Borobudur

In the Kedu region, about 30 kilometres north of Yogya is a triad of temples: Borobudur Pawon and Mendut. They are connected with one another by well-kept roads.

Borobudur is the largest and most magnificient of the three. It lies on the confluence of the rivers Progo and Elo. Such a site is considered holy in accordance with the situation in India, where the confluence of the Ganges and the Yamuna is also a holy place.

Borobudur is surrounded by hills and mountains: in the south by the Menoreh chain of hills, where Prince Diponegoro fought against the Dutch (1825 1830), in the west by Mt. Sumbing, Mt.Prahu and Mt.Sindoro, in the north is the Ungaran - Andong - Telomoyo range of hills and in the east the active Merapi (api = fire) and Merbabu (abu = ash).

Before its restoration Borobudur was covered with earth and forests to such an extent that only a small part of it was visible. And yet, in spite of this, it was not unknown. In a Javanese historical work is recorded how about in the middle of the 19th century a Yogya prince went to Borobudur to see "the thousand statues", standing on a natural hill and also "a holy man in a cage".

Borobudur is a creation of the Hindu Javanese art, that's to say a product of the mixed Indian and Indonesian culture as it has developed since the beginning of the Christian era in this part of the Indonesian archipelago. The monument is probably erected in the 8th century as a central sanctuary of the Buddhist religion.

The shape is immediately connected with its religious meaning: it is not a temple, which can be entered, but a massive monument, a so-called stupa. Such an edifice was originally put on a relic of the Buddha or on the spot, where an important event had taken place in his life. In the long run the stupa itself became a sacred monument, symbolizing the Buddhist doctrine and spreading its beneficial influence far and wide around. And at the same time it had also to give the image of the cosmos according to the Buddhist conception.

In order to obtain the required shape the designer of Borobudur, who according to tradition had the name of Gunadharma, has wrapped as it were a natural hill with a mantle of stone. The sides of that hill were flattened in the form of terraces for the purpose and in this way, each time at a higher level, running round the monument, came first five square galleries and above them three round terraces. On the walls of the galleries rise temple shaped niches, on the terraces are little clock-shaped edifices, in the walls of which diamond and square holes have been left. In the centre of the top terrace, on the central but also on the highest point of the sanctuary, has been erected a large clock-shaped stupa, the walls of which are completely closed.

Usually old monuments on the form of a chandi are given the name of the village or the Javanese Period" of the Hindu - Javanese history, i.e. 732 - 928 A.D.

Thirdly: the Borobudur monument is a reflection of what is called the Vajrayana sect of the Tantric School. This sect emerged during the 7th century and found acceptance in Indonesia about 700 A.D.

All these indications have given a key to trace back the date of Borobudur, and it can be fixed at about 850 A.D. This monument was built by Indonesians themselves under the influence of the Hindu - Javanese cultures. The mixture of cultures commenced with the migration of Hindus into Indonesian territory. From several linguistic peculiarities the conclusions may be drawn that it was the two highest castes, the Brahmins and the Ksatryas, that introduced the Hindu culture into Indonesia.

The ruling dynasty during the above-mentioned Central Javanese period were the monarchs bearing the title of Rakai or the Rakarayan. These Rakais wielded their sceptre and feudal landlords in Central Java until a Prince, not belonging to the Rakai, overthrew their power and established a new dynasty, and adopted the title of Sang Ratu. History has it that Sang Ratu conducted a successful expedition beyond his borders and even into Indo-China (Viet Nan).

The term Rakarayan comprises the honorific Ra and Karayan, the latter being a substantial form of Raja (which means high or foremost), Rakai originates from the words Ra and Kaya, substantive of Aya (high or honourable). Thus the two mentioned titles stand for His or Her Highness. It is to be compared with the still existing title of nobility in South Sulawesi "Karaeng" who believe themselves to be descendants of the To Manurung (He who descends from Kahyangan - Heaven).

The Buddhist prasastis record that the kings who ruled in Central Java were called Çailendras (king from the Mountains: Caila - Mountain; Indra - King).

