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Chapter 1: Kīrtipan Ita and the Tantras……………………………………...….12 ‘The Buddhist pantheon of the Bàyon of Angkor: an historical and art historical reconstruction of the Bàyon temple and its religious and political roots’ A dissertation submitted in candidacy for the degree of Doctor of Philosophy (PhD) [99,100 words] by Peter D. Sharrock School of African and Oriental Studies, University of London Research Supervisor: Dr Elizabeth Moore, Senior Lecturer in Art and Archaeology, SOAS. The thesis was presented and supported at SOAS on…..October 2006. Approved for the award of the degree by the examiners: Professor T. S. Maxwell, Director, Department of Oriental Art History, University of Bonn …………………………………………………………………………. Philip Denwood, Reader in Art and Archeology, SOAS …………………………………………………………………………… I declare that the work presented in this thesis is my own. Signed…………………………………………………… Peter D. Sharrock Date:………………………June 2006 1 Abstract This dissertation marshals a range of new evidence to reconstruct the 12th to 13th century Buddhism and sacred art of king Jayavarman VII. It traces political and cultural roots reaching back to the rise of Tantric Buddhism in eighth century Pāla India. It links developments in peninsular pre-Thailand and across the Korat plateau with 10th century temple art and inscriptions in Cambodia, where a Buddhist revival was influenced by the yogatantras, the first Tantras opening the ‘path of vajra’ or Vajrayāna. The evidence for Tantric Khmer Buddhism is gleaned from a new translation of a key Sanskrit inscription and from sacred relief carvings. An analysis of the 11-12th century sacred art of Phimai, a major foundation in modern Northeast Thailand, evinces the arrival of the mature Vajrayānist yoginītantras sustaining a Buddhist dynasty, which had seized power in Angkor and would later invest its religious beliefs in the Bàyon. The phased building plan of Jayavarman VII’s many temples and the iconography of the Bàyon-style are reassessed, bringing to bear previously unpublished data from the king’s large temple of Bantéay Chmàr northwest of Angkor. The reign of Jayavarman VII is substantially reconfigured, presenting his methodical introduction of new doctrine and consequent political dominance via carefully orchestrated stages which subjected the entrenched Brahmanical elite to politico-religious campaigns of consecrations to Lokeśvara and ultimately to Hevajra and Vajrasattva. Throughout this thesis, exhaustive analysis is made of existing scholarship, which is confronted with a substantial body of new epigraphic and iconographic data. 2 Table of contents List of plates…………………………………………………………………..Page 5 Introduction…………………………………………………………………………..9 Chapter 1: Kīrtipan ita and the Tantras……………………………………...….12 Chapter 2: The phases of Jayavarman VII’s Buddhism…………………….....39 Chapter 3: Hevajra and the Yoginīs………………………………………….…..84 Chapter 4: Vajrapā i, Garuda & conversion…………………………………..137 Chapter 5: Hevajra at Bantéay Chmàr…………………………………………168 Chapter 6: The mystery of the Bàyon face towers……………………………198 Chapter 7: Recapitulation: direct and circumstantial evidence for Khmer Tantric Buddhism in 7th-13th centuries………………………………………….272 Appendix I: Coherentist hermeneutics: 'fusing horizons' with the occult …..287 Appendix II: Stela of Wàt Sithor, Kompong Čam [K.111].......................