Ramayana or the Churning of the Sea soon becomes a tedious task, for there is little individuality or inspiration in the figures. This want of any obvious correspondence between the decoration and cult of the Cambojan temples often makes it difficult to say to what deities they were dedicated. The Bayon, or Śivâśrama, was presumably a linga temple, yet the conjecture is not confirmed as one would expect by any indubitable evidence in the decoration or arrangements. In its general plan the building seems more Indian than others and, like the temple of Jagannâtha at Puri, consists of three successive chambers, each surmounted by a tower. The most remarkable feature in the decoration is the repetition of the four-headed figure at the top of every tower, a striking and effective motive, which is also found above the gates of the town. Chou Ta-kuan says that there were golden statues of Buddhas at the entrance to the Bayon. It is impossible to say whether this statement is accurate or not. He may have simply made a mistake, but it is equally possible that the fusion of the two creeds may have ended in images of the Buddha being placed outside the shrine of the linga. Strange as it may seem, there is no clear evidence as to the character of the worship performed in Camboja's greatest temple, Angkor Wat. Since the prince who commenced it was known by the posthumous title of Paramavishṇuloka, we may presume that he intended to dedicate it to Vishṇu and some of the sculptures appear to represent Vishṇu slaying a demon. But it was not finished until after his death and his intentions may not have been respected by his successors. An authoritative statement[324] warns us that it is not safe to say more about the date of Angkor Wat than that its extreme limits are 1050 and 1170. Jayavarman VII (who came to the throne at about this latter date) was a Buddhist, and may possibly have used the great temple for his own worship. The sculptures are hardly Brahmanic in the theological sense, and those which represent the pleasures of paradise and the pains of hell recall Buddhist delineations of the same theme[325]. The four images of the Buddha which are now found in the central tower are modern and all who have seen them will, I think, agree that the figure of the great teacher which seems so appropriate in the neighbouring monasteries is strangely out of place in this aerial shrine. But what the designer of the building intended to place there remains a mystery. Perhaps an empty throne such as is seen in the temples of Annam and Bali would have been the best symbol[326].