)bJects used in the Matrix WorId mandala. They con- ained various types of objects including gold, seml-pre- :IOLIS stones, Of substances. vere placed around the sanctuary tO safeguard it from influences in the same ・ " a メ as var10LIS materials 嶬℃ re 0 be put under the ground in the mandala described in 員イ 4 4 ワ 4 わ・ 0C4 〃れ . ln Nepal, nine-chambered compartments were built ntO stupa bases in the nineteenth century. lntO eight Of hem substances as " 00d , grain, statues, ℃ were placed, While the ninth was used tO secure he base of the stupa s splre ・ The Buddha Statues vlany scholars believe that the 432 buddha statues on the ive balustrades of the lower levels are linked to the 72 ;tatues on the upper round terraces as part Of a single netaphor. The statues on the lower four levels—92 on side—depict buddhas with 〃 corresponding to hose mentioned in many Buddhist texts. The statues on he east side lay their right hands across their knees, palm own, in the sign of the みん″〃朝の〃〃な or "seal of ouching the earth. " This represents Gautama Buddha's )attle against the demon Mara when he called upon the iarth Goddess to testify to his many sacrifices. The stat- .les along the south side are depicted with a ワれ ? ・れ襯〃 dra , he right hands held palm up, symbolizing charity. Those )n the west display meditation, d の′ 4 〃 4 襯〃 d な , with both lands on the lap, palms up, while the statues facing north lold their right hands up, palms facing out, in れわあの , れ 〃な , eliminating fear. On all four sides of the top row lre 64 Other statues ln a fifth hand position, 0 ″ 4 ア・た 4 〃な d な , the right hands held up, thumb and forefinger ouching, signifying preaching ・ The three rows Of stupas on the circular terraces uround the central stupa contain a sixth type 0f buddha in he 襯な市 4 symbolic of the preaching of the first sermon, :alled "turning the wheel of the doctrine. " This symbol- zes that Buddha's sermon set the process Of salvation ln notion. Mahayana Buddhists believe that Buddha first )reached this sermon on the summit Of 、 lt. Sumeru, vhich gives additional evidence to support the theory hat Borobudur represents this sacred mountaln. The depiction of six instead of five types of buddhas las posed a problem for scholars. According t0 ES0ter1C 3uddhism, the Supreme Buddha, Vairocana ("Endless uight"), is accompanied by other perfected buddhas. våost scriptures list only four perfected buddhas, each dentified by the direction they face and their 襯な市 4. The buddhas on the lower niches of Borobudur face in the correct directlons and have the proper mudras Of the four perfected buddhas: Aksobhya (east), Ratnasambhava (south), Amitabha (west) and Amoghapasa (north). Vairocana is Often illustrated in the 襯 dl ・ 4 "turning the wheel of the law," like the buddhas in the perforated stu- pas on the round terraces. The problematic buddha is the one displaying 4 〃市 4 on the fifth level of the monument. Some have speculated that this buddha 引 so represents Vairocana, but scholars disagree whether Vairocana was depicted with such a 襯〃イ 7 ・ 4 at this periOd. ThiS row Of statues does not conform tO any known system and constltutes one Of the main obstacles tO discoverlng which mandala system, if any, Borobudur represents. If this quite straightforward problem could be resolved, it might provide the answers tO Other questlons about the monument, almost as if Maitreya himself were to snap his fingers, suddenly imparting knowledge. Sermon on the Mount of Eagles The great French scholar Paul Mus suspected that the answer to the prob- lem of the buddhas on the round terraces might lie in the Sa イ d あの・襯叩な〃 d のツた 4 or "Lotus Sutra. '10 This text reached China at a very early periOd and was first trans- lated into Chinese in A. D. 255. VaJrapani ("ThunderboIt 7 ・〃た BUDDHA SI : 47 ' U んゞ 53 月房渤れわル zge 0 〃 the な pp 夜・ r な“ du 諸 . Night ゞ 4 〃れな 5 戸たあ us 行〃 acco d わ 0 お ud 渤厖 / を厖〃〃蹴の , beings な 夜 2 〃 g 厖 e 〃〃 le 厩 . はん〃た 5 臾川み 4 みケ〃市な d 0 〃 the 川Ⅲ ld こげ c いみ ) 立の・ / / g ん .

