Bayon

Bayon (1181-1218)

Bayon temple was built in late 12 century or early 13 century by the Mahayana Buddhist King Jayavarman VII, as the official state temple.

In the centre of Angkor Thom with an area of 9 square kilometres with a multi-faceted, multi-towered temple that mixes Buddhism and Hindu iconography. Its outer walls have startling bas-reliefs not only of warfare but the everyday life of the Khmer army and its followers. The east reliefs of south wing show camp followers on the move with animals and oxcarts, hunters, women cooking, female traders selling to Chinese merchants, and celebrations of common foot soldiers. The south reliefs of east wing also depict a naval battle between Khmer army and Champa navy on the great lake, the Tonle Sap.

Unlike the other temples, Bayon has no outer enclosure wall or surrounding moat. The main entrance’s being at the east, which bordered by Naga balustrades with a pair of standing lions at the staircases.

The central tower rises 43 metres above the ground. During the excavation works of the central sanctuary in 1931, a large statue of the Buddha was discovered in 14 metres below the ground of the sanctuary. The 3.6 metres height of Buddha image has been restored on the 17 May 1935 during the reign of the King Sisowat  Monivong. Then the statue was moved to a small pavilion at Vihear Prampil Loveng in Angkor Thom.

Jayavarman VII was a son of the King Dharanindravarman II and Queen Sri Jayarajacudamani. He was a first king devoted to Mahayana Buddhism. Jayavaraman VII married Princes Jayarajadevi and then, after her death, married her elder sister Indradevi.

After the King Tribhuvanadityavarman was killed by Champa, then Champa conquered Angkor in 1177 till 1181. Then the King Jayavarman VII came to historical prominence by leading Khmer army that ousted the invaders,   which included naval battle depicted on the walls of Bayon temple and Banteay Chmar temple, He put an end to the disputes between warring factions and in 1181 was crowned king himself.

Jayavarman VII established 102 hospitals and erected 121 rest houses- one very 15 kilometres throughout the kingdom. One inscription tells us:

“He suffered from the illnesses of his subjects more than from his own; the pain that affect men’s bodies were for him a spiritual pain, and thus more piercing.”

1.         KHMER ARMY MARCH

Jayavarman VII’s army came to save Angkor – Sacrifice ceremonies

Carvings on the wall of this gallery highlight two main aspects. The first one (Fig.1) is probably depicting an army march, during 1177, leaded by Jayavarman VII on the way from Vijaya city of Champa to liberate Angkor from the invasion of the Cham army from the South of Vijaya. In this procession, we can see cavalry, elephants and infantry armed with armor, shields, swords and spears, sacred fire, royal sacred objects, and other logistics. We also see a group caring parasols, Chhvearlear flags (flag used for ceremony) and fan as well as a music group playing Kong, trumpets and other instruments to harmonize the marches of the procession.  The general sitting on the elephant behind the procession is probably representing Jayavarman VII, since he has the most parasols, wearing a three-crowned top, armor, and holding in his hand the royal representation objects.

The second one (Fig. 2), the bas-relief on the wall of the tower on the right, shows the life of the ascetics in a mountain such as finding food, staying in a hermitage to study and celebrate the sacrifice ceremonies as fire worship and flowing blood into the fire. This ceremony, called Hom ceremony, is an important worship ceremony of Brahmanism for the Gods to fulfill their wishes. We also see Shiva in a yoga gesture with hands holding beads.

 

2. NAVEL BATTLE AND DAILY LIFE SCENES

Two important aspects are carved on the wall of the gallery. The first depicts the naval battle between Khmer and Cham armies. Khmer army wears rope on its body and is armed with javelins and bow. Cham is identified by helmets in the shape of the inverted lotus flower. The water surface shows the abundance of fish as well as crocodiles eating dead bodies from the boat, into the water.

The second, carved on the lower part, is about the daily life of Khmer people. We can see fishing, market activities, childbirth, and so on.

 

3. KHMER-CHAM FIGHTING AND DAILY LIFE SCENES

Two important aspects are carved on the wall of the gallery. The first depicts the naval battle between Khmer and Cham armies. Khmer army wears rope on its body and is armed with javelins and bow. Cham is identified by helmets in the shape of the inverted lotus flower. The water surface shows the abundance of fish as well as crocodiles eating dead bodies from the boat, into the water.

