The Complex Interpretation of Candi Plaosan

Dr Uday Dokras

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 I N T R O D U C T I O N

Borobudur, the largest Buddhist structure in the world built by

the Sailendra dynasty under Samaratungga

Humans always have many interesting stories to tell, but buildings have much more than that.
They have countless stories of generations of humans along with their own. Those stories
teach us about the history of the world, the nature of humans, and the cycle of life. Famous
buildings are this way for a reason; some Famous Buildings Are So Unusual They Raised
Controversy, while some others have an interesting narrative. In this article, we relay some of
these stories to you, with all the humor, the irony, and the regret, behind the world-famous
buildings. Mataram is the land of beautiful temples that are not just places of worship for
both Buddhists and Hindus but were also centres of art, culture and charity. They have not
just supported and nurtured the religious beliefs of people since hundreds of years, but have
also been economic centres sustaining communities around. Sometimes there is an interesting
story as to why a certain type of structure was built to become such an interesting places you
would want to explore.

Shailendra - Sanjaya Union to form a Mandala

Pramodhawardhani, queen of Rakai Pikatan who was a king of the Sanjaya dynasty ruling
the Mataram Kingdom in Central Java and who built the Prambanan temple, dedicated to
Shiva, which was completed in 856 AD. She was the daughter of King Samaratungga, the
head of the Sailendra dynasty which ruled the Mataram Kingdom and Srivijaya in the 8th and
9th centuries. He was the successor of King Indra, and his name was mentioned in the
Karangtengah inscription dated 824 CE as the constructor of a sacred Buddhist building
called Venuvana (Sanskrit: bamboo forest) to place the cremated ashes of his predecessor
King Indra of Sailendra. During his administration, he initiated the construction of a
massive Buddhist monument Borobudur. Samaratungga married Dewi Tara, the princess
of Srivijayan ruler Dharmasetu, which created a close political alliance between the
Sailendras and Srivijaya.Samaratungga had one son by the name of Balaputra and one
daughter Pramodhawardhani. After Samaratungga died, Pramodhawardhani married
the Shivaite Rakai Pikatan from the Sanjaya dynasty. Rakai Pikatan managed to usurp
Balaputra's authority over Central Java and forced the Shailendras to flee Java
for Srivijaya.Under the reign of Samaratungga too, Jayavarman II was appointed as the
governor of Indrapura in the Mekong Delta. Jayavarman later revoked his allegiance to the
Shailedras and Srivijaya to form the Khmer Empire.

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 Sojiwan Buddhist temple, dedicated
for the queen mother Sanjiwana, which identified as Pramodhawardhani.
Pramodhawardhani was also known as Çrī Kahulunnan or Çrī Sanjiwana and after her
marriage to the King, she became the queen consort of King Rakai Pikatan who reigned
betwen. 838-850, of Mataram Kingdom in 9th century Central Java. This royal marriage to
Pikatan, the prince of the Sanjaya dynasty, was believed as the political reconciliation
between Buddhist Shailendra and with Hindu Sanjaya dynasties. Pramod means joy or
happiness in Sanskrit and is one of the names of the Hindu god Ganesh. The meaning of
Vardhini is : Goddess Parvati, Derived from Vardhan, Vardhan - increasing, Thriving,
Bestowing prosperity, Name of Shiva, Name of Vishnu. Pramodhawardhani would mean
goddess who brings upon prosperity.

She was credited for the inauguration of Borobudur and the construction of several Buddhist
temples in Prambanan Plain; among others the small pervara temples
in Sewu compound, Plaosan, and Sajiwan Buddhist temples. Her name was mentioned in
several inscriptions, such as the Karangtengah inscription, Tri Tepusan inscription,
and Rukam inscription. Tri Tepusan inscription dated 842 mentioned about the sima (tax-
free) lands awarded by Çrī Kahulunnan to ensure the funding and maintenance of
a Kamūlān called Bhūmisambhāra (Borobudur),[2] while the Rukam inscription dated 829
Saka (907 CE) mentioned about the inauguration of Rukam village restoration by Nini Haji
Rakryan Sanjiwana, previously the village was being devastated by a volcanic eruption, and
the obligation of Rukam village inhabitants to take care of a sacred building located in
Limwung. This sacred building was identified as the Sajiwan temple.According to the
interpretation of Loro Jonggrang legend, Pramodhawardhani's likeness was the model
for Durga's image in the Prambanan temple.

The 3 Inscriptions of Pramodhawardhani

1.Karangtengah inscription (also known as Kayumwungan inscription) is the inscription

written on five pieces of stones dated 746 Saka or 824 CE, discovered in Karangtengah
hamlet, Temanggung Regency, Central Java, Indonesia. The inscription was written in
ancient Javanese script in two languages; Old Javanese and Sanskrit. Lines 1-24 were written
in Sanskrit, and the rest of the lines were written in old Javanese. The inscription is linked
with the temples Borobudur and Mendut. The parts written in Sanskrit mentioned a king
named Samaratungga.

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This inscription is dedicated to the father daughter duo. The king’s
daughter Pramodhawardhani inaugurated a Jinalaya - a house for JINA which is also a
common epithet of the -a sacred Jina sanctuary. The inscription also mentioned a sacred
Buddhist building called Venuvana (Sankirt: bamboo forest) to place the cremated ashes of
the 'king of the cloud', the name for the god Indra, probably referred to as King Indra of the
Sailendra dynasty. Jinalaya was identified as Borobudur. Venuvana was identified
as Mendut temple by Dutch archaeologist JG de Casparis, while Soekmono identified it
with Ngawen temple instead.

The parts written in old Javanese mentioned an event, that on the 10th day of Kresnapaksa in
the month of Jyestha year 746 Saka (824 CE), Rakai Patapan pu Palar inaugurated that rice
fields in Kayumwungan to be the tax-free land protected by royal edict. Rakai Patapan pu
Palar is identified as Rakai Garung, the king of Mataram Kingdom. Indonesian historian
Slamet Muljana suggests Rakai Garung was another name of Samaratungga.

2. The Tri Tepusan inscription is an inscription discovered in Kedu Plain, Temanggung

Regency, Central Java, Indonesia, dated from 842 CE is linked with the Borobudur Buddhist
monument and Pramodhawardhani where it records the gift of lands by her for the
maintenance of Borobudur.

3. Rukam inscription dated 829 Saka (907 CE) mentioned about the inauguration of Rukam
village restoration by Pramodhawardhani and the Directive issued by her to the villagers to
care for a Buddhist temple of Sajiwani.

From the inscriptions as well as the resulting holy structures it is clear to some extent that she
launched the construction of these and sought to get the benefit of divine blessings by
erection of these structures housing the Buddha. Going a step further she commissioned the
construction of Viharas for both male and female Monks and the fact that she was aware of
the plight of these but more so of the female monks shows her appreciation of deep Buddhist
social conditions of that time. This author feels that the fact that her husband was not only a
King but a generous and tolerant one shows that she was atoning for this inter- faith wedding
that she embarked into, most probably at the behest of the father king Samartunga.

Pramodhawardhani was a Buddhist who married a Hindu King to bring about a settlement in
the two opposing Hindu Buddhist Dynnasties. This was a common feature of the Political
Mandala politics of Mataram kingdom as well as the South East Asian region in the 8 th,9 th
and 10 th Century.

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 Notable mandalas in classical
Southeast Asian history (c. 5th to 15th century). From north to
south; Bagan, Ayutthaya, Champa, Angkor, Srivijaya and Majapahit.
Maṇḍala is a Sanskrit word meaning 'circle'. The mandala is a model for describing the
patterns of diffuse political power distributed among Mueang or Kedatuan (principalities)
in medieval Southeast Asian history, when local power was more important than the central
leadership. The concept of the mandala balances modern tendencies to look for unified
political power, e.g. the power of large kingdoms and nation states of later history – an
inadvertent byproduct of 15th century advances in map-making technologies. The map of
earlier Southeast Asia which evolved from the prehistoric networks of small settlements and
reveals itself in historical records was a patchwork of often overlapping mandalas.[3]

It is employed to denote traditional Southeast Asian political formations, such

as federation of kingdoms or vassalized polity under a center of domination. It was adopted
by 20th century European historians from ancient Indian political discourse as a means of
avoiding the term "state" in the conventional sense. Not only did Southeast
Asian polities except Vietnam not conform to Chinese and European views of a territorially
defined state with fixed borders and a bureaucratic apparatus, but they diverged considerably
in the opposite direction: the polity was defined by its centre rather than its boundaries, and it
could be composed of numerous other tributary polities without undergoing administrative
integration.[4]

In some ways similar to the feudal system of Europe, states were linked in suzerain–
tributary relationships.

The term Mandala draws a comparison with the mandala of

the Hindu and Buddhist worldview; the comparison emphasises the radiation of power from
each power center, as well as the non-physical basis of the system. Historically, the main
suzerain or overlord states were the Khmer Empire of Cambodia; Srivijaya of South Sumatra;

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the successive kingdoms of Mataram, Kediri, Singhasari and Majapahit of Java;
the Ayutthaya Kingdom of Thailand; Champa and early Đại Việt. China occupies a special
place in that the others often in turn paid tribute to China, although in practice the obligations
imposed on the lesser kingdoms were minimal.

1. Due to this marriage, whether she liked it or not, several things happened. Her
husband was generous and adhered to the terms of the Mandala creation by which he
did not seek a conversion of his queen from Buddhism to Hinduism, on the contrary
gave her a free hand to practice her religion.

2. Pramodhawardhani could have, to atonefor her self reflected “misdeeds” of the

marriage to a Hindu began the Buddhist actions for getting the most powerful merit
one can accumulate, and accumulate very easily, in relation to holy objects of the
Buddha- by making statues and stupas and making offerings to them. Thus
accumulating inconceivable merit, which immediately becomes the cause of
enlightenment. Going a step further she built Viharas for the Buddhist Bhikkus and
Bhikkunis to stay (a Hostel ) together with the Buddhist temples.

Buddhist monasticism is one of the earliest surviving forms of organized monasticism and
one of the fundamental institutions of Buddhism. Monks and nuns, called bhikkhu (Pali,
Skt. bhikshu) and bhikkhuni (Skt. bhikshuni), are responsible for the preservation and
dissemination of the Buddha's teaching and the guidance of Buddhist lay people. Three
surviving traditions of monastic discipline (Vinaya), govern modern monastic life in different
regional traditions:

1. Theravada (Sri Lanka and Southeast Asia),

2. Dharmaguptaka (East Asia), and
3. Mulasarvastivada (Tibet and the Himalayan region). ]

A bhikkhu (Pali: भिक्खु, Sanskrit: भिक्षु, bhikṣu) is an ordained male in Buddhist

monasticism. Male and female monastics ("nun", bhikkhunī, Sanskrit bhikṣuṇī) are members
of the Sangha (Buddhist community). The lives of all Buddhist monastics are governed by a
set of rules called the prātimokṣa or pātimokkha.[1] Their lifestyles are shaped to support their
spiritual practice: to live a simple and meditative life and attain nirvana. A person under the
age of 20 cannot be ordained as a bhikkhu or bhikkhuni but can be ordained as a śrāmaṇera or
śrāmaṇērī.

