Kaleidoscope - Buddhist religious architecture and artforms

The first Indian Buddhists arrived between the 1^st and 2^nd centuries CE. Though both Mahayana and Hinayana Buddhism were spread, the former gained prominence in the 8th century. This was reflected in the numerous Mahayana temples constructed. The biggest was the mammoth shrine cum temple of Borobudur and smaller ones were its related temples at Pawon and Mendut. Building of these started in the 8th century. Generally, Mahayana temples have more elaborate sculptures - statues and bas reliefs on a pantheon of deities. Followers worship more than one Buddha at the same time and recognise the importance of Boddhisatvas. Hinayana Buddhists practice a stricter form, believing only one reigning Buddha at a time. Buddhist cosmology is fundamental in determining the orientation and main architectural form or framework that any shrine or temple building takes. During Buddhism’s heyday in the Kedu plains, they generally take the form of a tantric mandala (as seen from an aerial perspective) and the main structure rises in a shape of a stupa. The mandala is a Buddhist representation of the cosmic universe while a stupa is a pyramid-like shrine dedicated to Buddha. The lotus is the most significant symbol reflected in building structures and sculptural details. It represent purity and enlightenment and is widely used in the Borobudur Temple which takes pilgrims through a symbolic journey towards attaining enlightenment.


Borobudur Temple takes the general shape of a giant stupa and from an aerial perspective, the form of a tantric mandala. It in turn is topped by huge bell-shaped stupa. The ascending platforms represent progressive levels of achievements in the human mind - overcome basic desires and animal instincts, gain noble thoughts and ultimately attain enlightenment or ‘buddhahood’.


Beautiful lotus blooms rise above the filthy and muddy environment in which the plant lives. In Buddhism, it symbolises purity and attainment of enlightenment. It is a feature that is always present in Buddhist arts and architecture.


The stupas sit on lotus bases at the upper levels of the Borobudur. A main and largest central stupa crowns the entire temple-shrine. Inside each of the perforated smaller stupas, a Buddha statue is seated in a ‘dharmacakra mudra’ position - legs folded in ‘lotus formation’ and hands gesturing ‘turning the wheels of law’. The plain and undecorated surfaces at these levels representing the ‘world of formlessness’ or ‘Arupadhatu’ or enlightenment depicts a spiritual realm completely void of lust, desires and forms. It was said that the bell-shaped stupa with a pole-like structure pointing towards heaven was prescribed by Lord Buddha himself. He describe it as his walking stick standing upright on top of his inverted begging bowl.


Brought by early Indian settlers, the arts were naturally Indian in character - the narrative styles and subjects’ clothing, body gestures and even facial features. These bas reliefs depicting ordinary folks engaged in idle pursuits (‘gossiping’) were found in the hidden foot of the Borobudur. They illustrate the ‘law of Karma’ or ‘cause and effect’ at the base level which represents the ‘world of desires’ or Kamadhatu.


Rich narrative bas reliefs fill up balustrade walls. They illustrate the lives (through rebirths) of Sakyamuni Buddha and are meant to educate as they are ‘read’ on the way towards higher levels of wisdom. They are found in the level representing the ‘world of forms’ or Rupadhatu where human minds start to develop noble thoughts.


Inner walls’ bas reliefs (facing the balustrade walls) on the alley or path to upper levels narrating Sakyamuni Buddha’s birth and life in the palace before he denounce all material comforts to seek the truth.


Figures in stone - they are very life-like and expressive.


Besides stories on Sakyamuni Buddha, there are also narrations on other buddhas, boddhisatvas and deities according to the sutras. Sutras are religious scriptures written in Sanskrit.


A Buddha statue in a niche and decorative patterns on the inner wall of the alley. Each bodily gesture of the Buddha has a religious meaning.


This position is called the Dhyani mudra position and the Buddha statue facing west with this particular hand gesture depicts Amitaba Buddha in meditation.


An interesting makaras - a carved water spout at Borobudur. Similar to water spouts in ancient churches and other significant old buildings in Europe and elsewhere in the world, water spouts at each platform level of temples are also decorative featuring mythical creatures. In Indonesian temples, they usually take a fierce form - probably to ‘frighten away’ bad spirits.


The outer walls of Mendut Temple are fully covered with sculptures of Buddhas, other deities and heavenly features. In the wall back-to-back with the main Buddha statue inside the temple, the central figure with four arms has been interpreted as that of Boddisatva Avalokitesvara. This clearly identifies it as a Mahayana temple from a Hinayana temple.