Bayon Temple History
The Bayon is a temple at Angkor, Cambodia. It was built in the 13th century as the state temple of king Jayavarman VII, and stands at the centre of his capital, Angkor Thom. Its most distinctive feature is the multitude of smiling faces on the towers which rise up to its central peak. It also possesses two sets of bas-reliefs, which depict an unusual combination of mythological, historical and mundane events. The main current conservatory body, the JSA, has described the temple as "the most striking expression of the 'baroque' style", compared to the classical style of Angkor Wat.
The Bayon was the last state temple to be built at Angkor, and the only one to be built primarily as a Mahayana Buddhist temple (although various local deities were also worshipped there). It was the centrepiece of Jayavarman VII's building program, and the similarity of the faces on the temple's towers to other statues of the king have led many scholars to the conclusion that the faces are, at least in part, representations of Jayavarman VII (although Avalokitesvara is another possibility). Under the reign of Jayavarman VIII in the mid-13th century the temple was converted to Hinduism. In later centuries Theravada Buddhism became dominant, before the temple was eventually abandoned to the jungle. Current features which were not part of the original plan include the terrace to the east of the temple, the libraries, the square corners of the inner gallery, and the upper terrace.
In the first part of the 20th century conservation work was led by the Ecole Française d'Extrême-Orient, which restored the temple using the anastylosis technique. Since 1995 the Japanese Government team for the Safeguarding of Angkor has been the main conservatory body, holding annual symposia. Bayon Temple Guidance
The temple is orientated towards the east, and so its buildings are set back to the west inside enclosures elongated along the east-west axis. Because the temple sits at the exact centre of Angkor Thom, roads lead to it directly from the gates at each of the city's cardinal points. The temple itself has no wall or moats, these being replaced by those of the city itself: the city-temple arrangement, with an area of 9 square kilometres, is much larger than that of Angkor Wat to the south (2 km²). Within the temple itself, there are two galleried enclosures (the third and second enclosures) and an upper terrace (the first enclosure). The outer gallery features a series of historical and everyday scenes on its outer wall, but there is considerable uncertainty as to which historical events are portrayed and how, if at all, the different reliefs are related. From the east gopura clockwise, the subjects are: a marching Khmer army (including some Chinese soldiers), followed by wagons of provisions; domestic scenes; in the southeast corner, a temple scene; on the south wall, a battle on the Tonle Sap between Khmers and Chams, with more domestic scenes underneath; a naval display; palace scenes; Cham boats, followed by a land battle won by the Khmers, then the Khmer victory feast; a military procession (including both Khmers and Chams); on the west gallery, unfinished reliefs show an army marching through the forest, then arguments and battle between groups of Khmers (Freeman and Jacques suggest that this may show a revolt which took place in 1182); a royal procession; on the north gallery, again unfinished, royal entertainments and more battles, one showing Khmers defeated by the Chams; in the northeast corner another marching army; and on the east gallery, a land battle being won by the Khmers.
The outer gallery encloses a courtyard in which there are two libraries (one on either side of the east entrance). 16 chapels formerly in this courtyard were demolished by Jayavarman VIII. The inner gallery is raised above ground level and has doubled corners, with the original redented cross-shape later filled out to a square. Its bas-reliefs, later additions of Jayavarman VIII, are in stark contrast to those of the outer: rather than set-piece battles and processions, the smaller canvases offered by the inner gallery are decorated for the most part with scenes from Hindu mythology. There is however no certainty as to what some of the panels depict, or as to their relationship with one another. One gallery just north of the eastern gopura, for example, shows two linked scenes which have been explained as the freeing of a goddess from inside a mountain (Glaize), or as an act of iconoclasm by Cham invaders (Freeman and Jacques). A nearby series of panels show a king fighting with a serpent and dying, and have been connected with the legend of the leper king. Less obscure are depictions of the construction of a Vishnuite temple (south of the western gopura) and the Churning of the Sea of Milk (north of the western gopura).