The second, carved on the lower part, is about the daily life of Khmer people. We can see fishing, market activities, childbirth, and so on.

 

4/5. KHMER ARMY PROCESSION

The relief of this panel is unfinished; parts that can be recognized depict from left to right, a procession of Khmer army with infantry, cavalry and others on elephant and weapons they used such as traditional vertical crossbows transformed into automatic crossbows manipulated by two soldiers and transported by elephants or carts.

6. THE CIVIL WAR

The bas-relief is unfinished. Two main stories are carved in this section, one showing the battle between the Khmer army and other insurgents against the authority, and the other showing the gathering of people on the streets in preparation for departure to attend the victory celebration.

 

7. THE CIVIL WAR

The relief depicts the Khmer army on the move through forest, with elephant. The mahouts of first two elephants are Chams. The army passes along a mountain inhabited by hermits. Two of them escape from a tiger climbing on a tree. On the top of a hill, workers start construction of the temple. To the right, a rhinoceros watches the scenes.

 

8. KING RETIRES TO THE FOREST TO CELEBRATE INDRABHISAKA CEREMONY

Here bas-reliefs are incomplete; the inscription describes the king on his way to the forest to celebrate the Indrabhisaka, a reference to a ceremony honoring the god Indra. The procession, from right to left, represents the king on his elephant and ahead from him; a regiment of infantrymen. At the back of procession (right part) the triumph for procession.

 

9. THE CIVIL WAR

This is probably a continuation of an episode of Civil a War illustrated in the southern part of western gallery, with Khmer troops fighting insurgents. Inscription found on this pane describes king pursuing the defeated army. We can see infantry, cavalry and others riding elephants, fighting each other with shields, javelins, crossbow and arrows, and soldiers passing over a pond where a big fish is devouring a deer and, to the left of the deer, a big shrimp.

 

10. KHMER POPULAR GAMES AND WORSHIPPERS BRINGING OFFERS TO DIGNITARY AND HERMITS

Four important scenes are carved in this panel. The first scene is taking place in a palace flanked by a moat on the left side and a river with fish on the right side, where we can see people bringing presents to a dignitary whose face has not been carved, accompanied by two ladies. Then, worshippers bringing offers to hermits residing in the forest, Khmer popular games and parade of various animals.

 

11. FIGHTING BETWEEN KHMER-CHAM AND KHMER-KHMER INSURGENTS

The carving on this panel describes a confused land battle in which we see which Khmer soldiers defeat Chams. In other sections, Khmer army is fighting Khmer insurgent.

 

12. THE CHAM ARMY IS CHASING THE KHMER ARMY

What remains of this quite damaged section shows the Cham army is pursuing the Khmer army during the invasion of Angkor (1177 A.D). Some Khmer troops escaping to mountain and others to forest, trying to refuge in safe place while soldiers give assistance to a wounded Khmer army leader.

 

13. KHMER-CHAM BATTLE

This relief depicts the fierce battle between the Khmer army and the Cham invaders. The Khmer army is engraved on the left side, while the Cham identified by helmets in the shape of the inverted lotus flower, is depicted on the right. The two armies appear to be moving in the center of the panel, and we can see sculpture depicting the battlefield of these two armies. Chinese soldiers, identified by hair up with pincer, are seen fighting on the Khmer side. We can also see Khmer and Cham troop allied to fight other Chams. Sometimes a general riding elephant is Khmer but is Cham.

 

14. JAYAVARMAN VII’S ARMY CAME TO SAVE ANGKOR – SACRIFICE CEREMONIES

Carvings on the wall of this gallery highlight two main aspects. The first one (Fig.1) is probably depicting an army march, during 1177, leaded by Jayavarman VII on the way from Vijaya city of Champa to liberate Angkor from the invasion of the Cham army from the South of Vijaya. In this procession, we can see cavalry, elephants and infantry armed with armor, shields, swords and spears, sacred fire, royal sacred objects, and other logistics. We also see a group caring parasols, Chhvearlear flags (flag used for ceremony) and fan as well as a music group playing Kong, trumpets and other instruments to harmonize the marches of the procession.  The general sitting on the elephant behind the procession is probably representing Jayavarman VII, since he has the most parasols, wearing a three-crowned top, armor, and holding in his hand the royal representation objects.

