Candi Pawon (Pawon Temple) is not a grave but as a place to keep King Indra's weapon namely Vajranala.
Pawon Temple is one and half kilometers westward from Mendut Temple and eastward from Borobudur Temple, it is also a Buddhist temple. When appreciating in detail, its sculpture is the beginning of Borobudur sculpture.
Pawon Temple is not a grave but as a place to keep King Indra's weapon namely Vajranala. This temple was built with volcanic stones. Architecturally it is a blend of old Javanese Hindu and Indian art. Pawon temple is exactly in the central point of the straight line stretched from Borobudur to Mendut Temple.
Perhaps it was built for kubera. It is on a wide rather terrace with steps. All parts are decorated with stupa(s) on dagoba(s) and its outside walls with symbolic pictures.
Rabu, 09 April 2008
Selasa, 08 April 2008
Revealing the Puzzle of the Ancient Dam nearby Kedulan Temple
Kedulan temple is a Hindu temple that is located in Kedulan village, about 3 kilometers from Kalasan temple. This temple was incidentally discovered by sand diggers on 24 November 1993. We will feel another pleasure visiting this temple since we can see the very sophisticated process of this temple reconstruction.
Arriving at the location of this temple, we can directly see as deep as 7 meters excavation location. There are scattered temple stones around the foot of the main temple that still looks intact. It is in this excavation located the complex of Kedulan temple consisting of 1 main temple and 3 supporting temples (perwara) originally stood. Now, the foot part of the temple is undergoing strength test for next stones overlaying process.
Walking around the excavation location, we will see the stones of the temple being renovated by matching each one to each other. The stones that have matched one to each other is given certain symbols using a chalk. Temporary construction of the temple open verandah, roof, compartments and some other parts of temple body looks there. There are also phallus and yoni that were supposed to be components filling the temple.
Some ornaments decorating the temple already show its beauty even though the temple itself is undergoing the reconstruction. The relief of a dragon under the yoni, for example, which is supposed to fill the principle room of the main temple, has different figure from the dragon decorating the other temple yoni in Central Java since it looks to have a jaw. There are also reliefs of deities, ivory decorations, rose-like decoration, and batik motif on some parts of the temple walls.
After walking around, We interviewed a staff named Haryono. He told the difficulties of reconstructing the destroyed building. There are hundreds of stones to be matched in order to make the temple stands firmly as before, whereas there is no single indicators for the reconstruction. One worker can even match only one pair of stones in a week because of the difficulty. That's true; it's like composing a giant puzzle!
If we get into the information room close to the excavation location, we can see the design of expected Kedulan temple. From the design, we can notice the height of the main temple will be 8 meters, composing of the foot, body, and roof. The temple body consists of 10 stone layers as high as 2,4 meters, with some cavities for Ganesha, Agastya, Durga, Nandaka and Nandiswara statues, with narrow verandah that is predicted only certain people can go inside. The temple roof consists of 13 layers of stones. From the above information, it can be predicted that its architecture is entirely similar to Sambisari temple.
In the information room, too, we can see ruins of decorated bowls and earthenwares that were supposed to be utilized during the ceremony rituals in this temple. Besides, there is also wood originating from the trees growing in the time of the temple construction. Haryono told that once there was someone took some of the wood to make a sculpture but then the person returned it back since he experienced unlucky occurrence.
Photographs of other goods found during the excavation can be seen in the information room. There is a photograph of deity statue from bronze and photographs of Pananggaran and Sumudul inscriptions that were discovered in 2003. On the wall of the room, there are descriptions of the soil layers were the temple was discovered, and photographs depicting the excavation process that lasted for years.
On 12 June 2003, two inscriptions were found in the excavation location. The inscriptions that were written in Pallawa characters in Sanskrit language have been read by two epigraphs from Archeology Department of Gadjah Mada University, namely Dr Riboet Darmoseotopo and Tjahjono Prasodjo MA. Dated 791 Saka (869 AD, or around 10 years after the construction of Prambanan temple), it contains land tax holiday in Pananggaran and Parhyangan villages, construction of irrigation, and foundation of a holy building called Tiwaharyyan and curse threat for anyone who did not comply with the rules.