The inner gallery is nearly filled by the upper terrace, raised one level higher again. On this level, the visitor is surrounded by face towers, each with two, three or (most commonly) four of the famous smiling faces. Glaize wrote that, "On the upper terrace, mystery reigns. Wherever one wanders, the faces of Lokesvara follow and dominate with their multiple presence, always countered by the overwhelming mass of the central core." The towers are located along the inner gallery (at the corners and entrances), and on chapels on the upper terrace. Additional faces are carved on the central tower. Despite efforts to find significance in the number of towers and faces, the numbers varied from time to time as more towers were added: at one point there were up to 49 towers, although only 37 now remain. There are around 200 faces, but as some are only partially preserved there can be no definitive count.
Like the inner gallery, the central massif was originally cruciform but was later filled out, this time making it circular. It rises 43 metres above the ground. The original Buddha image from the central shrine was removed and smashed by Jayavarman VIII, but has now been restored and is displayed in a pavilion to the northeast of the temple. ANGKOR WAT TEMPLE Angkor Wat Temple History
The world famous Angkor Wat Temple is visually, architecturally and artistically breathtaking. It is a massive three-tiered pyramid crowned by five beehive-like towers rising 65 meters from ground level. The Angkor Wat temple was built for king Suryavarman II in the early 12th century as his state temple and capital city. The largest and best-preserved temple at the site, it is the only one to have remained a significant religious centre, first Hindu, then Buddhist, since its foundation. The temple is the epitome of the high classical style of Khmer architecture. It has become a symbol of Cambodia, appearing on its national flag, and it is the country's prime attraction for visitors. Angkor Wat combines two basic plans of Khmer temple architecture: the temple mountain and the later galleried temples. It is designed to represent Mount Meru, home of the gods in Hindu mythology: within a moat and an outer wall 3.6 km (2.2 miles) long are three rectangular galleries, each raised above the next. At the centre of the temple stands a quincunx of towers. Unlike most Angkorian temples, Angkor Wat is oriented to the west; scholars are divided as to the significance of this. As well as for the grandeur and harmony of the architecture, the temple is admired for its extensive bas-reliefs and for the numerous devatas adorning its walls. The design is according to astronomical numbers and alignments that provide a key to the understanding of the sacred cosmology underlying the temple.
The initial design and construction of the temple took place in the first half of the 12th century, during the reign of Suryavarman II (ruled 1113—c. 1150). Dedicated to Vishnu, it was built as the king's state temple and capital city. As neither the foundation stela nor any contemporary inscriptions referring to the temple have been found, its original name is unknown, but it may have been known as Vrah Vishnulok after the presiding deity. It is located 5.5 km north of the modern town of Siem Reap, and a short distance south and slightly east of the previous capital, which was centred on the Baphuon. Work seems to have come to an end on the king's death, with some of the bas-reliefs unfinished. In 1177 Angkor was sacked by the Chams, the traditional enemies of the Khmer. Thereafter the empire was restored by a new king, Jayavarman VII, who established a new capital and state temple (Angkor Thom and the Bayon respectively) which lie a few kilometres to the north.
In the 14th or 15th century the temple was converted to Theravada Buddhist use[citation needed], which continues to the present day. Angkor Wat is unusual among the Angkor temples in that although it was somewhat neglected after the 16th century it was never completely abandoned. Its moat also provided some protection from encroachment by the jungle. Around this time the temple was known as Preah Pisnulok, after the posthumous title of Suryavarman. The modern name, in use by the 16th century, means "City Temple": Angkor is a vernacular form of the word nokor which comes from the Sanskrit word nagara (capital), while wat is the Khmer word for temple.
One of the first Western visitors to the temple was Antonio da Magdalena, a Portuguese monk who visited in 1586 and said that it "is of such extraordinary construction that it is not possible to describe it with a pen, particularly since it is like no other building in the world. It has towers and decoration and all the refinements which the human genius can conceive. However, the temple was popularised in the West only in the mid-19th century on the publication of Henri Mouhot's travel notes. The French explorer wrote of it: One of these temples-a rival to that of Solomon, and erected by some ancient Michelangelo-might take an honourable place beside our most beautiful buildings. It is grander than anything left to us by Greece or Rome, and presents a sad contrast to the state of barbarism in which the nation is now plunged.
Mouhot, like other early Western visitors, was unable to believe that the Khmers could have built the temple, and mistakenly dated it to around the same era as Rome. The true history of Angkor Wat was pieced together only from stylistic and epigraphic evidence accumulated during the subsequent clearing and restoration work carried out across the whole Angkor site.
