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Rh ruins also exist in Probolinggo. Farther east they grow scarce. There is none in Madura. The remains of Macham Putih in Banyuwangi are possibly of non-Hindu origin. In the regency of Kendal (Semarang), to the north of Kedu, the place-names show that temples once existed. Some of them are Sivaite, some Buddhist, some astoundingly composite. None of the Buddhist buildings shows traces of the older Himaryana form of the creed. The greatest of all is a perfect sculptural exposition of the Mahayana doctrine. As to the period during which these temples were erected, authorities are not agreed. Ijzerman assigns the central Java groups to between the 8th and the 10th centuries. The seven-storeyed vihara (monastery) mentioned in the famous Menang-Kabu inscription (Sumatra) as founded by Maharaja Dhiraya Adityadharma in 656 is by some supposed to be Boro-Budur. A copper plate of 840 refers to Dyeng (Dehyang) as one of the sacred mountains of Java. One thing seems certain, that the temples of the eastern zone are of much more recent origin than most, at least, of the central zone. They are generally distinguished by the characteristics of a decadent and more voluptuous age, and show that the art of the time had become less Indian and more Javanese, with traces of influences derived from the more eastern East. At the same time it must be noted that even in Boro Budur there are non-Indian elements in the decoration, indicating that the Hindu architect employed native artists and to some extent left them a free hand.

In his standard work on Indian and Eastern Architecture (London, 1876), James Fergusson asserted that the Javanese temples are in the Chalukyan style. But J. W. Ijzerman in an elaborate paper in the Album-Kern contends that the learned historian of architecture was misled by basing his opinion mainly on inaccurate drawings reproduced by Raffles. The Javanese temples, with the solitary exception of Chandi Bima in the Dyeng, are Dravidian and not Chalukyan. The very temples quoted by Fergusson, when more carefully examined, disprove his statement: a fact not without its bearing on the history of the Hindu immigration.

The wonderful scenery of the Dyeng plateau was already, in all probability, an object of superstitious awe to the aboriginal inhabitants of Java; and thus it would catch the attention of the earliest Hindu settlers. The old crater floor is full of traces of human occupation; though, in spite of the tradition of the existence of a considerable town, no sepulchral relics of the inhabitants have been discovered. There still remain five groups of temples—some well preserved, some mere heaps of stone—to prove the devotion their builders bore to Siva, his consort Durga, and Ganesha their son. The Arjuno group, in the middle of the plateau, consists of Chandi Arjuno (with its chapel or priests’ residence, Ch. Semar), Ch. Srikahdi, Ch. Puntadeva and Ch. Sembadro, each a simple square chamber with a portico reached by a flight of steps. The second group, Ch. Daravati and Ch. Parakesit, lies to the north-east. The third, now a ruined mound, lies to the east. The fourth, to the north-west, is a group of seven small temples of which Ch. Sanchaki is the most important, with a square ground plan and an octagon roof with a second circular storey. Of the fifth group, in the south, only one temple remains—the Chandi Bima—a small, beautiful and exceptionally interesting building, in “the form of a pyramid, the ribs of which stand out much more prominently than the horizontal lines of the niche-shaped ornaments which rest each on its lotus cushion.” How this happens to be the one Chalukyan temple amid hundreds is a problem to be solved. The plateau lies 6500 ft. above the sea, and roads and stairways, locally known as Buddha roads, lead up from the lowlands of Bagelen and Pekalongan. The stairway between Lake Menjur and Lake Chebong alone consisted of 4700 steps. The width of the roadway, however, is only some three or four feet. A remarkable subterranean tunnel still exists, which served to drain the plateau.