The second one (Fig. 2), the bas-relief on the wall of the tower on the right, shows the life of the ascetics in a mountain such as finding food, staying in a hermitage to study and celebrate the sacrifice ceremonies as fire worship and flowing blood into the fire. This ceremony, called Hom ceremony, is an important worship ceremony of Brahmanism for the Gods to fulfill their wishes. We also see Shiva in a yoga gesture with hands holding beads.

 

15. MAHAYANA BUDDHISM PRATICE AND THE PROCESSING ASPECTS IN THE HOSPITAL

These carvings highlight two main themes. The first, looking only on the bas-relief without detailed observation, describes the worshiping to Vishnu and Shiva. However, based on the inscriptions on the main door, it is said that this Southern direction is for legends or sacrifices to Mahayana Buddhism, including the gesture of respecting the deity by laying on the ground which is the identity of the Mahayana Buddhism worshiping way that we see in Tibet nowadays; and the greater depth of the Vishnu sculpture makes us conclude that the sculpture of Vishnu that we see may have been modified from the Buddha sculpture later.

The second one describes the hospital processing aspects probably during the 12th century. During its reign, Jayavarman VII built up a lot of edifices, for various purposes, throughout the Angkorian kingdom such as temples, lodges, roads, bridges, and especially 102 hospitals that proved that he was very caring about the public health. The carvings in this section are the evidence of the scope of the construction of up to six pavilions of health facilities. We can observe the process of treatment with clear rules, registration, consultation, diagnosis, and finally receiving treatment from a therapist.

 

16. KHMER AND CHAM ARMIES GATHERED TO JOINTLY CELEBRATE RELIGIOUS CEREMONY DEDICATED TO VISHNU

The bas-relief depicts the gathering of the Cham army (on the right side) and of Khmer army (on the left side) to jointly hold a religious ceremony dedicated to Vishnu. In the middle of the carving, we see Vishnu sitting on the Garuda, worshiped by two armies, Khmer and Cham. We understand that these two armies are apostles of the Vishnu sect. It should be noted that during Angkorian era, in each battle, both armies had to abide by the rules of war, starting at sunrise and stopping at sunset, without straining each other. In addition, on every holy and major religious ceremony according to the calendar of the Vishnu sect, they do not fight. That is why we can observe here the two armies celebrating together religious ceremony.

 

17. BUILDING A KHMER TEMPLE

The carvings depict the activities of building a temple dedicated to Vishnu as there is a sculpture of Vishnu at the top and a display of the various techniques for building a temple in stone such as dragging, cutting, carving, lifting the stones and foundation compression. To strengthen the foundation to support the weight of all the stone over long term, they were compressing the foundation simultaneously on the rhythmic sound of Chhoeng (traditional khmer musical instrument). In addition, this is a rare carving that describes the technique of building Khmer temples.

 

18. THE CHURNING OF SEA OF MILK

This bas-relief is very dilapidated but we can identify the story of the churning of sea of milk. This story shows the cooperation between the devata and the asuras to churn the sea of milk, to get the Amrit water (nectar of immortality) and be immortal. They use Mount Mandara as the core centered on the ocean and the Naga King Vasuki as the rope that encircles the mountain. The asuras hold the head and the devata the tail. The churning action caused Mount Mandara sank to the bottom of the deep sea until it could not be stirred, so an incarnation of Vishnu, a turtle named Kurma, emerged beneath the mountain with its manger. After a thousand years of activity, the mountain was still unstable and suddenly, the avatar of Vishnu appeared on Mount Mandara to stabilize it, and a series of precious things appeared. In this bas-relief, we see that there are more detailed carvings than in the ones of the Churning of sea of milk at Angkor Wat, such as five-headed horses, three-headed elephants, heavenly flowers, Princess Lakshmi, Apsara and Amrit, the nectar of immortality, that appeared on the asuras side.  At that time Vishnu transformed himself into a beautiful goddess and led the asuras to give up the nectar of immortality, so that the devata received the nectar and become immortal.