Bhikkhu literally means "beggar" or "one who lives by alms".[4] The historical Buddha, Prince
Siddhartha, having abandoned a life of pleasure and status, lived as an alms mendicant as part
of his śramaṇa lifestyle. Those of his more serious students who renounced their lives as
householders and came to study full-time under his supervision also adopted this lifestyle.
These full-time student members of the sangha became the community of ordained monastics
who wandered from town to city throughout the year, living off alms and stopping in one
place only for the Vassa, the rainy months of the monsoon season.

In the Dhammapada commentary of Buddhaghoṣa, a bhikkhu is defined as "the person who

sees danger (in samsara or cycle of rebirth)" (Pāli: Bhayaṃ ikkhatīti: bhikkhu). Therefore, he
seeks ordination to obtain release from the cycle of rebirth. The Dhammapada states:

[266-267] He is not a monk just because he lives on others' alms. Not by adopting outward
form does one become a true monk. Whoever here (in the Dispensation) lives a holy life,

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transcending both merit and demerit, and walks with understanding in this world — he is
truly called a monk.
Buddha accepted female bhikkhunis after his step-mother Mahapajapati Gotami organized a
women's march to Vesāli. and Buddha requested her to accept the Eight Garudhammas. So,
Gotami agreed to accept the Eight Garudhammas and was accorded the status of the first
bhikkhuni. Subsequent women had to undergo full ordination to become nuns. It is quite
possible that Pramodiniwardini
Monks and nuns were expected to live with a minimum of possessions, which were to be
voluntarily provided by the lay community. Lay followers also provided the daily food that
monks required, and provided shelter for monks when they were needed. According to the
sutras, during the Buddha's time, retreats and gardens were donated by wealthy citizens for
monks and nuns to stay in during the rainy season (although there is as yet no archaeological
evidence to support this claim - evidence only exists for such monastic enclosures at a much
later date). Out of this tradition grew two kinds of living arrangements for monastics, as
detailed in the Mahavagga section of the Vinaya and Varsavastu texts:

A. avāsā: a temporary house for monastics called a vihara. Generally more than
one monk stayed in each house with each monk in his own cell, called
a parivena.

B. ārāma: a more permanent and more comfortable arrangement than the avasa.
This property was generally donated and maintained by a wealthy citizen. This
was more lavish (as suggested by the name – Araama means
both pleasant and park). It generally consisted of residences within orchards
or parks.

At the peak of its power, Japan's Enryaku-ji was a huge complex of as many as 3,000 sub-temples and a
powerful army of warrior monks
One of the more famous Arama is Anathapindika's, known as Anathapindikassa arame, built
on Prince Jeta's grove. It had buildings worth 1.8 million gold pieces built in a beautiful
grove, with the total gift worth 5.4 million gold pieces. After the parinirvana of the Buddha,
the Buddhist monastic order developed into a primarily cenobitic movement. The practice of
living communally during the rainy vassa season, prescribed by the Buddha, gradually grew
to encompass a settled monastic life centered on life in a community of practitioners. [6] Most
of the modern disciplinary rules followed by monks and nuns —the Pratimokṣa— relate to
such an existing, prescribing in great detail proper methods for living and relating in a
community of monks or nuns.

Monasteries grew considerably after the Buddha's death. Textual and archaeological evidence
point to the existence of numerous monasteries in the area around Rajagriha, and the eventual

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development of large monastic universities in northern India that housed thousands of
resident monks.During the medieval era, the Theravada lineage of bhikkhunis died out. They
were eventually replaced by traditions of women ordained as novices, such as the mae ji of
Thailand and Dasa sil matavas of Sri Lanka. The medieval era also saw the decline and
collapse of organized Buddhist monasticism inside India. Vihara, early type of Buddhist
monastery consisting of an open court surrounded by open cells accessible through an
entrance porch. The viharas in India were originally constructed to shelter the monks during
the rainy season, when it became difficult for them to lead the wanderer's life .

Assemblies of Bhikkhu & Bhikkhuni

According to the sutras, although his followers initially consisted only of men, the Buddha
recognized women as followers after his stepmother, Mahaprajapati, asked for and received
permission to live as an ordained practitioner. The Buddha's disciple Ananda strongly insisted
on including female order. Female monastic communities in the bhikkhuni lineage were
never established in the Vajrayana communities of Tibet and Nepal; Theravada communities
formerly existed, but died out between the 11th and 14th century. Ordination in the bhikkhuni
lineage continues to exist among East Asian communities, and attempts have been made at a
revival in Southeast Asia and Sri Lanka.

Support for bhikkhunis varies substantially between traditions, with mae ji and other
Theravada female monastics not receiving the same institutional recognition and support as
their fully-ordained male counterparts. Women in Theravada countries have also faced
official and popular resistance to the re-establishment of fully ordained bhikkhuni lineages.
Success depends on how much merit you have accumulated. This applies to success in life in
general, and to success in the practices that you do in order to achieve the ultimate happiness
of liberation and enlightenment. The whole of your success depends on your merit. In our
everyday life, it is wise to attempt to create the cause of success as much as we can.
In the Guhyasamaja text (one of the higher tantras) it says: “A stupa is a palace where all the
buddhas are abiding. Those beings who don’t have the karma actually to see buddha need the
holy objects of body, speech and mind – statues, scriptures, stupas – as a field for
accumulating merit.”

The benefits you receive from building a stupa equal the number of atoms of the stupa and
these benefits exist as long as the stupa exists. Sentient beings accumulate extensive merit by
making offerings to holy objects, and from this merit happiness comes.

Pramodhawardhani ‘s accumulated Merit

As soon as a thangka or statue of the Buddha or stupa is completed, in that very second it
becomes an object with which beings can create the cause of happiness. Having one more
holy object gives sentient beings one more opportunity to create merit. Building a Vihara for
the Monks is even more valued. The continued existence and flourishing of the teachings of
the Buddha depend upon the continued existence of the holy objects of Buddha.

The teachings exist in the mind, so how can their existence depend on the existence of these
external holy objects? You have to think about this – you have to understand this. It is not
easy to have the scriptural understanding and realizations of the teachings in our mind. In
order to actualize the teachings of Buddha within your mind through the practices of
listening, reflecting and meditating, you need to have a lot of merit. The most powerful merit

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one can accumulate, and accumulate very easily, is in relation to holy objects of the Buddha.
By making statues and stupas and making offerings to them one accumulates inconceivable
merit, which immediately becomes the cause of enlightenment.

The purpose of making holy objects is not only so that the person who makes them can
complete their collection of merit; it also gives many other sentient beings, who do not have
the karma actually to meet Buddha and make offerings to him, the opportunity to make
offerings to the holy body, holy speech, holy mind. In this way sentient beings make
connection with Buddha and accumulate the merit of having actually made offerings to
Buddha. This connection with Buddha is very important.

The construction of North and South complex hypothesizes ubhato sangha or dual sanghas. Male
figures are seen on the outside wall of the South temple while there are female figures on the
outside wall of North temple.

Ajanta Caves that served as Hostels for Monks

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Kanha Cave vihara in the Nasik Caves, 1st century BCE, is one of the earliest. Bottom Pic---5th century
Cave 4 at the Ajanta Caves with a Buddha statue in the centre shrine cell.

The permanent shelters of Jain and Buddhist monks were called Viharas in Sanskrit. They
were built out of either rock or wood. Large sites in India such as the Ajanta Caves, Kanheri
Caves, Karli Caves, and Aurangabad Caves contain several Viharas. Chaityas were assembly
halls for the place of worship in Buddhism. Caves and Stupas. Buddhism and Jainism
introduced the art of rock-cut caves. The caves were cut out of solid rocks and were in two
parts, one called the hall of worship or Chaitya and the other the monastry or vihara. The
Buddhist and Jain monks lived in these caves and meditated. About 1200 Buddhist and Jain
cave structures are found in India. The most famous ones are those found at Ajanta, Ellora,
Nasik, Karle and Aurangabad.

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The stupa, which traces its origin to the pre-Buddhist burial mounds, was a hemispherical
dome or mound built over a sacred relic, either of Buddha himself or a sanctified monk or a
sacred text. The relic was generally kept in a casket in a smaller chamber in the center of the
base of the stupa. At the four points of the compass there was a break in the railing with a
gateway which gave the sculpture scope to show his skill.

Some of the most magnificent Buddhist sculptures decorate the gateways and stone railings
that surround stupas. These mounds were built to enshrine the relics of the Buddha or a
Buddhist teacher. Relief carvings illustrate the life and teachings of the Buddha. Of the stupa
railings which survived the earliest is the one at Bharhut (now dismantled and lodged at the
museum at Calcutta) which dates to the 2nd century B.C. This better known stupa at Sanchi
was enlarged during this period. The stupa itself did not offer much scope for an architect.
The gateways were based on wooden prototypes used in villages and towns, and the
adherence to the themes of wooden architecture was carried through into cave temples as
well. Caves were dug in hill sides and were used as shrines or temples by monks. Where the
excavation of a cave was accompanied by a generous donations from a patron, ambitious
attempts were made to simulate in a series of caves the entire complex of stupa- worshiping
hall (Chaitya)- monastery (vihara) as it had been established in structural, free standing
buildings. Thus the more elaborate caves, such as those in the western Deccan, especially at
Karle, consists of a fairly complicated structure all cut into a rock. The cave is entered
through a rectangular entrance, which leads into a hall of worship, again rectangular with an
apse at one end which contains a stupa in a miniature.

Even the famous Stupa of Borobudur 50 Kilometers away from Ploasan, could have served in
part as a Vihara according to this author in -
https://www.academia.edu/96479345/Borobudur_as_a_Vihara?uc-sb-sw=11598012.

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Viharas where both sexes of Monks could live separately were called Ubhanto Sangha which
stands for duel groups and refers to the fact that Buddhism at some point allowed women to enter
the religion. Two stes of followers were formed the males or Bhikkus and the females of
Bhikkhunis. The style and workmanship of figures very closely resembles the work at Ajanta
caves in India. Bhikkhuni (nuns)sangha was established around that region in the 3rd century and
this probably is the reason for the twin temples here at Plaosan.

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Mahapajapati, first Buddhist nun and Buddha's stepmother ordains/// Pramodhawardhani as Durga ?
Mahāpajāpatī Gotamī (Mahāprajāpatī Gautamī) or Pajapati was the foster-mother, step-
mother and maternal aunt (mother's sister) of the Buddha. In Buddhist tradition, she was the
first woman to seek ordination for women, which she did from Gautama Buddha directly, and
she became the first bhikkhuni (Buddhist nun). Gotamī's story was widely distributed, with
multiple versions existing. It is recorded in the various surviving Vinaya traditions, including
the Pali Canon and Sarvastivada and Mulasarvastivada versions.

Theravada Buddhism
In the Pali Canon, her request for ordination is detailed in the Anguttara Nikaya. The stories
of her past lives are included in the Therīgāthā, Theri-apadāna and Jataka

Mahayana Buddhism
In the Lotus Sutra, the Buddha bestows a prophecy upon Mahāprajāpatī that in the distant
future, she will become a buddha named "Sarvasattvapriyadarśana."