…...299 Appendix III: Vajrayāna not Mahāyāna: a regal creed …………...………….304 Bibliography……………………………………………………………………….320 3 List of plates (All plates are by the author except where acknowledgements or references are made.) Pl. 1. Kbal Sre Yeay Yin caitya, Vajrapāni, Musée Guimet Pl. 2. Phnom Srok: back of Nāga Buddha? Pl. 3. Tibetan homa ritual (after Snellgrove 1959:212) Pl. 4. Phnom Srok Nāga Buddha Pl. 5. Bàt Čum Pl. 6. Bàt Cum Yantra Pl. 7. Kuk Trong crested Nāga Buddha SR depot Pl. 8. Nāga Buddha found by G.Trouvé in Angkor Wat tank (EFEO archive). Pl. 9. Guimet’s Vajrapā i Pl. 10. Buddha of Tuol Reah Theat: Musée Guimet Pl. 11. Avalokiteśvara: Musée Guimet Pl. 12. C6-7 8-armed Vi u Hari Kambujendra (after Jessop 1997:fig. I) Pl. 13. C7-8 Avalokiteśvara Tra Vinh Pl. 14. Vajrasattva, Barong Lovea Em (Phnom Penh Museum) Pl. 15. Vajrasattva C7 Sarnath Museum (after Sharma 2004:54) Pl. 16. Buddha of Wàt Tuol Chan 650 (after Dowling JSS 2000) Pl. 17. Prakhon Chai Maitreya (after Jessop 1997:cat.12) Pl. 18. Pràsàt Phimai Pl. 19. Vajrasattva and Nāga Buddha (after Moore 1997:70) Pl. 20. Bàyon Nāga Buddha in bits, (EFEO archive) Pl. 21. Bàyon Yoginī entablature frieze facing South wall Pl. 22. Yoginī temple Mitauli, Gwalior (after Dehejia 1986:121) Pl. 23. Royal Yoginī Bheraghat (after Dehejia 1986:131) Pl. 24. Śri Bhānavī, Shahdol (after Dehejia 1986:58) Pl. 25. Bangkok Śastradhara Hevajra (after Piriya 1979:62) Pl. 26. Phimai Sam vara Yoginī Pl. 27. Angkor Wat devatas Pl. 28. Angkor Wat ‘Churning’ Apsara Pl. 29. Angkor Wàt Apsara wallpaper Pl. 30. Tantric dancer Loro Jonggrang, Prambanan (after Jourdaan 1996:94) 4 Pl. 31. Bayon pillar Yoginī Pl. 32. Yoginīs on the ground outside the Bàyon outer enclosure Pl. 33. Bayon Yoginī lintel Guimet Pl. 34. Apsaras (after Coedès 1923 Pl. 19) Pl. 35. Bàyon pillar Yoginī with third eye Pl. 36. Bàyon outer gallery dancers & musicians Pl. 37. Bàyon pillars north gallery Pl. 38. Pra Khan lintel Pl. 39. Ruins of Bantéay Chmàr towers with faces Pl. 40. Bantéay Chmàr 70cm Yoginī frieze Pl. 41. Hevajra ma ala Phnom Penh Museum Pl. 42. Hevajra ma ala Ngor manuscript 99 (after Tachikawa 1989:99) Pl. 43. Hevajra ma ala, AGNSW (after Albanese 2002:119) Pl. 44. Palace Hevajra & triad: Phnom Penh Museum Pl. 45. Hevajra and Yoginīs on mirror: Jim Thompson’s House Bangkok Pl. 46. Commaille Nāga Buddha (after Giteau 1997:91) Pl. 47. Groslier map of Khmer expansion (1980:50) Pl. 48. Dong Si Maha Phot Nāga Buddha (after Dupont 1959:132) Pl. 49. Khon Kaen Nāga Buddha (after Van Beek 1985:66) Pl. 50. Īśān Nāga Buddha C10 (after Woodward 1997:53) Pl. 51. Bakong Nāga cult Pl. 52. Nāga Buddha Kompong Čam (after Jessop 1997:245) Pl. 53. Vajrahumkara and prajðā-embrace mudras (after Mallmann 1986 Pl.2) Pl. 54. East entrance Phimai Sa vara Pl. 55. NY Metropolitan Museum Hevajra Pl. 56. Hevajra Porte des Morts March 1923 (EFEO archive) Pl. 57. Hevajra legs (EFEO archive) Pl. 58. Hevajra’s eight arms Pl. 59. West Baray Hevajra Siemreap depot: 20 arms 4 legs Pl. 60. Hevajra Porte des Morts (EFEO archive) Pl. 61. Hevajra marker Siemreap depot Pl. 62. Hevajra borne (EFEO archive) Pl. 63. Pra Khan Hevajra, Delaporte 1880 (after Delaporte rpt 1999:358) Pl. 64. NJK Sāgato and Mango ferry (after Longhurst 1937:Pl.XLVIII) 5 Pl. 65. Nāgas protect stūpa (after Vogel 1926 pl.10) Pl. 66. Amarāvatī Nāga Buddha (after Longhurst 