Bayon Temple – Hidden Quirks, Facts and History

Bayon Temple is a richly decorated ancient Khmer temple located at the center of Angkor Thom in Angkor Archeological Park of Siem Reap, Cambodia. It is one of the must-see temples when visiting the area being famous for its array of towers with smiling faces and “baroque” architecture in a Khmer context. From an architectural point of view, it is a true world wonder, from a religious/symbolic point of view, it united all the religions of the Khmer Empire under the Buddhist King, Jayavarman VII.

Bayon Temple facts

• Original Name: Jayagiri, Chey Kiri or “Victory Mountain” (Khmer: ជ័យគីរី )
• Modern Name: Bayon Temple (Khmer: ប្រាសាទបាយ័ន)
• Construction: in the 12th or early 13th century
• Era: Built under the reign of King Jayavarman VII

Bayon Temple Highlights and Must See

• the smiling face towers (how can you miss them)
• the series of bas-reliefs on the inner and outer gallery
• beautiful Buddha on Naga statues in the northeast and southeast towers
• innumerate Deva and Dvarapala carvings around entrances
• the complexity and confounding nature of its architecture producing a multi-level labyrinth

Visiting Bayon Temple

• Ticket: Included in the Angkor Pass
• Hours: 7.30 am – 5.30 pm
• Time: you can spend 1-2 hours here

Bayon Temple is one of the must-see temples and is a feature of the Small Circuit which is a tour route covering the main must-see temples in the central area of ancient Angkor. The temple is located inside Angkor Thom which is a massive walled city containing numerous temples and areas to explore along with its beautiful moat and famous entry gates.

It is important to note that whilst the temple is open only from 7.30-5.30 you can admire Bayon from the outside at any time allowing you to catch the soft golden light of the early morning or late evening illuminating the faces of Bayon so beautifully.

While you can enter the site from the north, south, east, or west, the traditional entrance and best starting point, is from the eastern side. Opposite the western entrance of the temple, you’ll find several drink stalls and the two viharas of Preah Kok Thlok and Ang Kok Thlok. You’ll find the nearest toilets in front of Preah Pithu group of temples about 900m away to the north.

Entering from the east you pass over the large stone terrace which leads you into what is a labyrinth of a site to explore with curiosities leading you in all directions. Many people may like to hire a local guide so as to capture all the details and local knowledge.

For the self-guided, keep an eye out for the short signposts which direct you around long and short tour options, there are also signboards with a tour map. Taking a random route will be confusing and surely lead you to miss sections and double over others.

Opposite the southeast corner of the temple grounds, you can see the Bayon Exhibition Hut, while getting a bit dated, it includes several displays that will help understand the different meanings of the bas-reliefs. It also has a model of the tools ancient Khmer used to move the large heavy stones and an incredibly cute miniature lion commemorating restoration works in 2015.

When was Bayon Temple Built?

Bayon was built in the late 12th or early 13th century with the exact date being unknown. It was constructed well after Angkor Wat by a century or so and whilst not the last temple built in Angkor, it was certainly the last of the large state temples to be built. It was the centerpiece of the Buddhist king Jayavarman VII’s massive temple building spree that included nearby temples such as Preah Khan, Ta Prohm, and Banteay Kdei.

The Faces of Bayon

There are 173 gigantic faces remaining on Bayon’s towers with debate and theories going on to this day over who the faces actually represent.

Many local Khmer believe that they represent the Four Faces of Prohm (Brahma) carved in the image of the Jayavarman VII himself as the Buddhist God-King, while others believe they are a representation of the Buddhist deity, Avalokiteshvara/Lokesvara. A google search will surely turn up even more theories.

In 2007, Peter D. Sharrock provided a comprehensive systematic review of the different theories surrounding the faces and puts forward his own proposal that they are in fact the image of the sixth supreme Tantric Buddha, Vajrasattva. Other researchers will cast doubts on that theory.

Michael Vickery, who also provides a systematic review of the different theories in Bayon: New Perspectives Reconsidered, perhaps leaves us with the clearest answer to date

The answer to the long enduring ‘mystery of the Bayon’, its meaning, has not been solved by the contributors to this book, and perhaps may never be solved. And if Cambodians wish to continue in their conviction that the faces are Brahma, the arguments against this are still in the realm of theory, and often not very solid theory.

How many faces were there originally? It’s unclear as towers have been added and lost during various phases of its construction, alterations by later kings, and decay post-Angkor collapse. It is believed that there were originally 52 with more than 180 faces, although, some state 59 towers with 236 faces and others, 54 towers with 216 faces. Remaining today are 37 towers with 173 faces.