Some archeologists predicted that those inscriptions are related to the foundation of Kedula temple. The Tiwaharyyan holy building is predicted to be Kedulan temple itself. Pananggaran village in the inscription is predicted to be situated around the temple area, as it is to be of the ancient dam. The dam was possibly constructed in Opak River that is ±4 kilometers from the temple location, or possibly in the river that now is not seen anymore because of the volcanic mudflow resulted from the eruption of the Merapi Mountain a thousand years ago.
Many puzzles waiting for solving and the enchantment of the temple components make the tour to Kedulan Candi worths doing. The condition of the temple under reconstruction even adds to our pleasure.
Arriving at the location of this temple, we can directly see as deep as 7 meters excavation location. There are scattered temple stones around the foot of the main temple that still looks intact. It is in this excavation located the complex of Kedulan temple consisting of 1 main temple and 3 supporting temples (perwara) originally stood. Now, the foot part of the temple is undergoing strength test for next stones overlaying process.
Walking around the excavation location, we will see the stones of the temple being renovated by matching each one to each other. The stones that have matched one to each other is given certain symbols using a chalk. Temporary construction of the temple open verandah, roof, compartments and some other parts of temple body looks there. There are also phallus and yoni that were supposed to be components filling the temple.
Some ornaments decorating the temple already show its beauty even though the temple itself is undergoing the reconstruction. The relief of a dragon under the yoni, for example, which is supposed to fill the principle room of the main temple, has different figure from the dragon decorating the other temple yoni in Central Java since it looks to have a jaw. There are also reliefs of deities, ivory decorations, rose-like decoration, and batik motif on some parts of the temple walls.
After walking around, We interviewed a staff named Haryono. He told the difficulties of reconstructing the destroyed building. There are hundreds of stones to be matched in order to make the temple stands firmly as before, whereas there is no single indicators for the reconstruction. One worker can even match only one pair of stones in a week because of the difficulty. That's true; it's like composing a giant puzzle!
If we get into the information room close to the excavation location, we can see the design of expected Kedulan temple. From the design, we can notice the height of the main temple will be 8 meters, composing of the foot, body, and roof. The temple body consists of 10 stone layers as high as 2,4 meters, with some cavities for Ganesha, Agastya, Durga, Nandaka and Nandiswara statues, with narrow verandah that is predicted only certain people can go inside. The temple roof consists of 13 layers of stones. From the above information, it can be predicted that its architecture is entirely similar to Sambisari temple.
In the information room, too, we can see ruins of decorated bowls and earthenwares that were supposed to be utilized during the ceremony rituals in this temple. Besides, there is also wood originating from the trees growing in the time of the temple construction. Haryono told that once there was someone took some of the wood to make a sculpture but then the person returned it back since he experienced unlucky occurrence.
Photographs of other goods found during the excavation can be seen in the information room. There is a photograph of deity statue from bronze and photographs of Pananggaran and Sumudul inscriptions that were discovered in 2003. On the wall of the room, there are descriptions of the soil layers were the temple was discovered, and photographs depicting the excavation process that lasted for years.
On 12 June 2003, two inscriptions were found in the excavation location. The inscriptions that were written in Pallawa characters in Sanskrit language have been read by two epigraphs from Archeology Department of Gadjah Mada University, namely Dr Riboet Darmoseotopo and Tjahjono Prasodjo MA. Dated 791 Saka (869 AD, or around 10 years after the construction of Prambanan temple), it contains land tax holiday in Pananggaran and Parhyangan villages, construction of irrigation, and foundation of a holy building called Tiwaharyyan and curse threat for anyone who did not comply with the rules.
Some archeologists predicted that those inscriptions are related to the foundation of Kedula temple. The Tiwaharyyan holy building is predicted to be Kedulan temple itself. Pananggaran village in the inscription is predicted to be situated around the temple area, as it is to be of the ancient dam. The dam was possibly constructed in Opak River that is ±4 kilometers from the temple location, or possibly in the river that now is not seen anymore because of the volcanic mudflow resulted from the eruption of the Merapi Mountain a thousand years ago.
Many puzzles waiting for solving and the enchantment of the temple components make the tour to Kedulan Candi worths doing. The condition of the temple under reconstruction even adds to our pleasure.