Angkor Wat required considerable restoration in the 20th century, mainly the removal of accumulated earth and vegetation. Work was interrupted by the civil war and Khmer Rouge control of the country during the 1970s and 1980s, but relatively little damage was done during this period other than the theft and destruction of mostly post-Angkorian statues.
The temple has become a symbol of Cambodia, and is a source of great pride for the country’s people. A depiction of Angkor Wat has been a part of every Cambodian national flag since the introduction of the first version circa 1863, the only building to appear on any national flag. In January 2003 riots erupted in Phnom Penh when a false rumour circulated that a Thai soap opera actress had claimed that Angkor Wat belonged to Thailand. Angkor Wat Temple Architecture
The Angkor Wat Temple is the prime example of the classical style of Khmer architecture- the Angkor Wat style- to which it has given its name. By the 12th century Khmer architects had become more skilled and confident than before in the use of sandstone (rather than brick or laterite) as the main building material. The Angkor Wat style was followed by that of the Bayon period, in which quality was often sacrificed to quantity. Other temples in the style are Banteay Samré, Thommanon, Chao Say Tevoda and the early temples of Preah Pithu at Angkor; outside Angkor, Beng Mealea and parts of Phanom Rung and Phimai.
Angkor Wat has drawn praise above all for the harmony of its design, which has been compared to the architecture of ancient Greece or Rome. According to Maurice Glaize, a mid 20th century conservator of Angkor, the temple “attains a classic perfection by the restrained monumentality of its finely balanced elements and the precise arrangement of its proportions. It is a work of power, unity and style.”
Architecturally, the elements characteristic of the style include: the ogival, redented towers shaped like lotus buds; half-galleries to broaden passageways; axial galleries connecting enclosures; and the cruciform terraces which appear along the main axis of the temple. Most of the visible areas are of sandstone blocks, while laterite was used for the outer wall and for hidden structural parts. The binding agent used to join the blocks is yet to be identified, although natural resins or slaked lime have been suggested. Other elements of the design have been destroyed by looting and the passage of time, including gilded stucco on the towers, gilding on some figures on the bas-reliefs, and wooden ceiling panels and doors. Typical decorative elements are devatas (or apsaras), bas-reliefs, and on pediments extensive garlands and narrative scenes. Statuary is conservative, being more static and less graceful than earlier work. Angkor Wat Temple Guidance
The temple of Angkor Wat, located at 13°24'45"N, 103°52'0"ECoordinates: 13°24'45"N, 103°52'0"E, is a unique combination of the temple mountain and the later Chola of Tamil Nadu India. Particularly the model of the temple and the architecture was that of the Cholas, especially after Raja Raja Chola and his son Rajendra Cholan, The work perhaps started from the early period of 12th Century. the standard design for the empire's state temples, and the later plan of concentric galleries. The temple is a representation of Mount Meru, the home of the gods: the central quincunx of towers symbolises the five peaks of the mountain, and the walls and moat the surrounding mountain ranges and ocean. Access to the upper areas of the temple was progressively more exclusive, with the laity being admitted only to the lowest level.
Unlike most Khmer temples, Angkor Wat is oriented to the west rather than the east. This has led many to conclude that Suryavarman intended it to serve as his funerary temple. Further evidence for this view is provided by the bas-reliefs, which proceed in a counter-clockwise direction-prasavya in Hindu terminology-as this is the reverse of the normal order. Rituals take place in reverse order during Brahminic funeral services. The archaeologist Charles Higham also describes a container which may have been a funerary jar which was recovered from the central tower. Freeman and Jacques, however, note that several other temples of Angkor depart from the typical eastern orientation, and suggest that Angkor Wat's alignment was due to its dedication to Vishnu, who was associated with the west.