Site Layout

The temple is positioned at the center of Angkor Thom with roads leading directly to the north, south, east, and west gates of Angkor Thom which provide the site with an outer wall and moat. According to the hypothesis of some experts, this completes the site from the viewpoint of the mix of architecture and mythology in the ancient Khmer world with Bayon at the center in a grand representation of the Churning of the Sea of Milk, while other experts negate this theory entirely.

According to recent research by Oliver Cunin, there were three phases of construction all taking place during the reign of King Jayavarman VII, while a fourth later phase occurred after his time affecting mainly the decoration such as the alteration of images.

Orientated with its main entrance to the east, it also features entrances at each cardinal point opening with terraces flanked by lions and topped by naga balustrades. A galleried enclosure contains the courtyard with two libraries on the eastern side and originally 16 hermitages around the inside of the enclosure wall but these were all later demolished, possibly by the successor, King Jayavarman VIII.

The next inner enclosure is formed by a cruciform gallery with additional galleries added to each corner creating what appears as a square enclosure, this then contains the central cruciform platform giving rise to the round central tower containing eight shrines encircling the central sanctuary all of which is surrounded by satellite shrines and face towers.

The Bas Relief Galleries

A highlight of the Bayon is the stunning bas-reliefs rivaling those of the nearby Angkor Wat for their quality of craftsmanship (at least in parts) and the complex composition telling a story of major events of the time and subjects relating to daily life, Unfortunately, there is little epigraphy to coincide with the illustrations leaving us only with the interpretation by modern-day Khmerologists which historically would have been Goloubew, Groslier, Dumarcay, Dagens, and Coedes, and in the present day, Vittorio Roveda on art and Oliver Cunin, who is certainly renowned as the expert on all things Bayon. The following introduction to the galleries follows that presented by APSARA and JSA.

Outer Galleries – from the east gopura (entrance) heading clockwise, the subjects are:

• Khmer Army March – in the southern part of the eastern gallery – a marching Khmer army, with musicians, horsemen, and commanders mounted on elephants, followed by wagons of provisions also the wives of soldiers and Chinese. In the upper register, the King is followed by the Queen on a palanquin.
• Naval Battle and Daily Life Scenes – in the eastern part of the southern gallery – a naval battle on the Tonle Sap between Khmer and Cham forces, underneath which are more scenes from civilian life.
• Khmer Army Procession – in the western part of the southern gallery – a military procession including both Khmers and Chams, elephants, war machines such as a large crossbow, and a catapult.
• The Civil War – in the southern part of the western gallery, unfinished reliefs show an army marching through the forest, then arguments and fighting between groups of Khmers; in the western gallery, past the doorway to the courtyard – a scene depicting a melee between Khmer warriors.
• King Retires to the Forest to Celebrate Indrabhisaka – northern part of the western gallery – a scene in which warriors pursue others past a pool in which an enormous fish swallows a small deer; then a royal procession, with the king standing on an elephant, preceded by the ark of the sacred flame.
• Khmer Games and Worshippers – in the western part of the northern gallery – again unfinished, a scene of royal entertainment including athletes, jugglers and acrobats, a procession of animals, ascetics sitting in a forest, and more battles between Khmer and Cham forces;
• Cham Army chasing the Khmer Army – eastern part of the northern gallery, past the doorway to the courtyard – a scene in which the Khmer flee from Cham soldiers advancing in tight ranks.
• Processions of Khmer warriors and elephants – northeast pavilion
• Battle with the Cham – northern part of the eastern gallery – a land battle between Khmer and Cham forces, both of which are supported by elephants: the Khmer appear to be winning. The outer gallery encloses a courtyard in which there are two libraries (one on either side of the east entrance).

Inner Galleries

The inner galleries require a little leg work to navigate up and down the stairs and in and out of the vestibules but it’s quite worthwhile to do so. It’s proposed by some researchers that the inner galleries represent all the religions of the Khmer universe by representing Shiva to the north, Visnu to the west, Buddha to the south, and the Royal family to the east. From the eastern gopura, heading clockwise, the subject highlights are:

• Jayavarman VII’s Army Came to Save Angkor/Religious Ritual – Southern part of the eastern gallery – To the right, ascetics and animals in mountainous and forested scenery – in front (badly deteriorated) – Interpreted as Jayavarman VII’s march to liberate Angkor from the occupation by the southern Cham. Another panel here shows an interesting scene of ascetics/Brahmin priests/Rishi in what is called the Hom Ceremony performed by Brahminists.
• The incarnation of Vishnu as a fish to save the earth – eastern part of the southern gallery
• Rebirth of Kama – Eastern part of the southern gallery
• Mahayana Buddhism Practice and activity in the Hospital – western part of the southern gallery – the central figure here is that of a standing four-armed Vishnu emanating from a palace with the king prostrated at his feet followed by further worshipping royalty and elites. This depiction of Vishnu is believed to be a modification of an earlier Buddhist figure. The west of this figure is another depiction of the king inside a palace while taking place beneath him is a very active scene depicting patients receiving medical care reflecting the 102 hospitals inscribed as being built during the era of King Jayavarman VII.
• Khmer and Cham armies celebrate a religious ceremony dedicated to Vishnu – southern part of the western gallery – Cham and Khmer armies unite in religious celebration. The central idol here is a large depiction of Vishnu atop a Garuda flanked by Khmer and Cham.
• Building of Khmer Temple – a famous scene here depicts the construction of a temple, revealing how the ancient Khmer worked the stone into shape with a register above depicting the Vishnu flanked by royalty and Brahmin priests.
• Churning of the Sea of Milk – northern part of the western gallery – what remains of the gallery wall depicts the famed Churning of the Sea of Milk from Hindu mythology featuring skilled craftsmanship and a wonderful arrangement of a pantheon of characters.
• Three main gods in Hinduism – middle of western part of the northern wall – A scene showing the main gods of Hinduism, the trinity of Shiva, Vishnu, and Brahma.
• Journey to Shiva’s wedding with Princess Pavarati – western part of the northern gallery – depicts two beautiful boats, one occupied by Cham featuring two sails, the other occupied by Khmer carrying ceremonial flags. To the right, a troop carrying parasols led by a Brahmin priest holding a trident then, the central depiction which is of Mount Kailash (sacred abode of Shiva) flanked on the right by oncoming an oncoming troop carrying parasols and flags.
• Buddhist Ceremony in the Royal Palace and Ravana Shaking Mount Kailash – eastern part of the northern gallery – the central depiction here is a large figure of the Khmer version of Ravana with his twenty arms vigorously shaking the ground with Shiva sitting above bringing an end to his shenanigans. On either side, are palace scenes depicting a Buddhist ceremony.
• Royal Funeral of Srindra Kumara – eastern part of the northern gallery – Depicting the funeral of Jayavarman VII’s son, Srindra Kumara, and four generals who gave their lives defending against the Cham invasion.
• The Procession of the King from Angkor to Banteay Chmar – northern part of the eastern gallery – a procession featuring royal palanquins, the sacred fire, troops with parasols and fans, musicians, and cavalry believed to all be en route to Banteay Chmar for the funeral of Jayavarman VII’s son, Srindra Kumara, as depicted in the section noted above.

Other Quirks & Features of the Bayon

It does not matter how many times I go back to this temple, it always has something new to reveal! For first-time visitors, I suggest focusing on the outer and inner reliefs that in themselves take several visits to comprehend but keep your eyes open for some of these quirks and features.

Buddhas of the Bayon

The principal statue of the Bayon temple, a large seated Buddha on Naga, was found by French researchers when clearing a pit beneath the central sanctuary in 1933, it was later restored and, in 1935, moved to sit atop the terrace of Pram Pi Lven some 500m to the northeast along the road that leads to Victory Gate.

The two beautiful Buddha on Naga statues can be found in the northeast and southeast corner vestibules, a revered seated Buddha on the northern entrance, a reclining Buddha on the eastern entrance followed by a seated Buddha in the inner gallery, and on the western entrance, the famed hunchback.

The pedestal supporting the hunchback statue on the western entrance is well worth admiring as is the statue itself having received a replacement head at some time in his career. There are remnants of numerous medium and small size Buddha statues seen around both enclosures, the standing Buddha on the outer gallery’s eastern side being quite a curiosity. On the southern outer gallery, a stunning pedestal decorated with images of Nandin and Garuda sits alone.

Devas & Deity

The reliefs of deva and deities around the Bayon, which may well be Queens or royalty, are quite beautiful also noting the beautiful jewelry they are adorned with. They are all somewhat unique, sporting different head regalia, and different jewelry, some, standing atop a pedestal, while some can be seen standing atop a lotus. Some also have birds and worshippers at their feet.

BUT, there is one, very special one, without head regalia, Princess Mae Thorani (Preah Thorni, Neang Konghing, Dharani etc., earth goddess and protector of the Buddha on his path to enlightenment), standing atop a lotus and seen only on a few pilasters.

