1
BOROBUDUR: FORM AND SYMBOLISM
Among the ruins of ancient Indonesia. Borobudur is unique. It contains no interior room
analogous to the principal component of most Indonesian candi. Its shape can
only be explained as the fusion of a number of elements both foreign and local.
1.1 Symbolic
Dimensions of Borobudur
At the summit of Borobudur stands a stupa. Some scholar have decided that Borobudur is this stupa, and
all the accompanying components-the smaller stupa, the hundreds of statues, the
thousands of relief panels-are mere
embellishment, ancillary details without which the monument would still retain
its fundamental significance.
1.2 Stages
of Construction
The construction of the Buddhist monument on Borobudur’s hill began when
Buddhism was still quite underdeveloped in Java in comparison with Hinduism. Thus the stupa on the summit
of the older stepped pyramid can be read as a fusion of Preclassic and Classic icons.[i]
1.3 Statues
and Mandalas
The combination of motifs at Borobudur does not end at two.
The groundplan of the monument seen from above clearly forms a mandala pattern.
Mandalas are diagrams in which deities are placed in particular locations
forming rings or concentric circles. These diagrams come in many types (over
2,000) and have multiple purposes, including such functions as aiding
meditation, and delineating sacred space from which evil forces are excluded.
On
Borobudur there are six different types of Buddha image. On the east, visitors
are greeted by three tiers of walls atop which sit buddhas in Dharmacakramudra
(gesture signifying the conquest of illusion). On the south are three tiers of
images in Varamudra (gesture of lcharity). On the west, three tiers of statues
display Dhyanamudra, meditation, while those on the north are in Abhayamudra,
dispelling fear.
The fourt
tier on all four sides depicts a Buddha in Vitarkamudra-the preaching pose.
Beyond this level are three more round terraces surmounted by perforated stupas
in which can be seen Buddhas in Dhamacakramudra. This pose symbolises
Sakyamuni’s firs sermon in the deer park at Benares. One of Borobudur’s
unsolved mysteries is that this set of six Buddhas corresponds to no known
mandala.
1.4 Narrative
Reliefs
The final symbolic dimension of Borobudur stems from the
reliefs narrating Buddhist texts which adorn the walls of its four rectangular galleries. In the
monument’s first stage, there was another series of reliefs at the structure’s
foot. The text illustrated here is taken from the Karmavibhangga, the Law of
Cause and Effect. The text takes the from of illustrations of good deeds and
their rewards, but concentrates more attention on the terrible punishments
which await those who perpetrate evil deeds such as killing animals, fighting,
or adultery.
This series
was covered up with added stonework and it was completely carve, the reason for
this measure, as Dumarcay has shown, is structural: the designers miscalculated
the width of the base needed to support the monument, and had to add more
stone, which obscured the first series of reliefs. Perhaps as a kind of replacement, a second row of reliefs was
added to the inner face of the balustrade on the first terrace.
The walls
of the first gallery are decorated with four series of reliefs: two on the wall
of the balustrade, and two on themain wall. Both series on the balustrade wall
are taken from texts called Jatakas, or Birth Stories. These depict tales from
the lives of Sakyamuni, the historical Buddha, in various incarnations before
his final birth as a human being. The theme of these stories is that of
self-sacrifice as a means to gaining merit and a better birth in the next life,
with the attainment of non-being (nirvana) as the ultimate goal.
The lower
level of the main wall adorned with another series of birht stores, this time
depicting scenes from the lives of the other people in addition to Sakyamuni
who also attained enlightenment. In contrast to Theravada Buddhism, in which it
is believed that only one being has attained enlightenment in this era,
Mahayana buddhist believe that many beings have attained this stage. These
texts are called Avadanas.
The upper
level of the main wall, first gallery, displays reliefs depicting the life
of Sakyamuni (Siddharta Gautama) during
his life as a prince who became an ascetic teacher. The reliefs begin with the
Buddha-to-be in heaven before his last reincarnation, and end with his firs
sermon in the deer park in Benares.