the monument. Ancient pilgrims performed their cere- monial circumambulations here, and a serles Of carvlngs set all along the outer wall of the gallery above (which archaeologists call the balustrade) were placed there so as to be clearly seen from the walkway. These depict celes- tial beings and guardian demons, as well as jewel trees. vases, conch shells, and other motifs—all symbolizing that the area within the lowest balustrade wall iS protect- ed and holy. AtOP the balustrade, each set intO its own niche, arc Buddha statues measuring 106 centimeters in height that gaze lmpassively outward from each Of the monument four sides. There were originally 104 such statues on th€ first level, followed by 104 more on the second level, 88 on the third, 72 on the fourth, and 54 on the top. Many are nOW m1SS1ng. The GaIleries A third flight of steps leads from th€ walkway up to the first level, with its gallery of magnifi- cently-carved stone walls on either side. Although visi- tors can enter the gallery from any Of the four maln stalrways, one on each Side Of the monument, anclent pil- grms coming tO study the reliefs would first have used the eastern stairs, for it is here that the stories tOld in th( relief panels begin. Each of Borobudur's four lower levels contains such illustrating a scene from a Buddhist scripture on heaven and hell known as the 4 房た襯れワル房〃 gg . The base panelled gallery. The four trace concentric square paths was decorated with a graceful curved molding and several around the monument, each smaller than the one belosxv square projections. AII 0f these embellishments, including it, SO that when seen from above they form four concen- the carved panels themselves, had to be sacrificed when tric ト oxe 、 The first gallery is 88 meters long on eac the origmal base Of the monument proved t00 narrow tO side, so that to walk all the way around the first leve) involves a journey Of about 360 meters. The second support it and collapsed. The entire base was then en- gallery measures over 320 meters all around; the third cased within a new and much broader but unadorned 288 meters and the fourth 256 meters. Thus 竄 complet( mantle Of stones. The original base and its decorations cifctiit Of all four galleries covers distance Of about 1. (the so-called 得 de れ foot") were 0 れ ly discovered in kilometers or three-quarters Of mile. 1885 , and portion 0 麕 t has been left exposed at the The first gallery contains four series of reliefs—two or southeastern corner Of the monument. Here the moldings the Otiter or balustrade W 引 1 ( 0 れ e upper and 0 れ e lower, and four of the relief panels may トい ee れ・ and t オ 0 on the inner or れ 1a1 れ TO see them consecu- ln the middle of each of the four sides of the monu- tively the ViSItor must therefore walk around the firsi ment 10 れ g い tr t & t 呼 leads 伝 om the ground 訓 gallery four times ト e 信代 climbing to the next level. Thc the tO the uppermost terrace Of the strtiCtUfe, climb CO れ d , third, れ d fourth galleries each have tWO series Od 0 伝 0 ⅲ e 26 meters. The steps t0 the first level are divided reliefs, SO tO See them in sequence the ViS1tor must t0 three short 価 ts ・ At ground level to the right and 社 0 Ⅱれ d each level twice. TO see 引 1 the reliefs in their cor- 1 言 t the steps are statues of mythical 膸ぉ t & called rect order,. , pilgrims must consequently walk around 加 4 ん 4 な 9 with 石 0 れ 9 ーれ their mouths. At the end 0 ー the れ 10 れⅡれれ t ten tlmes, covermg tOtaI distance Of nearly バ t flight these become more 信れ C 孖 ul monster heads. The sides the 記 co れ d flight of steps 膸 g vo ん t five kilometers (three miles). These galleries give the viS1tor feeling rather likc With triangular CO れ 1 れ 10 れれ 10t 孖 in Javanese art. being 1 れ corridor that iS about t , 0 meters At the top 0 ー these steps lies れ elevated, four-meter- high walls 0 れ either side and only the sky overhead. Th( wide walkway that 加れ 9 訓 the way around the 膸 of 40 ARCHITECTURE AND SYMBOLISM や、 Above: ス〃 4 げ / e 在 , イお oro 房ィハ“〃 . 〃 0 the 〃 0 ん V な 0 0 〃 the 〃戸臾 e な 4 化 c 〃パれ 0 〃〃イ 4 立〃 2 れ CO 〃ーれ / 〃 / 〃 g the 立 4 ″尾 た〃 0 ぉ Kakek Bima, , ん訪な c た市ノら ーみ / 40 れ〃お e ″みみ 0 g ec / 20 , e . OPPOSite: 7 切 e oro 房ィ 7 方 e 襯れ〃一 ぬ / 小雇 e 翔 e mo 襯を厩なィ市 0 / e 〃ーの e 〃 e 〃秀 0 襯ーみな 2 の・ e 朝わを . み 0 加みな石第房ゞイな 0 / たク〃み厖〃 00m - 第れたノ 4 / 0 ~ 〃ら〃ツ the ーみと CO 〃化〃けた〃 g ゞ 20 れ厖 4 滝イア 0

