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.

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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.

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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.

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Prambanan, the Most Beautiful Hindu Temple in the World

Prambanan temple is extraordinarily beautiful building constructed in the tenth century during the reigns of two kings namely Rakai Pikatan and Rakai Balitung. Soaring up to 47 meters (5 meters higher than Borobudur temple), the foundation of this temple has fulfilled the desire of the founder to show Hindu triumph in Java Island. This temple is located 17 kilometers from the city center, among an area that now functions as beautiful park.

There is a legend that Javanese people always tell about this temple. As the story tells, there was a man named Bandung Bondowoso who loved Roro Jonggrang. To refuse his love, Jonggrang asked Bondowoso to make her a temple with 1,000 statues only in one-night time. The request was nearly fulfilled when Jonggrang asked the villagers to pound rice and to set a fire in order to look like morning had broken. Feeling to be cheated, Bondowoso who only completed 999 statues cursed Jonggrang to be the thousandth statue.

Prambanan temple has three main temples in the primary yard, namely Vishnu, Brahma, and Shiva temples. Those three temples are symbols of Trimurti in Hindu belief. All of them face to the east. Each main temple has accompanying temple facing to the west, namely Nandini for Shiva, Angsa for Brahma, and Garuda for Vishnu. Besides, there are 2 flank temples, 4 kelir temples and 4 corner temples. In the second area, there are 224 temples.

Entering Shiva temple, the highest temple and is located in the middle, you will find four rooms. One main room contains Shiva statue, while the other three rooms contain the statues of Durga (Shiva's wife), Agastya (Shiva's teacher), and Ganesha (Shiva's son). Durga statue is said to be the statue of Roro Jonggrang in the above legend.

In Vishnu temple, to the north of Shiva temple, you will find only one room with Vishnu statue in it. In Brahma temple, to the south of Shiva temple, you find only room as well with Brahma statue in it.

Quite attractive accompanying temple is Garuda temple that is located close to Vishnu temple. This temple keeps a story of half-bird human being named Garuda. Garuda is a mystical bird in Hindu mythology. The figure is of golden body, white face, red wings, with the beak and wings similar to eagle's. It is assumed that the figure is Hindu adaptation of Bennu (means 'rises' or 'shines') that is associated with the god of the Sun or Re in Old Egypt mythology or Phoenix in Old Greek mythology. Garuda succeeded in saving his mother from the curse of Aruna (Garuda's handicapped brother) by stealing Tirta Amerta (the sacred water of the gods).

Its ability to save her mother made many people admire it to the present time and it is used for various purposes. Indonesia uses the bird as the symbol of the country. Other country using the same symbol is Thailand, with the same reason but different form adaptation and appearance. In Thailand, Garuda is known as Krut or Pha Krut.

Prambanan also has panels of relief describing the story of Ramayana. Experts say that the relief is similar to the story of Ramayana that is told orally from generation to generation. Another interesting relief is Kalpataru tree that - in Hindu - the tree is considered tree of life, eternity and environment harmony. In Prambanan, relief of Kalpataru tree is described as flanking a lion. The presence of this tree makes experts consider that Javanese society in the ninth century had wisdom to manage its environment.

Just like Garuda, Kalpataru tree is also used for various purposes. In Indonesia, Kalpataru is used as the logo of Indonesian Environment Institution. Some intellectuals in Bali even develop "Tri Hita Karana" concept for environment conservation by seeing Kalpataru relief in this temple. This tree of life is also seen in the gunungan (the puppet used as an opening of traditional puppet show or wayang kulit). This proves that relief panels in Prambanan have been widely known throughout the world.

If you see the relief in detail, you will see many birds on them; they are real birds as we can see on the earth right now. Relief panels of such birds are so natural that biologists can identify their genus. One of them is the relief of the Yellow-Crest Parrot (Cacatua sulphurea) that cites unanswered question. The reason is that the bird only exists in Masakambing Island, an island in the middle of Java Sea. Then, did the bird exist in Yogyakarta? No body has succeeded in revealing the mystery.

You can discover many more things in Prambanan. You can see relief of Wiracarita Ramayana based on oral tradition. If you feel tired of enjoying the relief, you can take a rest in the beautiful garden in the complex. Since 18 September 2006, you can enter zone 1 area of Prambanan temple. The damage caused by the earthquake on 27 May 2006 is being reconstructed. Please come and enjoy Prambanan temple.

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BOROBUDUR TEMPLE

The Borobudur Temple is considered as one of the seven wonders of the world. This temple is located at Borobudur District, South of Magelang, Central Java.

The expression of experts who had been studying Borobudur Temple varied someway. Bernet Kempers' expression was: “Borobudur is Borobudur”, meaning that Borobudur Temple is very unique in her own way. Nieuwenkamp (an artist) imaginated Borobudur as “a big lotus flower bud ready to bloom” which was “floating” on a lake. Nieuwenkamp’s imagination was supported by N. Rangkuti (1987) that from the air, the Borobudur Temple looks floating. From the geological studies, experts were able to prove that Borobudur area was one time a big lake. Most of the villages around Borobudur Temple were at the same altitude, 235 meters above the sea-level. The same altitude included the Pawon and Mendut temples. Thus the area under 235 meter altitude was below the lake water level.