The fifth
and last series occupies the upper three galleries of Borobudur. The text used
for the source of inspiration is called the Gandavyuha. This scripture contains
the story of a young man, son of a merchant, named Suhana who goes from
theacher to teacher in the search of enlightenment. The majority of reliefs
show scenes of the boy alternately travelling by various conveyances including
chariots and elephant, and scenes of him kneeling reverently in front of the
varous teachers (kalayanamitra, or “good friend”) who include men, women,
children and Bodhisattvas. At the end of his quest Sudhana is admitted to the
palace of Maitreya, Buddha of the Future, atop Mount Sumeru, wherein he is
given more lessons and has various visions. The last series of reliefs on the
upper terrace is taken from a sequel to this text, called the Bhadracari, in
which Sudhana vows to become a Bodhisattva and to follow the example of a
particular Bodhisattva named Samantabhadra.
The
placement of this series at the uppermost level of the monument seems to
indicate that this was the most respected text by the builders of Borobudur.
The sequence of reliefs seems designed to encourage pilgrims to follow
Sudhana’s example while simultaneously climbing a symbolic mountain, the summit
of which is thus protrayed as the goal and source or residence of the highest
wisdom.
1.5 Function
of the Candi
The word candi is
generally considered to have been derived from the term candikagrha denoting the dwelling place of Candika, Goddes of
Death, and consort of Lord Siva. Candi are linked to death: they were
frequently constructed to glorify a deceased king or queen. Literally this
could be interpreted to mean that the candi is a building used for burial
purposes, or even a tomb, but in fact candi are associated with death in a very
different way.
They were
built as shrines to glorify deceased rulers. The monarchs were believed to be
manifestations of particular deities, earthly representatives of the details,
who ruled over the people to protect the cosmic order on behalf of the deity.
In death, the monarchs had become reunited with their divine patrons and were
immortalised as statues depicting the deity. When enthroned in the inner space
of the candi, the statue becomes an object of worship.
One primary
function of the candi was to protect this statue from the elements, and from
the view of commoners. The essence of the deity was not believed to reside in
the statue at all times. The deity had to be invited, through invocations, to
descend and temporarily occupy the image. On such occasions the statue could be
viewed by worshippers, but only the priests were actually allowed in the shrine
room.
1.5.1 The
Temple Mountain
Early Javanese inscriptions sometimes referred to temples as
mountains. Javanese reverence for mountains began in prehistoric times, and
Indic mythology contains elements which the Javanese would have found instantly
recognisable. In Hindu-buddhist mythology, Mount Meru is a cosmic mountain
situated at the centre of the cosmos that constitutes the axis of the world. It
rises from the very bottom of the earth up to the highest level of heave. It is
also the abode of the gods. The cosmic mountain is thus a symbol for the
univers. The candi and its architectural details can be interpreted in terms of
this symbolism.
The three
level of the candi represent the triloka.
These consist of the three superimposed worlds believed to make up the univers.
The base of the candi represents the world of mortals, and is called Bhurloka.
One level up, the body of the candi represents the Bhuvarloka or world of the
purified. It is here that the devotee can communicate with a deity andin turen
the deity receives homage. At the higherst level, the roof of the candi
represents the world of the gods, or Svarloka.
The
architectural features of the candi are designed to accentuate its symbolic
meaning as a replica of mount Meru. The base of the candi is dominated by a
series of horizontal mouldings. Carvings here are largely confined to geometric
patterns and floral designs. In complete contrast, the walls of the temple body
are richly decorated with all manner of ornamental designs, the aim of which is
to create an other-wordly atmosphere.
2
BOROBUDUR AND THE RISE OF BUDDHISM
Buddhism was a popular religion in central Java for only
about a century, between circa 750 AD and 850 AD. Despite the relative brevity
of its popularity, Buddhism fostered a number of great monuments. Borobudur,
the best known of these, is interesting both for its beauty and for the light
it sheds on the evolution of the Buddhist faith beyond India.
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| BUlan Februari adalah bulan kasih sayang :) |