vorld. But as the pilgrim surmounts the first round ter- ace, an expanslve V1ew over the surrounding countryside s suddenly revealed, producing a unlque sensation of •xhilaration that was perhaps meant as a reward for pil- ;rlms WhO had made the tiring clrcumambulation of all he galleries and had absorbed the spirituallessons of the ・ eliefs. This exhilaration may even have been intended to ymbolize the bliss of ultimate enlightenment which Buddhists believe hovers around mountain peaks. Borobudur as a Stupa Borobudur's summlt IS With a stupa sur- ・ ounded by 72 smaller stupas. The stupa form originated n pre-Buddhist lndia as a burial tumulus of earth sur- nounted by a wooden pillar symbolizing the link be- ween heaven, earth, and the underworld. Buddha is said O have asked to be buried under one. After his crematlon lis ashes were buried under eight stupas at different )laces associated with m 円 or events in his life. Another term which refers to a similar structure IS り′ 4. These also existed in pre-Buddhist lndia but were lstlnguished from stupas as S1tes where 10Ca1 spirlts, ncluding trees, were worshipped. Sometimes sacred )bjects were laid beside them and when Buddhists took )ver these S1tes they occasionally used them as reposlto- no prov1Sion for relics. other stupas recently discovered ス房渤 4 万 gzn でツ枋厖〃みわれ厖 dharma- cakra mudra 臾 0 覊 , ? で 21 で se 〃〃 g the 。レ〃わ zg ・ ies for ashes. Buddha is said to have preached at some ln central Java include foundations Of at least tWO very 可ツ厖厖 e / 可ツ厖ゐは〃ー。イ / 2 、襯り . The lndoneslan word commonly used today to large ones at Dawungsar1, and a small one at Ratu BOkO identical み〃 ages gazzng 0 なー窺 , 。 7 ? ・イ 0 〃 the ℃ fer tO remalns Of the pre-lslamic periOd is candi, which on the Siva Plateau Just south of Prambanan. Archaeolo- ー尾 e な 2 臾のマ e 〃・ aces. ike the Thai word cedi, may derive from 朝 g1Sts are unable tO determlne whether any Of these for- stupas can either burial markers contamers merly contained reliCS. )f precious relics. The relics could be parts 0f Buddha's More stupas were built in east Java after the Boro- ) od メ , his bowl or robe, replicas of his footprints, or even budur period. Candi Jawi, a memorial temple built for omething as commonplace as a P1ece Of material With a King Krtanagara, who died in 1292 , has a stupa-shaped ℃ nptural quotatlon wrltten on it. Stupas could be con- summit. A complex stupa still stands at Sumberawan on ,tructed tO commemorate a particular religious event, the slope Of a mountaln near Krtanagara S capital. Candi uch as the preaching of the Buddhist doctrine, or simply Jabung, erected in 1354 , was originally called ノな〃 4 臾 4 な〃 2 / なイな , literally:"ThunderboIt Conqueror O gain religious merlt. stupas in lndonesia Many anclent stupas have been Perfection Temple. " lts summit alSO represents a stupa. ound in Java. candi Kalasan, constructed in the Pram- Several ancient brick stupas survlve in Sumatra.YiJing )anan Plain around A. D. 780 , was once surrounded by 52 mentlons seelng many at SriviJaya, but few traces Of them ltupas (a significant number according tO the precepts Of remain. Signs Of t 嶬 , 0 small sandstone stupas were found lsoteric Buddhism) which contained ashes, probably on a hill called Seguntang near Palembang in the 1930S , but have since disappeared. The oldest stupas remammg rom human crematlons. ln the ninth century, 1 16 stupas vere built around Plaosan. TWO stupas were built at in Sumatra probably date from the eleventh or twelfth )algading, seven kilometers north 0f yogyakarta, at century and include the Maligai stupa and Candi Bungsu lround the same tlme as Borobudur. AII 0f these may at Muara Takus (Riau Province), as well as several from lave enshrined preclous ObJectS as well as human ashes. Padang Lawas (North Sumatra)—such as Si Joreng BeI- Stupas at Mulungan and Cupuwatu (near Yogyakarta) angah, Si Pamutung, and Bahal I. At least 17 small stone lnd TugureJ0 (near Semarang) are of solid stone and have obJects from Padang Lawas about one meter high, usual- 召 0 犬 0 召 UD し駅月、 .4 、 7 ・ U 乃 4 49

、で せのを第 humans (IV.34), and a11 other beings. (IV.35) disciples are elated and applaud the vow which he a lt is very difficult tO correlate the reliefs on the west Samantabhadra have made. ( IV. 72 ) No doubt pilgri and north faces with specific parts of the text. Sudhana whO reached this stage Of instructlon now identifi makes PIOLIS WiShes tO perform such acts as traversmg themselves with Sudhana, and felt that by their perserve the paths of the world free from compulsion, affliction, ence, they too had given all the buddhas cause for jo and delusion, like a lotus unstained by water, like the sun 、 dO not know what came next, but we can lmagl and n100n unattached in the sky," and tO preserve the that the pilgrims ascended to the round terraces at the t true teaching of the buddhas. Of the monument. There, their long Journey at a succes On the east face, the reliefs conclude with the final ful end, their viS1t to Borobudur reached its climax, pe passage from the G り〃房 in which Buddha himself haps with the laying of offerings around the edge of t tells Sudhana that all bodhisattvas, monks, and the great great central stupa. 0 〃 e 4 い 0 / 臾 4 〃 e な″ / 〃立な行〃 g Su イあ 4 れ 4 4 〃イ襯なみ房市 4 ' 5 。。在 , 虹。ゐ good deeds. 5 訪。 / 4 あで〃 0 い既 c “ d にな g 襯 4 〃 ) 0 / 枋 e 24 〃 e な . アあな 0 〃 e 襯 20 な ) , 4 在ツ訪 see the み ud 渤可ツ厖立 , 臾覊厩 , 4 〃イ r 孕覊〃イり the 訪 e 万 g い 翻 the 2 厖グ 0 / 訪 e 〃昆立襯 4 厩 4 ー み厖市 4 な厖あ , 枋に厩 e 厩記り んんで e づ襯襯 ed ア 03 の : ゆ 4 〃 e / IV.5 の 144 THE RELIEFS

