PAILILAY TEMPLE, SIEM REAP, CAMBODIA

Palilay (the word Palilay is derived from Palilay, the name of the forest where the Buddha lived. The local people believed that when Buddha lived in the forest, he was served by an elephant named Palilay) Temple is located north of Phineanakas temple and behind Tep Pranom. The temple was built in the 12th century by King Jayavarman VII’s father, King Dharanindravarman, called Paramanishkalapada (AD 1150-1160). Who was a Buddhist. The temple’s lintels and pediments lying on the ground afford a rear opportunity to see relief at eye level. Many depict Buddhist scenes with Brahmanism divinities.

Only the central sanctuary remains intact. The sandstone tower opens on four sides, each one with a porch. The tower stands on a base with three, tier intercepted by stairs on each side. The upper portion is collapsed and a truncated pyramid forms a cone which is filled with reused stones. The principle feature of interest at this temple is the Buddhist scenes defacement in the 15th century. The scene depicted are: east, a reclining Buddha reaching nirvana, south, a seated Buddha, which is especially beautiful in the mid-morning sun, north, a standing Buddha with his hand resting on an elephant.

NORTH AND SOUTH KLIANG

The North and Weat Kliang, storehouse, according to local people, the South Kliang is located south of the Victory Gate, and the North Kliang is north of the Victory Gate, are located behind Sour Proat Temple and facing the Terrace of the Elephants and the Leper King.

These sandstone temple were built in the late 10th century by King Jayavarman V and King Suryavarman I. The temple consists of a pair of place of large sandstone facade that look quite grand against a jungle background.

They are similar in time, layout, style and decoration, although inscription suggest that the South Kliang was built slightly later than the north one. Some scholars believe the name store-house is inappropriate for these temple and suggest they may have been reception halls or receiving foreign dignities.

The workmanship of the architecture and decoration of North Kliang is more carefully executed than that of the South Kliang. To the rear of the North Kliang there is a laterite with high levels windows which encloses smaller halls in the courtyard.

The long rectangular structure of South Kliang, however, is unfinished, but it stands on a molded platform. The interior decoration is limited to a frieze under the cornice.

NEAK PEAN TEMPLE

Neak Pean, the coiled nagas, temple is located east of Preah Khan and about 300 meters off the road. The temple is in the center of Jayatataka or Northern Baray and laced on the same axis as Preah Kahan. It was built in the second half of the 12th century by King Jayavarman VII. The temple seems to have served as a place where pilgrims could go and the waters, both physically and symbolically–the Khmer equivalent of a spa.

The central pond is a replica of Lake Anavatapta in the Himalayas, situated at the top of the universe, which gives birth to the four great rivers of the earth. These rivers are represented at Neak Pean by sculpted gargoyles corresponding to the four cardinal points. Neak Pean was probably consecrated to the Buddha coming to the glory of enlightenment. Neak Pean temple is set in a large, square, man-made pond which is 70 meters square bordered by steps and surrounded a steeped base of seven laterite tiers, is in the center of the large square pond, and forms the base for the shrine dedicated to Avalokitshavara.

Small elephants sculpted in the round originally stood on the four corners of the pond. The bodies of two nagas encircle the base of the island and their tails entwine on the west side which give temple name. the head of the nagas are separated to allow passage on the east. A blooming lotus surrounds the to of the platform, while lotus petals decorate the base.

The central sanctuary is cruciform shaped, stands on two recessed levels, opens to the east and is crowned with a lotus. The three other false doors are decorated with large image of the Avalokiteshavara. The fronton depict episodes of the life of the Buddha–the cutting of the hair (east), the great departure (north), Buddha in meditation protected by a naga (west).

The principal feature in the pond of the central sanctuary is a three-dimensional sculpted horse swimming towards the east with figures clinging to its sides. The horse, Balaha, is a manifestation of the Bodhisattva Avalokiteshvara, who has transformed himself into a house to rescue Simhala, a merchant, and his companions of misfortune.