Based on the inscription dated 842 AD, Casparis suggested that Borobudur was one time a place for praying. The inscription stated a phrase such as: “Kawulan i Bhumi Sambhara”. Kawulan means the origin of holiness, “bhumi sambhara” is a name of a place in Borobudur. Paul Mus stated that Borobudur Temple had the structure of stupa (conical form) with double expression. As a whole, the Borobudur Temple was an open-flat stupa, but on the other hand, the temple expressed the idea of a “closed world”. The latter expression could be felt when one is already inside the temple. Whenever person is inside the temple, his or her view will be limited to high walls full on relieves, the verandah is always squared in such a way that one could not see other parts of the temple, even in a same floor. The same feeling happened if one stood on arupadhatu round platform, he or she will have a wider view only on that level, but are not able to see the lower level nor the upper level like the one on rupadhatu and kamandhatu. It could be said that Borobudur is a symbol of cosmic mountain covered by the sky roof, a specific world that could be reached through isolated alleys as stages. The closed structural design of the temple expressed the concept of a closed world, not just a technical reasons as had been suggested by other experts ( Daud AT, 1987)

Borobudur was built by Sanmaratungga in the 8th century, and belongs to Buddha Mahayana. Borobudur was revealed by Sir Thomas Stanford Raffles in 1814. The temple was found in ruined condition and was buried.

The overall height was 42 meters, but was only 34.5 meters after restoration, and had the dimension of 123 x 123 meters (15,129 square meters). There were 10 floors. The first floor up to the sixth floor was square form, the seventh to the tenth floor were round form.

Borobudur is facing to the East with a total of 1460 panels (2 meters wide each). Total size of the temple walls was 2500 square meters, full of relief. The total number of panels with relief was 1212. According to investigations, the total number of Buddha statue was 504 including the intact and damaged statues. The temple undergone restoration from 1905 to 1910, and the last restoration was done in 1973 to 1983.

1. Structural Design of Borobudur Temple

Ever since the first excavation, most experts speculated on the exact shape of the temple. Hoenig, in his book “Das form problem des Borobudur” speculate that the original form of Borobudur Temple had four gates and nine floors. The form of Borobudur Temple is similar to temples found in Cambodia. According to Parmenteir, the huge single stupa on top of the temple made the smaller stupas in the lower part looked drowned. Stutterheim who had been studying stupas in India and other parts of Asia concluded that the stupa structure was an Indian origin. The original purpose of stupa building was as storage of Buddha Gautama and other holy priests cremation ash.

According to Stutterheim, the overall form of Borobudur Temple is a combination of zigurat (middle Asian Pyramid) and Indian stupa. Stutterheim opinion was supported by the existence of this type of form in Ancient Javanese literature.

The relief of Borobudur temple started from the base of the temple up to the fourth platform. The relieves at the base contained the story of Karmawibhangga. Under the main panel and above the Karmawibhangga relief, a wide-sized relief was inscripted at the wall. From this point along the alley, the relief did not show story in the sequence, but as a repeating part of the story with the same motives which expressed the world of spiritual beings such as half demonic body (Gandharwa, giants or Yataka, dragon, Sidha or angels and their ladies friends, Apsara and Nagi, all of them are heavenly beings who are tender and beautiful.

Division of panels are: the first panel expressed a heavenly being in sitting position, on both side of this panel are small panel with a small standing statue. This figures are repeated 26 times for each side of the wall. Between the panels is carved three bodies, a male flanked by two women.
2. Relieves at the Walls of the Alley.

There was a long series of main relieves at the first alley, either at the main wall or at the inner side of Kutamara wall. Relieves at the Kutamara wall depicted Jataka's and Awadana's, a story of Buddha's life which expressed as Bodhisatwa, due to his good deeds in the past. Sometimes, Buddha is expressed in the form of animals such as rabbit, monkeys etc. As it was told in animated stories, the story was adopted from Sanskrit book, Jatakamala. Only one third of the relieves were known, the rest was still unclear.

The lower relieves of the main wall contained the same story. The upper relieves also had the same story as the lower one. The story contained the life of Buddha consisting of 120 frames until he began teaching Buddha religion. The first frame began from the South of stairway of the curved gate at the East, and follow the path of the sun (the temple on the right side). The life story of Buddha was adopted from Lalitawistara book.

At the second alley, Jataka and Awadana story were continued on the inner side of Utamara, and on the main wall, story was began with stories adopted from Gandhawyuha. This story was so long that it occupied the main wall and inner side wall of Utamara at the third and fourth alley. The story showed the adventure of a Sudhana who met Bodhisatwa Maytreya (the future Buddha) to have religious lesson from the Buddha. Later on, the Sudhana met with Bodhisatwa Mandjusri, and finally he met with Dyani Bodhisatwa Samanta Badra, who gave the highest wisdom. Most of those stories expressed the use of spiritual strength and unusual happenings.

There were many beautiful ornaments inscripted at the wall of the fourth alley, because the fifth alley did not contained any ornaments. The fifth alley is a transitional alley to the next platform, the round platform. The next round platforms also did not contained any ornaments at all (Kaylan,1959).

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