The Lalitavistara 可 Ga 4 襯 4 召〃イイ 4 LL APPROACHES TO BOROBUDUR LOOK THE same. 〇 nl メ when scholars began to identify the narratlve reliefs did they discover that the 1 れ aln entrance la メ tO the east, for the stones »egin there and proceed clockwise around the galleries. his suggests that viS1tors were meant tO approach Boro- )L1dur frOI れ this directlon, stopping first at Mendut and )awon as part Of the same pilgrimage route. Those entering the monument climb the eastern stalr- vay to the first gallery and turn left t0 begin their jour- メ , SO that the monument is always tO their right. TO 。 le 嶬 " the relief panels in sequence, VIS1tors walk clockwise . round the monument, performmg a ceremonial circum- mbulation which produces splritual merlt. 、 do not know the preclse place where devotees vould have begun their instruction. Visitors tO the first rallery see four series Of reliefs—two on either side Of the rallery, an upper and a lower one. AS we have seen, three )f these are devoted to the 廻た 4 and 4 〃 4 tales. The nost prominent set Of panels, however—the upper WhiCh S attentlon IS naturally drawn as one enters e first gallery—illustrates a Buddhist story well-known roughout the world: the life of the historical Buddha, akyamuni or Siddharta Gautama ・ The life of Buddha reliefs cover the upper half of the am wall all around the first gallery of the monument, a tal of 120 panels. The reliefs were carved t0 illustrate a xt entitled the ん 4 〃ワⅳ 4 な , "The Unf01ding of the I 叮 . " This title refers to the idea that Buddha's last incar- at10n was a performance mtentionally given tO enlighten ankind before he vanished from exlstence. The reliefs of orobudur are the most elaborate depictlon Of thiS drama on any monument in the " orld. The life story of Buddha series, however, IS not the longest on Borobudur. More panels are devoted t0 the story of Sudhana which fills the second, third and fourth galleries. This is not surprising, since for the Buddhist believer, Sakyamun1 was only the last incarnatlon Of a being Whose preV10LIS eXIStences are traced in hundreds Of panels depicting the 担た 4 tales on the balustrades of the first and second galleries. The Text Several basic verslons of Gautama Buddha's life widespread ancient . ASia, す lt ー ten down until several centuries after Gautama's death. The 召イ d 厖 ca も "The Acts of Buddha," exists in two verslons. The one attributed tO Sangharaksa, WhO lived in lndia around 2 , 000 years ago, has been preseved in a Chinese translation. The Other is said tO have been wrlt- ten in the second century A. D. by Asvaghosha. The 召み d ん 4C4 〃 recounts all the important events in Buddha's life until he attains Nirvana. The verslon of the ん 4 〃ワななな which Borobudur's designers chose tO fO Ⅱ 0 " iS shorter and reaches its con- clusion with the sermon in the Deer Park at Benares. The forty more years he spent wandering and teaching before he concluded his final incarnatlon are disregarded. The reason for this neglect, which may seem surpr1S1ng tO some, is that Mahayana Buddhism believed that the preaching of the First Sermon was the climax of all of Gautama's prev10LIS ex1Stences, including those depicted in the 担た . Once he had accomplished this, the next logical step was tO demonstrate the implications Of this sermon for the pilgrim. This is fulfilled by the Ga 〃ぬー り〃 4 reliefs on the upper galleries. / N7 ・火 ODUCTION 97 Opposite: ス尹げん 5 e 〃〃 g 厖 e 〃襯 e 厩 G44 襯 4 お dd あ 4 な 0 〃を 7 ・召 e 〃 4 尾虹。 p 4 訪ん 5 万 r 立 se 〃〃 0 〃 . 〇〃 the , 4 ) , he ム立 0 臾 2 にイ / 〃 seve れ / ー 0 盟 5 , 05e あ 4 み″ 4 〃な CO 〃 ze ー 0 あ 0 〃 0 あー襯 . 〃ので the レ e イれ ci り , あ 7 〃 g ん襯 。″げ gs. ゆ 4 / 709 ) PreV10LIS pages: 、 44 ー 4 〃 74 7 で ce ー 0e5 あム〃 70 〃たな 川厖 , 。″げりれ god. 乃いⅸ gods 4 d 孕 e イ 4 の , 平“ za / 襯イ ー de 〃 ca 0 〃 . 7 方 e peacoc た 5 , 2 れ 0 〃た e ) 5 4 〃 d el 孕んれな。〃に冐研 are the 4 れ立な 0 , 〃 e / 4 み 0 ? ・ 4 0 〃 5. ( 24 〃 e / 83 )