They were ship-wrecked on an island off Sri Lanka and snatched by female ogresses. The victims are holding on to the horse’s tall in the hope of being carried ashore safely. There are our small chambers which have vaulted roofs and back onto the main pond, then open onto four small ponds with steps leading to the water.

The interior of the vault is decorates with panels of lotus and a central waterspout in the form of an animal or human in the center.

MONGKUL LEAT TEMPLE

Mongkul Leat Temple is in the forest, about 900 meters south of the Victory Gate. This sandstone temple was built between the late 13th and early 14th centuries, according to temple inscription, the temple was dedicated to a Brahman named Chey Mongkul Leat and to his mother. Chey Mongkul Leat was a teacher of King Krintravaran.

KRAVAN TEMPLE

Kravan, the cardamom. The exact original name of the temple is not known. Local people call this temple Kravan because there are many Kravan flowers growing nearby. Temple is aromatic flower whose petals are similar to but smaller then, Romdul, temple is located east of Angkor Wat and south of Banteay Kdei.

The temple was built in 921 during the reign of King Harshavarman I43 (AD 910-923), dedicated to Vishnu Brahmanism. It may have been built in high court officials. Although this temple look small and somewhat undistinguished from the outside, it contains some remarkable brick sculptures on its interior walls which stand alone as unique example in Khmer art.

The interior of two of the five tower has sculptures depicting Vishnu and his consort, Lakshmi, the scene is the central tower is the most impressive, but both are exceptional in statue and quality of workmanship.

The five brick towers are in a row on one platform which is decorate with carved, sandstone, lintels and columns. All the tower open to the east.

EAST MEBON TEMPLE

East Mebon temple is about 500 meters northeast of Pre Rup temple. The temple was built in AD 952 by King Rajendravarman.

The temple is similar to Pre Rup in plan, construction and decoration. A major difference, however, is that the east Mebon once stood on a small island in the middle of Yasodharatataka (the East Baray).

The only access was by boat to one of the four landing platforms, situated at the mid-points on each of the four sides of the temple. The decoration on the lintels of the temple is superior in quality of workmanship and composition to that of Pre Rup.

The motifs on the false doors, with small mythical figures frolic king amongst foliage, are particularly fine.

BAYON TEMPLE IN SIEM REAP, CAMBODIA

The Bayon Temple is located in the center of Angkor Thom. The temple is one of the most popular sites in the Angkor complex. It was built in the late 12th and early 13th centuries by King Jayavarman VII.

The architectural composition of the Bayon exudes grandness in every aspect. Over 200 large faces carved in the 54 towers give this temple its majestic character, which at that time represents the 54 provinces in debated by scholars and some think they represent the Bodhisattva Avalokiteshvara, in keeping with the Buddhist character of the temple, it is generally accepted that the four faces on each o the towers are images of King Jayavarman VII and signify the omnipresence of the King.

The plan of the Bayon is presented on three separate levels. The first and second levels contain galleries featuring the bas-reliefs.

A 16-sides central sanctuary dominates the third level, which is cruciform in plan. Despite this seemingly simple plan, the layout of the Bayon is complex due to later addition, a maze of galleries, passage and steps, connected in a way that makes the levels practically indistinguishable and creates dim lighting, narrow walkways and ceiling. Besides the architecture and the smiling faces, the highlight of Bayon is undoubtedly the bas-reliefs.

The bas-reliefs on the inner gallery are mainly mythical scenes, whereas those on the outer gallery are a marked departure from anything previously seen at Angkor. They are unique and contain genre scenes of everyday life–markets, fishing, festivals with cockfights and jugglers and so on–and historical scenes with battles and processions. The bas-relies are more deeply carved than at Angkor Wat.

But the representation is less stylized. The scene are presented mostly in two or three horizontal panels. The lower one, with an unawareness of the law of perspective, shows the foreground, whereas the upper tier presents scene of the horizon. they both exhibit a wealth of creativity. Description of the bas-reliefs in this guide follow the normal route for viewing the Bayon.

They begin in the middle of the east gallery and continue clockwise. Visitors should keep the monument on their right.