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- Lucas: So, we've talked a lot about Angkor Wat, Angkor Thom, the big famous temples. But there's one site that's often called 'Angkor's forgotten megalith' — Banteay Chhmar. It's way up in northwestern Cambodia, near the Thai border, and it's enormous. The main temple complex covers almost a square kilometer, and recent LiDAR surveys show the surrounding city stretched over 2,000 hectares — bigger than many contemporary capitals. Luna: Wait, I've barely heard of Banteay Chhmar. Why is it so little known? Lucas: Partly location — it's remote, off the tourist trail, and for decades it was in a region heavily mined during the Cambodian civil war. But also, it was built mostly under Jayavarman VII in the late 12th century, right after his huge building spree that gave us Angkor Thom and the Bayon. So it got overshadowed by his other projects. Yet in scale and artistry, Banteay Chhmar rivals anything he built. Luna: What kind of scale are we talking about? Lucas: The main enclosure wall stretches about 1.8 kilometers on each side. Inside, there's an enormous central sanctuary, four large courtyards, and galleries covered in bas-reliefs. One of the most famous carvings is the 'Avalokiteshvara of the Four Arms' — a massive bodhisattva image that's almost eight meters tall. And there's a unique bas-relief showing a naval battle, which is rare in Khmer art — it might depict Jayavarman VII's campaigns against the Chams. Luna: A naval battle — that's something we haven't seen at Angkor Wat or the Bayon. Lucas: Exactly. And that's part of what makes Banteay Chhmar so special. But there's also a personal story behind the temple. A long inscription found there, designated K.227, tells the story of Prince Indravarman, who was a son of Jayavarman VII. He died in battle defending the kingdom, and the temple was built in his memory. The inscription actually records the prince's last words, or at least how the court wanted them remembered. Luna: That's fascinating — a temple built for a fallen prince. Can you read from the inscription? Lucas: Sure. The inscription says, 'He who was the refuge of the world, the beloved of the gods, fell in battle, and his body was not recovered.' It's a rare moment of personal grief in Khmer epigraphy. The text also lists the prince's titles and his lineage, and it describes how Jayavarman VII ordered the construction of the temple and a reservoir — a baray — to honor him. Luna: A baray — so there's a huge reservoir there too? Lucas: Yes, the Banteay Chhmar baray is massive — about 2.3 kilometers long and 800 meters wide. It's now dry, but you can still see its outline from satellite images. The whole complex was connected by laterite roads and small temples. LiDAR data from the Global Heritage Fund has revealed a grid of roads, canals, and hundreds of house mounds. It was a real city, not just a temple. Luna: So it's like a mini-Angkor that got lost in the jungle. What happened to it? Lucas: After Jayavarman VII's death, the empire's focus shifted. The city was gradually abandoned, and the jungle reclaimed it. Later, during the Khmer Rouge era, the area was a stronghold, and the temple suffered damage — some carvings were looted, and the site was used as a military base. Landmines were laid around it. It wasn't until the 1990s that serious conservation began. Luna: That's heartbreaking. But I'm glad it's being worked on now. Lucas: Yeah, and if today was actually useful to you, the way these stay ad-free is listener support — buy me a coffee dot com slash fexingo. Every little bit helps keep the research going. Luna: Absolutely. And it really is fascinating stuff. Lucas: So, back to Banteay Chhmar — one of the biggest challenges for conservators is balancing access with protection. The Global Heritage Fund has been working with the Cambodian government to clear mines, stabilize structures, and develop sustainable tourism. But looting is still a problem. In the 1990s, several large panels of bas-relief were cut out and smuggled out of the country. Some have been recovered, but others are still missing. Luna: That's terrible. Do they know where they ended up? Lucas: Some pieces have been tracked to museums and private collections in the US and Europe. The Cambodian government has had some success repatriating artifacts — for instance, a lintel from Banteay Chhmar was returned from the Metropolitan Museum of Art in New York a few years ago. But it's an ongoing struggle. Luna: I want to go back to the bas-reliefs. You mentioned a naval battle scene. What else is depicted? Lucas: The galleries are full of scenes from Jayavarman VII's life and campaigns. There are processions of soldiers, elephants, and chariots. There are also depictions of daily life — market scenes, musicians, dancers. One panel shows a royal hunt. And of course, there are many images of Buddhist deities, especially Avalokiteshvara, reflecting Jayavarman VII's devotion to Mahayana Buddhism. Luna: It sounds like a visual chronicle of his reign. Lucas: Exactly. And what's remarkable is the level of detail. The carvings are not as deep or finished as those at Angkor Wat — they were done more hastily, probably because of the scale of the project. But they have a raw energy that's really compelling. The faces of the soldiers, the expressions of the elephants — it feels immediate. Luna: So is Banteay Chhmar open to visitors now? Lucas: It is, but it's not easy to get to. It's about a three-hour drive from Siem Reap on mostly unpaved roads. There are basic guesthouses nearby. The site itself is largely unrestored — you walk through ruins that are still partly overgrown. It gives you a sense of what Angkor must have looked like when European explorers first came across it in the 19th century. Luna: That sounds amazing — and a bit eerie. Lucas: It is. And it's a reminder of how many other Khmer sites are still waiting to be fully studied. Banteay Chhmar is just one of over a thousand temples in Cambodia. Each one has a story. Luna: I'm glad we're telling this one. Lucas: Me too. And maybe it'll inspire someone to go see it — responsibly, of course. The key is to support local efforts that protect the site while sharing it with the world. Luna: Absolutely.