Two Winds, One Turning: The Monsoons of Cambodia
Sanctuary of Meaning · Artist’s Journal
Lucas Varro
“The wind does not ask whether it will bring rain or silence—
it only follows the turning of the earth.”
—from a field note beneath the Bodhi tree at Banteay Kdei
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In Cambodia, the year does not advance by calendar page or clockhand, but by the quiet breathing of the winds. The seasons unfold not through temperature or moon phase, but through the sky’s slow, devotional turning—an ancient rhythm shaped by the pulse of two great monsoons.
Technically, both are monsoons. Colloquially, only one is remembered.
The Southwest Monsoon, arriving in May and departing in October, is the voice most associate with the word monsoon. It is the season when the sky kneels and empties itself. Moist winds rise from the Indian Ocean, drawn inland by the heat-thirst of the land. Rain does not fall so much as arrive—a procession of surrender that revives the paddies, hushes the dust, and soaks the temple stones into silence.
This is the season of life returning. Lotuses unfurl. Oxen sleep beneath banana leaves. Causeways mirror the heavens. Sandstone deepens into velvet. The air tastes of earth and offering. For many, this is the monsoon they remember—not as meteorology, but as memory.
And yet, when the rains withdraw, another monsoon enters.
From November through April, the Northeast Monsoon whispers in. It is cooler, drier, and quieter. These winds descend from the Tibetan Plateau and the mountains of China, brushing the land with clarity and light. Crops are gathered. Riverbanks retreat. The sky becomes a dome of gold.
Most travellers arrive during this season—late November to February—seeking clear skies and gentle warmth. The air is crisp. The weather reliable. It is, by many measures, the most comfortable time to walk the stones.
But for me, it is the rainy season that holds the deeper call.
The rains bring stillness. The crowds thin. The temples, though unchanged, feel altered—more intimate, more veiled, more alive. While the main sanctuaries still echo with footsteps, I find solitude in the lesser-known sites, or in the early hush before sunrise, when the air itself still seems to pray.
It is not only the absence of people, but the presence of atmosphere. The light softens. The skies become vast theatres of shadow and flame. Rain slicks the stone into shades of charcoal and pewter. The moss brightens into a living green. The jungle speaks in a fuller voice.
To stand alone in such a moment—just myself, the ancient stone, and the steady breath of falling rain—is to enter something sacred. The gods feel closer. The ancestors stir. The temple listens back.
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In common speech, monsoon means rain. But in truth, both seasons are shaped by winds—two halves of a single breath. The monsoon is not a storm. It is a turning of the earth’s attention. A shift in relationship between land, sky, and sea.
To the scientist, both are monsoons.
To the farmer, one brings promise, the other release.
To the artist, each reveals Angkor in a different light.
One wraps the temples in mist and reflection.
The other unveils them beneath the gaze of an unclouded sun.
The Khmer builders knew this rhythm intimately. The great barays and reservoirs of Angkor were not constructed to resist the monsoon—but to listen to it. To receive, to hold, to return.
And so it is: two winds, two names, one eternal turning.
The monsoon is not an interruption.
It is a remembering.
A breath the land has always known how to take.
—
Also in Library
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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.
