The Buddhist temple houses four standing Buddha statues, each one facing the cardinal direction of East, North, West and South.

Eight (8) monks who approached the King Kyansittha seeking alms gave a graphic description of the Nandamula Cave temple in the Himalayas where they had meditated.

You could see it only in Bagan [2][3] George Coedes states a different fate for the architect, "he and a child were buried alive to serve as guardian spirits of the temple.

The Theravada Buddhism adopted by the King motivated him to present the teachings of Buddha to his people in an accurate and a genuine way through the medium of this temple, to unite Burma under one flag and thus "creating mass religious enthusiasm".

It has been inferred that the King, as the upholder of the Law wanted to convey his firm belief in the Buddhist doctrine according to his interpretation:[4] (He) shall purify (and) make straight, write down (and) establish all the holy scriptures.

Through the unique iconographic depictions (in stone images, the numbered jataka plaques and the standing Buddha images), presented in the symmetrically planned layout of the Ananda temple was built by the King Kyansittha to establish and convey his doctrine to his people in a vivid visual format.

In this regard archaeologist Duroiselle has made these observations:[7] "There can be no doubt that the architects who planned and built the Ananda were Indians.

Everything in this temple from shikara to basement, as well as the numerous stone sculptures found in its corridors, and the terra-cotta plaques adorning its basement and terraces, bear the indubitable stamp of Indian genius and craftsmanship...In this sense we may take it, therefore, that the Ananda, though built in the Burmese capital, is an Indian temple."

[11] Ananda temple is a perfectly dimensioned stylistic structure, a fusion of Mon and Indian architectural styles and is the central monument built in the Pagan valley.

It has been built with bricks and plaster depicting iconographic images in stones and plaques (terra-cotta glazed tiles) with the main purpose of educating the people of the region in the religious ethos of Theravada Buddhism and in accordance with the personal beliefs of the King Kyansittha.

The core part of the temple, at the centre of the terraces, is in the shape of a cube, which houses the four standing Buddha massive statues on its four faces, each of 9.5 metres (31 ft)height (above a 8 feet (2.4 m) high throne).

Jataka scenes (life story of the Buddha – said to be sourced from Mon texts) are embossed over 554 terra cotta tiles that decorate the base, sides and terraces.

In these inner passages, surrounding the central cubicle, sculptural ornamentation in the form of 80 large reliefs carved out of volcanic rocks, representing Buddha's life from birth to death, are depicted.

[4] The original south facing Buddha (called the Kassapa) has a unique architectural display, as, when it is viewed from close quarters depicts a sad look.

The east-facing image of Buddha (known as 'Kongamana') is shown holding, between the thumb and middle finger, a small nutlike sphere – a herb.

This herb is said to symbolically represent the Buddha suggesting dhamma (Buddhist philosophy) as a cure for misery and distress.

[2][3][4] In the west-facing Buddha, titled Gautama, the abhaya mudra is displayed – with hands outstretched in the gesture of fearlessness.

These are: at the base of the structure extending, from south to west, there are 552 images of Mara’s marching warriors intending to attack Buddha, and also a procession of gods; west to the north entrance warriors are shown vanquished by supernatural powers of Buddha; southwest comer of the first terrace to the northern side of the third terrace display 537 plaques, each related to a specific story from Jataka tales; on the northern side of the second terrace up to the fifth terrace depictions are from Tey Mi Jataka; the fifth terrace depicts 547 plaques of stories of Vessantara Jataka in two parts, 537 plaques in the first tier and the second set above the first tier on the roof depict 375 plaques of the last ten jatakas, the Mahanipata; the last ten lives of the Buddha are depicted in plaques of green colour.

Some of the paintings still discernible on the south-west column of the northern devotional hall have been restored by the Department of Archaeology of Myanmar.

It is believed that two spirits protect it namely, the brother "Lord of the Great Mountain" on the left of the gate and the sister "Golden face" on the right side.