A prasasti found in 732 A. D. records that King Sanjaya himself professed the Civaitic religion; he confirmed the founding of his kingdom by erecting a lingga a symbolic image of a phallus. In the stone inscription he was referred to as Mount Meru, the legendary origin of kings (Chandi Canggal, sub-district of Ngluwar district of Muntilan, regency of Magelang).

Sang Ratu Sanjaya's successor Sri Maharaja of the Cailendra dynasty, had brought Buddhism to prosperity in Central Java. No wonder that. Rakai Panangkaran, the first Buddhist king was referred to as "an ornament of the Sailendra dynasty" in the Buddhist prasasti.

It might be that an alliance by marriage with a scion of the Sri Wijaya dynasty in Sputh Sumatra resulted in a change in the Sailendra Hose. In the years afterwards, since the Sri Wijaya dynasty had reggined power in Central Java, the kings of this House considered themselves as descendants of Sailendra.

The rapid progress of Buddhism in Java coincided with the flourish of this religion in Nalanda (near Tajgir city of today) under the protection of the Pala kings from Bengal.

A prasasti found in Kelurak, near Prambanan, dating from 782 A.D., probabbly decreed by Rakay Panangkaran, makes mention of a Teacher from Bengal whom the king held in high esteem.

International relations carried out by experienced missions had brought upon changes within the dynasty in Central Java. Sri Maharaja Rakai Panangkaran's successors also professed the Buddhist religion, but in the second half of the 9th century there was a sudden rise of Sivaism (+856 A.D.) as is recorded in prasastis and monuments of that period.

Scholars call this a "Restoration" of Civaisrn. This phenomenon is called "syncretism" (a mixture of two religions as it is to be found in Java and Bali.

Spectacular monuments such as Borobudur, Sewu and Loro Jonggrang of the Prambanan temple complex cannot possibly be accomplished by one king alone.

Borobudur was the symbol of power and glory of the then ruling monarch. According to the Hindu culture, the proportions of a temple denoted the degree of power of the king. Borobudur also reflected the ardour of the newly converted proselytes. This monument was meant not only as a propaganda medium of Buddhism, but it also exercised a beneficial influence upon Mankind. To the king Borobudur constituted the fulfilling of his highest plight towards the Creator, or a dharma in order to-receive a reward in the hereafter. The larger the temple the greater the reward would be! Seen in this light, Borobudur was not only built for the benefit of the Buddhist religion, but also for the worship of the ancestral spirits.

The founder of the Buddhist religion was Prince Siddharta of Kapilavastu (in Nepak Tarai), a scion of the Saka clan, born about 560 B.C. As an ascete he was called Sakyamuni or Gautama, and after having received the Bodhi (Supreme Wisdom) he was given the name of Buddha (One who has achieved the Bodhi).

The marrow of His Teaching is in short that life in this profane world with its weal and woe is nothing but suffering, and this suffering will always" be repeated as long as a human being is reborn on this earth (re-incarnation). The suffering will only come to an end, if man has achieved Nirvana (Paradise).

Buddha's Teachings show the Way how to deserve Nirvana by keeping aloof the worldly pleasures of life, by leading an ascetic life, by walking on the Eightfold Path: 1. correct view, 2. correct thought and purpose, 3. correct speech, 4. correct conduct, 5. correct livelihood or occupation, 6. correct zeal, 7. correct remembrance and 8. correct meditation.

In the very first place Buddhism points out the way to free oneself from the chain of sufferings (the re-incarnation).

After Prince Siddharta had attained the Bodhi in Both Gaya City, and after having preached the Buddha doctrine in the Deer park of Benares, many hermits became his disciples. Not only hermits, but also laymen who felt attracted to his teachings became his faithful followers, and strictly obeyed his rules in the conviction that they would be rewarded in the hereafter.

Mainly with the help and stimuli of the kings, Buddhism quickly gained influence and it soon became widespread all over Asia, including Indonesia. However, after Buddha Gautama's death a controversy arose among his followers, not only about the monarchial discipline, but also concerning metaphysical problems, e.g. how Nirvana looked like, and what was Buddha etc. etc., even to such an extent that the unintricate teachings of Buddha Gautama split up into two sects, the Mahayana and the Hinayana (the Great Vehicle and the Small Vehicle).

