Another sculpture (W. L., 106, the seventh after the second corner) is still note-worthy, because the temple wherein it sits (not on a lotus-cushion) has been crowned by five shivaïtic trisyulas. Should this be a woman’s image it then may represent a Târâ or female deity, but it hasn’t any token to be recognised as Durgâ, the syakti of Shiva[65].
Unique of its kind is the sixty-ninth sculpture on the back-wall of the following, third, gallery (northern staircase, second corner, 2).
To the left we see a deity (a Bodhisattva, perhaps) in a temple crowned by eleven trisyulas. To the right such another deity (or greatness?) on a lower seat. Between these two stands a tree the branches of which don’t bear leaves or fruit, but swords and daggers. And beneath there we see a cauldron full of boiling contents hanging over a flaming fire. Next to this we see three (armed) men guarding three fettered prisoners who are likely to ask for mercy to the second, less great deity. It seems however, that one of the keepers is waiting for further instructions of the deity we see in the small temple.
The eleven trisyulas make us think of Shiva again, perhaps as Kâla, the god of death, the all destroying time.
Leemans thought this representation should be connected with a particular event or, should refer, in a general sense, to hellish punishments. The last mentioned explanation seemed acceptable to me, but then when taken in a pure symbolical sense.
The king of Siam simply called this a representation of hell. “Buddha sees hell.”
We may leave the walled terraces after having seen two other sculptures we find on the back-wall of the fourth and highest gallery which has no more than 20 angles and hewn wall-panels.
First of all I’ll mention the fifty-seventh sculpture (3 after the northern staircase). There we see a Buddha throning in a temple upon which we see, to the right, a flaming tyakra and, to the left, a crescent of the moon floating in the air on lotus-cushions.
And last of all I’ll point to the seventieth sculpture (fifth corner 2), showing us a similar representation, but where the tyakra has been replaced by the disc of the sun.[66]
One can’t possibly wish a more eloquent witness of the harmony of the tyakra and disc of the sun, and of the connection there is between these celestial bodies and the Buddha, between Buddha and Vishnu or, in other words, between the Buddha- and sun-worship.