Past lives
According to the Theri-apadāna, Gotamī started on the path of the Dhamma during the time
of Padumuttara Buddha, when she was born to a wealthy family in Hamsavati. She witnessed
Padumuttara Buddha place his aunt, a bhikkhuni, in a senior position, and aspired to achieve
the same position after providing offerings to the Buddha and his followers for seven days.
Padumuttara Buddha said she would achieve her aspiration under Gautama Buddha. She was
later reborn in the Tavatimsa heaven as a god.

Gotamī then returned to the human realm as the leader of 500 female slaves. In that life, they
encountered a group of 500 paccekabuddhas, for whom they built huts and provided food
offerings for the duration of the rain retreat. Following the rain retreat, Gotamī had her
followers prepare robes for the paccekabuddhas. They continued to perform meritorious acts

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throughout their lives and were reborn as Tavatimsa gods. Gotamī's followers would follow
her and attain liberation as bhikkhunis in the time of Gautama Buddha.

Tradition says that the two sisters- Maya and Mahāpajāpatī Gotamī were Koliyan princesses
and sisters of Suppabuddha. Mahāpajāpatī was both the Buddha's maternal aunt and adoptive
mother raising him after her sister Maya, the Buddha's birth mother, died. She raised
Siddhartha as if he were her own child. An eminent Therī, Mahāpajāpatī was born
at Devdaha as the younger sister of Māyā.[7] Mahāpajāpatī was so called because, at her
birth, augurs prophesied that she would have a large following. [8] Both sisters married King
Suddhodhana, leader of the Śākya. When Māyā died seven days after the birth of the
Bodhisatta (the "Buddha-to-be"), Pajāpati looked after the Bodhisatta and nursed him. She
raised the Buddha and had her own children, Siddhartha's half-sister Sundari Nanda and half-
brother Nanda.

Ordination of the first woman

When King Suddhodhana died, Mahāpajāpatī Gotamī decided to attain ordination. [6] Gotamī
went to the Buddha and asked to be ordained into the Sangha. The Buddha refused and went
on to Vesāli. Undaunted, Gotamī cut off her hair and donned yellow robes and with many
Sakyan ladies followed the Buddha to Vesāli on foot. Upon arrival, she repeated her request
to be ordained. Ananda, one of the principal disciples and an attendant of the Buddha, met
her and offered to intercede with the Buddha on her behalf.

Respectfully he questioned the Buddha, "Lord, are women capable of realising the various
stages of sainthood as nuns?"

"They are, Ananda," said the Buddha.

"If that is so, Lord, then it would be good if women could be ordained as nuns," said Ananda,
encouraged by the Buddha's reply.

"If, Ananda, Maha Pajapati Gotami would accept the Eight Conditions it would be regarded
that she has been ordained already as a nun."
Gotamī agreed to accept the Eight Garudhammas and was accorded the status of the first
bhikkhuni.Subsequent women had to undergo full ordination to become nuns.Gotamī died at
the age of 120.

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Be as it may building a home for the monks was supposed to fetch great good will and Karma
of divinity. And the Plaosan is just this- a temple with 2 separate Viharas one for the Bikkus
and other for the Bikkunis. The temple complex is situated in Bugisan village, about a
kilometer from Prambanan temples. On the way, you would see Sewu temple on your left
hand side. Candi Plaosan, built by a Hindu prince for his Buddhist bride in
Central Java .

A great love story began with an interfaith union between a Buddhist princess and a Hindu
prince. The site is officially called Candi Plaosan, a complex of Buddhist temples located in
Klaten, Yogyakarta, a short distance north of the Hindu temples of Prambanan. What makes
it truly unique is that both complexes were built by the same Javanese king.

A TEMPLE FOR MEN, A TEMPLE FOR WOMEN

Like Prambanan, the sanctuary follows a square grid system with groups of smaller ancillary
shrines laid out in orderly rows. This style is known as the Panchayatana Style. In my
research article I have discussed this design template. The origin of the name are the Sanskrit
words Pancha which means five and ayatana means containing. Panchayatan is a style of
temple construction that has a central shrine surrounded by four other shrines. It has a main
shrine which is surrounded by four subsidiary shrines.

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 Panchayatana Temples- Where, Why, How ?????
The Ploasan is what is known in the Hindu Temple Arechitecture as a Panchayatana. Hindu
temples are built in the Panchayatana layout: the main shrine is surrounded by four
subsidiary shrines. The origin of the name are the Sanskrit words Pancha (five)
et ayatana (containing).

Example with the plan of the Kandariya Mahadeva Temple in Khajuraho with the subsidiary
sanctuaries : see numbers 9.
The Ploasan as a Panchayatana

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Generally, Hindu temples are built along a west-east axis. So the four subsidiary shrines are
at the north-east, south-east, south-west, north-west.
1. Kandariya Mahadeva Temple in Khajuraho
2. Brahmeswara Temple in Bhubaneswar
3. Jagdish Temple in Udaipur
4. Lakshmana Temple in Khajuraho
5. Lingaraja Temple in Bhubaneswar
6. Arasavalli Temple near Srikakulam District of Andhra Pradesh near Visakhapatnam.
Main shrine dedicated to Aditya. Subsidiary shrines dedicated to Ganesh, Shiva,
Parvati and Vishnu.
7. Dashavatara Temple in Deogarh, Uttar Pradesh. It should be the oldest panchayatana
temple in India. Read my paper on this temple- AVATARA TEMPLES on
academia.edu
8. Nabaratna Temple in Pantchupi
9. Shiva Panchayatana Temple in Tumbadi, Tumkur district. Subsidiary shrines
dedicated to Lakshmi Narasimha, Vinayaka, Parvati and Surya.
10. Gondeshvara temple, in Sinnar, Maharashtra

Hindu temples are built in the Panchayatana layout: the main shrine is surrounded by four
subsidiary shrines. The origin of the name are the Sanskrit words Pancha (five)
et ayatana (containing).
Generally, Hindu temples are built along a west-east axis. So the four subsidiary shrines are
at the north-east, south-east, south-west, north-west.

Examples of Panchayatana temples

 Kandariya Mahadeva Temple in Khajuraho. Read my paper on STORIES AND MYTHS
AROUND THE EROTIC SCULPTURES OF KHAJURAHO and KHAJURAHO Photo
Essay
 Brahmeswara Temple in Bhubaneswar
 Jagdish Temple in Udaipur
 Lakshmana Temple in Khajuraho
 Lingaraja Temple in Bhubaneswar
 Arasavalli Temple near Srikakulam District of Andhra Pradesh near Visakhapatnam.
Main shrine dedicated to Aditya. Subsidiary shrines dedicated to Ganesh, Shiva, Parvati
and Vishnu.
 Dashavatara Temple in Deogarh, Uttar Pradesh. It should be the oldest panchayatana
temple in India.
 Nabaratna Temple in Pantchupi
 Shiva Panchayatana Temple in Tumbadi, Tumkur district. Subsidiary shrines dedicated to
Lakshmi Narasimha, Vinayaka, Parvati and Surya.
 Gondeshvara temple, in Sinnar, Maharashtra

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Brahmeswara Temple is a Hindu temple dedicated to Shiva located
in Bhubaneswar, Odisha, erected at the end of the 9th century CE, is richly carved inside and
out. This is a very important temple both architecturally and historically. Firstly, it is built in
a panchayatana style, the first of its kind in Bhubaneswar. We also have a definitive date for
the temple’s construction thanks to a dated foundation inscription, which helped scholars
place the Odisan temple chronology in the correct order. This Hindu temple can be dated with
fair accuracy by the use of inscriptions that were originally on the temple. They are now lost,
but records of them preserve the information of around 1058 CE. The temple is built in the
18th regnal year of the Somavamsi king Udyotakesari by his mother Kolavati Devi, which
corresponds to 1058 CE. The erection of the Brahmeswara Temple dates back to the 9th
century CE and is located in Bhubaneshwar of Odisha. The temple is dedicated to the Hindu
god, Lord Shiva. This was during the rule of King Udyotakesari, a prominent Somavamsi.
According to an inscription, even though the temple was built during the reign of King
Udyotakesari, it was during the time of the king’s mother, Kolavati Devi, who issued the
order for the construction. Today, the Brahmeswara temple lies merely at a distance of 3 km
from the Lingaraja Temple and 5 km from the Bhubaneshwar Railway Station.

Considered as one of the holiest places of worship and heritage in Orissa, the Brahmeswara
temple openly accepts all forms of pilgrims who approach Lord Shiva reverently. Once they
are inside the Brahmeswara temple, the pilgrims find themselves to be within an inner
courtyard leading up to the main temple, which is surrounded by four smaller temples at its
flanks. Owing to such a formation, the temple is classified as a Panchatnaya temple or a
temple whose four subsidiary shrines are situated in the four corners of the main shrine.

Historians place the temple to belong to the late 11th century as ascertained from an
inscription carried to Calcutta from Bhubaneswar. The inscription indicates that the temple
was built by Kolavatidevi, the mother of Somavamsi king Udyota Kesari. It was built with
four Natyasalas at a place known as Siddhatirtha in Ekamra (modern-day Bhubaneswar). The
inscription was recorded during the 18th renal year of Udyotha Kesari, corresponding to 1060
CE. Since the inscription is not in its original place, historians indicate the possibility of the
reference to another temple, but based on the location and other features specified, it is
ascertained that the inscription belongs to the temple. Also, another issue raised by Panigrahi

18
is that the four cardinal temples are Angasalas (associate temples) and not Natyasalas (dance
halls) as indicated in the inscription.

ARCHITECTURE: The temple complex consists of the principle temple with an additional
four corner shrines, a large square tank is immediately south of the compound wall with
fragments of carved masonry recovered from the vicinity lining the sides.The temple is
classified as a panchatanaya temple where apart from the main shrine, there are four
subsidiary shrines in the four corners around the temple. The temple on account of its later
origin has a perfectly developed structure compared to its predecessors. The vimana of the
temple is 18.96 m (62.2 ft) tall.[2] The temple is built with traditional architectural methods of
wood carving, but applied on stone building. The buildings were built in a shape of full
volume pyramid, and then they would be carved inside and outside. The total area of the land
is 208.84 sq. m. and the temple is built on an area of 181.16 sq. m. Keeping true to traditional
Kalinga architecture, the Brahmeswara temple has been constructed via the means of stones.
However, this temple is also amongst the first to have used iron beams for its construction.
And it is on this 60-feet, pyramid-shaped temple that vivid depictions of gods, goddesses,
animals, birds, damsels, and religious scenes have been witnessed. Other striking features that
differentiate this temple from others are the finely built banquets, the dancehalls, and
carvings of Lord Shiva in the form of the Nataraja. In contrast to the neighbouring temples
of Bhaskareswar and Megheswar, much ornamentation and sculptural work is still preserved
in-situ.

The basic structure of the Orissan temple has two connecting buildings. The smaller is
the Jagmohana, or assembly hall. Behind it is the Shikhara, the towering sanctuary. Later
temples have two additional halls in front—one for dancing, and the other for banquets.
The Brahmeswara shows quite a bit of affinity with the much earlier Mukteswar Temple,
including the carved interior of the Jagmohana, and in the sculptural iconography such as the
lion head motif, which appeared for the first time in the Mukteswara, and is here evident in
profusion. There are quite a number of innovations, however, including the introduction of a
great number of musicians and dancers, some holding lutes, on the exterior walls. For the first
time in temple architectural history, iron beams find their first use.

