pivot of the Churning scene and 10 gods to the south of Visnu for a total of 21 figures. The Churning scene can be viewed in this graph.

The bas-relief on the eastern wall (south half) in the third gallery depicts the churning event from the Churning Myth and is 54 cubits in length for the side depicting the devas and 54 cubits for that of the asuras

In this bas-relief of the churning event there are 91 asuras in the south and 88 devas in the north; there is one flying deva above Mount Mandara making a total of 89 devas in the relief

In this bas-relief, the depiction of Mount Mandara stands for the churning pivot but probably is symbolic of a middle point.

There are three over-sized figures on each side of Mount Mandara dividing the scene into six sections.

There are a total of 180 devas and asuras plus the depiction of Mount Mandara (See Cambodian Spring Equinox to calculate the possible symbolism of Mount Mandara.)

The fine detail of the carving of this relief scene is exceptional. Even the figure tips and striations of the cloth of the sampots are done with microscope attention.

A possible connection between the coronation of a king and the churning scene can be found in Indian history documents: [the coronation ceremony] "symbolizing the reinstallation of Indra in his position after having lost his wealth and position, as the result of the slaying of Vrtra; and the recovering of it was after a long period of penance by the Churning of the Ocean of Milk." The Churning of the Sea of Milk also can be found associated with the coronation of at least one Thai king. In this case the ceremony lasted 21 days.

(view of the east entrance to the third gallery: picture)

If you were to circumambulate into the third gallery through the western entrance, you would walk a total of 32 phyeam. This would lead you from the first step into the entrance, three circuits around the main image in the center of the entrance and out onto the preau cruciforme to the east.

If you were to circumambulate into and back out of the third gallery using the northern, eastern, or southern entrances you would walk a total of 108 phyeam. This is repeated at each of the four corner pavilions and the 4 lateral entrances. In each case, the route starts on the first step and proceeds into the pavilion or entrance with three circuits around the central image and out the same way you would have come in.

Along the south wall of the third gallery, the king is shown standing on an elephant in a military procession. This is the first time in Khmer history that the real king and his men of rank are depicted in this way.

The procession scene can be viewed in this graph.

In the scene of the Heavens and Hells, the 32 hells depicted are the only instance of a definite Buddhist reference since there is no sense of hell in Hindu religion.

There are 19 men and 18 women depicted enjoying the benefits of heaven in the scene of Heavens and Hells. There are also 19 men in the scene of the procession of the king. This scene is divided into two halves of 19 phyeam each.

In the scene of Heavens and Hells, Yama occupies the 21st interpillar space and Dharma and Citragupta occupy space 20. Dharma is another form of Yama - he embodies the best qualities of our lives, defined by our ability to live according to the "truth". Citragupta records and widghts the karmic actions of the living so that they may be judged at death. The scenes of Heavens and Hells can be view in this graph.

There are 32 hells.

There are five representations of Visnu or a Visnu related figure on the west and east sides of the gallery. All five are bracketed by solstice sunlight; all five receive full sunlight during the spring and autumn equinoxes. A similar pattern is observed in the central figure of Visnu in the Preau Cruciform.

In the scene in the northeast corner of the third gallery, there are 21 interpillar spaces in front of the panel, with 10 of these spaces on each side of the central figure of Visnu. The length of the relief is 29.54 phyeam.

In the scene of the Battle with the Asuras, there are 21 over-sized devas and asuras. There are 27 interpillar spaces for this panel. The following gods are recognizeable: Varuna, Surya, Indra, Skanda, Agni, and Kubera. They represent: Mercury, Sun, Jupiter, Mars, Saturn, and Venus. These rose and set in sequence between September 6 and 11 and 16-21 in 1115; July 27 and August 1 and August 6 - 31 in 1117; and from December 23-28 1121 to February 7, 1122. This pattern does not repeat itself until A.D. 1126.

The scene of the Battle of Lanka is unfinished. It may have been carved around A.D. 1131 or 1132. This battle is the epic culmination of the Ramayana signalling the victory of Rama over Ravana (the king of Lanka). In this scene there are nine planets or celestrial bodies represented: ketu (a comet), agni, yama, indra, kubera, skanda, varuna, and nirrti. At the end of July A.D. 1131, the planets in this relief followed this sequence as they rose in the eastern horizon. This precise event occurred only between July 24 and July 29, 1131. In astrological terms, this all occurred when Visnu presided over this event. In this scene, Ravana is placed on his chariot 21 cubits away from Rama. There is a shadow to the left of Rama at the winter solstice and to the right at the summer solstice. Vibhisana and Laksmana, who are in the shadow to the left of Rama on December 22; Vibhisana is in full sunlight as the sun sets on that day while Laksmana, the brother of Rama is in darkness. The figure of Ravana who faces Rama at a distance of 21 cubits is in partial sunlight during the two solstice periods. View this chart.