Ijo Temple, the Temple Located at the Highest Place in Yogyakarta
Going along the street leading to the southern part of Queen Boko Palace complex is such an exciting journey, especially for cultural tourism lovers. The reason is that there are so many temples mushrooming in that area. One of them that is rarely talked about is Candi Ijo or Ijo Temple; one temple of which location is the highest compared to other temples in Yogyakarta.
Ijo Temple was built in around the ninth century on a hill named the Green Hill of which height is 410 meters above the sea level. Because of this height, we can enjoy not only the temple but also natural view below such as terraces of agriculture land with its steep slope. Even though this is not a fertile area, natural view around the temple is so beautiful to enjoy.
The complex of the temple consists of 17 building structures that are divided into 11 terraces. The first terrace functioning as the yard leading to the entrance is a terrace with staircase stretching from west to east. The building on the eleventh terrace is in the form of encircling wall, eight pole phallus, four buildings namely the main temple, and three ancillary temples. The placement of the building on each terrace is based on the level of its being sacral. The building on the highest terrace is the most sacral.
Variants of painting are found since the entrance of this Hindu temple. Right on the entrance gate, there is a motif of double head giant and some of its attributes. Such motif and attributes found in Buddhist temples show that such temples are acculturation forms of Hindu and Buddha cultures. Some temples having such giant motif are Ngawen, Plaosan and Sari.
There is also a statue describing flying woman and man directing to certain side. Such description can have some meanings; first, as spells to expel evil spirit and second as symbol of unity between god Siva and goddess Umi. The unity is meant as the onset of universe creation. Different from the statues in Prambanan Temple, natural style of the statues in Ijo Temple do not lead to eroticism.
Approaching the ancillary temples on the eleventh terrace, there is a pit possible used to burn sacrifice. Right on the upper part of the pit back wall there are ventilations in the forms of trapezium and triangle. The pit reflects the Hindu community that adores Brahma, the god of fire. The three ancillary temples show community adoration to the three Hindu gods, namely Brahma, Siva, and Vishnu.
Some of the works that keep mystery are two inscriptions located in the temple building on the ninth terrace. One of the inscriptions is coded by letter F with the writing Guywan or Bluyutan meaning place for meditation. Another inscription is made of stone as high as 14 cm and as thick as 9 cm containing magic spells that are predicted to be curses. The magic spells were written 16 times and parts of them read "Om Sarwwawinasa, Sarwwawinasa." The two inscriptions may relate closely to certain occurrences in Java by that time. What were the occurrences? They are not revealed yet up to now.
Visiting this temple, you will find beautiful scenery that other temples do not have. Looking down westwards, you will see airplane taking off and landing at Adisutjipto International Airport. You see this scenery because the Seribu Mountains where Ijo Temple is located is the border of the east part of the airport. It is because of the presence of this temple that Adisutjipto Airport cannot be lengthened eastwards.Each detail of the temple presents meaningful thing and invites the visitors to make a reflection so that the journey will not just be fun time. Great paintings without the name of the creators show life philosophy of the past Javanese community that emphasized more on moral message presented by the works rather than the creators or the greatness of their works.
Ijo Temple was built in around the ninth century on a hill named the Green Hill of which height is 410 meters above the sea level. Because of this height, we can enjoy not only the temple but also natural view below such as terraces of agriculture land with its steep slope. Even though this is not a fertile area, natural view around the temple is so beautiful to enjoy.
The complex of the temple consists of 17 building structures that are divided into 11 terraces. The first terrace functioning as the yard leading to the entrance is a terrace with staircase stretching from west to east. The building on the eleventh terrace is in the form of encircling wall, eight pole phallus, four buildings namely the main temple, and three ancillary temples. The placement of the building on each terrace is based on the level of its being sacral. The building on the highest terrace is the most sacral.
Variants of painting are found since the entrance of this Hindu temple. Right on the entrance gate, there is a motif of double head giant and some of its attributes. Such motif and attributes found in Buddhist temples show that such temples are acculturation forms of Hindu and Buddha cultures. Some temples having such giant motif are Ngawen, Plaosan and Sari.