ment in fact enable viS1tors tO proceed directly tO the summit if they so wish, further suggesting that the pil- grlms movements not restricted. Ten Steps to EnIightenment ln order to follow the complete narratlve sequence Of the reliefs fror れ beginnlng [ 0 end, the pilgrim had tO make ten C1rcuits Of the monu- ment—four tlmes around the first gallery and twice around each of the next three galleries. lt is probably not a coincidence that the number ten equals the number Of stages in the career Of a bodhisattva. The desire to malntain the number ten 1 れ a メ also ex- lain why the outer or balustrade wall of the lowest level decorated with tWO series Of reliefs. The upper serles was apparently added at a later stage, perhaps so as to retain the number ten when the 財 4 あ 4 た襯 4 ワル 4 〃 gga reliefs on the foot of the monument had to be covered up for structural reasons. The ideal of the bodhisattva that constltutes the central message Of these reliefs has been important throughout lavanese history. The earliest Buddhist texts from Java, wrltten JtlSt after Borobudur was built, focus on the search for a way tO become a bodhisattva. Even tOday, lavanese mystical beliefs contlnue tO wrestle with the same questions that Borobudur addresses: hOW tO galn supramundane power and achieve splritual liberation. The 0n1 メ things that changed after the Borobudur periOd were the techniques used tO gain these ends, and the art1st1C and architectural implements that were required. Techniques contained in ーれ〃 4 , or manuals, were already in use in Borobudur's tlme, but consisted mainly of what are called "right-handed" 厩 . These involve keeping the sanctuary on the right side during a ture, boats, farming practices, clothmg, jewelry, dancing, の・ 4d4 た〃 4 C1rcumambuIation and abstaining fror れ acts Of etc. Visitors to Borobudur probably came from all classes anger, killing, etc. , which early Buddhism considered evil. and might have gone there for a variety Of reasons. The [n later centuries, however, the "left-handed" 〃な 4 be- upper terraces provide space for meditation, but in the 0a1 れ e 1 れ ore pervasive. After the constructlon Of Boro- lower galleries people would have moved at a steady pace udur, the use Of narratlve reliefs on religious monuments lnstead Of sitting before particular panels. Large crowds ecame more C01 れ 1 れ on , although the circumambulation could earn merlt simply by walking around the monu- equired tO V1ew them was III a counterclockwise rather ment without entering it at all. han a clockwise direction. Later Javanese texts advocated Teachers, probably monks, would have led devotees itual indulgence in the five "forbidden things" for imtl- along the galleries, explaining the tenets of the faith and tes WhO aspired tO acqtllre powers fror れ the highest illustrating their lectures with the carved panels. The rade Of 〃け 45. JOurney tO the summlt certainly tOOk 1 れ ore than a single Despite their emphasis on matters of a highly meta- day tO complete, with much time devoted tO rituals. hysical nature, the Borobudur reliefs depict many events Visitors , performed at var10LlS nd scenes frOl れ everyday life in a manner WhiCh seems stages along the way up and around the galleries. The ntended tO communlcate with ordinary people rather entire process was simultaneously a physical ascent tO the han religious authorities. ln between religious lmagery, summit Of the mountaln and an intellectual ascent tO the orobudur provides hundreds of examples of architec- ultimate source Of spiritual power. 0 〃 e S な渤 4 〃 4 な Good ん肥〃み ; 4 s “〃 e 0 襯 the Ga れぬりなん 4. ス 4 襯 4 れな訪 0 , 〃襯 royal 4 なら 5e4 d / 〃 4 240 〃あ〃み 4 chest be- 4 枋ん襯 , リ襯み 0 ル g 勗 . 4 〃 e / 〃 .88 ) 第ゞ : 、 3 / N7 訳 OD し ' C7 ・ / ON 63

and Symbolism PART Ⅱ Architecture OROBUDUR STANDS ON A SMALL HILL FIF- teen meters above the fertile Kedu Plain, surveymg a vast sea Of verdant rice fields and coconut groves bounded by loft メ mountams on all sides. 、 A. maJest1C proces- SIOII Of volcanic cones soars tO heights Of more than 3 000 meters to the north and east; t0 the south a jagged array of limestone cliffs march- es across the horizon crowned by 1 OOO-meter spurs. Tropical storms pour t " 0 meters Of rain on the plain each year. This huge volume of water feeds a productive patchwork quilt of irrigated rice fields and gardens that were laid out centuries ago upon the SOft, deep SOil pro- duced by millennia Of volcanic eruptlons. water not absorbed by plants or evaporated by the hot sun runs lnto two winding canyons cut by the E10 and Progo Rivers. The t 0 unlte a short distance tO the southeast Of Borobudur then flow 45 kilometers to the south, where they empty into the churning lndian Ocean. The Kedu Plain is sheltered from the outside world. lt contams no valuable minerals or Other commodities tO attract traders. The 0n1 メ waterway out of the valley leads tO a violent, surf-wracked southern coast, which has no harbors and faces no land except faraway Antarctica. Borobudur was not placed here so that it might be easily visited by outsiders. The landscape is thus qulntessential- 1 メ Javanese—exceedingly fertile and by nature focusing lnward upon itself. Borobudur is a monument like no Other. lt consists Of a serles Of concentr1C terraces Of decreasmg Size that rise like steps tO a central peak. lt has no roof, no vault and no chamber; its masonry was laid without mortar,. ThiS basic simplicity of form IS counterbalanced by extraordinarily rich and complex decoration. Most