Bibliography
Baker, P. H. B., and Allchin, F. R. Shahr-i Zohak and the His-
tory of the Bamiyan Valley, Afghanistan.Oxford: B.A.R., 1991.
Beal, Samuel, trans. Si-yu-ki: Buddhist Records of the Western
World, Chinese Accounts of India,Vol. 1. Calcutta: Susil
Gupta, 1957.
Flood, Finbarr Barry. “Between Cult and Culture: Bamiyan, Is-
lamic Iconoclasm, and the Museum.” Art Bulletin84, no. 4
(2002): 641–659.
Godard, André, et al. Les antiquités bouddhiques de Bamiyan:
Memoires de la délégation archéologique Française en Afghan-
istan,Vol. 2. Paris: Éditions Van Oest, 1928.
Klimburg-Salter, Deborah E. The Kingdom of Bamiyan: Buddhist
Art and Culture of the Hindu Kush.Naples and Rome: Isti-
tuto universitario orientale, Dipartimento di studi asiatici,
1989.
Rowland, Benjamin. The Art of Central Asia.New York: Crown,
1974.
KARILJ. KUCERABAYON
The Bayon is a twelfth-century royal Khmer (Cambo-
dian) temple. One of Southeast Asia’s most famous
monuments, the Bayon is a densely crowded sandstone
temple constructed under King Jayavarman VII (r.
1181–ca. 1220) at Angkor Thom in northwest Cam-
bodia. This pyramid temple, a MAHAYANAsite, marked
the end of an ancient royal Khmer tradition dominated
by Hindu gods.
Axial entrances on all four sides cross through a rec-
tangular outer and inner gallery carved with bas-reliefs
that glorify the king’s history. On the upper elevation
a series of connected structures leads to the massive,
round central tower. Its dark interior once housed a
large, naga-protected buddha. At its consecration,
Jayavarman was symbolically joined to this buddha
and imbued with a divine cast in the process. And at
his death, the king’s ashes would have been placed
underneath this image, creating a certain conceptual
kinship between the Bayon and a STUPAwith its in-
ternal relics.
The well-known guardian faces on the Bayon’s fifty-
two towers wear characteristic choker necklaces and
originally stared straight ahead. But when many had
their eyes recut to gaze downward, Avalokites ́vara be-
came their most likely new identity. These recut eyes
were one of several changes during construction that
drastically altered the temple’s configuration and
meaning.
Although Buddhist, the Bayon followed tradition in
its merging of regional or ancestral gods with Buddhist
and Hindu deities. VISNUis found almost exclusively
on the western side of the temple, S ́iva more often on
the south, and Buddhist imagery on the north and east.
The Bayon was the last major Khmer monument to
embrace the tradition that gave it birth, destined to
wither and die in less than one hundred years.See also:Cambodia; Hinduism and Buddhism; Local
Divinities and Buddhism; Southeast Asia, Buddhist
Art inBibliography
Dufour, Henri. Le Bayon d’Angkor Thom,2 vols. Paris: Com-
mission archeologique de l’Indochine, 1910–1914.
Dumarçay, Jacques, and Groslier, Bernard-Philippe. Le Bayon.
Paris: École Française d’Extrême-Orient, 1967 and 1973.
ELEANORMANNIKKABHAVAVIVEKABhavaviveka was a MADHYAMAKA SCHOOLphiloso-
pher who lived from perhaps 500 to 570 C.E. His name
may have been Bhavya or Bhaviveka, and he may have
come from South India. Bhavaviveka’s attack on the
interpretation of Madhyamaka by Buddhapalita (c.
500 C.E.) led later Tibetans to refer to him as the
founder of the Svatantrika-Madhyamaka. Bhava-
viveka’s works include the Prajñapradlpa(Lamp of
Wisdom) on NAGARJUNA, and the Madhyamakahrda-
yakarika(Verses on the essence of Madhyamaka) with
Tarkajvala(Blaze of Reasoning,an autocommentary),
an early encyclopedia of Indian philosophy.Bibliography
Eckel, Malcolm D. To See the Buddha: A Philosopher’s Quest for
the Meaning of Emptiness.Princeton, NJ: Princeton Univer-
sity Press, 1992.
Iida, S. Reason and Emptiness: A Study of Logic and Mysticism.
Tokyo: Hokuseido Press, 1980.
Lopez, Donald S., Jr. A Study of Svatantrika.Ithaca, NY: Snow
Lion, 1987.
Ruegg, David S. The Literature of the Madhyamaka School of
Philosophy in India.Wiesbaden, Germany: Harrassowitz,
1981.
PAULWILLIAMSBAYON