There is also a statue describing flying woman and man directing to certain side. Such description can have some meanings; first, as spells to expel evil spirit and second as symbol of unity between god Siva and goddess Umi. The unity is meant as the onset of universe creation. Different from the statues in Prambanan Temple, natural style of the statues in Ijo Temple do not lead to eroticism.
Approaching the ancillary temples on the eleventh terrace, there is a pit possible used to burn sacrifice. Right on the upper part of the pit back wall there are ventilations in the forms of trapezium and triangle. The pit reflects the Hindu community that adores Brahma, the god of fire. The three ancillary temples show community adoration to the three Hindu gods, namely Brahma, Siva, and Vishnu.
Some of the works that keep mystery are two inscriptions located in the temple building on the ninth terrace. One of the inscriptions is coded by letter F with the writing Guywan or Bluyutan meaning place for meditation. Another inscription is made of stone as high as 14 cm and as thick as 9 cm containing magic spells that are predicted to be curses. The magic spells were written 16 times and parts of them read "Om Sarwwawinasa, Sarwwawinasa." The two inscriptions may relate closely to certain occurrences in Java by that time. What were the occurrences? They are not revealed yet up to now.
Visiting this temple, you will find beautiful scenery that other temples do not have. Looking down westwards, you will see airplane taking off and landing at Adisutjipto International Airport. You see this scenery because the Seribu Mountains where Ijo Temple is located is the border of the east part of the airport. It is because of the presence of this temple that Adisutjipto Airport cannot be lengthened eastwards.Each detail of the temple presents meaningful thing and invites the visitors to make a reflection so that the journey will not just be fun time. Great paintings without the name of the creators show life philosophy of the past Javanese community that emphasized more on moral message presented by the works rather than the creators or the greatness of their works.
Candi Gebang (Gebang Temple)
The Candi Gebang (Gebang Temple) was established in early Central Java Age (± years 730 - 800). It's background of establishing, however, has remained a mystery. The local inhabitant discovered the Gebang temple in November 1936 in a form of Ganesha statue. Based on the finding, the Archeological Services began to investigate, resulting that the Ganesha statue should not stand alone, but a part of a building. To follow up the results, a digging up around the location of the Ganesha statue began. Ruins of temple roof were found on which a little part of the body and the base appeared to be intact.
After the digging, an experiment on its previous construction was carried out. It initiated the reconstruction even though some substituting stones were used for a part of the body. The restoration of the Gebang temple was carried out from 1937 to 1939, led by Prof. Dr. Ir. Van Romondt.
Description of the building of Candi Gebang (Gebang Temple)
The squared building of 5.25 x 5.25 m and 7.75 in height has a high proportion of the feet without any relief on it (plain). There is no entrance stairs, or it is probably made of wood or other breakable materials so that nobody has discovered it by now. It becomes one of its specialties. Another one is that the center point of the temple is laid on the center point of the temple site.
Inside the body, there is a room with eastern front on which the Yoni placed. On the right ant left sides there are the Nandiswara statues, while there is not any statue in the room of Mahakala. The rooms in the north and south sides were empty. In the west, statue sitting on a Yoni with its nozzle looks on the north a Ganesha. On the top, there is a Lingga on a lotus, as its pad. On the top of it is in a shape of Lingga, namely in cylindrical. In the roof, there is a small room like a hollow space on the real room of the temple. In the yard, there is a pseudo-Lingga (or stakes) on its four corners.
Historical Background of Candi Gebang (Gebang Temple)There has not been assuring historical background on this temple by now. At least, it is certainly a temple of Hinduism, marked by the existing Lingga, Yoni, and Ganesha statue. Besides, its high proportional feet indicate that if comes from an old period (± years 730-800). According to Van Romondt, however, the Gebang temple was established in the starting age of "Central Java".
After the digging, an experiment on its previous construction was carried out. It initiated the reconstruction even though some substituting stones were used for a part of the body. The restoration of the Gebang temple was carried out from 1937 to 1939, led by Prof. Dr. Ir. Van Romondt.
Description of the building of Candi Gebang (Gebang Temple)
The squared building of 5.25 x 5.25 m and 7.75 in height has a high proportion of the feet without any relief on it (plain). There is no entrance stairs, or it is probably made of wood or other breakable materials so that nobody has discovered it by now. It becomes one of its specialties. Another one is that the center point of the temple is laid on the center point of the temple site.
