This temple, located In the northwest quadrant of Angkor Thom, is of the Theravada Buddhist faith. It was probably built during the reign of Dharanindravarman II (1150-1160), who promoted Buddhism. Although his efforts were ephemeral, some 30 years later, his son jayavarman VII was to institute Buddhism as the state religion.
The temple is preceded by a naga bridge, leading to a Buddha statue of colossal size erected much later. The temple which is of cruciform pl an, is surrounded by one enclosure wall with a single gopura, on the east (251). The latter has a cruciform plan elongated along the north-south axis. The Eastern and vestern sides have principal and secondary entrances with pediments.
From a study of the architectural and iconographic elements, it seems that although the main sanctuary was built in the second half of the 12th century, the gopura may have been added later, during the 13th century. These two distict phases (Glaize, 1940) are edident from the walls ending abruptly against the gables of the gopura, which seems to have been built astride the earlier laterite enclosure wall, visible deeply set inside the walls of the building. The inconography of the reliefs shows osme unusual elements , while the execution shows variable standards.
The Buddhist images of this temple survived the destruction which occurred after the death of Jayavarman VII, and the fooowong thesis has beeb proposed to explain this phenomenon. Despite the dominance of Hinduism during most of the Angkorean period, Theravada Buddhism was tolerated from the end of the 9th century, when Yashovarman permitted the building of Tep Pranam, in the shadeow of the Yoral Palace. The iconoclastic fever of Jayavaraman VII was directed against the Mhayanist temples, but spared the Theravada icons. This tolerance was also extended to the temples known as N. 486 and temple N of Preah Pithu, both within the walls of Anglor Thom, although, of course, they many have been built or modified in the late 13th century or even later. The main shrine of Preah Pakilay was studied by Marchal in 1922, and the gopua by Glaize in 1940.
The relief of Preah Palilay are amongst the few surviving Buddhist images. The most significant reliefs are those in the crufifrom gopua described in detail below, although others, now lying on the ground seem to originated from the santury.
- Sanctury
Marchal (1922) descrided and photographed a pendiment representing Buddha receiving the king of the Naga , recognizable by a crown in the shape of a Nara head, and another figure with a three-pointed crown. The Buddha is seated in the earth-touching position (Bhumisparsa mudra ), surrounded by devaputtas, under the Bodhi tree: In the register below, two rows of three worshippers are separated by an indistinct central figure, in the lower register there is the usual row of worshippers. Only a few of the sanctuary lintels have survived, the one with Indra on his three-headed elephant being the best-preserved.
2. Gopura Eastern face
Over the main entrance door. The pediment shows a large standing Buddha(252), in a sinuous pose on a pedestal, surrounded by acolytes and flying beings; two rows of worshippers fill the lower register: On the lintel below, is a representation of the dying Buddha(84, see page 65), lying on his left side, with disciples at his side.
Over the secondary entrance to the North, a pediment relates the miracle of the Parilyyaka forest, where Buddha receives the offerings of the animals in the forest (elephants, monkeys, peacock), and a bowl from a standing figure (83, page 65). It was this episode of his life which gave the name to the temple, Palilay deriving from Parilyyaka, the forest to where the Buddha retreated, after leaving Kosambi, and where an elephant ministered to him.
3. Gopura Northern face
On the plain wall. Are two overlapping pediments. In the upper register of the lower one. The seated Buddha subdues with his right hand the mad elephant Nalagiri (87, page 65).
On the upper pediment. The figure of Buddha seated in the dhyana mudra is veing shaped in stone by chisels of two sculptors; a row of worshippers complete the lower register.
4. Gopura Western face
Over the main door there is a pediment with a family scene, sculpted in three registers (253). In the lowest, there are three elephants passing through the forest from right to left, followed by people on foot. The second animal is guided by his mahout, while the third carries a roval personage on his chair. In the middle register are two crowned ladies holding their children, and on the upper register is Buddha. Standing between two fans, with both arms lowered, apparently to touch the heads of the children.
Over the northern door, the top register of the pediment shows Buddha, with a broad smiling face, seated under a tree in the rajalalitasana position with one knee and his right arm raised (79, page 63). In the middle register, are four figures seated amongst trees, some carrying a pole at the ends of which bundles are hanging; at the centre are conical items, presumably gifts. The lower register shows the usual worshippers alternating with trees. This may represent Buddha accepting the offering of Sujata.
5. Gopura Southern face
On the plain wall, there are two overlapping pediments illustrating Buddha in meditation: in the upper pediment he is represented in the dhyana mudra, while in the lower he is in the bhumisparsa mudra: in both instances. Rows of worshippers appear in the lower register (81 and 82, page 63).
Not far from Preah Paliay, Marchal (1918), described another interesting pediment from a Buddhist location in the northern direction towards Tep Pranam. That he defined as Terrace D’ The relief shows, within a trilobite naga frame, a Buddha seated in meditation on a pedestal, with a stylised bhodhi tree and an attendant on cither side. In the middle register is a row of worshippers, and in the lower, Mara’s army on elephants assaulting the Buddha.
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