A further interpretation of Angkor Wat has been proposed by Eleanor Mannikka. Drawing on the temple's alignment and dimensions, and on the content and arrangement of the bas-reliefs, she argues that these indicate a claimed new era of peace under king Suryavarman II: "as the measurements of solar and lunar time cycles were built into the sacred space of Angkor Wat, this divine mandate to rule was anchored to consecrated chambers and corridors meant to perpetuate the king's power and to honor and placate the deities manifest in the heavens above." Mannikka's suggestions have been received with a mixture of interest and scepticism in academic circles. She distances herself from the speculations of others, such as Graham Hancock, that Angkor Wat is part of a representation of the constellation Draco. Outer Enclosure
The outer wall, 1025 by 802 m and 4.5 m high, is surrounded by a 30 m apron of open ground and a moat 190 m wide. Access to the temple is by an earth bank to the east and a sandstone causeway to the west; the latter, the main entrance, is a later addition, possibly replacing a wooden bridge. There are gopuras at each of the cardinal points; the western is much the largest and has three ruined towers. Glaize notes that this gopura both hides and echoes the form of the temple proper.Under the southern tower is a statue of Vishnu, known as Ta Reach, which may originally have occupied the temple's central shrine. Galleries run between the towers and as far as two further entrances on either side of the gopura often referred to as "elephant gates", as they are large enough to admit those animals. These galleries have square pillars on the outer (west) side and a closed wall on the inner (east) side. The ceiling between the pillars is decorated with lotus rosettes; the west face of the wall with dancing figures; and the east face of the wall with balustered windows, dancing male figures on prancing animals, and devatas, including (south of the entrance) the only one in the temple to be showing her teeth.
The outer wall encloses a space of 820,000 square metres (203 acres), which besides the temple proper was originally occupied by the city and, to the north of the temple, the royal palace. Like all secular buildings of Angkor, these were built of perishable materials rather than of stone, so nothing remains of them except the outlines of some of the streets. Most of the area is now covered by forest. A 350 m causeway connects the western gopura to the temple proper, with naga balustrades and six sets of steps leading down to the city on either side. Each side also features a library with entrances at each cardinal point, in front of the third set of stairs from the entrance, and a pond between the library and the temple itself. The ponds are later additions to the design, as is the cruciform terrace guarded by lions connecting the causeway to the central structure. Central structure
The temple proper stands on a terrace raised above the level of the city. It consists essentially of three rectangular galleries rising to a central tower; with each level higher than the last. Mannikka interprets these galleries as being dedicated to the king, Brahma and the moon, and Vishnu, respectively. Each gallery has a gopura at each of the cardinal points, and the two inner galleries each have towers at their corners, forming a quincunx with the central tower. Because of the temple's westward orientation, the features are all set back towards the east, leaving more space to be filled in each enclosure and gallery on the west side; for the same reason the west-facing steps are shallower than those on the other sides.
The outer gallery measures 187 by 215 m, with pavilions rather than towers at the corners. The gallery is open to the outside of the temple, with columned half-galleries extending and buttressing the structure. The inner walls bear a series of bas-reliefs, depicting large-scale scenes mainly from the Ramayana and the Mahabharata. Higham has called these, "the greatest known linear arrangement of stone carving". From the north-west corner anti-clockwise, the western gallery shows the Battle of Lanka (from the Ramayana, in which Rama defeats Ravana) and the Battle of Kurukshetra (from the Mahabharata, showing the mutual annihilation of the Kaurava and Pandava clans). On the southern gallery follow the only historical scene, a procession of Suryavarman II, then the 32 hells and 37 heavens of Hindu mythology. Glaize writes of those unfortunate souls who are to be thrown down to hell to suffer a refined cruelty which, at times, seems to be a little disproportionate to the severity of the crimes committed. So it is that people who have damaged others' property have their bones broken, that the glutton is cleaved in two, that rice thieves are afflicted with enormous bellies of hot iron, that those who picked the flowers in the garden of Shiva have their heads pierced with nails, and thieves are exposed to cold discomfort.
On the eastern gallery is one of the most celebrated scenes, the Churning of the Sea of Milk, showing 92 asuras and 88 devas using the serpent Vasuki to churn the sea under Vishnu's direction (Mannikka counts only 91 asuras, and explains the asymmetrical numbers as representing the number of days from the winter solstice to the spring equinox, and from the equinox to the summer solstice). It is followed by Vishnu defeating asuras (a 16th-century addition). The northern gallery shows Krishna's victory over Bana and a battle between the Hindu gods and asuras. The north-west and south-west corner pavilions both feature much smaller-scale scenes, some unidentified but most from the Ramayana or the life of Krishna.