19
Plan of subsidiary shrines of Brahmeswara Temple complex.

On sandstone walls, there are symbolic decorations and the notion of godlike figures that help
the believer in his meditation. The carvings over the door frame contain beautiful flower
designs as well as flying figures. Like the Rajarani, there are images of the eight directional
Guardian Deities. There are also quite a number of tantric-related images, and
even Chamunda appears on the western facade, holding a trident and a human head, standing
on a corpse. Shiva and other deities are also depicted in their horrific aspects.

One of the lost inscriptions stated that a Queen Kolavati presented 'many beautiful women' to
the temple, and it has been suggested that this is evidence of the 'Devadasi' tradition, which
assumed such importance in later Orissan temple architecture and temple life. The SHIVA
idol is disappointing in comarison to the majesty of the temple as a whole.

20
 Repeating main
design

Coming to Ploasan, during 8th to 12th century, many monasteries were built and temples too.
Rikai Pikatan |King of Sanjaya dynasty ruled Medang Kingdom of Central Java from 838
to 850 A.D. He was a Hindu and constructed the Prambanan temple. His wife, Queen Sri
Kahulunan or Pramodhawardhani was the daughter of King Samarattunga of Sailendra
dynasty. The antecedants of this Queen Sri Kahulunan was that she embraced Buddhism and
came to be known as Pramodhawardhani. The image of Goddess Durga in Prambanan is said
to be a reflection of the queen. Queen Pramodhawardhani built Candi Plaosan in AD 842
with the support of her husband Rikai Pikatan. No wonder you see a blend of both the
religions here.
Some believed that the temple was built earlier and Rikai Pikatan with his short reign could
have only built the perwara temples. But the excavation of a gold sheet in 2003 with facts

21
written in Sanskrit strengthens the theory that the temple indeed was built during Rikai
Pikatan's reign.The temple has two complexes:

1. Candi Plaosan Lor ( In Javanese LOR means North)

2. Candi Plaosan Kidul. (Kidul is South)

Earlier they were one complex. During 8th to 12th century, many monasteries were built. An
inscription from Candi Plaosan states that many people came from Gujarat (India) due to
whom the temple was built.The construction of North and South complex
hypothesizes ubhato sangha or dual sanghas. Today there is just a road that divides the two
complexes.
The main figures are seen on the outside wall of the South temple while there are female
figures on the outside wall of North temple.The style and workmanship of figures very
closely resembles the work at Ajanta caves in India. Bhikkhuni(nuns)sangha was established
around that region in the 3rd century and this probably is the reason for the twin temples here
at Plaosan.

Twin temples
Plaosan Lor temple has two main identical temples (North and South). The one in left of the
picture, (North) and the other on the right (South). As I have already mentioned above
that ubhatho sangha or dual sangha had started by that time. This means that it was a
monastery for both bhikkhus and bhikkhunis.

1. The north temple was for bhikkhunis or female monks

2. south temple for bhikkhus or male monks.

That is why the outer wall of the South temple has reliefs of male figures while that of North
has female figures. The are temple surrounded by perwara temples

22
Spread over an area of 2000 square meters, the temples are surrounded on all sides by small
temples which are mostly in ruins. Also surrounding the temple is an artificial moat.

On entrance are row of perwara or ancillary temples with very few still intact.///main temple
of south

23
An inscription from Candi Plaosan states that many people came from Gujarat (India) due to
whom the temple was built.
Dwarapalas:
Dwarapalas or dvarapala are guardians who protect the temple. They are usually fierce
looking. This feature is seen mostley in temples in India and South-East Asia.

dwarapalas

Two fierce looking heavily built dwarapala or guardians with long moustache sit facing each
other in front of the temple. They are the height of a human being and sit with their left leg to
the back, with a mace under the left hand. The right knee is up on which the right hand rests
holding a coiled snake.
Both sport a head gear, armlet and wear ear rings and a necklace. The hair must be long for
they are tied at the back.

The complex is surrounded by a wall and has two identical main temples adjacent to each
other surrounded by a cluster of temples. That is why these two temples are known as the
"twin temples".

twin temples
There are two big temples in this west facing complex. The temple which is in the south is
the southern temple and the other on the north is the northern temple.

24
Southern temple:
As I have already mentioned, southern temple was meant for bhikkhus or male monks

t
Southern temple/Paduraksha or the entrance gate, it enters into a complex with two temples inside

The paduraksha gate is decorated with crowns above the kaal mukh. There are 3 gates, one
for entrance to each temple and one interconnecting gate between the two temples.

twin main temples of Plaosan Lor/ cluster of Perwara temples which surround the twin temples

Similar to Buddhist Mandala concept, this temple too is constructed in three levels. As is
believed that the universe is divided into Kamadhatu, (kama: desire) where we are bound to
world of desires, rupadhatu, (rupa: form) where we abandon our desire but are still bound to
name and form and arupadhatu, (arupa: without any form) the ultimate where there is no
form or name.This concept is seen later in the construction of Borobudur. The world of
desires or kamdhatu is the lowermost tier or base. It is from ground to the entrance of temple.
Then from this platform to the roof of temple is rupadhatu and lastly from roof to pinnacle is
arupadhatu. The roof of the temple is adorned with 41 small stupas all around, a blend of
Hinduism and Buddhism architecture.

25
On crossing the gate, the entrance to main temple is just in front. 8 steps lead to inside of temple

foot of the temple

26
The temple stands 60 meters above the ground.There are two levels in each temple. The first
or the ground level is accessible but the second one is not/makar can be seen on both sides of
the stairs

relief on the outer wall

There are 40 reliefs on the outside wall of temple. Twenty on the first level and twenty in the
upper level. Since the south temple was for bhikkhus, only male figures adorn the outside
wall.

human sized Avalokiteshwara on side in tribhanga pose, the body is bent in neck, waist and legs and gives
a "S" formation. This greatly resembles the painting of Avalokiteshwara Padmapani at Ajanta caves,
India. Another interesting feature I noticed in the walls is there are faces which are enclosed surrounded
by trailing plants.

27
They represent the Bodhisattavas. Another feature is the variety of makars in the temple. Each one seems
different.Kaal mukh above a window. The window had images of Bodhisattva. The niche has impressions
of bars. There are different styles of makars in temple
North temple:There is a gate which connects the other temple in the north. the other temple,
both temples are connected to each other by an entrance gate.

Mandapa:
On the north side of this temple is the mandapa with many Buddha images.

The mandapa is a rectangular courtyard with 22 Buddha images. It has no roof or walls.
Sadly, the images are in a very bad condition and what remains are just images without any
heads.The mandapa is accessed by 7 stairs from the west side. Stone indentations (arrow
pointing) in the courtyard point to it having pillars or wooden poles. It may have been used
for meditation purposes or as a place of offering.11 Buddha sit along east direction facing

28
west, while 5 are sitting on north with face towards south and 5 on south face north.It is very
difficult to analyze their hand position but all are sitting in Padmasana.

Perwara temples:
Perwara or complementary or ancillary temples surround the main temple building.

a perwara temple with kaalmukh at entrance/// Others in ruins

Two types of complementary or ancillary temples surround the twin temples. There are 174
temples out of which 58 are prasadhas and 116 are stupa perwara. Almost all the temples
are in ruins now. Just a few have been renovated. The innermost or the first row on east has
19 temples facing outwards towards east, 7 on south facing south, 17 on west towards west
and again 7 facing outwards towards north. These perwara temples were
called Prasadhas and originally housed images of Amitabha in west, Aksobhya in
east, Ratnasambhava in South and Amoghasidhi in north.

29
The second or middle row has 54 stupa shaped structures and 4 prasadhas at four corners.
The outermost row has 62 stupa perwara and 4 prasadhas at the four corners.

Stupa perwara, right in front and the Candi perwara or prasadha/// Prasadhas

1. Stupa perwara has a square base and on top is shaped in the form of a stupa.

2. The prasadhas have a square base with a small chamber and 3 stairs. The entrance has
a kaal makar on top.

The grounds of temple Plaosan Lor started renovation in 1962 but the temple was restored in
1990s. The 2006 earthquake did a lot of damage to the building, not only in bringing the
stones down but also shifted the position of temple.Apart from this the looting by miscreants
has done more damage than the natural disasters. The last theft to Buddha's head was in 2010
The buildings were constructed without mortar, their stones quarried and precisely cut. A
small number have been reconstructed, standing amongst piles of gray andesite blocks yet to
undergo restoration. At the center of Plaosan Lor, the two nearly identical structures were
viharas, meaning they were designed as Buddhist monasteries.Above the arched gate portal
leading to the temple is a Kala head whose gaping mouth symbolically swallows our mortal
impediments and permits passage into the sacred inner courtyard.Towering stalagmite-like
spires crown the multistory vihara, rising like the jagged peaks of Mount Meru, the holy
mountain abode of the gods, and a pair of mythical serpentine makara form the railings of the
staircase leading to the monastery — a small Kewpie-doll like dwarf figure stands within the
creature’s gaping jaws.The monument sits on a high rectangular stone podium with an apron
that extends several feet outward, forming a porch where visitors can circum-ambulate the
structure.

30
Looking toward the female vihara (monastery) from the one for males

There were once many more of these smaller Perwara shrines

Its exterior walls feature false windows, an architectural element meant to maintain symmetry
on the façade. These are embellished with distinctive Kala-makara ornamentation, but unlike
the ones above the gateways, these depictions of include a lower jaw with a wide
mischievous grin.

31
The temples are quite similar —but we’re pretty sure this is the one for men

Kala is a giant who was born from Shiva’s sperm

Enshrined within the central hall are a pair of headless seated Bodhisattva statues, one that is
more or less a torso, presumably plundered and decapitated by relic thieves. An empty
pedestal between the pair possibility held an enthroned bronze Buddha.

32
seated statues of Bodhisattva, those who have reached enlightenment but remain behind to instruct others/
Some of the statues inside the temples are now decapitated

Intricately detailed reliefs of various demigods and deities adorn the exterior walls.
According to a theory presented by Nicholas Johannes Krom, head of the early 20th century
Dutch Archeological Society, the two vihara were sponsored by influential patrons and built
for male and female monastics — not as a tribute to love, as locals prefer to believe.

Bas-reliefs line the exterior of Plaosan

The south-facing vihara depicts male figures, while the north depicts female figures. The
south temple was probably a monastery for Bhikkhu monks, while the north housed
Bhikkhuni nuns.One can see the construction style in action: squares of interlocking
stone/Deities and demigods adorn the outer walls, which you can circumambulate on a
platform. Whether or not Plaosan was constructed as a symbol of Pikatan’s devotion to Sri
Kuhulunan or as a display of political reconciliation to placate the Buddhist Sailendra
Dynasty, it certainly makes for an interesting story.

