Bayon (Prasat Bayon) is a well-known and richly decorated Khmer temple in Angkor, Cambodia. Built in the late 12th or early 13th century as the official temple of King Mahjimana Buddhist Jayavarman VII's temple, the Bayon lies in the center of the capital of Jayavarman, Angkor Thom. After Jayavarman's death, it was modified and enlarged by Hindu and Theravada Buddhist kings, according to their own religious preferences.

The most distinctive feature of Bayon is the multitude of serene and massive stone faces in the many towers that stand out from the upper terrace and clustered around its central peak. The temple is also known for two impressive sets of bas-reliefs, which feature an unusual combination of mythological, historical and mundane scenes. The current main conservatory body, the Japanese government team for the Safeguard of Angkor (JSA) described the temple as "the most striking expression of the baroque style" of Khmer architecture, in contrast to the classic style of Angkor Wat.

History of the Bayon Temple

Bayon vies with Angkor Wat the visitors' favorite monument. the two evoke similar yet different aesthetic responses in purpose, design, architecture and decoration. The dense jungle that surrounded the temple camouflaged its position in relation to other structures in Angkor, so did not know for some time that Bayon is in the exact center of the city of Angkor Thom.

Even after that, Bayon was mistakenly connected to the city of Yasovarman I and thus dated to the ninth century. A pediment found in 1925 depicting an Avalokitesvara identified Bayon as a Buddhist temple.

This discovery moved the date of the monument about 300 years until the end of century XII. Although the date is firmly established and supported by archaeological evidence, Bayon remains one of the most enigmatic temples of the Angkor group. Its symbolism, original form and subsequent changes and constructions have not yet been unleashed.

Bayon was built almost 100 years after Angkor Wat. The basic structure and the older part of the temple were not known. Since it was located in the center of a royal city, it seems that the Bayon would have originally been a temple mountain in accordance with the symbolism of a microcosm of Mount Meru. The middle part of the temple was extended during the second phase of construction. Bayon today belongs to the third and final stage of the artistic style.

The architectural scale and composition of Bayon exalt grandeur in every respect. Its elements juxtapose to create balance and harmony.

More than 2000 large faces carved in tower 54 give this temple its majestic character. Faces with slightly curved lips, eyes set in the shade by the lowered caps do not utter a word, and yet they compel him to guess much, wrote P Jennerat de Beerski in the 1920s. It is generally accepted that four faces in each tower are images of the bodhisattva Avalokitesvara and which signify the omnipresence of the king. The features of these faces - a broad forehead, drooping eyes, wild nostrils, thick lips that curl slightly at the ends - combine to reflect the famous "Smile of Angkor."

Layout and tips of the Bayon temple

A peculiarity of Bayon is the absence of an enclosed wall. It is, however, protected by the wall that surrounds the city of Angkor Thom. Bayon's basic plan is simple, consisting of three levels (1-3). The first and second level are square galleries with bas-reliefs. A circular central shrine dominates the third level. Despite this seemingly simple plan, Bayon's arrangement is complex, with a labyrinth of galleries, passages and stages connected to make levels practically indistinguishable and create dim lighting, narrow passages and low ceilings.

Enter East Bayon on the stairs leading to a terrace. The interior of the Bayon, the one a visitor first meets, is a square gallery on the ground or first level. This gallery is interspersed with eight entrance towers - one on each corner and one in the middle on each side. All eight structures are in the shape of a cross. The gallery was probably originally covered with a root, perhaps of wood.

+ Tip: for those who have limited time, enter the Bayon in the east, turn left in the first gallery and follow the arrow marked on the plan.

The decor on the pillars in front of the east entrance tower is characteristic of the bayon style and is exceptionally beautiful. It is the recurring theme of Apsaras, but with a different treatment. A typical composition is a group of three Asaras dancing on a lotus bed. They are in a triangular formation. The figure in the center is larger than those on both sides.

A simple background highlights both the dancers and the intricately carved picture comprising a pattern of flowers and lightly etched leaves that look like tapestries. (Although a group of three dancers is typical, similar scenes consist of only one or two dancers).

+ Tip: The absence of a roof on these pillars allows enough light for the visitor to view and photograph this motif at all times of the day.

The two galleries of bas-reliefs are distinguished by the degree of elevation.

The first gallery or the outer gallery is on one level while the second gallery or the interior is on a different level and the passage is sometimes difficult. The layout of the inner gallery may be misleading, but as loose as the relief is on display, you are still in the second gallery.

Inside the first level, there are two libraries (6), one on each side, near the corners, on the east side of the gallery.

The second gallery of bas-reliefs has a tower at each corner and another on each side that combines to form an entrance tower.

Inside the second level, there is a unit of galleries in each corner that forms a cross with indentation. Each corner has a tower and a patio. The Agigh terrace is parallel to the profile of the cross-shaped gallery.

The architectural climax is the third level, with the Central Shrine and the faces of Avalokitesvara. The east side of this area is filled with a series of small rooms and entrance towers. The multitude of faces at different levels offers infinite fascination. Pity in majesty and in size; The mystery in the expression wrote of Beer ski when he looked at the faces in the 1920s.

The central mass is circular, a shape that is uncommon in Khmer art. Small balconies with pediments provide the foundation for monumental faces, while balustraded windows keep the diffusion of light to a minimum. The faces on the four sides of the tower eight that mark the cardinal directions are exceptionally dramatic representations.

The interior of the Central Shrine is and is surrounded by a narrow passageway. The summit of the central mass is undoubtedly the Golden Tower, which Zhou Daguan said, marked the center of the Kingdom and was flanked by more than twenty smaller tower and several hundred stone chambers.