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It is a prominent pagoda of Bagan. It lies just outside Myinkaba Village on the road to Chauk.
It has an arch-roofed circular ambulatory way with murals of Mahayana Buddhism and Brahmanism as well as jatakas of Buddha's lives. The centre was occupied by a brick Buddha statue of Bhumi Phasa Mudra.
Legend has it that the pagoda took its name from Princess Apaiyadana, consort of Kyansittha, who came out to that place to meet him as he was then on the run from King Sawlu.
The Glass Palace Chroncicles say i was so named after a locality by that name that was there in those days of Bagan.
Situated not too far from the Nagayon, the Apeyadana is said by tradition to mark the place where Apeyadana came to wait for her husband Kyansittha when he was hiding from the wrath of King Sawlu (1077-1084). Tradition ascribes the Apeyadana to Kyansittha (1084-1113), while a late inscription ascribes it to Queen Apeyadana herself.
In plan, the Apeyadana resembles the Nagayon, with a portico projecting in the north from a main square block. As in the Nagayon, sloping roofs and terraces rise above the main block. However, while the Nagayon has a curvilinear spire above the terraces, the Apeyadana has a very interesting stupa. The dome of the stupa is low and bell-shaped. A bowl-shaped disc then intervenes between the dome and the finial which has an unusual octagonal shape.
There is a seated image of the Buddha in a deep recess on the northern side of the central block. But the Apeyadana derives its interest from the vaulted corridor which runs around the central block, dimly lit by three perforated windows on each side of the outer walls. The paintings on the walls of this vaulted corridor are quite unlike those of most Bagan temples and in contrast to the paintings in the portico which show scenes from the Jatakas with Mon legends. On the inner walls of the corridor are figures of the Hindu pantheon-Brahma, Vishnu, Siva and Indra. On the outer walls are figures of Mahayana Bodhisattvas, among them Avalokitesvara, the Lord of Compassion. He can be seen seated in the position of ease, with the right leg hanging down, his right hand extended with the palm outward in the gesture of bestowing gifts, and his left hand at his breast holding a lotus flower.
Reference
1. Ancient Pagodas in Myanmar Vol I , Jan 2003, by Myat Min Hlaing 2. Glimpses of Glorious Bagan, Jan 1996, by The Universities Historical Research Centre
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