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The modestly sized Mendut Temple is included
into the UNESCO World Heritage site of
Borobudur Archaeological Park together with the
mammoth Borobudur Temple and
relatively tiny Pawon Temple. These 3 ancient
temples all lie in a straight line -
a long axial path with Pawon in the
centre, strongly suggesting a religious connection
between them. Mendut and Pawon faces north-west,
an unusual direction for Buddhist temples but
it is the direction towards Borobudur. Archaeologists
generally believe that all 3 were structures
that form part of a single complex. It
was also said that a road with walls
on both sides once linked them together.
But, nobody is certain on the nature of
their relationship.
At present time, they are associated by
celebration of a very important event in
the Buddhist calendar - Sakyamuni Buddha’s enlightenment.
Wesak or Waisak as it is called in
Indonesia falls on the day of a full
moon and usually correspond to a date
in the month of May or June in the
western calendar. A large procession of monks
and pilgrims from all over Indonesia and
the world starts from Mendut through Pawon
and onto Borobudur for the main and final
ritual of symbolic attainment of ultimate wisdom.
The complete journey comprising of 6 kms
walk between temples, an uphill climb, chanting
and circumambulating on ascending levels of
platforms to the peak of the gigantic
shrine is quite an endeavour.
Mendut Temple is the oldest of the temples
along the axial path, completed in the
9th century during the reign King
Indra of the Sailendra Dynasty. It could
be in the year of 824. Dutch archaeologist
JG de Casparis deduced from inscriptions on
the temple that this was the sacred building
called Venuvan or ‘Bamboo Forest’. Within the
single-cella temple, archaeologists also found an
older structure probably dating back to 1st
century CE. Originally, it was a large
walled complex surrounded by a brick enclosure
measuring 110 by 50 m. However, only the
main temple structure has been partially restored.
Uniquely, this temple has three magnificent
statues of Buddha and 2 boddhisatvas occupying
the cella. The striking symmetrical arrangement
of their positions and complementary body gestures
bind them into a triad that holds special
spiritual meaning. Each of these huge statues
has been carved from a single piece of
rock on site and later the walls and
roof built around them. This overcame the
problem of moving the huge sculptures through
the smaller doorway.
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View from the east. Buddhist temples usually face
east, the direction of the rising sun but this temple is oriented along a North-west/South-east
axis. The terrace on the elevated square-platform base provides the path for circumambulation
around the temple.
It was believed that the aerial perspective share a similar form like that of Borobudur
- a tantric mandala. There is probably another tier structure on top of the existing
flat roof, crowned by a stupa. The ruins were found under a mound of volcanic ash
in 1836. Restoration works started in 1897 and only ended in 1925. Many original
blocks including key ones essential to define reconstruction under anastylosis principles
were never found.
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Remains of the vestibule to the front and only entrance of the temple. The building
blocks are also crafted from andesite or volcanic stones. The inner wall surface
are adorned with bas reliefs of Hariti (Goddess: protector of children, easy birth,
child-rearing and parenting), her male counterpart Atavaka, Kalpataru the ‘wish-fulfilling
tree’ and devatas (deities) flying in heaven.
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Gilded statue of Buddha Sakyamuni measuring 30m in height sits in the middle. His
hands are raised and held in a ‘preaching’ position, legs down (characterised by
some as ‘European’) and feet resting on a stone lotus.
The ‘triad’: Buddha is flanked by boddhisatvas Avalokitesvara and Vajrapani – in
next pictures – on his right and left respectively. This has special spiritual meaning
to local devotees. It was believed that Buddha can liberate humans from their bodily
karma.
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Local devotees believed ‘Boddhisatva Avalokistesvara
liberates humans from their karma of speech.’ The statue has been positively identified
because he is on the right of Buddha (our left) and a small figure of Jina Amitabha
in his hair. The left leg is folded and left hand raised - another gesture of discussing
religious matters.
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Local devotees believed ‘Boddhisatva Vajrapani liberates
humans from their karma of thoughts.’ He has been identified from his left position
of Buddha and slightly demonic and threatening looks. He is the guardian of temples
and protector of Buddha. In symmetry with the others, his right leg is folded and
right hand raised - also gesturing religious discussion. (Some experts interpret
this statue as that of Maitreya, ‘the saviour of humans’.)
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Delightful details near the entrance. Many exquisite
sculptures across outer walls of the temple illustrates children’s fables.
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Experts believed that deities carved on the central panels of the 3 outer side walls
correspond to the images of the Boddhisatvas inside the cella with religious meaning.
The central figure on the throne in the bas relief picture is a goddess flanked
by 2 other deities believed to be Boddhisatvas Maitreya and Samantabhadra.
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The large central bas relief figure standing with 4 arms is ‘back-to-back’ with
Sakyamuni Buddha statue in the cella. He has been identified as a form of Avalokitesvara
in his role as the lord of the Three Worlds. He rules over the current age and is
believed to be an outward expression of the temple’s central deity
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The 3rd panel of bas reliefs shows a goddess
on the throne in the centre flanked by boddhisatvas believed to be Manjusri (left)
and Khagarbha (right). These are ‘back-to-back’ to the statue of Vajrapani inside
the cella.
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A symbolic iron pillar rises from a lotus pond at
the current day monastery sited within the compounds of the original temple complex.
The pillar is topped by an umbrella, stupa and Buddha’s eyes including the 3rd
- all representative of Buddha and enlightenment. This monastery provides meditation
programs for non-residents.
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