Inside the body, there is a room with eastern front on which the Yoni placed. On the right ant left sides there are the Nandiswara statues, while there is not any statue in the room of Mahakala. The rooms in the north and south sides were empty. In the west, statue sitting on a Yoni with its nozzle looks on the north a Ganesha. On the top, there is a Lingga on a lotus, as its pad. On the top of it is in a shape of Lingga, namely in cylindrical. In the roof, there is a small room like a hollow space on the real room of the temple. In the yard, there is a pseudo-Lingga (or stakes) on its four corners.
Historical Background of Candi Gebang (Gebang Temple)There has not been assuring historical background on this temple by now. At least, it is certainly a temple of Hinduism, marked by the existing Lingga, Yoni, and Ganesha statue. Besides, its high proportional feet indicate that if comes from an old period (± years 730-800). According to Van Romondt, however, the Gebang temple was established in the starting age of "Central Java".
Reading the Message from Nirvana in Gampingan Temple
Not all temples have typical, beautiful relief since generally they are decorated with statues and general relief as those found in almost all other temples. One of the temples with specific, beautiful relief is Gampingan, a temple that was incidentally found by a brick craftsman in Gampingan Village, Piyungan, Bantul in 1995. Small and incomplete, Gampingan temple is still rich in the enchanting relief.
One of the reliefs that we can see in this temple is the animal relief at the foot of it. The animal relief in this temple looks so natural that we can name the described animals. It is quite rare to find such relief; at least, they are only Prambanan and Mendut temples that have similar relief. All of the reliefs are decorated with ivory plant, namely padmamula (the roots of lotus plant) that is believed to be the source of life.
When We walked around the temple, it clearly look that birds dominate the decoration. There is a relief of a raven with its big beak, robust body, up stretching wings and the fan-like tail. There is also a relief of a woodpecker that is described to have a crest on its head, rather long, pointed beak, and not-stretched wings. Besides, there is also a crow with distended chest and wings stretching downward.
The making of many bird reliefs in this temple relates to community belief in transcendental power of birds. It was believed that birds are manifestation of the deities or nirvana. Birds are also related to human absolute freedom that is attained after the renunciation, the symbol of human soul that leaves its body.
Other animal that is often described in the temple is frog. The community believed that frogs have supra natural power to send rain so that it was also believed to increase productivity, because the rain will be able to increase the harvest. The frogs that usually come up from waters also symbolize life renewal and the awakening towards better direction.
The relief still leaves a question of whether it is a fable (the animal story told to children) like the one in Mendut temple or a description of animals that was intentionally made to denote certain meaning. Such question rises because the description of the animals in the temple was not found in any books containing fables such as Jataka, Sukasaptati, Pancatantra and its hereditary versions.
Gampingan temple that is predicted to be built between 730 - 850 AC is believed to be the place for adoring Jambhala (god of prosperity, the child of Siva). The idea is based on the finding of Jambhala statue in the digging process. Jambhala is described to have been meditating; sitting crossed-legged while closing the eyes. The body was decorated by iconographical element (asana) in the form of a lotus with 8 pieces of leaves as the symbol of Vishnu mystical weapon (cakra) in the human body.
The figure of Jambhala in this temple is different from those in other temples. Generally, Jambhalas in other temples are described with wide eyes looking at the worshippers with various accessories symbolizing prosperity and luxury. This different description is believed to be based on the worship motivation, not to invoke prosperity but guidance in order to achieve the real happiness.
Visiting Gampingan temple will lead us to remembering the path we have taken to achieve happiness and prosperity. Relief that is dominated by animals that live in the surrounding environment could be the realization of local community's wisdom by that time in representing a message from nirvana: mankind must keep the harmony of nature in order to live in prosperity and to avoid disaster.
One of the reliefs that we can see in this temple is the animal relief at the foot of it. The animal relief in this temple looks so natural that we can name the described animals. It is quite rare to find such relief; at least, they are only Prambanan and Mendut temples that have similar relief. All of the reliefs are decorated with ivory plant, namely padmamula (the roots of lotus plant) that is believed to be the source of life.
