Bayon is one of the most perplexing temples in Angkor — and one of the most fascinating. Built by Jayavarman VII in the late 12th century (around 1181 to 1219), it has been modified several times by his successors, who added or removed elements according to their religious beliefs. This architectural palimpsest is both a source of confusion for archaeologists and a treasure for attentive visitors.
late 12th – early 13th c.
up to 216 faces
daily
at your own pace
The Faces: Who Are They?
The question has puzzled archaeologists for a century. The faces of Bayon — with their half-closed eyes and serene, slightly mysterious smiles — are they the portrait of Lokeśvara (the bodhisattva of compassion), the deified face of Jayavarman VII himself, or a combination of both? The question remains open.
What is certain is that each tower bears four faces oriented towards the four cardinal points — a configuration that signifies the gaze of the god (or god-king) embracing the entire empire in all directions. In 1935, researcher Georges Cœdès from EFEO proposed the hypothesis of the deified royal portrait, which has been widely accepted since. Other researchers, including Cambodian Ang Choulean, nuance this: it is more likely to be Lokeśvara, whose cult was central under Jayavarman VII.
The Two Levels of Galleries
Outer Gallery (Level 1) — Daily Life
Unlike the bas-reliefs of Angkor Wat, which are mainly mythological, the outer galleries of Bayon largely depict scenes of Khmer daily life and historical events. You can see markets (with identifiable Chinese merchants by their clothing), cockfights, cooks at work, women giving birth, and fishermen on the Tonle Sap. It is a visual archive of life in the 12th century of invaluable documentary value.
The most famous panel is the naval battle on the Tonle Sap: the Khmer fleet faces the Chams, with striking details about ships, weapons, and river combat tactics.
Inner Gallery (Level 2) — Mythological Scenes
The galleries of level 2 present more conventional scenes — royal processions, Buddhist deities, mythological battles — but in a poorer state of preservation, as some have been recovered and modified under successive kings who alternated between Buddhism and Brahmanism.
The Upper Sanctuary (Level 3) — The Tower of Faces
This is where the visit takes on its full dimension. As you weave between the towers, you find yourself surrounded by giant faces looking at you from all directions. At certain times (early morning or late afternoon), the slanting light accentuates the relief of the sculptures, making them almost appear alive. The sensation is hard to describe — and impossible to reproduce in photos.
📷 Best light for the Bayon
Morning (8–9 AM) gives golden light on east-facing faces. Afternoon (3–5 PM) warms the west faces to a spectacular amber. Avoid 10 AM–2 PM — overhead light flattens the reliefs and the heat is brutal.
The Complex History of Bayon
Bayon has been modified several times after the death of Jayavarman VII. His Hindu successors sometimes destroyed Buddhist images and converted sanctuaries. In the 14th century, under the influence of Theravada Brahmanism, part of the sculptures was hammered. Śivaliṅgas were installed in some chapels. Later, with Cambodia's definitive conversion to Theravada Buddhism, the temple was partially reconverted once again.
This story of religious palimpsest is written in the walls: empty niches where images have been destroyed, sculptures covered with stucco, scratched inscriptions. Bayon is as much a witness to the political and religious history of medieval Cambodia as it is to its artistic history.
A specialist guide transforms a Bayon visit — bas-relief galleries and iconography become readable in a few hours. Tours on GetYourGuide.
Frequently asked questions
The Bayon has 54 towers, each with four faces — up to 216 in total. They are usually interpreted as the bodhisattva Lokeśvara or as a divinised portrait of Jayavarman VII.
Yes. The Bayon stands at the centre of Angkor Thom, included in the Angkor pass (37/62/72 USD). No separate ticket.
Angkor Wat is Hindu (12th c.), austere and monumental. The Bayon is Buddhist (late 12th–13th c.), more chaotic, with multiple faces and bas-reliefs of everyday life. Both are essential and complementary.