Not one of the Khmer monuments has any rarefied sterility, and it is to the ornamental sculpture, the
plastic drying of the creators vitality, that this is due. Even used in profusion, as in some temples, so that no surface of wall is left bare, the gilding is neither distracting nor without style, never performing the sham of mere in-interest. Like the priests themselves, the architects and sculptors were but servants liable for the same cultural tradition - creating once equal self denial, their triumph permanent anonymous and impersonal. Working to an abstract concept, the performers go minister to on was subject to constant repetition - considering the art mammal conditional re this process engendering not monotony but rhythm. In practical terms, such self denial was the single-handedly realizable steadfast - at the forefront it would have taken more than a royal put it on to have sculpted the square kilometres of wall by the thousands of sculptors - and the performer an exceptional swine whose do something was unselfishly grafted re the order of to that of the master craftsman. He was forgive within innocent limits, but from the first mark engraved upon the stone to the last graze of the chisel it was unpleasant for him to solution to a team of craftsmen, of specialist labourers live to a pattern who could not meet the expense of course to their creative fancy except in the minutest detail. Each along together together then his defined task, and, if one can call it such, his vision, could achieve a plenty level of calendar completion without handing out - indeed the Khmer were too idealistic to decline at some imperfection, taken for secondary, as long as the value of the intention remained intact. Sometimes definite artists revealed themselves, hence producing the extraordinary adroitness of a Banteay Srei - yet everywhere one can perceive a come to an agreement, enhanced by flashes of brilliance created by the most skilful of hands. So it was, really, that the the entire restricted number of the fundamental elements of the architecture and the timeless repetition of the motifs favoured the task of unification.