33
https://www.thenotsoinnocentsabroad.com/blog/beyond-prambanan-the-love-temples-of-plaosan

34
 III
Ploasan extra
History of Women in Buddhism - Indonesia: Introduction
Twelve Javanese Sites Worthy of Interest: Monuments & Sites Related to Women in
Buddhism & Bhikkhunīs https://awakeningbuddhistwomen.blogspot.com/2015/02/history-of-
women-in-buddhism-indonesia.html

Historical Site Article Extracts: Tathālokā Bhikkhunī,

Maps: Ānandajoti Bhikkhu,
Introduction: Ādhimuttā Bhikkhunī and all,
Layout: Ānagarikā Michelle

Buddhist monastics and lay community members from around the world are preparing to
travel to Indonesia for the 14th Sakyadhita Conference at Yogyakarta. For those interested in
Buddhist women's history and the history of the ancient Bhikkhuṇī/Bhikṣuṇī Sangha in
Indonesia, we thought to make information available about some of the historical (and her-
storical) sites worth visiting.

This will enrich the experience of Conference participants in Indonesia providing invaluable
opportunities for both intellectual learning and onsite experiential learning, as well as give
means for those who cannot travel to learn and grow in knowledge and benefit together from
afar.

In the months leading up to the 14th Sakyadhita Conference in Borobudur in June, from
March thru May, we plan to publish a series of blog posts extracted from Ayyā Tathālokā's
"Light of the Kilis: Our Ancient Bhikkhuṇī Ancestors" paper, researched and prepared for the
Sakyadhita-Borobudur Conference. These extract posts will provide more in-depth discussion
of various aspects of the History of Women in Buddhism in Indonesia, many with
relationship to the historical sites highlighted here. One final site, Borobudur and its vicinity,
will be covered and presented upon during the Conference itself, as the Conference will visit
the Borobudur monument. At the time of the Conference, we hope to offer a complete
downloadable pdf guide to the history and art of the Indonesian Buddhist women's historical
sites presented in this series.

The map and information here offer a brief introduction to a few of the places on Java
that we thought would be of greatest interest to know about beforehand, and potentially
have the chance to plan to visit.

I. Yogyakarta Area (Area of Sakyadhita Conference: Prambanan Plain & Greater

Yogyakarta)
II. Malang Area (Malang City & Greater Malang)
III. Jakarta National Museum

35
Image 1: Important Historic Sites to Women in Buddhism - Java. Map by Bhikkhu
Ānandajoti. For more maps related to Buddhist history, see “Maps of the Ancient Buddhist
World”

I. Yogyakarta Area Sites

Prambanan Plain

Image 2: Prambanan Area

36
1. Candi Kalasan Tārā Bhavanam
Monument to Ārya Tārā
Earliest Inscriptions of Tārā in the world
First and oldest Prambanan Plain Buddhist temple

Tārā Bhavanam, more commonly known as Candi Kalasan, (also known as Candi
Kalibening), is the site of the oldest inscriptions of the female buddha Tārā in the world. It is
also the first and oldest known Buddhist temple on the Prambanan Plain (in the area of
Yogyakarta). It is the site of a very rare Sanskrit Siddham inscription, circa 778 CE, which
establishes direct connections between Javanese, Chinese, Japanese and Korean esoteric
Buddhist traditions, and was likely associated with ruling Queen Tārā who herself had
relations with the Indian Pala Dynasty.

Image 3: Ārya Tārā image over the lintel at Tārā

Bhavanam/ Candi Kalasan.

Resources:
1. Kalasan Wikipedia Page
2. Map
3. Kalasan inscription

2. Candi Plaosan
Dual Cloister (Men’s and Women’s) Monastery/Shrine
Ubhato Sangha Bhikkhus’ and Bhikkhuṇīs’ Monastery

According to inscriptions, the Candi Plaosan dual sangha vihara was built for the flood of
Gujarati Indian immigrants. It has a northern cloister (Plaosan Lor) thought to be for male
monastics due to the male imagery and a southern cloister (Plaosan Kidul) thought to have
been for female monastics due to the female imagery. The greater complex includes both
sides plus a commons area between the two. The site bears remarkable similarity to the
world-famous and renowned Ajanta and Ellora rock-cut monastery cave complexes in the
Western Ghats of Maharashtra in India. Plaosan was built by Buddhist “Queen Mother”- Śrī
Kahulunnan, who was either Queen Tārā or her daughter Queen Śrī Sanjiwana
Pramodhawardhani.

37
Resources:
1. Plaosan Wikipedia page
2. Map, Plaosan images
3. “Unveiling Bhikkhunis in Oblivion” by Rupali Mokashi
4. Article on Candi Plaosan dual monastery
5. Image of Tārā at Candi Plaosan, Plaosan Sita Mañjughoṣa Mañjuśrī image
6. Queen Śrī Sanjiwana Pramodhawardhani’s personal memorial temple: Candi Sajiwan
(Sojiwan)

3. Candi Sewu -Mañjuśrī Religious Harmony Temple

Buddhist Queen Mother Śrī Kahulunnan also established the pervara temples of the Mañjuśrī
temple. This temple/monastery was dedicated to ultimate religious harmony between the
Buddhist Triratana and Hindu Trimurti, both of these qualities present in the central Mañjuśri
image. The temple’s full dedicatory name is Prāsāda Vajrāsana Mañjuśrī-gṛha and is
generally known as Candi Sewu. Candi Sewu is known through inscriptions to have been
dedicated as a monastery (vihara) and offered to the Buddhist monastic Sangha.

Image 4: Prāsāda Vajrāsana Mañjuśrī-gṛha at Candi Sewu

Resources:
1. Candi Sewu Mañjuśri image (now at the Tropen Museum)
2. Original layout of Candi Sewu with surrounding pervara temples
3. Candi Sewu aerial view

Greater Yogyakarta Area

38
Image 5: Bhikkhuṇī Candraprabhā and Advisors warn the king. Borobudur Jātaka level.
Images of bhikkhuṇīs and the Bhikkhuṇī Sangha appear in three levels at Borobudur.

4. Candi Borobudur

Image 6: Dewī Tārā at Borobudur. Queen

Tārā “was the daughter of the great ruler
Dharmasētu (or Varmasētu) of the lunar
race and resembled Tārā herself.”
(Hiranda Sastri 1924:326)

Commonly known as Borobudur, this world-famous monument was original named Kamūlān
Bhūmisambhāra “Monument of the Stages [of the Path].” According to inscriptions, Buddhist

39
Queen Mother Śrī Kahulunnan established and inaugurated the sīma and religious
endowment at Borobudur. Bhikkhuṇī/bhikṣuṇī images appear at three levels/stages in the
monument—the Jātaka, Divyāvadāna, and Gandavyūha levels—and are perhaps the oldest
known real to life images of the local/Indic bhikkhu/bhikṣu and bhikkhuṇī/bhikṣuṇī sanghas
of this period.

5. Gedung Songo & Dieng Plateau

Oldest Temples in Indonesia founded by Queen Sima

Queen Sima (Ratu Shima, Skt: Siṃha) of Kalinga (Holing, 訶陵) was known internationally
for her strict fairness, honesty and justice. Some of her policies continue to inspire the law
and governance of contemporary Singapore (Siṃhapura). The Indonesian Kalinga is thought
to be named after Kalinga, now in Odissa and Andhra Pradesh, India. The name is still
retained in the contemporary Keling City. Queen Sima is credited with having established the
four oldest known temple complexes in Indonesia on Dieng Plateau and Gedung Songo
(hilltop above the Dutch-era hill station of Ambarawa). Her daughter Parvati co-founded the
neighboring kingdom of Tarumanegara/Dharmanagara, where the earliest inscriptions on
Java are found.

Distance From To
80 km Borobudur Dieng Plateau
59 km Borobudur Gedung Songo
Resources
1. Map for both Kalinga and Tarumanegara
2. Images of earliest Javanese inscriptions
3. Queen Sima of the Kalingga
4. Gedung Songo temples, temples of Dieng Plateau

6. Ratu Boko Abhayagiri-vihāra-Ancient International Monastery for Sri Lankan

Abhayagiri-vihāra Monastics
The hilltop Ratu Boko monument sits above the Prambanan Plain and is the site of the
ancient Indonesian Abhayagirivihāra. A 792-3 CE inscription connects the site with the
International Abhayagirivihāra monastics of Sri Lanka, to whom the site was originally
offered. The site was also dedicated to Padmapāṇi Avalokiteśvara, and contains a men’s
ascetic cave (gua lanang) and women’s ascetic cave (gua wadon). It may have been a site of
asceticism and meditation prior to its establishment as a developed vihara in the 8th century.

40
 Image 7: Ratu Boko Heritage Site
Resources:
1. Ratu Boko UNESCO World Heritage Site
2. Ratu Boko inscriptions: II, III

II. Malang Area Sites-Malang City and Surrounding Area

7. Ken Dedes Monument-Modern Prajñāpāramitā Statue of Ken Dedes and Memorial Park

Ken Dedes was gauged by a sage to be an Ardhanārīśwari (Skt: Ardhanārīśvara); and a Strī
Nareśwarī (“Lady Lord of Humanity”), with the power to found a royal dynasty. Ken Dedes
came to be known as a seminal figure in Javanese history, as she is considered not only the
first queen of the Singhasari (Singosari) dynasty, but the matriarchal ancestor from whom
several centuries of Singhasari and Majapahit rulers descended.

41
 Image 9: Ken Dedes Prajñāpāramitā Memorial Park, Malang
Resources:
1. Ardhanarishvara Wikipedia page
2. Kendedes Monument (with contemporary image), Malang, East Java
3. Map

8. Candi Singosari-Site of mortuary Gāyatrī Rājapatni Prajñāpāramitā images

Founding monument of Singosari Majapahit related to both Ken Dedes and Gāyatrī
Rājapatni

Gāyatrī Rājapatni (Gayatri Rajapatni) was the matriarch of the Majapahit empire, and retired
in her later years into bhikkhuṇī life establishing her daughter Tribhuvana Wijayatunggadevi
as rajāputrī or reigning monarch. Kamal Pandak was consecrated by Buddhist master
Jñanawidhi as Prajñāpāramitā-puri in 1362 CE in memorial to Gāyatrī Rājapatni. Candi
Singosari is also known as the site of the founding of Majapahit Empire, and is thus closely
related to Ken Dedes as well. It was the location of the discovery of the now-headless Gāyatrī
Dharmacakrapravartana-mūdra (“Turning the Wheel of the Dharma”) Prajñāpāramitā image
no. 2, currently located at the Rijksmuseum in the Netherlands.

Resources:
1. Image found at Singosara (now at Rijksmuseum)
2. Map

9. Candi Jago aka Candi Jajagyu-Five-peaked Rock temple modelled on Mt. Meru
Original site of Amoghapāśa Sādhana Bhrikutī

The Bhrikutī (Bhṛkutī) image once at Candi Jago (Candi Jajagyu) of Melang is now at the
Rijksmuseum in the Netherlands. At this temple, Bhrikutī’s companions in Sakyaśrībhadra’s
Amoghapaśa Sadhana meditation text were found: tenderly compassionate Green Tārā and
Sudhana-kumāra on Amoghapāśa Avalokiteśvara’s one hand, with Bhrikutī and Hayagrīva
on the other—a pentad surrounded by five male and female dhyāni buddhas to go with the
five peaks. In the Amoghapāśa Sādhana represented here, Bhrikutī and Hayagrīva represent
the ferocious side of compassion as balance to its softness.

