When the Scissors Fell: The Buddha’s Renunciation in Stone
Sanctuary of Meaning · Artist’s Journal
Lucas Varro
He raised the blade in silence—
and the gods grew still,
watching hair fall like petals
at the turning of a season.
—
There is a hush that descends when one leaves the world behind.
Not a cry, not a rupture—
but the sound of release,
so quiet it echoes through centuries.
This morning, Annie and I wandered the southern galleries of Preah Khan.
We were drawn not by grandeur or symmetry,
but by a single weathered lintel—half-forgotten, wholly luminous—
resting above the west-facing doorway at the south-western corner of Enclosure II.
The carving it bears holds no drama, no spectacle.
And yet, it marks a moment more radical than battle or coronation:
the day the young Siddhartha raised a blade
and cut away the last thread of worldly identity.
—
He stands calm, resolved.
His posture neither proud nor broken.
In the stillness of that relief,
we see not a gesture of self-denial,
but the grace of inward turning.
Below him, carved in faithful witness,
are Chandaka and Kanthaka—
the squire and the steed who carried him through the silent city gates.
They now rest upon the fierce kala,
whose wide maw swallows time and ego alike.
This is the Cutting of the Hair.
A prince no longer.
A seeker now.
The Cutting of the Hair, Preah Khan Temple, Angkor, Cambodia.
Above the west-facing lintel at the south-western corner of Enclosure II, Siddhartha is depicted mid-renunciation. Below him stand Chandaka and Kanthaka, poised on the timeless mask of the kala.
—
There is a tale told softly through generations—
that his hair never grew back.
As though the body itself,
in reverence,
refused to reattach what the soul had surrendered.
This same scene appears again at Ta Prohm,
within the circular medallions of the eastern gopura in Enclosure II.
There, too, he holds the blade.
There, too, Chandaka stands near—
gazing not with grief,
but with a solemn awe.
The Cutting of the Hair, Ta Prohm Temple, Angkor, Cambodia.
One of the great medallions of the eastern gopura at Enclosure II shows Siddhartha lifting the blade. His squire Chandaka stands beside him in silent witness.
—
It is easy to forget how revolutionary this act truly was.
Not simply a monk’s ritual,
but the unmaking of a name, a caste, a kingdom.
With that single motion,
he crossed a threshold no architecture could contain—
from belonging to freedom,
from heir to mendicant,
from son to sage.
He would take a new name: Gautama.
He would sleep beneath trees,
bathe in rivers,
and learn the silence of dust and sky.
By the Nairanjana, five mendicants came to follow him.
But it began here—
not in a sermon,
but in a gesture.
Not with thunder,
but with the faint sound of hair
falling into light.
—
I lingered before the lintel in reverent quiet.
The stone was warm with morning.
Annie stood beside me, not speaking.
A single ant moved across the carving,
as if to remind us how time walks gently across the sacred.
to cast away rank—
a prince lifts the blade skyward
and becomes the path
—
The stone remembers what we forget:
the moment a soul becomes light enough to walk without shadow.
Also in Library
Hands of the Sculptor — The Craft as Meditation
In the hush of the galleries, the sculptor listens rather than strikes.
Each breath, each measured blow, opens silence a little further.
Unfinished reliefs reveal the moment when mastery becomes meditation—
when patience itself is carved into being,
and the dust that falls at a mason’s feet becomes the residue of prayer.
The Asura Within
At the gates of Angkor Thom, gods and demons share a single serpent.
Across this bridge of struggle the pilgrim learns that the asura is not evil but unfinished — the restless force within each of us still grasping for light.
To cross the naga is to balance passion with compassion, struggle with stillness, shadow with dawn.
Garuda and the Serpent · Flight and Surrender
Between Garuda’s wings and the Nāga’s coils, Angkor breathes its oldest truth: flight and surrender are one motion. In the carvings where sky and water entwine, the pilgrim learns that freedom depends upon gravity, and that stillness itself is a kind of flight.