1937:Pl. Lb) Pl. 67. Bakong crested Nāga C9 Pl. 68. Bakong Nāga Pl. 69. Pràsàt Kravan Vi u & Garuda (after Jacques 1997:89) Pl. 70. Bantéay Srei Garuda lintel Pl. 71. Garuda and Vi u Boisselier BEFEO 1944 pl.29 Pl. 72. Pra Khan outer wall Pl. 73. Thap Mam Khmer-style Garuda (after Guillon 2001:1) Pl. 74. Pra Khan Garuda terrace Pl. 75. Recovered Garuda Pra Khan, K. Svay SR Conservation Pl. 76. Vajrapā i in mahārājalilasana under Nāga Pl. 77. Astamahānāga ma ala Nālandā Pl. 78. Astamahānāga ma ala Ta Prohm Pl. 79. ‘Gentle Garuda’ palanquin finial Bangkok Museum Pl. 80. Garuda terrace Bantéay Kdei Pl. 81. Tà Prohm lintel: Vajrapā i to protect Nāga converts Pl. 82. Śiva-Lokeśvara 40cm British Museum Pl. 83. ’Śiva-Lokeśvara’ and Hevajra Bantéay Chmàr? Pl. 84. Garuda, Nāga oil lamps (after Bunker 2004:385) Pl. 85. Prince Śrīndrakumara defeats Bharatu-Rāhu, Bantéay Chmàr Pl. 86. Nine-headed Rāhu Angkor Thom Pl. 87. PDS tourist photo in 2000 Pl. 88. Bantéay Chmàr Hevajra lintel and doorway Pl. 89. Śastradhara Hevajra in 2004 Pl. 90. Pāla Sarvavid with Prajðāpāramitā (Huntingdon archive) Pl. 91. Gilt Vairocana from Nālandā (Huntingdon archive) Pl. 92. Khubilai Khan’s hevajravaśitā? (after Pott 1966: pl.VII) Pl. 93. Khmer yab yum 23cm (Spink 1988:16 no.25; Bunker 2002:400) Pl. 94. Hevajra of Bantéay Kdei (after Jessop 1997:315) Pl. 95. Vidyānandana’s Heruka temple at Mĩ-Sợn Pl. 96. Heruka of Bahal 1 Padang Lawas (after Schnitger 1937:pl.34) Pl. 97. Heruka from Śubhapur (after Bhattasali 1929: pl. XII) Pl. 98. Vidyānandana portrait? 6 Pl. 99. 1190s-style Lokeśvara pediment cella entrance Bantéay Chmàr Pl. 100. Bantéay Chmàr Lokeśvara wall dismantled Pl. 101. Vajradhara of Bantéay Chmàr (Phnom Penh Museum) Pl. 102. Vajrasattva with hair cover (after Coedès 1923:pl.28.3) Pl. 103. Crowded vajra-eyed post-Bàyon Yoginīs Pl. 104. Pra Pallilay gopura standing Buddha Pl. 105. Svayambhū Mahācaitya Kathmandu (after Held, Beguin 1997:57) Pl. 106. Vajradhara, Vajrasattva, Vajrapā i Coed s (1923:pl. XXVII) Pl. 107. Vajradhara East Chapel vajra pedestal, (after Goloubew 1937:pl.XIII) Pl. 108. Vajradhara 94cm (after Eskenazi 1995:no.41) Pl. 109. Mañjuvajra (Vajrasattva) Phimai Pl. 110. Seated supreme deity and two Herukas Bantéay Chmà Pl. 111. Hevajra display NY Metropolitan Museum Pl. 112. Hevajra reconstruction Pl. 113. Poipet bronze mould (Phnom Penh Museum) 7 Introduction The massive scale and astonishingly original design of the Bàyon temple of ancient Angkor at once arrest and move us. On entering it, we are taken by the enigma enshrouding its gods and rituals. With virtually no texts to guide us, we must turn, as Jean Boisselier puts it, to ‘the smallest scroll of foliage’ to recount its history and capture the politico-religious messages of its builder. King Jayavarman VII was Cambodia’s first Buddhist king and its most successful. He expanded the state into one of the largest empires on earth at the end of the 12th century and erected the monumental Bàyon at the heart of a reconstructed and massively fortified capital. This dissertation attempts to penetrate the Bàyon enigma. The approach adopted here can be called ‘coherentist’ (Appendix I), for while remaining attentive to hard, material evidence, it explores the politico-religious horizon as a valid and necessary complementary source of evidence.
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