Resources:

42
1. Jago Temple Wikipedia page
2. Candi Jago Bhrikutī at the Rijksmuseum
3. Candi Jago Amoghapāśa Avalokiteśvara at the Metropolotin Museum of Art (very similar
in appearance and implements to Bhrikutī)
4. Who is Amoghapāśa Avalokiteśvara (Ch. 不空羂索, Tib. Don yod zhags pa)?
5. Map

10. Gua Saelomangleng Ascetic Caves of Kili Devi Suci

Image 10: Saelomangleng Cave of Devi Kili Suci in Kediri at Mt. Klothok
The Saelomangleng Caves are widely remembered in association with Crown Princess/Putri
Sanggramawijaya, later and more popularly known as the female hermit/bhikkhuṇī
remembered as Devi Kili Suci. According to the Babad Tanah Jawi, these caves were the site
of her early retirement into monastic life, asceticism, and auto-assimilation into the
Buddhaloka. The Selomangleng Caves are located on the lower slopes of Mt Klothok, 5 km
west of City of Kederi, and are open to visitors. This is a great site to get a sense of the
ancient popular Indonesian cave-dwelling ascetic life. There are several contemporary local
statues of Devi Kili Suci nearby, as well as the Airlangga Museum.

Distance From To
244 km Yogyakarta Gua Selomangleng
Resources:
1. Map

11. Candi Gāyatrī at Boyolangu

Ruins of Mortuary Monument of Gāyatrī Rājapatni as Prajñāpāramitā

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 Image 11 & 12: Ground consecrated as Viśeṣa-pura, Candi Gāyatrī at
Candi Boyolangu.

Gāyatrī at Boyolangu was consecrated as Viśeṣa-pura by Master Jñanawidhi twelve years

after Queen Mother Gāyatrī Rājapatni’s death as a bhikkhuṇī. Gāyatrī Rājapatni’s mortuary
Prajñāpāramitā image was established and enshrined there. The temple ruins are located in
Boyolangu hamlet, Tulungagung, East Java.* Other images from this temple have been taken
to the Tulungagung Regional Museum nearby and can be seen there.

Distance From To
229 km Yogyakarta Candi Gayatri
Resources:
1. Images, more images
2. * Candi Gayatri, dusun Boyolangu, kalurahan Boyolangu, kecamatan Boyolangu,
kabupaten Tulungagung, Jawa Timur

III. Jakarta National Museum-Site of World Famous Prajñāpāramitā image

44
Image 13: World famous Prajñāpāramitā image at Jakarta National
Museum (l) from the book cover of Earl Drake’s Gayatri Rajapatni:
Perempuan Di Balik Kejayaan Majapahit at Good Reads (The
English-language edition from Areca Books is due out in 2015.)

The original world-famous and oft-copied Prajñāpāramitā image associated with both Gāyatrī
Rājapatni and Ken Dedes has returned from Europe and is currently housed at the Jakarta
National Museum. This image is thought to have been originally enshrined and discovered at
Candi Singosari or Candi Jago. Many more images from this period are safeguarded and
preserved in the Jakarta National Museum.
Resources:
1. Map for Jakarta National Museum
2. “Uncovering the Woman Behind Majapahit” in the Jakarta Post
3. Related Prajnaparamita image by Ajahn Vimalo with contemporary bhikkhuṇīs at Aloka
Vihara

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 PART II

The Perwara Temples of Rakai

Pinkaton

46
 I
INTERPRETING THE WORD PERWARA

Temples have spiritual significance as houses of the divine, places for worship and rituals,
symbols of community unity, and centers of spiritual education. They often represent the cosmic
order and provide spaces for prayer, meditation, and purification, fostering a connection with the
divine and promoting spiritual growth.

Rakai Pinkaton Structures

Rakai Pikatan- Sang Prabhu Jatiningrat- Great King of Mataram was also known as..
1. Rakai Pikatan Dyah Saladu=(Wanua Tengah inscription)
2. Rakai Pikatan Dyah Kamulyan Sang Prabhu Linggeswara
Sakabhumandala=(Wangsakerta script)
3. Rakai Mamrati Sang Jatiningrat(Wantil inscription)

He was a king of the Sanjaya dynasty Mataram Kingdom in Central Java who built
the Prambanan temple, dedicated to Shiva, which was completed in 856 AD. Rakai Pikatan
was also called Mpu Manuku.
The monarch of the Mataram Kingdom before Rakai Pikatan was Samaratungga of
the Shailendra Dynasty. He had one son, Balaputra, and one daughter, Pramodhawardhani.
Rakai Pikatan and the Sanjaya dynasty were Shivaite Hindus and is recorded in the Wantil
Inscription as having married a daughter of another religion. This is most likely
Pramodhawardhani, the Mahayana Buddhist daughter of Samaratungga.

47
It's believed that Pikatan fought his brother in law Balaputra, forcing him to move
to Srivijaya in 856. Other interpretations based on the Kayumwungan inscription put
Balaputra as Pramodhawardhani's uncle rather than her brother as inscriptions only list
Pramodhawaradhani as a child of Samaratungga. Hence, Balaputra went to Srivijaya not
because of force but because he had no claim as a brother of the monarch.
According to the interpretation of Loro Jonggrang legend, Pramodhawardhani's likeness was
the model for Durga's image in the Prambanan temple. Rakai built many temples surprisingly
both Hindu and Buddhist having 1 foot in each religion consequent to his marriage to a
Buddhist lady. His region boasted of a trend of having multiple temples in a single
compound.This could be also attributed to Rakai Pikatan.Temples such as Sewu which we
will deal with in details here as well as Ploasan, Sambirejo (Ijo), Lubrung, Burbah,
Prambanan and perhaps other temples that no longer exist above ground but may be
discovered ion future. One does not know.
We will consider a few of these with main and ancillary temples. In this context one can
describe the following offsprings:

1. Perwara means guardian or peripheral and perwara is an Indonesian word for an

escort temple.

2. Vahana is from Sanskrit word Vahana, from Old Javanese wāhana, from
Sanskrit वाहन, from वह्, a word for wagon. Also means carrier. Hindu Gods had
Vahanas . See my paper Vahanas- the vehicles of Hindu
Gods.https://www.academia.edu/44665352/Vahanas_the_vehicles_of_Hindu_Gods

3. Apit temples means dry temple may also indicate squeezed as in Malay language.

4. Patok Temple would mean a Pole or Stake- something sticking out of the ground.

Prambanan temple complex is one of the biggest Hindu religious heritage in Indonesia.
Temple complex consists of 3 main temple with a height of 47 meters, namely Candi Siwa,
Brahma Temple and Vishnu Temple (the name comes from the main deity in the Hindu
religion) and is surrounded by small temples called the temple Perwara. Prambanan Hindu
Religion is a holdover from the IX century. Located on the edge of roads Yogya to Solo at
17th km east of Yogyakarta. Supported facilities such as archaeological museum, audio
visual, school, park playground, and so forth, this temple is one of the archaeological wealth
of the world become one of the goals of tourism.

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With over 500 temples, Prambanan Temple Compounds represents not only an architectural
and cultural treasure, but also a standing proof of past religious peaceful cohabitation.

49
"yatnavanto yava dviipam sapta raajya upashobhitam | suvarNa ruupyakam dviipam suvarNa
aakara maNDitam || 4-40-30 yava dviipam atikramya shishiro naama parvataH | divam
spR^ishati shR^ingeNa deva daanava sevitaH || 4-40-31 eteSaam giri durgeSu prapaateSu
vaneSu ca | maargadhvam sahitaaH sarve raama patniim yashasviniim ||"

50
“You strive hard in the island of Yava, which will be splendorous with seven kingdoms, like
that even in Golden and Silver islands that are enwreathed with gold-mines, in and around
Yava islands. On crossing over Yava Island, there is a mountain named Shishira, which
touches heaven with its peak, and which gods and demons adore. You shall collectively rake
through all the impassable mountains, waterfalls, and forests in these islands for the glorious
wife of Rama.” 4-40-32 - The Ramayana.

 To reject the necessity of temples is to reject the necessity of God. Said Mahatma
Gandhi.
 The Gods always play where groves are nearby, rivers, mountains and springs, in
towns with pleasure gardens. Brihat Samhita, 55.8.
 The rich will make temples for Shiva. What shall a poor man like me do? My legs are
pillars, the body the shrine, the head a dome of gold. –Basavanna

Is it Lord Shiva at Prambanan – Presentation of temples of Central Java ?

Java, Bali and Sumatra are all Sanskrit names. All of the most ancient of Indonesian shrines
are dedicated to Indian Vedic deities and depict scenes from Indian epics. Their language is a
dialect of Sanskrit known as Basha, a Sanskrit term. The Indonesian flag, being of two colors,
bears the Sanskrit name Dwivarna. The five cardinal points of the Indonesian constitution are
also designated by Sanskrit word Panchashila. The old Javanese alphabet derives from the
Pallava script of South India. One such inscription was found in the south-eastern region of
Borneo (Kalimanthan) on four octagonal stone pillars, written in the Sanskrit in a 4th century
Indian script. Indonesians still follow the Vedic year and call it Sakh-Samavat. It is not
generally known that the name "Indonesia" does not refer to Asia. The term "Nesia" signifies
a group of islands, and "Indo" of course means India. Thus, Indonesia means Indian Islands.
Not far from Borobudur is the complex of Prambanam, the like of which is known neither to
India or to any other neighbouring or distant land. Here are the life cycles of Lord Krishna as
Krishnayana parallel to the Ramayana, the powerful dragon being torn asunder by the superb
arms of the Divine boy Krishna. In another place is the scene of Kumbhakarna being
awakened by conches and screeches of elephants, a portrayal of the highest order. The central
triad of temples are devoted to the Trimurti (Brahma, Shiva and Vishnu). The ancient name
of Borneo is Kalimanthan. Kali is the popular Indian goddess who is devotedly worshipped
by the general masses of Vedic followers and Indian rulers alike. The sultan of Brunei bore
the title of Seri Bhagawan, meaning Shri Bhagavan (Lord Almighty).

Java was known by Indian chroniclers before 600 BCE. The name Java comes from the
Sanskrit Jawadwip, which means a (dvip) island (yawa) shaped like a barley corn. The Vedic
Indians must have charted Java, Yawadvip, thousands of years ago because Yawadvip is
mentioned in India's earliest epic, the Ramayana. The Ramayana reveals some knowledge of
the eastern regions beyond seas; for instance Sugriva dispatched his men to Yavadvipa, the
island of Java, in search of Sita. It speaks of Burma as the land of silver mines. The Agni
Purana, along with many other Puranas, calls India proper as Jambudvipa as distinguished
from Dvipantara or India of the islands or overseas India. Towards the end of the fifth
century, Aryabhatta, the Indian astronomer, wrote that when the sun rose in Ceylon it was
midday in Yavakoti (Java) and midnight in the Roman land. In the Surya Siddhanta reference
is also made to the Nagari Yavakoti with golden walls and gates.

The Indian influence over South-East Asia expanded a lot during the time of Pallavas
between the fifth and seventh centuries and the influence was mainly seen in Cambodia. In

51
Indonesia, Srivijaya, a maritime power and dynasty which controlled the empire stretching
from Sumatra to Malaya, Thailand, Cambodia and Vietnam arose from obscurity in the 8th
century. Srivijaya was an Indianized polity, with its capital near Palembang in South Eastern
Sumatra. Rival to the Srivijaya dynasty was the joint kingdoms of Sailendra and Sanjaya
based in central Java. It was during their time (after 780 CE) that the temple building activity
flourished in the island. These temples were based on the layout and elevation of the Pallavan
and Chalukyan temples which were based on Vastu Shastra.

