Where Stone Leans Toward Memory
It was near sunset when the light began to change. I stood alone in the Cruciform Galleries, where the cool shadow met the breath of the jungle. Soft chanting rose like mist from the inner sanctum. The stone at my feet was warm. The hush—complete.
And then, as if they had stepped forward without moving, I saw them.
Two apsaras, carved centuries ago, emerged from the gallery wall. Their forms touched at the shoulder and hip, so gently one might think it an accident of time. But there was intention in the lean, in the grace of their mirrored posture. And there was that smile—a rare one, teeth just barely visible. I have seen thousands of devata across Angkor, but almost none who smile like that.
I did not raise the camera.
There are moments the lens cannot meet until the breath has slowed enough to match the stillness before it. I sat with them. I let the light pool between us, golden and fading. I returned again and again in the months that followed—sometimes to photograph, often to simply be near. Their presence was not something to capture. It was something to honour.
I shaped the final image slowly, months later, using classical chiaroscuro to let the light fall as it had that day. Each print I hand-tone in gold to recall the warmth that wrapped their embrace. But even now, it’s not the photograph I carry—it’s the moment before. The quiet recognition. The feeling that they remembered me.
stone leans into stone—
the warm breath of evening light
is older than time
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.
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