Angkor Lintel Styles

• Inward-facing makaras with tapering bodies.
• Four arches joined by three medallions, the central one carved with Indra.
• Small figure on each makara.
• A variation is with figures replacing the makaras, and a scene with figures below the arch.

See also Sambor Prei Kuk Architectural Style.

• Continuation of Sambor Prei Kuk, but makaras disappear, being replaced by incurving ends and figures.
• Arches more rectilinear.
• Large figures sometimes at each end.
• A variation is a central scene below the arch, usually Vishnu Reclining.

See also Prei Kmeng Architectural Style.

• High quality carving.
• Arches replaced by a garland of vegetation (like a wreath) more or less segmented.
• Medallions disappear, central one sometimes replaced by a knot of leaves.
• Leafy pendants spray out above and below garland.

See also Kompong Preah Architectural Style.

• Great diversity, with influences from Champa and Java, including the kala and outward-facing makaras.

See also Kulen Architectural Style.

• Some of the most beautiful of all Angkor lintels, rich, well-carved and imaginative.
• Kala in centre, issuing garland on either side.
• Distinct loops of vegetation curl down from garland.
• Outward-facing makaras sometimes appear at the ends.
• Vishnu on Garuda common.

See also Preah Ko Architectural Style.

• Continuation of Preah Ko, but less fanciful, and tiny figures disappear.
• Loops of vegetation below the naga form tight, circular coils.
• Garland begins to dip in the centre.

See also Bakheng Architectural Style.

• Centre occupied by a prominent scene, taking up almost the entire height of the lintel.
• Usually no lower border.
• Dress of figures shows a curved line to the sampot tucked in below waist.

See also Koh Ker Architectural Style.

• Tendency to copy earlier styles, especially Preah Ko and Bakheng.
• Central figures.
• Re-appearance of lower border.

See also Pre Rup Architectural Style.

• Increase in complexity and detail.
• Garland sometimes makes pronounced loop on either side, with kala at top of each loop.
• Central figure.

See also Banteay Srei Architectural Style.

• Less ornate than those of Banteay Srei.
• Central kala with triangular tongue, its hands holding the garland, which is bent at the centre.
• Kala sometimes surmounted by a divinity.
• Loops of garland on either side divided by floral stalk and pendant.
• Vigorous treatment of vegetation.

See also Khleang Architectural Style.

• The central kala surmounted by divinity, usually riding a steed, or a Vaishnava scene, typically from the life of Krishna.
• Loops of garland no longer cut.
• A variation is a scene with many figures and little vegetation.

See also Baphuon Architectural Style.

• Centred, framed and linked by garlands.
• A variation is a narrative scene filled with figures.
• When nagas appear, they are crowned.
• When there is vegetation, its curls are tight and prominent.
• Dress mirrors that of devatas and apsaras in bas-reliefs.
• No empty spaces.

See also Angkor Wat Architectural Style.

• Most figures disappear: usually only a kala at the bottom of the lintel surmounted by small figure.
• Mainly Mahayana Buddhism motifs.
• In the middle of the period the garland is cut into four parts, while later a series of whorls of foliage replace the four divisions.

See also Bayon Architectural Style.