 

19. JOURNEY TO SHIVA’S WEDDING WITH PRINCESS PARVATI

The bas-relief in the gallery is divided into two parts. On the right side, a group of people is seen presenting offerings to Mount Kailash on the occasion of Shiva’s wedding with Princess Parvati. On the left side, we can see three boats decorated with dragons on the sails. Each boat is covered and has a number of Chhvearlear flags (flag used for ceremony), some with a sail others with two, with about ten people on board and two oarsmen, one of whom adorned on the hull. Main characters, distinguished by their clothes, masks and hand – adorned with jewelry – holding the trident, are probably a Brahmins of high rank. Be it for daily life or warfare, boat was a very important vehicle during the Angkorian era.

 

20. WELL OF LEGENDS

 

21. THE LEPER KING AND RELIGIOUS CEREMONIES IN THE ROYAL PALACE

We can observe, in this bas-relief, two different scenes.  The first one, from South to North, is most likely depicting the legend related to Nokor Kork Thlok (Kork Thlok Kingdom), one of the most recognized legends speaking of the origins of the Khmer people. People of Angkor used to say that after Preah Thong married Neang Neak (Princess Naga), the father-in-law, Naga King – named Phu Chong Neak – sucked the water and used the tail to divert the water, expanding a small mainland with only one Thlok tree into a Nokor Kork Thlok as weeding present for children. Intending to react to the proclamation of the father-in-law, who forbade the construction of Brahma, Preah Thong erected Brahma figures everywhere, from the gate to the top of the temple, which, as depicted on the bas-relief, caused a conflict between Preah Thong and the Naga King. We can see here that Preah Thong already killed the Naga King, and the blood of the Naga spilled on his body made him got leprosy. The story of the leper king may be related to a statue that sits on the terrace of the leper king at the North of the elephant terrace. Beside the legend about Nokor Kork Thlok that Angkor people used to spread, we have scientific evidence with the discovery, in 2009, of a Thlok tree in an excavation led by Jacques GAUGHER at the bottom of the Phimeanakas Temple. Moreover, the pagoda called Wat Preah Ang Kork Thlok to the West of the Bayon temple is another witness. All these evidences may let us suppose that the kingdom of Kork Thlok could be located within Angkor Thom area.

The second scene, not related to the first one and located on the South wall, most probably depicts the king accompanied by his two wives, sitting in the pavilion and presiding over a religious ceremony with music group and dance to the gods or deities (middle part of the bas-relief). The lower part of the bas-relief probably displays a Buddhist ceremony featuring two monks chanting in an unknown ritual.

 

22. THE PROCESSION OF THE KING FROM ANGKOR TO BANTEAY CHHMAR

According to some scholars, two series of the bas-relief in the Northeast part (Eastern gallery, North part and Northern gallery, East part) may depict the king’s procession from Angkor to the location that may be the present-day Banteay Chhmar temple, to celebrate the funeral of his son Srindra Kumara and four major generals who sacrificed their life to fight against the invading Cham enemies.

The bas-relief in the north part of the East Gallery is divided into two parts: in the upper part we see a man with a damaged face, most likely a king, accompanied by two queens, in a six-wheeled cart drawn by men.We also see in the procession three high-ranking women sitting on the palanquins, sacred fire placed in a small pavilion well-designed and carried by royal servants, andaccompanied by group of honorees holding parasols and fans, and behind the sacred fire, other sacred royal objects and several armies led by a general.

The lower part describes the transporting of food, musician, cavalry and infantry. One of the most notable points in the procession is the cart dragged by man that is most likely the ancient name of the rickshaw. This type of cart is similar to modern rickshaw used in Shanghai.

 

23. ROYAL FUNERAL OF SRINDRA KUMARA

The bas-relief in the East part of the Northern gallery depicts the probable location of the funeral of Srindra Kumara, the son of Jayavarman VII, and four major generals who sacrificed their life to fight against the invading Cham enemies. In the upper part, we see the King and the Queen descending from a six-wheeled cart, and also officers, general and army- accompanying the procession- performing a ceremony at a location that may be the present-day Banteay Chhmar temple. The prince’s royal objects as archery, sword… are kept in a monument with a sculpture of Rahu on the pediment dedicated to him. In the lower part, we see a pavilion containing the urn, probably Meru (crematorium) of Prince Srindra Kumara. Rahu sculptures, one of which symbolizes death, have been carved on the pediments in the bas-relief of this gallery. It made some researchers conclude that it is the location of the funeral.