When We walked around the temple, it clearly look that birds dominate the decoration. There is a relief of a raven with its big beak, robust body, up stretching wings and the fan-like tail. There is also a relief of a woodpecker that is described to have a crest on its head, rather long, pointed beak, and not-stretched wings. Besides, there is also a crow with distended chest and wings stretching downward.
The making of many bird reliefs in this temple relates to community belief in transcendental power of birds. It was believed that birds are manifestation of the deities or nirvana. Birds are also related to human absolute freedom that is attained after the renunciation, the symbol of human soul that leaves its body.
Other animal that is often described in the temple is frog. The community believed that frogs have supra natural power to send rain so that it was also believed to increase productivity, because the rain will be able to increase the harvest. The frogs that usually come up from waters also symbolize life renewal and the awakening towards better direction.
The relief still leaves a question of whether it is a fable (the animal story told to children) like the one in Mendut temple or a description of animals that was intentionally made to denote certain meaning. Such question rises because the description of the animals in the temple was not found in any books containing fables such as Jataka, Sukasaptati, Pancatantra and its hereditary versions.
Gampingan temple that is predicted to be built between 730 - 850 AC is believed to be the place for adoring Jambhala (god of prosperity, the child of Siva). The idea is based on the finding of Jambhala statue in the digging process. Jambhala is described to have been meditating; sitting crossed-legged while closing the eyes. The body was decorated by iconographical element (asana) in the form of a lotus with 8 pieces of leaves as the symbol of Vishnu mystical weapon (cakra) in the human body.
The figure of Jambhala in this temple is different from those in other temples. Generally, Jambhalas in other temples are described with wide eyes looking at the worshippers with various accessories symbolizing prosperity and luxury. This different description is believed to be based on the worship motivation, not to invoke prosperity but guidance in order to achieve the real happiness.
Visiting Gampingan temple will lead us to remembering the path we have taken to achieve happiness and prosperity. Relief that is dominated by animals that live in the surrounding environment could be the realization of local community's wisdom by that time in representing a message from nirvana: mankind must keep the harmony of nature in order to live in prosperity and to avoid disaster.
Tara Temple, the Oldest Buddhism Inheritance in Yogyakarta
Most people will mention Borobudur when talking about Buddhism temples. Whereas, there are many other Buddhism temples in Yogyakarta; one of them that is closely related to Borobudur is Tara temple. This temple that is located in Kalibening village in Kalasan was built by the same person who conceptualized Borobudur temple, namely Rakai Panangkaran. Since it is located in Kalasan area, this temple is popular with the name of Kalasan temple.
Completed in 778 AD, Tara temple becomes the oldest Buddhism temple in Yogyakarta. This temple that is situated close to Yogya-Solo Street was a present of the marriage of Pancapana of Sanjaya dynasty to Dyah Pramudya Wardhani of Syailendra dynasty. In addition to a marriage present, the temple was also realization of the kings' proposal to build another holy temple for goddess Tara and a monastery for the monks.
Tara temple is a building in the form of a cube with the size of each side of 45 meters and 34 meters high. Vertically, this temple consists of three parts, namely temple foot, temple body and temple roof. The foot of the temple is a building on square stones and a wide stone. On this part, there is a stair with makara ornament at the end. Meanwhile, around the temple foot there are ornaments of climbing plants that come out from pots.
The body of the temple protrudes at the central side. At the outer surface of the temple body, a hollow is ornamented with a standing goddess holding lotus. In southeast part, there is a small room with throne ornamented with the motif of a lion standing on an elephant's back. The room can be accessed from the other room at the east side.
The roof of the temple is octagonal and consists of two stories. An effigy describing Buddha is located in the first story while on the second story there is a statue describing Yani Buddha. The top of the temple is a square symbolizing Semeru summit with ornaments of domes. At the interface of the temple body and the roof, there is a flower ornament of a dwarf named Gana.
If you observe the temple in detail, you will also find beautiful relief on its surface; for example, relief of tree of god and cloud and the dwellers of the heaven producing sounds. The dwellers of the heaven hold rebab (two-stringed music instrument), shell, and camara. There are also ornaments of flowers, leaves and climbing plants. Relief at Tara temple is typical since they are coated with special cement called Brajalepha, made from sap of certain tree.