Of all the Hindu temples of Java the largest and most magnificent is Boro-Budur, which ranks among the architectural marvels of the world. It lies in the residency of Kedu, a little to the west of the Progo, a considerable stream flowing south to the Indian Ocean. The place is best reached by taking the steam-tram from Magelang or Jokjakarta to the village of Muntilam Passar, where a conveyance may be hired. Strictly speaking, Boro-Budur is not a temple but a hill, rising about 150 ft. above the plain, encased with imposing terraces constructed of hewn lava-blocks and crowded with sculptures. The lowest terrace now above ground forms a square, each side 497 ft. long. About 50 ft. higher there is another terrace of similar shape. Then follow four other terraces of more irregular contour. The structure is crowned by a dome or cupola 52 ft. in diameter surrounded by sixteen smaller bell-shaped cupolas. Regarded as a whole, the main design, to quote Mr Sewell, may be described as “an archaic Indian temple, considerably flattened and consisting of a series of terraces, surmounted by a quasi-stupa capped by a dagoba.” It was discovered by the engineer J. W. Ijzerman in 1885 that the basement of the structure had been earthed up before the building was finished, and that the lowest retaining wall was completely concealed by the embankment. The architects had evidently found that their temple was threatened with a destructive subsidence; and, while the sculptors were still busy with the decoration of the lower façades, they had to abandon their work. But the unfinished bas-reliefs were carefully protected by clay and blocks of stone and left in position; and since 1896 they are gradually but systematically being exhumed and photographed by the Dutch archaeologists, who, however, have to proceed with caution, filling up one portion of the embankment before they go on to deal with another. The subjects treated in this lowest enceinte are of the most varied description, forming a picture-gallery of landscapes, scenes of outdoor and domestic life, mingled with mythological and religious designs. Among the genre class appear men shooting birds with blow-pipe or bow and arrow, fishermen with rod or net, a man playing a bagpipe, and so on. It would seem as if the architect had intended gradually to wean the devotees from the things of this world. When once they began to ascend from stage to stage of the temple-hill they were introduced to the realities of religion; and by the time they reached the dagoba they had passed through a process of instruction and were ready, with enlightened eyes, to enter and behold the image of Buddha, symbolically left imperfect, as beyond the power of human art to realize or portray. From basement to summit the whole hill is a great picture bible of the Mahayana creed.

If the statues and bas-reliefs of Boro-Budur were placed side by side they would extend for 3 m. The eye of the spectator, looking up from the present ground-level, is caught, says Mr Sewell, by the rows of life-size Buddhas that adorn the retaining walls of the several terraces and the cage-like shrines on the circular platforms. All the great figures on the east side represent Akshobhya, the Dhyani Buddha of the East. His right hand is in the Chumisparsa mudra (pose) touching the earth in front of the right knee—“I swear by the earth.” All the statues on the south side are Ratnasam Chavu in the varada mudra—the right hand displayed upwards—“I give you all.” On the west side the statues represent Amitabha in the dhyana or padinasama mudra, the right hand resting palm upwards on the left, both being on the lap—the attitude of meditation. Those on the north represent Amogasiddhi in the abhaya mudra, the right hand being raised and displayed, palm outwards—“Fear not, all is well.”

Other remarkable groups of Hindu temples exist near the village of Prambanan (less correctly Brambanan) in Surakarta, but not far from the borders of Jokjakarta, with a station on the railway between the two chief towns. The village has been named after the temples, Prambanan signifying the place of teachers. The whole ecclesiastical settlement was surrounded by three lines of wall, of which only the inmost is now visible above ground. Between the second and third walls are 157 small temples, and in the central enclosure are the ruins of six larger temples in a double row with two smaller ones at the side. The middle temple of the western row is the main building, full of statues of purely Sivaite character—Siva as Guru or teacher, Siva as Kala or Time the Destroyer, Durga, Ganesha, and so on. But, just as many churches in Christendom are called not after the Christ but after the Virgin, so this is known as Lara (i.e. Virgin) Janggrang from the popular name of Durga. In the southern temple of the row is a very fine figure of a four-armed Brahma; in the northern there was a Vishnu with attendant figures. Of the other row the middle temple is again the largest, with Siva, his nandi or bull, and other symbolic sculptures. To the north lies the extraordinary cluster of temples which, though it does not deserve its popular name of Chandi Sewu, the thousand shrines, consists of at least 240 small buildings gathered round a great central temple, richly adorned, though roofless and partially ruined since the earthquake of 1867. Among the more noteworthy figures are those of the huge and ungainly guardians of the temple kneeling at the four main gateways of each of the principal buildings. Colonel Yule pointed out that there are distinct traces of a fine coat of stucco on the exterior and the interior of the buildings, and he compared in this respect “the cave walls of Ellora, the great idols at Bamian, and the Doric order at Selinus.” Other temples in the same neighbourhood as Chandi Sewu are Ch. Lumbung, Ch. Kali Bening (Baneng), with a monstrous Kala head as the centre of the design on the southern side, Ch. Kalong and Ch. Plaosan. Tradition assigns these temples to 1266–1296.

Of the temples of the eastern zone the best known is Chandi Jago (or Tumpang), elaborately described in the Archaeological Commission’s monograph. According to the Pararaton, a native chronicle (published in the Verhand. v. h. Bat. Gen. v. K. en W., 1896), it belongs to the 13th century, containing the tomb of Rangavuni or Vishnuvardhana, who died in 1272–1273. The shrine proper occupies the third of three platforms, the lowest of which forms a