Connecting the outer gallery to the second enclosure on the west side is a cruciform cloister, known by the modern name of Preah Poan (the "Hall of a Thousand Buddhas"). Buddha images were left in the cloister by pilgrims over the centuries, although most have now been removed. This area has many inscriptions relating the good deeds of pilgrims, most written in Khmer but others in Burmese and Japanese. The four small courtyards marked out by the cloister may originally have been filled with water.North and south of the cloister are libraries. Beyond, the second and inner galleries are connected to each other and to two flanking libraries by another cruciform terrace, again a later addition. From the second level upwards, devatas abound on the walls, singly or in groups of up to four. The second-level enclosure is 100 by 115 m, and may originally have been flooded to represent the ocean around Mount Meru. Three sets of steps on each side lead up to the corner towers and gopuras of the inner gallery. The very steep stairways represent the difficulty of ascending to the kingdom of the gods. This inner gallery, called the Bakan, is a 60 m square with axial galleries connecting each gopura with the central shrine, and subsidiary shrines located below the corner towers. The roofings of the galleries are decorated with the motif of the body of a snake ending in the heads of lions or garudas. Carved lintels and pediments decorate the entrances to the galleries and to the shrines. The tower above the central shrine rises 43 m to a height of 65 m above the ground; unlike those of previous temple mountains, the central tower is raised above the surrounding four. The shrine itself, originally occupied by a statue of Vishnu and open on each side, was walled in when the temple was converted to Theravada Buddhism, the new walls featuring standing Buddhas. In 1934 the conservator George Trouvé excavated the pit beneath the central shrine: filled with sand and water it had already been robbed of its treasure, but he did find a sacred foundation deposit of gold leaf two metres above ground level. Conservation of Angkor Wat Temple
Since the 1990s Angkor Wat has seen a resumption of conservation efforts and a massive increase in tourism. The temple is part of the Angkor World Heritage Site, established in 1992, which has provided some funding and has encouraged the Cambodian government to protect the site. The German Apsara Conservation Project (GACP) is working to protect the devatas and other bas-reliefs which decorate the temple from damage. The organisation's survey found that around 20% of the devatas were in very poor condition, mainly because of natural erosion and deterioration of the stone but in part also due to earlier restoration efforts. Other work involves the repair of collapsed sections of the structure, and prevention of further collapse: the west facade of the upper level, for example, has been buttressed by scaffolding since 2002, while a Japanese team completed restoration of the north library of the outer enclosure in 2005. The Angkor Wat has become a major tourist destination: attendance figures for the temple are not published, but in 2004 the country received just over a million international arrivals,of whom according to the Ministry of Tourism 57% planned to visit the temple. The influx of tourists has so far caused relatively little damage, other than some graffiti; ropes and wooden steps have been introduced to protect the bas-reliefs and floors, respectively. Tourism has also provided some additional funds for maintenance-approximately 28% of ticket revenues across the whole Angkor site is spent on the temples- although most work is carried out by foreign government-sponsored teams rather than by the Cambodian authorities.
PAGODAS IN SIEM REAP The Buddhist pagodas are the traditional seat of Khmer culture. Siem Reap, like many Cambodian towns, is a collection of villages, which grew around individual pagodas, later coalescing into the town. To get a true feel for Cambodia, a visit to at least one pagoda is recommended. Wat Bo
Built in the 18th century, Wat Bo is one of the oldest pagodas in town and a haven of peace in the heart of the city. Paintings depict the French colonial era. A large, highly respected pagoda. Like the Silver Pagoda in Phnom Penh, the vihear of Wat Bo contains very unique wall paintings of the Reamker that are said to be late 19th century. Look for the ordinary-life market scenes such as an opium smoking Chinese merchant, the colonial era French officer at the market and the French soldiers attending a traditional dance performance. Also of interest is the large collection of Buddha statues located behind the main Buddha. Preah Ang Chek Shrine & Preah Ang Chorm Shrine
Of particular importance to the locals is the small shrine in front of the Grand Hotel D’Angkor containing two standing Buddhas of the names Preah Ang Chek (taller) and Preah Ang Chorm (shorter). They are surrounded by stories of power and indestructibility. Visitors are welcome to make offerings and take photos. The reverence of local pilgrims is palpable. Ya Tep Shrine
Under a huge tree in the traffic circle in front of the royal residence is a statue of Ya Tep, a neak-ta. Neak-ta are powerful spirits connected to a particular area of land. Ya Tep is local to Siem Reap and is said to help bring protection (and winning lottery numbers) to the faithful. Offerings of chicken skins can often be seen around the shrine. Wat Keseram
Pastoral setting and extensive, detailed collection of the life of Buddha on the interior of the vihear make this one of the more interesting wats to visit. The date of establishment is unclear, but most agree that the vihear was constructed in the early 1970’s. Wat Preah Prohm Rath
An unspectacular but idyllically situated wat on the river in the center of town. Founded in 1915, the main vihear was constructed in 1945. Oddly enough, the wat grounds hold two large cannons said to have belonged to the larger-than-life 20th century warlord, Dap Chhoun. Wat Thmei
The wat contains a unique glass-walled stupa containing the bones of victims of the Khmer Rouge. Some of the bones were recovered from a nearby well while others are the remains of soldiers who died on a nearby battlefield. 500m west of the road to Angkor about 1.5km north of town.