Based on the fact that the relief panels, carved against the balustrades and the main walls of the Borobudur sanctuary, representing miraculous occurrences, we may conclude, that Borobudur is the reflection of the sect of Tantrism, which exists by schims between the Mahayana and the Hinayana sects. After its magic spells the sect of Tantrism is called Mantrayana.

Chandi Borobudur is quite different from all other chandis in Indonesia. It has often been suggested that it is a stupa and not a chandi at all. A stupa was originally intended as a shrine for relics of the Lord Buddha. Later, it is quite possible that the corporeal remains of distinguished Buddhist saints were enshrined in such stupas. Sometimes a stupa was erected merely as a symbol of the Buddhist creed.

A chandi was mainly intended to house a deity, but relics were essential for its functioning. Certain parts of the chandi were set aside for relic boxes. The relics, however, were not corporal remains, but metals, precious stones and seeds, really meant as mementos of the god, symbolically representing the divine power.

No such relics have yet been found in Chandi Borobudur, relics of holy persons or mementos of a divinity. It is unlikely that bodily remains were ever enshrined in the monument. For such purposes, other kinds of stupas would be erected and, indeed small stupas were excavated at the beginning of the present century at the north- eastern foot of the hill. The scanty contents cannot be identified with certainty as bodily remains, but similar stupas in the courtyard of Chandi Kalasan proved to contain ashes of the dead and the remains of articles used by monks.

The vertical division of Chandi Borobudur into base, body and super-structure, making the big stupa merely the top of the monument, perfectly accords with the idea of the chandi as representing the cosmic mountain. The three super-imposed part represent the three spheres of the Universe, viz. the bhurloka or the Sphere of the Mortals, the bhuvarloka or the Sphere of the Purified, and the svarloka or the Sphere of the Gods.

According to Dr. Stutterheim the division of the temple into three parts is closely connected with the Buddhist faith which divides life into three phases:

1. Kamadhatu: a stage in which man is still closely tied to wordly wealth. This is in accordance with the structural base of Chandi Borobudur. It is the Sphere of the Desires.

2. Rupadhatu: a stage where man has been able to free himself from passion but is still tied to form. While it is said that Kamadhatu is a heaven in the world of passions, Rupadhatu on the other hand is a heaven of a higher "degree" (world of lustre). It is the Sphere of Forms.

3. Arupadhatu: Man has reached perfection and is no longer tied to worldly wealth. Here Man is illustrated by the circular terraces. It is the Sphere of Formlessness.

Everybody who devotes his attention to Chandi Borobudur is struck by the highly important place which the Buddha statues occupy at that monument. This was one of the reasons why it was supposed that the name Borobudur might have been a corruption of the word "Parabuddha", the many Buddhas. But this supposition is linguistically unjust, anyhow it is an indication that the Buddha statues were seen to be the main element of this structure.

Each Buddha statue sits on a lotus seat. The lotus flower is the symbol of purity. Each cardinal point is ruled by a Dhyani Buddha.

1. The east cardinal point is ruled by the Dhayani Buddha Aksobhya with the handpose Bhumisparsa mudra, which means the symbol of calling the earth to witness. The open left hand rests on the lap, the right hand is placed on the right knee with the fingers pointing downwards.).

It is deprived from the great moment at which Sakyamuni, shortly before attaining the Buddhahood called up the earth by touching it as a witness of the numerous deed he had done in former incarnations for the salvation of the creatures and to make himself suitable for the task that would await him. There are 92 Aksobhyas in the East (the rupadhatu).

2. The south cardinal point is ruled by the Dhyani Buddha Ratnasambhva (handpose: Vara mudra), which means the symbol of charity, of granting favours. It resembles the Bhumisparsa mudra, but the palm of the right hand is turned upwards, while the fingers rest in the right knee. There are 92 Ratnasambhvas in the south (26 at the first, 26 at he second, 22 at the third, and 22 at the fourth balustrade).