The Agni Purana, along with many other Puranas, calls India proper as Jambudvipa as
distinguished from Dvipantara or India of the islands or overseas India. Towards the end of
the fifth century, Aryabhatta, the famous Indian astronomer, wrote that when the sun rose in
Ceylon it was midday in Yavakoti (Java) and midnight in the Roman land. In the Surya
Siddhanta reference is also made to the Nagari Yavakoti with golden walls and gates. Strong
Hindu influences were inevitable, given that the spiritual inspirational source was India.

Dr. Ananda Kentish Cooraswamy (1877-1947) the late curator of Indian art at the Boston
Museum of Fine Arts, was unexcelled in his knowledge of the art of the Orient, and
unmatched in his understanding of Indian culture, language, religion and philosophy. He is
the author of ' The Dance of Shiva: Essays on Indian Art and Culture' He was of the opinion
that:"the Prambanam reliefs are, if anything, superior to those of Borobudur and certainly
more dramatically conceived." (source: History of Indian and Indonesian Art - By Ananda K
Coomaraswamy p. 200 - 213).

Historians assert that between c. 840 and 850 CE, King Rakai Pikatan ordered
the construction of Prambanan. The main temple complex was created and designed under
the direction of Rakai Pikatan, while Rakai Kayuwangi, Balitung, Daksa, and Tulodong,
among other succeeding monarchs, soon afterwards constructed additional buildings. The
Hindu Sanjaya dynasty, which competed with the Buddhist Sailendra dynasty for control of
the “Medang”/Mataram kingdom in central Java, was represented by Rakai Pikatan and his
heirs. It is important to remember that the Sailendra dynasty oversaw Borobudur’s
development as a Buddhist temple. Some academics believe that Prambanan’s origins were a
direct aesthetic, political, and religious response to those of Borobudur and the rival Sailendra
dynasty because of the proximity of the two structures just 19 km apart.The architecture of
the Prambanan temple complex follows Vastu Shastra and was built on the model of Mount
Meru, the Cosmic mountain. The whole temple complex is a model of the Universe according
to Hindu cosmology. The urban center and the court of Mataram were located nearby, in
what would later become Yogyakarta.

The Prambanan Plain

The Prambanan Plain spans between the southern slopes of Merapi volcano in the north and
the Sewu mountain range in the south. The plain, valley and hills around it are the location of
the earliest Buddhist temples in Indonesia.

It is called ‘ the plain of a Thousand Temples’ — this area was an important spiritual and
political center. Located not far from the Buddhist Borobudur temple, the proximity of the
two temples tells us that on Java, Buddhism and Hinduism lived peacefully next to one
another. Prambanan is a magnificent spectacle. Prambanan, less well-known, is the Hindu
equivalent of Borobudur, and from roughly the same time period. They are stylistically polar
opposites: Borobudur is powerful and muscular, whereas Prambanan (a suggested etymology
is ‘brahma-vana’) is tall, slender and ethereal. Indeed, another name for Prambanan is

52
‘slender maiden’. It consists of three temples, one each to Brahma, Vishnu and Siva. The
Siva temple is the tallest and the best preserved. The temples at Prambanan were built in the
9th century and is known locally as Roro Jonggrang, coming from the legend of the ‘slender
virgin’. While it’s not a temple set in a remote rustic setting, the splendor of the temple will
make you quickly forget your surroundings. You will be transported back to an ancient time
where ritual and culture dominated every part of life.

The biggest temple is dedicated to Shiva – the destroyer, and the two smaller ones which sit
on its right and left are dedicated to Brahma, the creator, and Visnhu, the sustainer. The
tallest temple of Prambanan is a staggering 47 meters high. Its peak visible from far away and
rises high above the ruins of the other temples.

Its Indonesian candi architecture adheres to the traditional Mandir Vastu Shastra plan -based
Hindu architectural practices. Which itself removes it from the traditional CANDI genre
because of the overwhelming Hindu temple architecture influences incorporated into its
Mandala temple design arrangements and the customary tall, towering spires of Hindu
temples incorporated into its design. This “Candi” was created to resemble Meru, the sacred
mountain and home of the gods. The temple serves as a representation of the Hindu cosmos.
In my book which is a collection of my articles on the Hindu temple and particularly the-
Garbagriha: I have discussed the perennial form of the Hindu temples as a three chambered
structure and in The 4 sided Hindu Mandir(temple)plan I have underlined the design element
that overpowered all creative considerations and followed a 4 side plot plan
https://www.academia.edu/89359446/4_The_4_sided_Hindu_Mandir_temple_plan
https://www.academia.edu/68997758/
The_Evolution_of_the_Garbhagriha_or_Sanctum_of_Hindu_Temples_and_3_CHAMBERED_TEMPLES

53
54
Statue of Durga Mahishasuramardini or according to local legend known as Loro
Jonggrang, inside northern cellar of Shiva temple, Prambanan, Central Java, Indonesia. See
Red arrow

The Shivagrha inscription states that a public water work to alter the path of a river close to
the Shivagrha temple was carried out when the temple was under construction. On the
western side of the Prambanan temple complex, a river known as the Opak River currently
flows from north to south. According to historians, the river was once curled farther to the
east and was too close to the main shrine. According to experts, the river rerouted to protect
the temple complex from the flood of lahar volcanic debris from the Merapi volcano. Cutting
the river on a north-south axis within the perimeter of the Shivagrha Temple complex marked
the project’s completion. The original river course was dried in and levelled to allow for
the expansion of the temple and the placement of groups of pervara (additional) temples,
indicating the temple’s significance to society. The father of the Khmer Empire, King
Jayavarman II (802–1431 CE), spent a significant portion of his life in Java, as per ancient
Khmer sources. Samaratungga appointed him as the administrator of Indrapura, which would
subsequently become Champa’s capital city around 875 CE. According to mythology,
Jayavarman visited both Prambanan and Borobudur, which gave him the idea to construct the
massive city of Angkor Wat. This is quite likely since during the eighth, ninth, and
tenth centuries CE, the Sailendra and Sanjaya dynasties greatly influenced politics and
culture in what is now Java, Sumatra, Malaya, and southern Cambodia through their
thalassocracies.

55
 Circular Formations

A Hindu temple is popularly known as mandiram, devaalayam or devastanam, meaning the

shrine, abode or place of God. For the people on earth the Hindu temple serves as a sacred
place (devasthanam) or a place of pilgrimage (thirthasthalam) and heaven on earth.
Functionally it brings gods and humans together and gives them an opportunity to help each
other. Humans make offerings to gods and nourish them with food and devotional offerings
of prayers, songs, etc., while the gods reciprocate by protecting them from diseases,
misfortunes and calamities, removing their difficulties, cleansing their sins or helping them
achieve the four aims of human life namely dharma, artha, kama and moksha. Vedic people
did not build temples, nor did they worship images of gods in their abodes. They performed
sacrifices and nourished gods through sacrificial ceremonies, during which they might have
used images to perform symbolic sacrifices. Although they did not practice idol worship or
build temples, elements of Vedism as well Tantrism can be found in the structure and
configuration of present day Hindu temples. The practice must have emerged later as more
people from outside the Vedic fold began practicing it and incorporated their own beliefs and
practices into it.

Each traditional Hindu temple is essentially a universe in itself. It is a miniature replica of

God’s creation, which reflects its diversity, divinity and complexity, reminding us of the
presence of God upon earth and our duties towards him and his Dharma. The theoretical
aspects of the Hindu temple are according to the knowledge contained in the Vedas, the
Tantras and other Shastras, while the design, geometric and architectural aspects are drawn
from ancient building manuals (Vastu Shastras) and treatises on traditional sculpting (Shilpa
Shastras). To honour events of Mahabharata and Ramayana, the temple could have been
designed.

56
The layout, themes, basic arrangement of its parts, placement of the deities, ornamentation,
and ancillary structures follow centuries’ old practices, beliefs and values of Hinduism. In the
past, and even now, Hindu temples offer an opportunity to the patrons to engage in charity
and philanthropy, while they help devotees engage their minds in divine contemplation and
religious worship. Over a time, Hindu temples also incorporated many foreign motifs from
Greek, Islamic and European cultures. They were found mainly in the Indian subcontinent
and in a few other countries such as Sri Lanka, Nepal, Thailand, Cambodia, and Indonesia
were Hinduism thrived. Presently. Today Hindu temples are found all over the world,
especially in countries where sizeable Hindu population exist such as Pakistan, Bangladesh,
Indonesia, Malaysia, Fiji, Mauritius, Guyana, Trinidad and Tobago, the Caribbean, Suriname,
South Africa, Europe, Australia and North America. The world’s oldest and largest temple is
the Angkor vat in Cambodia, while the largest, most recent temple is said to be the Swami
Narayan (BAPS) temple at Robbinsville, New Jersey, the United States.

Compared to the temples in Angkor Wat, the temples of Prambanan are much easier to
navigate considering its compact structure. However, we do not know what remains is the
complete or residual structures, and therefore the number of the surrounding adjuvant temples
need not have been the same as what remains.

57
Indonesia’s largest holy site is the Prambanan temple complex in Central Java.

‘Prambanan’ means Para Brahman (“Temple of God Almighty”) and one can naturally
assume that it is a Shiva temple dedicated to the Trimūrti. Its original name was Shiva-
grha (the House of Shiva). It is a UNESCO World Heritage Site in 1998, and the largest Hindu
temple site in Indonesia and the second-largest in Southeast Asia after Angkor Wat . Main characteric
of its Hindu architecture is tall and pointed architecture and towering with 47 m height in the central
building (Shiva temple). It borders the Opak river, that was cut along a North to South axis
along the outer wall of the Shivagrha Temple compound. This exquisite architecture was
constructed many centuries before both Angkor Wat and the great cathedrals of Europe. Let
me now come to two of the very erudite and brilliant literary endeavours that crystallize the
design elements of the Prambanan. After hundreds of years of neglect, the Prambanan temple
was rediscovered by CA Lons, a Dutchman, in 1733. The grandeur, complexity, and
integrated architectural concept of Prambanan makes this a truly amazing structure. As a
unique cultural and architectural marvel, Prambanan was declared a World Heritage site in
1991 by UNESCO.Surrounded by lush landscape and detailed architecture this temple
compound covers 39.8 hectares. In the main yard, there are the following Mandirs or
temples :
1. 3 (three) main temples,
2. 3 (three) Wahana temples,
3. 2(two) Apit temples, and
4. 8 (eight ) Patok temples surrounded by fences.
5. 224-In the second yard, there are another 224 Perwara temples.