BEANG MEALEA TEMPLE This temple is hardly visited because it is not in the temple circuit, which is a great pity as Beng Mealea is a specially spectacular sight. It is 60km from Siem Reap but only about 7km from the Kulen Mountains. So it is best to visit this temple when touring Banteay Srei and Kbal Spean in a one-day trip. This 12th century temple built by Suryavarman II (reigned 1112-52) who built the stupendous Angkor Wat is one of the most mysterious temples at Angkor. The design is very similar to Angkor Wat but it is single-storey whereas Angkor Wat is multi-storey. A massive moat of about one km in breadth encircles this jungle-clad temple. The jungle has claimed it more securely than it did Ta Prohm, and no restoration work has been done on it. The central sanctuary has collapsed totally bringing down some most impressive carvings that can be seen on the ground among the rubble. More are on the still standing walls and archways. A library building still stands intact in the northeastern corner. It is a special place and well deserves a visit.
| TONLE SAP LAKE | | Cambodia's Great Lake, the Boeung Tonle Sap (Tonle Sap Lake,) is the most prominent feature on the map of Cambodia - a huge dumbbell-shaped body of water stretching across the northwest section of the country. In the wet season, the Tonle Sap Lake is one of the largest freshwater lakes in Asia, swelling to an expansive 12,000 km2. During the dry half of the year the Lake shrinks to as small as 2500 km2, draining into the Tonle Sap River, which meanders southeast, eventually merging with the Mekong River at the 'chaktomuk' confluence of rivers opposite Phnom Penh. But during the wet season a unique hydrologic phenomenon causes the river to reverse direction, filling the lake instead of draining it. The engine of this phenomenon is the Mekong River, which becomes bloated with snow melt and runoff from the monsoon rains in the wet season. The swollen Mekong backs up into the Tonle Sap River at the point where the rivers meet at the 'chaktomuk' confluence, forcing the waters of the Tonle Sap River back upriver into the lake. The inflow expands the surface area of lake more than five-fold, inundating the surrounding forested floodplain and supporting an extraordinarily rich and diverse eco-system. More than 100 varieties of waterbirds including several threatened and endangered species, over 200 species of fish, as well as crocodiles, turtles, macaques, otter and other wildlife inhabit the inundated mangrove forests. The Lake is also an important commercial resource, providing more than half of the fish consumed in Cambodia. In harmony with the specialized ecosystems, the human occupations at the edges of the lake is similarly distinctive - floating villages, towering stilted houses, huge fish traps, and an economy and way of life deeply intertwined with the lake, the fish, the wildlife and the cycles of rising and falling waters. Tonle Sap Exhibition in Siem Reap
The Exhibition on the Khmer Heritage is sponsored by Krousar Thmey. The current exhibition is dedicated to the Tonle Sap Lake and the people, culture and environment of the area. The displays are actually quite informative and include maps, photos, models of traditional houses, boats and fishing implements with written explanations in French, English and Khmer. The highlight of the exhibit is a working scale model of the Tonle Sap Lake. There are also exhibits on the work of Krousar Thmey.
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