3. The west cardinal point is ruled by Dhyani Buddha Amithaba (handpose: dhyana mudra), which means the symbol of meditation. Both hands are opened and placed on the lap, the right hand above the left hand, the thumbs touching.

4. The north cardinal point is ruled by Dhyani Buddha Amoghasiddhi (handpose: abhaya mudra), which means the symbol of dispelling fear. Naturally it is not meant here that the Buddha himself is afraid, but he preaches that nobody needs to have fear.

These are the Buddhas of the lower rows of niches, whose mudras have been discussed alternatingly according to the cardinal points.

5. In the fifth or upper row of niches, turned to all sides, 64 in total, the Buddhas show a mudra, which means the symbol of argumentation or reasoning. This is the Dhyani Buddha Vairochana, ruling the Zenith.

6. The Buddhas of the three round terraces all the same. There are 72 in total, placed in clocks (the small stupas). These are the Dhyani Buddhas in heaven and are called Vairochanas too (Handpose: Dharma Chakra mudra), which is the symbol of turning the Wheel of the Law of Cause and Effect. Both hands are held before the breast, the left hand below the right. The left hand is turned upwards with the ring finger touching the thumb, while the finger of the right hand touches the little fingers of the left.

The particular position of Chandi Borobudur among Indonesian monuments derives not only from the exceptional architecture, but also from the striking abundance of elaborately carved bas-reliefs which cover the facades of the walls and the balustrades - a total surface of 2,500 square metres.

The reliefs can be divided into two types: narrative and decorative. The 1,460 narrative panels are arranged in eleven rows that go all around the monument for a total length of over 3,000 m. The 1,212 decorative panels, although arranged in rows, are treated as individual reliefs.

The first series of 160 narrative panels are on the hidden foot and consequently not visible. Fortunately, a complete set of photographs was made not long after they were rediscovered, and they can be identified as depicting the operation of the law of karma according to the Mahakarmavibhangga text.

The other ten series of narrative reliefs are distributed throughout the rupadhatu on the walls and balustrades of the four galleries. The first gallery is flanked by four series; the remaining three successively mounting galleries have only two series each.

The wall of the first gallery, over 3.5 m high, has two super-imposed series of reliefs, each consisting of 120 panels. The upper row relates the biography of the Buddha according to the Lalitavistara text. The lower row depicts his former lives as told in the jatakas and avadanas; these earlier incarnations before being born to become the historical Buddha are also narrated in the two super-imposed rows of reliefs on the balustrade.

The balustrade of the second gallery has another jataka and avadana series but the wall panels take a new theme. As there is only one row of them on the almost 3 m high wall, they are considerably larger than those on the wall of the first gallery. The 128 panel series deals with tireless wanderings of Sudhana in search of the Ultimate Truth, as told in the Gandavyu text.

The walls and balustrades of the third and fourth galleries are devoted to the futher wanderings of Sudhana, terminating with the attainment of the Highest Wisdom.

There are in all 1,460 panels. The following summary shows how the various series of reliefs are arranged:

Wall of hidden foot - Karmavibhangga - 160 panels.

First gallery
- main wall
:a) Lalitavistara - 120 panels.
:b) Jataka/Avadana - l20 panels.
- balustrade
:a) Jataka/Avadana - 372 panels.
:b) Jataka/Avadana - 128 panels.

Second gallery
- main wall : Gandavyuha - 128 panels.
- balustrade : Jatakai Avadana 100 panels

Third gallery
- main wall : Gandavyuha - 88 panels.
- balustrade : Gandavyuha - 88 panels.

Fourth gallery
- main wall : Gandavyuha - 84 panels.
- balustrade : Gandavyuha - 72 panels Total: 1,460 panels.

The narrative reliefs on the walls read from right to left, those on the balustrade from left to right. This was done for the purpose of the pradaksina, i.e. the ritual circumambulation which the pilgrim makes, moving in a clockwise direction and keeping the sanctuary to his right.

The narrative starts at the left and ends at the right of the eastern stairway, confirming that this stairway is the real entrance to the monument.

source www.travel-indonesia.com