In 1989, at the Chiên Đàn tower group, during an excavation to reveal the base of the tower in preparation for restoration, archaeologists discovered a decorative motif system around the base along with hundreds of valuable sandstone sculptures, including male and female deities, musicians, Apsara, animal figures, architectural decorations, altars, and inscriptions…
The wall decorations consist of large sandstone slabs arranged around the base of the tower, intricately carved with depictions of armed warriors dancing alongside dancers and musicians, featuring Makara heads and Kala faces. On the northern side of the central tower, there is a carving of a pair of elephants turning towards each other, with a cluster of lotus flowers between them, making the elephants appear lively and whimsical. Among the artifacts found in 1989 was a sandstone tympanum depicting Mahisasuramardini (the goddess who slays the buffalo demon), illustrating the goddess Devi (an incarnation of the goddess Uma) with six arms, two hands raised above her head, and the remaining four holding a bow, arrows, a trident, and a garland. The goddess stands on the back of a buffalo, with her right leg bent and her left leg extended in a very powerful pose.
The animal figures at Chiên Đàn include Naga snakes, the divine goose Hamsa, the bird god Garuda, elephants, lions, deer, and Gajasimha… Many architectural decorations feature Makara heads spouting other humans or animals; decorative corner elements are carved with stylized floral motifs…
The artifacts discovered in 1989 provided researchers with a new perspective on the Chiên Đàn tower complex, as previously French scholars had only found a small number of sculptures here, leading them to classify the statues of Chiên Đàn within the artistic style of Chánh Lộ (11th century). From an iconographic perspective, the sculptures at Chiên Đàn are quite close to the Chánh Lộ style; however, J. Boisselier rightly noted that the reliefs at Chiên Đàn are less homogeneous than those at Chánh Lộ (according to J. Boisselier – La Statuaireu Champa, Paris, 1963). This is understandable, as the three towers at Chiên Đàn were constructed sequentially over a long period, from the early to late 11th century and possibly into the early 12th century.
Moreover, at the end of 2000, during the renovation of the garden landscape around the tower complex, we discovered the foundation of a structure that could be a long house (mandapa). The foundation of the mandapa is located approximately 1 meter below the foundation of the central tower, similarly to the tower’s base, which is lined with coarse white sandstones. From the base up to the mandapa’s floor, brick layers are built with staggered steps, carved into stylized geometric lotus tiers; surrounding the remaining part of the mandapa are several seated figures carved directly into the bricks. To the east of the mandapa, there is likely a gate tower (gopura); in the excavation pit, around 100 artifacts were also found, including statues of male and female deities, Kinnara, dancers, Brahmin priests, animal figures, architectural decorations, and many fragments of sandstone relics.
In Champa sculpture, besides clothing, jewelry, and headdresses, the attributes help distinguish between gods, priests, royal figures, warriors, etc. However, like the statues in the Chánh Lộ style, the jewelry of the statues at Chiên Đàn is very simple, sometimes absent, therefore identification relies on gestures, held objects, and headgear of the figures…
The headdresses at Chiên Đàn can be divided into two groups: the first group consists of low headdresses resembling crowns that do not fully cover the hair. The second group includes tall, conical headdresses, such as kirita-mukuta with three or four tiers adorned with triangular flower motifs; or a crown combined with a bun cover shaped like a cone, tied like a spiral shell. Women’s attire consists of a short skirt reaching the knees, with a fabric belt that drapes down in a large, long, curved and pointed flap resembling a loincloth. Bracelets and necklaces are made of heavy metal with few details.
The statues at Chiên Đàn are depicted rather monotonously and simply; they lack the delicate grace of the Trà Kiệu style, yet they are not as ornate or detailed as the Tháp Mẫm style. Over the course of about a century, the sculptures at Chiên Đàn have shown a clear evolution; early dancer statues are still modeled after the movements of dancers on the Trà Kiệu altar, but are less fluid; large oval-shaped buns of hair, button-like eyes without pupils; Garuda figures with arms raised above their heads; elephants with heads turned sideways and large ears reflect the influence of the Trà Kiệu style from the late 10th century. Late-stage statues (late 11th to early 12th century) exhibit characteristics closer to the Tháp Mẫm style: stout and short Gajasimha figures with detailed mane; on altars and platforms, carved lotus petals with sharply pointed tips extending upward…
Some newly discovered sculptures at the end of 2000:
+ A relief depicting two male deities, one large and one small; made of earth-colored sandstone – a type of soft sandstone; dimensions 42cm x 40cm x 17cm. The larger figure wears a crown; hair is styled into a high bun, tied in the middle with a silk ribbon. The face is oval, worn and lacking clear details; the deity wears large round earrings on long ears. Around the deity’s neck is a thick metal necklace without patterns. The chest is broad, the upper body bare, and the lower body clad in a short sampot. The right hand holds a lotus flower at the belly; the left hand lifts the lotus flower; the legs are extended, with the right leg on top and the left leg underneath; the entire body is in a pose as if flying or swimming.