striking of all, per- haps, are the beautiful bas-reliefs, in all some 1460 carved stone panels coverlng a tOtal area Of about 1900 square meters, with another 600 square meters Of decoratlve carvmg surrounding them. Set around the monument are 504 life-sized buddha statues carved from solid volcanic rock, while a wealth Of Other architectural details seem- ingly fill every available nook and cranny ・ The Pilgrim's Progress Ancient Javanese came to Borobudur as pilgrims—to climb this ho man-made mountaln and attain spiritual merit. Borobudur provided a place where Buddhists could physically and spiritually pass through the ten stages of development that would transform them intO enlightened bodhisattvas. This trans- formatlon was the monument's 1 れユ ln purpose, and both the overall design as well as the stories portrayed on Borobudur's reliefs are all connected with this theme. Pilgrims standing before the monument for the first trme would undoubtedly have felt awed and somewhat daunted by its looming mass, Just as we do today. Boro- budur has a purposeful air, as though it is prepared to do something tO us should we venture 1ntO lts maze Of stair- ways, galleries, terraces, and sculptures. Nothing in our past expenence prepares us for What iS tO C01 れ e When ℃ tour the monument and surrender tO ItS power. The first and lowest part that we see today is an undecorated square base measuring 1 13 meters side, but this は S not hOW the monument was originally meant tO be seen. The designers wanted ViSitors tO see a row of 160 relief panels set all around the base just above the ground, each one measuring 200 x 67 centlmeters and D 、 C 火 / PI ' / ON 〇お 77 / た MONUMENT 39 Overleaf: ス〃を。〃な / 。在 , イ召の・。房ィ 7 ・ 訪。在ツ〃 g ノ 08 e 432 房 4 立 4 いが“翻 襯〃 / 訪 the み 4 立な d ぉ , , ん訪 suggest あ e ? フ〃な S 〃れ〃 g ー〃 cave ゞ 0 〃れ〃 70 な〃ー az 〃 . V なルん 4 み 00e 訪夜〃ので the 立 0 〃 the ー 7 で e 〃 22 の・〃・ aces , each 0 / あん夜尾あ 5 4 〃 あ e 〃臾 e の 7 〃 g d わでけ / ) みな 0 7 で gu / 4 ? ・ 02 夜〃〃 gs zn e pe ツら ? ・ 4 d 立 0 〃 e 5 あ ea こみ 5. Opposite: ス〃 e 〃 g な〃 g 0 / 召 0 川み du ? ・立 ga 〃 e リ , 襯 4 〃 , 2 〃み〃訪記訪い“。〃イ e 市 0 れイ火 4 ガ 7 ぃ ' The History of Java ( 783 の . The d 孕あ〃 e 〃 , 房イ。〃市 4 , ー gs 襯 4 み ) CO 翔 e / 5 78 ノ 4 , do ぉ〃の CO 〃で S20 〃 d 亡 0 4 〃 ) 0 / こ e 4 けな 4 / ca ? ・ 0 gs.

0 ね gn 叩パ Preface The sculptors of Borobudur created a series of incom- parable images, g1V1ng each figure a delicate and meek demeanor which is the essence of Buddhism. Over the centuries, the hOt sun Of the tropics seems tO have added tO the work Of the artlsans, palnting its own royal ) ℃Ⅱ ow ontO the soft volcanic stone. The predominant color is an antlque, serene and faded gold which bestows an even more magical charm—as if someone had gently applied gold powder to the faces and bodies of these immobile figures. The stones whose good fortune lt IS tO face the sunset, especially, have acquired this ultimate wonder. To properly convey their beauty, the photographer has tO develop a particularly intimate relationship with the sculptures. He must wait patiently for the right sunbeam tO illuminate a sweet face, wander anxiously in search of a particular figure, and will often feel a surge of excite- ment upon returning tO a familiar stone. Above all, he expenences the JOY of discovermg not on the splendor of the sculptures' forms, but the breath of their soul—the soul of ancient lndonesia which still shines through thou- sands of charming and smiling eyes. The photographer and the sculpture face tO face—one alive, the Other still and fixed for centuries but equally rich with life. The one has lips that speak, the other lips that seem to whisper distant sounds. The photographer is indeed fortunate. Photographing Borobudur has glven me a keen sense of acquirlng the infinite beauty Of the masterpiece—of capturing it from the walls and carrylng it home. My intention here IS not tO strive for completeness. This book will have served its purpose if a substantial sampling of the most beautiful and significant bas-reliefs are made available to a wider public. My hope is that this may further stimulate and aid the studies Of those whO visit Borobudur, and keep alive the recollections Of those who have toiled up its well-worn steps ・ M の“ / あれ〃 c ん OROBUDUR'S RELIEFS ARE LIKE A GREAT COLLAR OF preclous jewels set all around the walls 0f the monu- ment—even if water, atmospheric conditions and lOOters have damaged some of the panels. The beauty of these reliefs cannot be perceived by superficial and hasty eyes. Unfortunately, some v1S1tors drag themselves wearily around the galleries, exhausted by the prospect of the lengthy corridors, while others, after brief attempts to rest on var10LlS levels, set Off decisively for the summlt tO admire the view from the round terraces, lgnorlng altO- gether the real beauty Of