 

24. BUDDHIST CEREMONY IN THE ROYAL PALACE AND RAVANA SHAKING MOUNT KAILASH

The bas-relief depicts mainly religious and mythological scenes. The one on the left presents a Buddhist ceremony held in the royal palace and where we see the King, the Queen and the monks, as well as important officials.

The one on the right is telling the story of “Ravana shaking Mount Kailash” and depicts a group of monsters intending to fly over the mount, the abode of Shiva and Uma, towards Lanka (Giant city). Shiva’s power does not allow one to fly over the mount, which angered the giant Tosakan and caused him to exercise his power to lift Mount Kailash out of his way. The mount began to shake, the birds, the Apsara began to tremble, and even Uma ran to her husband’s lap. Shiva, sitting on the mount, understood the incident and gently pushed his toe directly on the ground, making the mount press on the monster that was not able to move. The giant realized Shiva’s power, apologized and praised him for a thousand years; Shiva released him to return to Lanka. From then on, Tosakan giant had a second name, known as Ravana.

 

3RD TERRACE OF BAYON TEMPLE

Bayon Temple is the first temple mountain in Mahayana Buddhism, symbolizing mount Meru, the core of the universe, represented by Angkor Thom city. The third terrace of the Bayon temple, about 14 meters high, was built in the form of “MANDALA” of Mahayana Buddhism, which means “Yon” in Khmer. Usually the central tower of the temple is the navel of the “Yon” and disposes one of the main statue of deity. For Bayon temple, we have Bouddha statue protected by the Naga named “Jaya Buddha Mahanath”. After the reign of Jayavarman VII, when Brahmanism returned to be the first religion of the nation, the Bayon Temple, as well as other Mahayana Buddhist temples, were converted into Brahmanical monuments. It is probably one of the main reasons why Jaya Buddha Mahanath lost his worship and was dumped into the well of 14 meters deep in the central tower of the Bayon temple itself. In 1933, the Jaya Buddha Mahanath statue pieces were discovered at the bottom of the well by French archaeologist, Georges TROUVÉ, while excavating the structure of the central tower. These pieces were assembled and restored. Following the initiative of the King Sisowath Monivong, on May 17th 1934, the statue restored was re-consecrated and set up for worshiping on the basement of the “Vihea Bram Pi Lveang” temple, located northeast of the Bayon temple. The center of the “Yon” is surrounded by eight towers dedicated to others deities, and the outer layer consists of four towers standing parallel to the positions of the four main directions. (Figure 1)

According to the inscriptions on the doorposts, the names of various deities in Buddhism and Brahmanism lead us to understand that the Bayon temple is considered as the Dhammapada because it is the center of deities of both Mahayana Buddhism and Brahmanism religions. Therefore, we observe that the Western part is dedicated to Vishnuism, Northern to Shivaism, Southern to Buddhism and Eastern to the royal pantheon. (Figure 2)

The central tower of Bayon temple is temporary closed for conservation and restoration work from February 1, 2020 until completion.

Jayavarman VII - Supreme King (1181 - c. 1218)

Jayavarman VII defeated the Chams out of Angkor and built a prosperous nation in all areas, elevating Khmer civilization to the highest level. The battle for territory took four years. King Jayavarman led a fierce battle against the invading Cham army and won a series of victories. He finally received complete victory over the Chams in naval battles on the Tonle Sap Lake. Cambodia was liberated. He was crowned King of Angkor at the age of 46, named Jayavarman VII, after which the Kingdom of Cambodia became prosperous. This king has a wife named Jayarajadevi. Husband and wife love each other very much and are very generous in Buddhism. After Jayarajadevi died, the king married Indradevi, who was the brother of Jayarajadevi. Princess Indradevi is a woman, scholar, highly cultured and deeply philosophical. She was a professor at a Buddhist pagoda and built an inscription at Phimean Akas about the biography of Jayavarman VII. Jayavarman VII had many good and loyal officials, including the Cham king Vityanon waiting to serve. With all their loyalty, he was able to restore and rebuild the nation.

