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 My Journal
The Nāga Princess and the Dawn of the Kingdom
Beneath a tamarind tree at the edge of the world,
a prince meets the serpent’s daughter—
and follows her into the roots of the earth,
where fire, vow, and lotus awaken the land
that has not yet been named.
The Trial of the Bow
Even the gods turned their faces away.
The garland did not fall.
And in the silence between breath and string,
recognition passed from soul to soul—
like a memory the world had been waiting to remember.
Two Winds, One Turning: The Monsoons of Cambodia
The year breathes in wind, not time. In this quiet meditation, Lucas Varro reflects on Cambodia’s two monsoons—their silence, their rhythm, their soul—and the way rain and light reveal different faces of the sacred.