The smaller figure sits on the right leg of the larger figure; its clothing is very simple, almost nude, with a kirita-mukuta on its head, and the left hand raised as if waving.
Both figures are surrounded by stylized clouds or waves. This relief has quite a unique content; the long-stemmed lotus seems to grow from the navel of the larger figure, reminiscent of the scene “The Birth of Brahma.” Reliefs depicting the Birth of Brahma usually show the god Vishnu lying contemplatively on the back of the seven-headed divine serpent Sésa, floating on the cosmic ocean Ananta; from Vishnu’s navel grows a lotus flower, on which the god Brahma sits cross-legged. In this relief, the larger figure is likely Vishnu swimming on the Ananta sea, while the smaller figure represents Brahma emerging from the lotus after his descent.
+ Earth-colored sandstone tympanum, dimensions: 41cm x 32cm x 11cm, depicting a goddess sitting cross-legged. The goddess wears a conical hat like a lotus bud, with an oval face, straight gaze, thick lips, and a slight smile; large round earrings make her ears appear longer. Around her neck is a metal choker without patterns. The upper body of the goddess is bare with a full chest, a slim waist; below she wears a dress lacking clear lines. The goddess holds two lotus flowers resting on her knees, a familiar posture of the goddess Lakshmi.
+ A male deity statue made of earth-colored sandstone, dimensions: 45.5cm x 34cm x 15cm. The statue is seated cross-legged. His hair is styled into a large pointed bun at the top; the face is oval, with a direct gaze and no pupils. The deity has long ears adorned with round earrings; the upper body is bare, the chest broad; the right hand holds a conch shell placed in front of the chest, while the left hand holds a lotus flower raised to the left shoulder. The lower body is clad in a short sampot. Based on the object he holds, we believe this is a statue of Vishnu.
+ A seated male deity statue, made of earth-colored sandstone; dimensions: 44.5cm x 34cm x 14.5cm. The deity wears a crown; hair is braided into many small locks, gathered at the top into a shape resembling four converging lotus petals, tied with a ribbon. The deity has two thin eyebrows; button-shaped eyes without pupils, a characteristic feature preserved from the Trà Kiệu style. The wide nose and thick lips slightly smile. The right hand holds a lotus flower; the left hand holds an indistinct object with a ribbon dangling down. The deity wears double bracelets on the wrists, and adornments with four-petaled flower motifs on both arms. The upper body is bare, while the lower body is clad in a short sampot.
+ A relief shaped like a pipal leaf, made of earth-colored sandstone; dimensions 45.5cm x 25cm x 15cm. The relief depicts a Kinnara (a celestial musician with a human head and bird body); the Kinnara’s hair is styled into many small braids, tied high and in the middle with a ribbon, with the front hairline rising high like a border. The Kinnara’s face is slightly tilted to the left, with a delicate face, thick lips slightly smiling. The button-shaped eyes and two rows of thin eyebrows; earrings shaped like long flower garlands touch the shoulders, a characteristic of the Trà Kiệu style. The Kinnara wears a necklace, the patterns no longer visible. The upper body is bare, leaning to the left. The right hand holds a lotus flower raised towards the left shoulder. The lower body is only depicted up to the hips. Behind the Kinnara are wide wings as if in flight; surrounding it are stylized clouds…
+ The Brahmin monk is made of sandstone; dimensions: 36cm x 24cm x 08cm. On the monk’s head rests a crown shaped like a blooming lotus, with hair braided into several small strands, gathered like a hat; the face is gentle, with slightly closed eyes, wide nostrils, and a smiling mouth; the long arms are adorned with large round earrings. The upper body is bare, while the lower body is dressed in a short sampot. The left hand holds a conical object, while the right hand holds a fly whisk; on the wrists are two sets of bangles. The monk is in a kneeling position, with the knees bent, feet extended backward, soles facing upward, and the buttocks resting on the feet.
+ The musician is made of earthy yellow sandstone. Dimensions: 59cm x 29cm x 16cm. The statue depicts a seated figure with knees bent to the left, resting on the heels. The musician’s hands hold a long-necked lute pressed against the chest, with the head of the lute resting on the left shoulder; the left hand appears to be plucking the strings, while the right hand presses down on the neck of the lute. The musician’s attire is very simple, with the upper body bare and a short sampot worn below.
+ The decorative head of a makara spewing a figure, dimensions: 38.5cm x 22cm x 13cm. This piece illustrates a makara’s head wide open, with a figure emerging from its mouth in a gesture of prayer. This figure wears a crown, has hair styled into a conical shape, a smiling mouth, and is adorned with large round earrings.
As of now (June 2001), Chiên Đàn is known for having the largest number of sandstone sculptures within the three-tower groups. Most of the sculptures here can be categorized under the Chánh Lộ style; however, there are also pieces that continue the Trà Kiệu style, as well as carvings that demonstrate a transition from the Chánh Lộ style to the Tháp Mẫm style.