Around the temple, there are 52 domes as high as around 4.6 meters. Even though those domes are not intact anymore, since some parts are missing, you can still enjoy them. Visiting this temple of which construction history is known from Candi inscription in Panagari letters, you will acknowledge the greatness of Rakai Panangkaran who even had the opportunity to build a holy building in Thailand.
This temple also proves that in the past there was an effort to unite people of different religions. The proof is that Panangkaran who was a Hindu built the Tara temple in response to the proposal of Buddhism monks to be presented to Pancapana who is also a Buddhist. This temple is also one of the holy buildings that inspired Atisha, a Buddhist from India who once visited Borobodur and spread Buddhism to Tibet.
Completed in 778 AD, Tara temple becomes the oldest Buddhism temple in Yogyakarta. This temple that is situated close to Yogya-Solo Street was a present of the marriage of Pancapana of Sanjaya dynasty to Dyah Pramudya Wardhani of Syailendra dynasty. In addition to a marriage present, the temple was also realization of the kings' proposal to build another holy temple for goddess Tara and a monastery for the monks.
Tara temple is a building in the form of a cube with the size of each side of 45 meters and 34 meters high. Vertically, this temple consists of three parts, namely temple foot, temple body and temple roof. The foot of the temple is a building on square stones and a wide stone. On this part, there is a stair with makara ornament at the end. Meanwhile, around the temple foot there are ornaments of climbing plants that come out from pots.
The body of the temple protrudes at the central side. At the outer surface of the temple body, a hollow is ornamented with a standing goddess holding lotus. In southeast part, there is a small room with throne ornamented with the motif of a lion standing on an elephant's back. The room can be accessed from the other room at the east side.
The roof of the temple is octagonal and consists of two stories. An effigy describing Buddha is located in the first story while on the second story there is a statue describing Yani Buddha. The top of the temple is a square symbolizing Semeru summit with ornaments of domes. At the interface of the temple body and the roof, there is a flower ornament of a dwarf named Gana.
If you observe the temple in detail, you will also find beautiful relief on its surface; for example, relief of tree of god and cloud and the dwellers of the heaven producing sounds. The dwellers of the heaven hold rebab (two-stringed music instrument), shell, and camara. There are also ornaments of flowers, leaves and climbing plants. Relief at Tara temple is typical since they are coated with special cement called Brajalepha, made from sap of certain tree.
Around the temple, there are 52 domes as high as around 4.6 meters. Even though those domes are not intact anymore, since some parts are missing, you can still enjoy them. Visiting this temple of which construction history is known from Candi inscription in Panagari letters, you will acknowledge the greatness of Rakai Panangkaran who even had the opportunity to build a holy building in Thailand.
This temple also proves that in the past there was an effort to unite people of different religions. The proof is that Panangkaran who was a Hindu built the Tara temple in response to the proposal of Buddhism monks to be presented to Pancapana who is also a Buddhist. This temple is also one of the holy buildings that inspired Atisha, a Buddhist from India who once visited Borobodur and spread Buddhism to Tibet.
Plaosan Temple, the Twin Temple in Yogyakarta
After visiting Prambanan temple, you should not rush to your hotel, because close to the beautiful Hindu temple, you can also see other interesting temples. Moving 1 kilometer northwards, you will find Plaosan Temple; a temple constructed by Rakai Pikatan for her wife, Pramudyawardani. The architect of the temple that is located in Bugisan village of Prambanan sub-district is combination of Hindu and Buddha.
Plaosan complex is divided into 2 groups, namely the North Plaosan Temple and the South Plaosan Temple. Both of the temples have square terrace that is encircled by wall, a pillbox for meditation at the west part and dome on other side. Because of that similarity, the appearance of both temples are the same when they are seen from distant so that Plaosan temple is also called the twin temples.
The North Plaosan Temple has middle courtyard encircled by wall with the entrance at the west side. In the middle of the courtyard, there is a hall as wide as 21.62 m x 19 m. At the eastern part of the hall, there are 3 altars, namely north, east and south altars. The pictures of Amitbha, Ratnasambhava, Vairochana, and Aksobya are at the east altar. Samantabadhara statue and Ksitigarba figure is at the north altar, while Manjusri picture is at the west alter.