the monument. ln anclent tlmes the pilgrim tO Borobudur clrcumam- bulated the ・ level S10 ー suc- cesslon. Keeping the maln wall Of the monument always to his right, meditating and praying, he traced a slow but splritual progress tO the summit. Proceeding upward in this fashion, he achieved an ever purer state of mind, pro- gressively detaching himself from the misenes 0f the world. The spaces created by Borobudur's architects reln- force this process, for the lower levels are labyrinthine and mysterious, while the higher ones gradually open and fill with life. When at last the pilgrim reaches the end of the mystic path, physically tired but fresh and vibrant in spirit, he has finally gained his objective: he is alone, close to Buddha and to Heaven. The modern-day pilgrim, attracted by the art of the monument, must be prepared tO trace a similar route. Slowly and patiently treading in the footsteps of the faithful, allowing the eye to grow accustomed to the con- dition Of the carved stone panels, he thus discovers one Of the greatest art1st1C creatlons in this world. Even the most simple work Of art needs the proper setting, the proper moment and the proper state Of mind ln order tO be appreciated. ThiS combination is supreme- well-achieved at Borobudur, which stands imposingly alone in the isolated Kedu Valley. Gazing at the delicate figures and harmomous comPOS1t10ns, progresslng through the silent and narrow corridors between the stones and the sky, the modern pilgrim is filled with a sense of divinity and the belief that he, too, is approach- ing Buddha's paradise. 12 B ( ) R ( ) B U D U R

jewels. The preaching buddhas on the topmost balustrade would represent Sakyamuni himself. ln the final relief of the series depicting Sakyamuni's life on the first gallery (la. 120 ) , he is shown preaching the first sermon ln 盟なた た 4 襯市 4 , 'preaching" like the buddhas on the upper balustrade rather than in the conventional d 4 〃〃 4C4 た 1 ・ 4 襯〃市 4 , preaching the first sermon" like the buddhas in the pierced stupas. The んの S な may indeed form the basis for the design Of the round terraces. The central stupa would represent both Sakyamuni and also the ancient Buddha who, although he is already in Nirvana, can reappear ln bodily form. If this is the case, then Borobudur is also a place Where devotees can meet ancestors 嶬 , hO are still able tO affect events in the world, a concept qtllte ln tune with the role Of terraced sanctuarles ln prehistor1C lndonesian thought. The upper round terraces have no balustrades, unlike those below and may be a quite literal rendition of the open space" created by Buddha for the myriads of deities ー hO are emanatlons Of himself. The round terraces 1 れ a メ therefore represent the earth temporarily trans- formed into a paradise where the buddhas have assem- bled. The statues on the round terraces face outward rather than toward the central stupa, suggesting that they are preaching the scripture tO us, JLISt as they vowed tO dO in the 乙 0 亡 S け 4. ln addition to symbolizing Mt. Sumeru, Borobudur may also represent Grdhrakuta, the "Mount of Eagles " where Sakyamuni preached the scripture. The appearance of Samantabhadra in the final chapter links the upper ter- The lnvisible Buddha How might the architecture of races to the final reliefs just below. This suggestion of Borobudur have symbolized the 力 S な ? Mus never continuity between the t " 0 malll parts Of the monument completed his study and gave no reasons tO support his further strengthens the theory that Borobudur illustrates theory that the round terraces were designed tO depict the カ 0 ー s S な 4. the カ 0 ー 5 S 〃な 4. lt is still difficult to explain a number of aspects of the Another scholar has proposed a detailed theory based round terraces. The symbolism of the buddha statues in on Mus' idea. 4 According tO his interpretatlon, the round perforated stupas may illustrate the instructlon that a terraces Of Borobudur portray the sectlon Of the scnpture stupa which will 0n1 メ become visible to beings already which describes the appearance Of the stupa contammg "awakened" be built wherever the scripture IS preached. the body of the ancient Buddha. The central stupa is no other than the one which came "welling up out 0f the This still does not answer the question as tO why there are exactly 72 buddhas on the terraces S1nce this number earth" with the ancient Buddha inside. The 72 statues on has no known symbolic value. Why are they in the the three round terraces would represent the multitudes 襯な dl ・ 4 showing the first sermon rather than the general of buddhas and bodhisattvas who appeared preaching, 襯なイ 1 ・ 4 denotlng preaching? Why are the terraces not per- and the pierced stupas convey the idea that only those fectly circular but shaped more like squares with rounded whO have already become bodhisattvas themselves can corners ? Why are the perforations and あの初 of dif- see the buddhas. The stupas on the upper terrace repre- ferent shapes ~ The ん 0 ー〃ゞ S 〃な 4 does not seem tO contaln sent the earth and those on the lower t " 0 terraces corre- spond t0 other buddhas who were covered with nets 0f answers tO these problems. スお〃月 ) ス財 UD 犬ス 召〃 U 財ハ P. 月火 S ス MUDRA V 員火ス盟 UD ス Photos at center: ア e “わルなル / e ”房ィ dd あ が“翻わ 72 〃ー訪叩立ゆぉ。〃 the 〃 70 〃 4 〃〃震 5 ーあアで e 4 戸 pe ? ・こ el ア aces e 0 〃 e 0 〃 the / 研あ厖 e 〃ん 2 。覊め . 乃 e 覊 ca 〃〃。た 襯 4 / り。〃りみい“〃りの 7 〃 g 川 ug あ叩のト gs わ 7 こあ e 4245 ' pe ツら 4 イ立 0 〃 e 5 あ ea ーあ立 ア〃石召 UDD 〃 .4 S7 : 4 ア U 石 S 55