 

For the Chams who invaded, destroyed and occupied Angkor in 1177, Jayavarman VII decided to take revenge. For many years He lived quietly and patiently. Now it's time to attack. First, he neutralized Dai Viet. He then sent an army under the command of the Cham king named Vityanon to attack the kingdom of Champa. Khmer troops captured Vichey, the capital of Nokor Champa. He raised Prince En to reign in Vichey. Later, the Chams in Vichey rebelled against the Vityanon, conquered, conspired, and declared themselves kings of the entire kingdom of Champa. Unable to bring Vityanon under his command, Jayavarman VII sent troops to defeat Vityanon. Nokor Champa then became a Khmer province for about 17 years. In 1207, Jayavarman VII ordered another Cham king, Apsaraj, to raise an army to attack Dai Viet. During his reign, the Khmer Empire had a very large scope. In all wars, Jayavarman VII was both strict and tolerant of the losers. To everyone, he loves and compassionate, according to the main virtue of Buddhism, compassion.

Jayavarman VII was a staunch adherent of Mahayana Buddhism. He always had compassion according to the teachings of the Buddha. This is the virtue that the king must have to fulfill his royal duties. He always thinks of people in need. He also commissioned the construction of several hospitals throughout the country. An inscription states that there are 102 hospitals. These hospitals have enough medicine and many traditional medicine doctors to treat patients at all levels. Jayavarman VII ordered the construction of many roads across the country, especially from Angkor to Phimai (Phimai today in Thai territory) and from Angkor to Champa. In addition, there are large bridges as well as many inns for travelers and monuments. There are 121 lodges across the country, located on the main road, about 12 to 15 km apart, equal to the distance that pedestrians can walk in 4 or 5 hours. At those lodges, travelers can cook, eat and rest at night. Jayavarman VII was very kind and respectful to his parents. To dedicate to the souls of the two meritorious, he built many temples and monasteries: Ta Prohm, dedicated to his mother, and Preah Khan, dedicated to his father. Compassion, another virtue of Buddhism, enabled him to retain important functions for the Brahmins. The Brahmins continued to live in the palace, still being respected and still having the necessary elite status in organizing Brahmanical ceremonies. Some Brahmins traveled from far away to come and serve him. He was kind, loved the people, and was moved by the suffering and pain of the people. An inscription on his hospital reads: "The sickness of the people afflicted him more than his own."

Jayavarman VII was the most accomplished king. The capital of Angkor was reorganized after the Chams invaded and destroyed it. He built a quadrangular wall around Angkor Thom, 3 km long and 8 m high on each side. Angkor Thom has four gates facing the four directions and a fifth gate called the Victory Gate, which exits to the east corner. Like other Cambodian capitals, this city is surrounded by moats. The Bridge, which crosses the entrance to the temple, has statues of gods and demons dragging dragons on the sides. Phnom Bakheng of Yasovarman is no longer the center of the capital: in the middle of this new compound he built the Bayon temple dedicated to Mahayana Buddhism. Bayon has a total of 54 towers at all levels; each tower has 4 smiling faces. In the galleries, there are sculptures depicting men and women of that time, working in daily life, serving the king or waging war, etc. Bayon temple is the core in the center of the city. Not far from here is Baphuon Temple, there is an old palace decorated with terraces of elephants and terraces of Leper king, and nearby there are 12 towers of Sou Prat temple. Around the city, Jayavarman VII left many artifacts for future generations, such as Ta Prohm, Preah Khan, Banteay Kdei with Srah Srang in front, Neak Pean temple in the middle of the reservoir, Ta Som, Krol Ko. The King not only adorned the capital, he built many other structures throughout the country: Wat Nokor (Kampong Cham), Ta Prohm (Tonle Bati), Banteay Chhmar (Banteay Meanchey) and many other temples that are now in Thailand. The construction of the Banteay Chhmar temple, which has beautiful sculptures, may require about 44,000 workers to work for eight years and about 1,000 sculptors to work for 20 years (according to Mr. Chuck Kroly).

He built many temples in addition to the great works of previous monarchs to give the whole of humanity one of the most glorious civilizations known to the world.