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BACKGROUND
The Bayon vies with Angkor Wat the
favorite monument of visitors. the two evoke similar aesthetic responses
yet are different in purpose, design, architecture and decoration. The
dense jungle surround the temple camouflaged its position in relation to
other structures at Angkor so it was not known for some time that the Bayon stands in the exact centre of the city of
Angkor Thom. Even after
this was known, the Bayon was erroneously connected with the city of
Yasovarman I and thus dated to the ninth century. A pediment found in 1925
depicting an Avalokitesvara identified the Bayon as a Buddhist temple.
This discovery moved the date of the monument ahead some 300 years to the
late twelfth century. Even though the date is firmly implanted and
supported by archaeological evidence, the 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 untangled.
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The Bayon was built
nearly 100 years after Angkor Wat. The basic structure and earliest part
of the temple ate not known. Since it was located at the centre of a royal
city it seems possible that the Bayon would have originally been a
temple-mountain conforming to the symbolism of a microcosm of Mount Meru.
The middle part of the temple was extended during the second phase of
building. The Bayon of today belong to the third and last phase of the art
style.
The architectural scale
and composition of the Bayon exude grandness in every aspects. Its
elements juxtapose each other to create balance and harmony. |
Face at Bayon Temples |
Over 2000
large faces carved on the 54 tower give this temple its majestic
character. The faces with slightly curving lips, eyes placed in shadow by
the lowered lids utter not a word and yet force you to guess much, wrote P Jennerat de Beerski in the 1920s. It is generally accepted that four faces
on each of the tower are images of the bodhisattva Avalokitesvara and that
they signify the omnipresence of the king. The characteristics of this
faces - a broad forehead, downcast eyes, wild nostrils, thick lips that
curl upwards slightly at the ends-combine to reflect the famous 'smile of
Angkor'.
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LAYOUT
A peculiarity of the Bayon is the absence of an enclosing wall. It is,
though, protected by the wall surrounding the city of Angkor Thom. The
basic plan of the Bayon is a simple one comprising three levels (1-3). The
first and second levels are square galleries featuring bas-reliefs. A
circular Central
Sanctuary (4) dominates the third level. Despite this seemingly
simple plan, the arrangement of the Bayon is complex, with a maze of
galleries, passages and steps connected in a way that make the levels
practically indistinguishable and creates dim lighting, narrow walkways,
and low ceilings.
Enter the Bayon from the
east (5) at the steps leading to a terrace. The interior of the Bayon, the
one a visitor first encounters, is a square gallery on the ground or first
level (1). This gallery is interspersed with eight entry towers (7)- one
in each corner and one in the middle of each side. All of the 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 at the east, turn left at the first
gallery and follow the arrow marked on the plan.
The decoration on the
pillars in front of the entry tower at the east is characteristic of the
Bayon style and is exceptionally beautiful. It is the recurring theme of
the Apsaras but with a different treatment. A typical composition is a
group of three Asaras dancing on a bed of lotuses. They are in a
triangular formation. The figure in the center is larger than those on
either side. A plain background highlights both the dancers and the
intricately carved frame comprising a lightly etched pattern of flowers
and leaves that look like tapestry. (Although a group of three dancers is
typical, similar scenes are made up only one or two dancers.)
Tip:
The
absence of a roof on these pillars allows sufficient 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 or
outer gallery is all on one level whereas the second or inner gallery is
on different level and the passage is some times difficult. The layout of
the inner gallery can be misleading but as lone as the relief are in view
you are still in the second gallery .
On the interior of the
first level there are two libraries (6), one on each side near the corners
at the east side of the gallery.
The second gallery of
bas-reliefs has a tower in each corner and another one on each side which
combines to form an entry tower(8).
On the interior of the
second level there is a unit of galleries at each corner that form a cross
with indentation. Each corner has a tower and a courtyard. Agigh terrace
parallels the profile of the cross-shaped gallery.
The architectural climax
is the third level (3) ,with the Central Sanctuary and the faces of
Avalokitesvara .The east side of this area is crammed with a series of
small rooms and entry towers .The multitude of faces at different levels
affords endless fascination. Godliness in the majesty and the size;
mystery in the expression wrote de 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 porches with
pediments provide the bases for the monumental faces while windows with
balusters keep the diffusion of light to a minimum. The faces on the four
sides of the eight tower marking the cardinal directions are exceptionally
dramatic depictions.
The interior of the
Central Sanctuary is
and surrounded by a narrow passage. 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 lesser tower and several hundred stone chambers.
THE GALLERY OF
BAS-RELIEFS
The have homely human things to
tell and they tell them without affectation, wrote H Churchill Candee of
the bas-reliefs in the galleries of the Bayon.
Tip:
View the galleries of bas-reliefs clockwise , always keeping the monument
on the right. Do not get so absorbed with the reliefs that you forget to
stop at each opening and enhoy the view of the faces on the third level.
The bas-reliefs at the
Bayon consist of two galleries. The inner one is decorated with mythical
scenes. The bas-reliefs on the outer gallery are a marked departure from
anything previously seen at Angkor. They contain genre scenes of everyday
life-markets, fishing, festivals with cockfights and jugglers and so
on-and history scenes with battles and processions. The relief are more
deeply carved than at Angkor Wat but the representation is less stylized.
The scenes are presented mostly in two or three horizontal panels.
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