arger design, and in order tO understand Borobudur we need tO solve the riddle Of the monument's structure. Deciphering the Code lt would be incorrect to call Borobudur a temple. Javanese lnscriptions refer : 0 religious edifices as 臾れ 54 イ 4 , Of WhiCh there were sev- 2ral categories. We do not know precisely how they dif- ered, but ceremonles and symbolism varied significently lmong them. 、 lOSt ancient Javanese temples contained a 「 00m where special objects of worship were kept, but the tooms were t00 small tO allOW more than a few individu- 11S inside at one t11 れ e. perhaps 0n1 メ priests entered the :emples. For the laiety Of ancient lndonesia the religious structure itself was the icon, which they honored by walking around without entering. Borobudur is the only survivlng monument of its type n Java. Other Buddhist structures have rooms and were esigned tO house lcons. Borobudur's design IS SO differ- fror れ these that it seems logical to conclude that its urpose alSO differed. lt was not intended as a place tO 物 ow devotion to the buddhas, but rather as a place to chieve the practical end of becoming a bodhisattva. Borobudur expresses a complex message ln a COde that as yet to be cracked, partly because the range of individ- 」 al elements making up the code is so vast. why are there SP1re IS meant tO suggest an earth mound, bubble, or → ix square terraces and four round ones ? Why dO the iches on the bottom balustrade have ajewel motif, while upturned bowl ー - a11 common analogies for the shape of a hose on the upper four balustrades have stupa motif? stupa. If this were true, then the reliefs would simply be hy are the 72 perforated stupas at the top divided into decorations for the stupa's base, which is hardly the case. wo types: one with diamond-shaped holes and square Another well-known theory proposes that Borobudur has a trlpartlte structure representing the three Buddhist 4 〃れ 45 on the t , 0 lower terraces, another with square Oles and octagonal ん 4 / た 45 on the upper terrace? realms Of existence: Desire, Form and Formlessness. But bviously all of these design elements mean something, this, t00 , is probably incorrect. 2 Another speculates that it was designed as a giant mandala or sacred enclosure for ut what c 田 1 it be? These vat"1at1011S were not merely decorative. Like the use ln lnltlatlon rltes. Yet another asserts that the monu- eliefs on the galleries, the upper terraces, statues and stu- ment was above all a symbol of the ro メ al might of the Sailendra rulers. Finally, for some, Borobudur represents as all tell 竄 tale, but in 竄 more abstract way SO that it IS the abode of the gods, sacred Mt. Sumeru S1tuated at the early impossible to know which passage in the huge V01 ー center Of the COSI れ OS. me of Buddhist metaphysical literature they represent. ・ hat is clear is that Borobudur's architectural form ndoubtedly Borobudur's master plan also incorporates had multiple assoclatlons for the ancient Javanese—and number Of concepts which are purely Javanese and not that it would be impossible to disentangle them com- uddhist at a11 , and SO are unrecorded in any Of the texts pletely. Borobudur's design cannot be reduced to a single hat we have. element; rather it combines three prmcipal motifs: 1 れ oun ー Scholars have devoted a great deal of energy to the tain, stup a and mandala. Althou gh each had umque con- earch for a single concept which would explain every notatlons, their symbolism overlapped. Borobudur's spect 0f Borobudur's design. According to one theory, designers succeeded brilliantly in linking the three to cre- he round upper terraces were meant tO forr れ the base for ate an lntegrated, coherent monument. enormous stone stupa WhiCh contained a preC10LlS relic The meaning of Borobudur should ideally be ex- 3f Gautama Buddha. Some have said that a stupa is pressed in the words Of the ancient Javanese themselves. lndeed all that Borobudur is; that its profile, from foot to MONUMEN7 ・ WITH ス M た、、ス G 石 45 The が 4 4 な。〃ん訪 the 川〃〃イ r な c 立 4 〃イ . The 〃 0 〃ゞ , 夜で〃 0 ー 0 〃 g み 24 〃 ) 夜で , わな t 立“イ g 記 the ん / な e 立尾 , 4 厖あ the 襯 0 〃〃 ze 〃れ