Art in Indonesia: continuities and change 9780801401886

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ART IN INDONESIA Continuities and Change ,

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and the remains of Shivaite tjandi (mistaken at first | within the large crowning bell-shaped stupa of the for the ruins of a city) on the remote, high plateau of | monument was meant to symbolize the nearing, but Dieng (see pp. 52-53 below), predate the Buddhist still imperfect, state of Buddhahood of the Shailendras’ monuments of Central Java. Among these are some progenitor.”® which, until recently at least, have been regarded as Early conjectures that the monument must have purely religious structures without relation to the cult been erected between 750 and 850 are now being conof kings, in other words, structures that were not in- firmed. It is now definitely known from stone inscriptended as tjandi. An unequivocal example is the temple —_ tions analyzed by De Casparis that the construction

of Mendut (even though constantly referred to as of the Barabudur was undertaken during the reign of Tjandi Mendut), a chapel related to the great stupa a Shailendra king, Samaratunga, that it was probably of the Barabudur. The large images of a seated preach- founded in 824, and that in 842 a daughter of this king, ing Buddha flanked by two Bodhisattvas enshrined at _— designated as queen, had dedicated certain grounds

Mendut are clearly images for worship. with rice fields for the upkeep of the sacred edifice.*” The Barabudur itself, a grandiose terraced monu- It would have been something of a miracle however if ment crowned by a stupa, its silhouette a stupalike the erection of the basic architectural forms and the edifice, has always been regarded as a purely devo- _ execution of all the images, reliets, and other sculptured tional Buddhist monument, erected to the glory of the | adornments of the monument would have been comBuddhist faith and as a site for meditation by Buddhist — pleted within the eighteen-year span between these monks. De Casparis, however, has suggested the possi- two dates.®

bility that the Barabudur might be a tjandi as well.”° The staggering statistics given by Van Erp in his A detailed description of the Barabudur, with repro- —_ archaeological description of the Barabudur?® show, for

ductions of its sculptured works, is contained in the example, that some 2 million cubic feet of stone Candemonumental monograph of Krom and Van Erp.24 An site) had to be hewn, transported, piled and carved; interpretation of its name, form, and significance given that the edifice, which rests upon a base of 403 square by Stutterheim”? was significantly amplified in 1950 feet, contains 1,460 pictorial and 1,212 decorative by De Casparis, who also gave a new reading of the _ panels, adding up to 27,000 square feet of stone surface monument’s name, as cited below. Many other note- carved in high relief. There are 504 Buddha images worthy writings discuss the various aspects of this rich sculptured in the round, of which 72 are within the

monument.” A brief recapitulation follows. trellised dagobas (smaller stupas) of the circular terThe name Barabudur apparently derives from the races. Guardian lions, large spouts, ornate niches, decosecond part of the original designation, Bhimisam- rated pilasters and antefixes, and the impressive gates bharabadara, “The Mountain of the Accumulation of need not be cited in detail. It should be added, howVirtue in the Ten Stages of the Bodhisattva.” This ever, that much intricate labor was involved in covering designation appears in a charter of 842, analyzed by _all the surfaces with a layer of hard stucco (so-called De Casparis.24 Apart from its overt meaning, as the diamond plaster) for better preservation. Traces of this embodiment in stone of the Buddhist doctrine, the plastering have been found on Tjandi Kalasan as well. name may contain two allusions: (1) to the architec- Such construction must have demanded armies of

tural form of the monument—a mountain with an laborers, carvers, sculptors, and expert supervisors, array of terraces, and (2) to the “Lords of the Moun- __ working for decades with only human muscle power, tain,” that is, the Shailendra, during whose dynastic rolling logs, ropes and levers, hammers, mallets, and rule the monument was erected. The Shailendra dyn- _—_chisels for hewing and carving. For comparative pur-

asty may have been a continuation in Java of the poses it is interesting to note an estimate made by ‘Lords of the Mountain” dynasty which ruled the — Groslier of the time and manpower that it may have kingdom Fu-nan in continental Southeast Asia until taken to construct the Khmer sanctuary of Bantay

;.

n KiBarabud udur. yawarman Grosli is which smaller LUENCE than the II, i , INDIAN INF the conditions - ier concluded th other Buddhi s [43]

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Plate 31. Buddha image originally enclosed within a perforated dagoba on a circular terrace, Barabudur.

cially on the third and fourth galleries, it is clear that | Below this series are scenes rendering the story of as one climbs to the higher levels, the more exalted | Prince Sudhana who became a Bodhisattva, and his the themes become. One rises, in fact, from the lower beloved kinnari (a mythical celestial being, halfdepths of earthly existence (karma) depicted on the woman, half-bird), Manohara. On the balustrade side uried base” to the highest heavens of future Bu as. scenes from Jataka stories contain incidents rrom the

“buried base” highest h Buddh f k i in incid f h On the first gallery of the rupadhatu, the upper series —_ previous incarnations of the Buddha. On the main wall

of panels on the main wall depicts episodes from the of the second gallery the story of Bodhisattva Sudhana life of Prince Siddharta Gautama, who as a sage be- continues, as he visits ascetics, sages, monks, and high came known as Shakyamuni, the historical Buddha. — Bodhisattvas, worshiping at sacred places in quest of the

IMPACT OF INDIAN INFLUENCES [47] highest wisdom. Jataka tales again appear on the balus- that of the old Christian sarcophagi, and therefore the trade side. Still higher, on the third and fourth galler- art of the Barabudur is a distant relation of the altar reliefs ies, there are scenes of Bodhisattvas and of ever higher and reliquaries of our medieval cathedrals.*°

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