Door Guardians/Dvarapala

The male door guardians, or Dvarapala, come in statue form guarding the entrance terraces and in reliefs flanking the doorways. Of the Dvarapala statues located on the terrace entrances, the one on the western side seems to be in the best condition albeit headless and without forearms. The guardian reliefs flanking the doorways differ on either side, representing Deva and Asura, noting the head regalia, one with a mace, one with a trident, and some also making Buddhist hand gestures. Inside the second enclosure, interesting reliefs can be seen unusually placed inside the walls of the entrance chamber, some appear not quite complete and some may well have been caught up in the later alterations.

Yogini

Yogini, tantric dancers, or simply dancers, can be found decorating pillars and bringing life to numerous mythological reliefs around the Bayon. These tantric dancers in trinity or pairs adorning the pillars are not quite as generic as they seem, note the hand gestures and jewelry, and one is quite unique where the dancers are auspiciously blessed by the presence of a turtle (northern entrance).

Rishi/Ascetics & Brahmin Priests

Depictions of Rishi/Ascetics/Brahmin Priests, the wise men of the empire, can be seen in numerous places including of course the galleries, but also the lower portion of pilasters, frieze, and lintels. Some examples are

Pillar reliefs

Easy to miss with so much to take in around the walls of the Bayon but look towards the base of the pillars, especially of the eastern entrance, for reliefs depicting scenes of the daily life of the ancient Khmer.

Frontons and Lintels

The site features several decorative lintels above openings along with frontons, sometimes jammed so tightly between the neighboring construction that you wonder why they bothered at all, or perhaps it illuminates staged and somewhat ad-hoc construction. One fronton on the inner of the second enclosure amazingly retains its central idol, a seated Buddha (first image below).

Many of the lintels are quite generic, featuring a Makara at the center topped by an idol that in most cases has been hacked away, other generic lintels depict Brahma, Rishi, and worshippers, again, with the central idol hacked away. The external frontons of the second enclosure are quite decayed and difficult to recognize much from ground level, although there is an interesting fronton arranged on the ground near the western entrance depicting Vishnu Anantasayin and the Birth of Brahma. On the southern side of the temple, there are a couple more frontons arranged on the ground but incomplete.

Lions and Naga Balustrade

The four entrances are outfitted with guardian lions flanking the stairs and balustrade lining the perimeter of the terraces featuring double-sided Garuda on Naga as the ornamental end-pieces. It’s interesting to note, that the lions on the eastern entrance look straight ahead, around the other sides, they look inward onto the entrance perhaps illuminating that only royalty entered from the east, visitors entering the other sides were thus scrutinized. More about lions.

Tapestry and Pilasters

Angkor Wat features some very special and highly decorated door jambs with diverse designs, Bayon, not so much, with generic patterns used widely. Except for one vestibule, in the southwest corner that received unique tapestry on its doorjamb. It’s interesting to note that medallions/roundels with inset characters as seen at Angkor Wat and also widely used at later Bayon era temples are not seen here.

Later alterations

Across the site, you’ll notice reliefs that have been altered most likely through the passage of different kings and state religions, in many cases attributed to “iconoclasm” under the reign of King Jayavarman VIII. In many cases, the central idol of decoration has been hacked away or transformed as has taken place across most of the temples of the Jayavarman VII era. There are also what appear to be carvings/alterations made in the late/post-Angkor period with a stupa and sema carving being quite notable.

The well of sacred water

In Bayon’s labyrinth, by the foot of the central cruciform platform, there is a well that leads down below ground level, in fact reaching the water table below the temple. On public holidays this spot will be packed with locals coming from afar to splash their faces and even take home a little of the sacred water from the temple site.

References and further reading

• Clustering Bayon Face Towers Using Restored 3D Shape Models, 2005
• The Library of 3D God’s Faces at Bayon Temple, 2013, IkeuchiLab, 2013
• Notes d’archéologie indochinoise : VIII, Modifications subies par le Bayon au cours de son exécution, Parmentier, 1927
• Etude sur l’iconographie du Bayon (Frontons et linteaux), Dagen, 1969
• Bayon Digital Archival Project, 2004, https://www.cvl.iis.u-tokyo.ac.jp/papers/all/669.pdf
• The Mystery of the Bayon Face Towers, Sharrock, 2007
• Bayon: New Perspectives Reconsidered, Michael Vickery
• The Bayon: Interpretations Continue, Cunin, 2015