The South Plaosan temple also has a hall at the center that is encircled by 8 small temples that is divided into 2 ranks and each rank consists of 4 temples. There also pictures of Tathagata Amitbha, Vajrapani with vajra attribute at the utpala and Pranjaparamita who was considered "the mother of all Buddha". Some other pictures can still be found but not at their original places. Manujri figure that according to a Dutch scientist named Krom is significant can also be seen.
Part of this bas relief has unique picture of man and woman. There is a man described as sitting cross-legged with worshipping hands and a figure of a man with vara mudra and vse at his leg encircled by six smaller men. A woman is described as standing with vara mudra hands, while there are book, pallet, and vase around her. Krom explains that figures of those man and woman are descriptions of supporting patron from two monasteries.
The entire complex of Plaosan temple has 116 ancillary domes and 50 ancillary temples. Ancillary domes can be seen on each side of the main temple, as can smaller ancillary temples. Walking northwards, you can see open building called Mandapa. Two inscriptions can also be found; they are the inscription on gold coin at the north of the main temple and an inscription written on a stone in the first line of the ancillary temples.
One of the characteristics of Plaosan temple is the smooth surface of the terrace. Krom explains that such a terrace is different from other temples of the same time. To his opinion, it is related to the function of a temple by that time that is predicted to keep canonical texts owned by Buddhist monks. Other prediction by Dutch scientists, if the number of monks in that area is small then the terrace might be used as a place for Buddhists to pray.
If you go around the temple complex, you will notice that the complex of Plaosan temple is wide. That can also be noticed from long fence stretching 460 meters from north to south and 290 meters from west to east. There is also moat inside stretching as long as 440 meters from north to south and 270 meters from west to east. The moat can be seen by walking eastwards through the middle part of this historical building.
Plaosan complex is divided into 2 groups, namely the North Plaosan Temple and the South Plaosan Temple. Both of the temples have square terrace that is encircled by wall, a pillbox for meditation at the west part and dome on other side. Because of that similarity, the appearance of both temples are the same when they are seen from distant so that Plaosan temple is also called the twin temples.
The North Plaosan Temple has middle courtyard encircled by wall with the entrance at the west side. In the middle of the courtyard, there is a hall as wide as 21.62 m x 19 m. At the eastern part of the hall, there are 3 altars, namely north, east and south altars. The pictures of Amitbha, Ratnasambhava, Vairochana, and Aksobya are at the east altar. Samantabadhara statue and Ksitigarba figure is at the north altar, while Manjusri picture is at the west alter.
The South Plaosan temple also has a hall at the center that is encircled by 8 small temples that is divided into 2 ranks and each rank consists of 4 temples. There also pictures of Tathagata Amitbha, Vajrapani with vajra attribute at the utpala and Pranjaparamita who was considered "the mother of all Buddha". Some other pictures can still be found but not at their original places. Manujri figure that according to a Dutch scientist named Krom is significant can also be seen.
Part of this bas relief has unique picture of man and woman. There is a man described as sitting cross-legged with worshipping hands and a figure of a man with vara mudra and vse at his leg encircled by six smaller men. A woman is described as standing with vara mudra hands, while there are book, pallet, and vase around her. Krom explains that figures of those man and woman are descriptions of supporting patron from two monasteries.
The entire complex of Plaosan temple has 116 ancillary domes and 50 ancillary temples. Ancillary domes can be seen on each side of the main temple, as can smaller ancillary temples. Walking northwards, you can see open building called Mandapa. Two inscriptions can also be found; they are the inscription on gold coin at the north of the main temple and an inscription written on a stone in the first line of the ancillary temples.
One of the characteristics of Plaosan temple is the smooth surface of the terrace. Krom explains that such a terrace is different from other temples of the same time. To his opinion, it is related to the function of a temple by that time that is predicted to keep canonical texts owned by Buddhist monks. Other prediction by Dutch scientists, if the number of monks in that area is small then the terrace might be used as a place for Buddhists to pray.
If you go around the temple complex, you will notice that the complex of Plaosan temple is wide. That can also be noticed from long fence stretching 460 meters from north to south and 290 meters from west to east. There is also moat inside stretching as long as 440 meters from north to south and 270 meters from west to east. The moat can be seen by walking eastwards through the middle part of this historical building.
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