1. The three main temples are dedicated to Hindu gods Shiva, Vishnu and Brahma. The
biggest temple is dedicated to Shiva —the destroyer, and the two smaller ones which flank it
on the east and west are dedicated to Brahma — the creator and Vishnu — the sustainer. The
tallest temple of Prambanan—the main Shiva temple—is a staggering 47 meters (130 feet)
high. Its peak is visible from far away and rises high above the ruins of the other temples.The
temple across from the Shiva temple contains a fine image of a Nadi bull and the Lingga
Batara Siwa stone, a symbol of fertility. . The main temple of Shiva houses the magnificent
statue of a four-armed Shiva, standing on Buddhist-style lotus blossoms. In the northern cell
is a fine image of Durga, Shiva’s consort. Some believe the Durga image is actually that of
the Slender Virgin, who according to legend was turned to stone by a giant she refused to
marry. The outsides are adorned with bas-reliefs depicting the Ramayana story. The Siva
temple had four statues: located in the centre chamber is the Siva statue; in the north chamber
stands the Dewi Durga Mahisasuramardhini statue; in the west chamber stands the Ganesya

58
statue; and the south chamber contains the statue of Agastya. Inside the Brahma temple there
is Brahma statue, and in the Vishnu temple there is the Vishnu statue. In the Vishnu temple is
carved the story of Kresnayana, while the Brahma temple houses the continuous story of the
Ramayana. The temples of Siva, Vishnu and Brahma are decorated with reliefs illustrating
the Ramayana period (history of the Hindu hero Rama, written around 300).

The high structures are typical of Hindu architecture, and the plan of the temple complex
is a Mandala, as is Borobudur. As a symbol of the Hindu cosmos, the temple is vertically
divided into three parts, both vertically and in plan. The three part is divided into
Jaba/Bhurloka, Tengahan/Bhuvarloka, and Njeron/Svarloka.

At the Garbagriha (innermost sanctum) of this temple sits a three meters statue of Shiva.
Prambanan as a Hindu Temple was made High and slim compared to Borobudur, with
the main Shiva shrine stands 47 meters in the middle of the complex surrounded with
smaller temples. Prambanan has a bas-relief on the inner side of the gate around the three
main shrine. The bas-relief tells the story about Ramayana and can be read from the east
gate clockwise around the inner compound.

2.Wahana Temples are 3 in number dedicated to the 3 vahanas of the 3 main idols- Brahma
Vishnu Mahesh. A square platform is divided into concentric courts by square-plane walls. In
the middle of the last enceinte stand the temples dedicated to the three great Hindu gods and
three small temples dedicated to their animal vehicles (Bull for Siva, Eagle for Brahma and
Swan for Vishnu). Other minor temples were located at the entrance gates or outside the
central enceinte (four ensembles).

4. Prambadan is surrounded by the ruins of 240 small “guard “ temples. Altogether there
are 400 temples in the Prambadan area. Most are within five kilometers of Prambanan
village and are generally not visited except by archeology nuts. But that is not to say
they are not without merit. A good way to explore them is to rent a bicycle. The
proximity of Prambanan and Buddhist Borobudur temple tells us that on Java,
Buddhism and Hinduism lived peacefully next to one another. The surrounding
PERWARA temples are 224-In the second yard, there are another 224 Perwara
temples.

Theories on the arrangement and multiplicity of temples in the Compound

1.In PRAISE OF PRAMBANAN DUTCH ESSAYS ON THE LORO JONGGRANG TEMPLE

COMPLEX Edited by ROY E. JORDAAN - Published by the Dutch KONINKLIIK
INSTITUUT VOOR TAAL-. LAND- EN VOLKENKUNDE Translation, Series 26 we find
certain criticism or observations on the placement of the ornamental carvings in the structure.
To begin with, we find the story of Rama distributed over two of the three temples located
here- namely the Siva and the Brahma temple, while actually we would have expected the
Vishnu temple to be a pre-eminently suitable candidate for adornment with stories of his
avatar Rama. Also one can see tales of Siva depicted on the Siva temple,whereas the first
figures to be noted in the reliefs adorning this temple are those of Garuda and the second
Vishnu himself!
“The conclusion that forces itself upon us is that the priests giving instructions for this
unusual arrangement at the time these temples were designed either were no longer experts in
their profession or took considerable liberties.” It is quite possible that artistic liberties were

59
taken not in the least that the craftsmen and designers were no Hinduism experts of the
standard that we today desire from an extinct piece of Art. With three main temples for the
Trimurti; Shiva the destroyer of the universe, Vishnu the keeper of the universe, and
Brahma the creator of the universe. Back in the glory days of the old Mataram Kingdom,
Prambanan is used as a Candi Agung for various royal and religious ceremonies.

Bhurloka
The base of the temples, as well as the outer square is the underworld. It was a large
space marked by a rectangular wall. This is a place for ordinary folk, mortals, both
human and animal. This is the place where lust and desire are commonplace. It is an
unholy area. Bhurloka is 390 square meters wide, it used to have stone walls surrounding
it.
Bhuvarloka
The central body of the temples and the middle square of the complex, represents the
‘middle world’ the place for those who have left their worldly possessions. This is where
people begin to see the light of truth. The middle world had four rows of 224 small
individual shrines, where all shrines are identical. Bhuvarloka is 222 square meters wide
and used to have stone walls. This compound consist of four levels, with the innermost
level the highest. The first level has 68 small stupas divided into four rows. The second
level has 60 stupas. The third level has 52 stupas, and the top level has 44 stupas. All
stupas in this compound has the same size, 6 meters wide and 14 meters high. Almost all
structure in the middle square is now in ruins.
Svarloka
The top of the temples and the innermost square represents the realm of the gods, the
holiest zone, and is crowned. There are 16 temples that consist of 3 main temples:
Brahma the Creator, Shiva the Destroyer, and Vishnu the Keeper. Shiva temple is the
biggest and the tallest amongst all with 47.6m high, while Brahma and Vishnu are 33m
high. In addition to the three main temples, there are three Wahana Temples, four Kelir
Temples, two Apit Temples and four Patok Temples.
The Svarloka area is 110 square meters wide and 1,5 meters higher than the central area.
This area is surrounded with stone walls, with four Gapura Paduraksa on four sides, only
the southern gate is still in its original state. In front of the gate is a small square stupas 4
meters high.
SUN position

He also goes on to mention that this arrangement is not a haphazard one, but on the contrary,
is inspired by a strict system - that of the course of the sun. “Hopefully other researchers will
be in a position on the basis of this to continue the repair work on the cosmic fabric with
which the temples of the Central Javanese period must have been overlaid.” As avastu expert
with my Compass to tell the N-E-W-S directions, I am confounded many times in relocation
the sun positions in view of determing the isthmus in apartments constructed one on top of
the other( not to mention sade ways) where it is difficult to romove/move windows and doors,
roof and floor( to say the least)

60
 One of Perwara or smaller complementary temple.
There are three perwara temples in front of Gunung Wukir (Canggal) main temple. Canggal hamlet,
Kadiluwih village, Salam, Magelang Regency, Central Java, Indonesia

2. Sitti Attari Khairunnisa,,Taufiq Hidayat, Wayne Orchiston & Nok Nikeu in their
Chapter- Astronomical Aspects of the Prambanan Temple in Central Java, Indonesia point
out that Astronomy being a well known even temples like Angkor Wat, a famous Hindu
temple located in Cambodia, integrated some aspects of astronomy into its design. The
Prambanan Temple (which is older than Angkor Wat), may have the same claim. According
to them previous research suggests a relationship between Prambanan and astronomy, which
is shown by the fact that it is oriented towards the cardinal points. This choice of orientation
must have been made through consistent observations of the Sun. It also has been proposed
that the construction of Prambanan applied the mandala principle, which is the basic
concept for the construction of Hindu temples in India. This concept provides essential
information regarding astronomy and its historical facts.

For example, the date of establishment of a temple can be inferred from the mandala set up.
From the type of mandala, it can be determined for whom the temple was built. They
suggest that the temple may also have also been used for lunar observations.

3. Dr Subhash Kak in his essay Space and Order in Prambanan presents new ideas regarding the plan
of the 9th-century Prambanan temple complex and the number of its subsidiary shrines (candi
perwara). Sometimes viewed as derived from the Somapura Mahåvihara of Bengal, which
was built by Dharmapala (r. 770-810) of the Pala dynasty (Rowland 1953), Prambanan is a
sarvatobhadra temple with a terraced plan and a unique Mandala layout. The Layout has
always posed a challenge to the onlooker less and the researcher more as to the intricacies of
iuts dimensiona and the existence and placement of the perwara temples. According to him
the 224 candi perwara are the emanations associated with the Goddess in the 3r∂ Yantra system.
The four terraced sets of candi perwara shrines are like the four concentric sets of triangles in the
3r∂ YantraThe Goddess central to the complex, which is consistent with the traditional view of
the Javanese in which it is famous as Candi Loro Jonggrang and not Candi Shiva. It may be
assumed that the King-commissioner constructed the temple with multiple dedications to Rama
as the ideal ruler, Shiva as the Great God, and Durga as the goddess who guides-one to inner and
outer victory. https://www.academia.edu/45095273/Space_and_order_in_Prambanan

4. During the middle of the 9th century CE, the respective planetary bodies corresponding
with six of the eight Lokapalas happened to rise in the same order in which they appear on
the walls of the Shiva temple. This celestial event took place beginning on the evening of
December 17th in 840 CE, a date that also coincided with the Summer Solstice. Jupiter
(Indra), the Moon (Issana), Venus (Kubera), Mercury (Varuna), Mars (Yama), and Saturn

61
(Agni) rose in succession in the early morning hours, followed by the rising Sun itself. In
addition, the sun rose on December 18th in the asterism Crivana, which is assigned to
Vishnu, the chief of all the solar deities.

Prambanan Temple Compounds comprises of two groups of buildings which includes

LoroJonggrang, Sewu complexes, Lumbung, Bubrah and Asu (Gana). The 508 stone
temples of various shapes and sizes are either in a complete and preserved condition or
have been retained as ruins. This site includes all elements necessary to express its
exceptional significance and iswell maintained. There are no threats of development or
neglect; however the area is prone to natural threats such as earthquakes and volcanic
eruptions.

5. Battle of Kurukshetra and the multi circular CHAKRAYVSA formation

The Padmavyūha (Sanskrit: पद्मव्यूह) or Chakravyūha (Sanskrit: चक्रव्यूह) is a military

formation used to surround enemies, depicted in the Hindu epic Mahabharata. It resembles
a labyrinth of multiple defensive walls. The Padmavyūha is a multi-tiered defensive
formation that looks like a blooming lotus (पद्म padma) or disc (चक्र chakra) when viewed from
above.[1] The warriors at each interleaving position would be in an increasingly tough position
to fight against. The formation was used in the battle of Kurukshetra by Dronacharya, who
became commander-in-chief of the Kaurava army after the fall of Bhishma Pitamaha.
The various vyūhas (military formations) were studied by the Kauravas and Pandavas alike.
Most of them can be beaten using a counter-measure targeted specifically against that
formation. In the form of battle described in the Mahabharata, it was important to place
powerful fighters in positions where they could inflict maximum damage to the opposing
force, or defend their own side. As per this military strategy, a specific stationary object or a
moving object or person could be captured, surrounded and fully secured during battle.
The formation begins with two soldiers standing back-to-back, with other such set of soldiers
standing at a distance of three hands, drawing up seven circles and culminating in the end
which is the place where the captured person or object is to be kept. In order to form the
Chakravyuha, the commander has to identify soldiers who will form this formation. The
number of soldiers to be deployed and the size of the Chakravyuha is calculated as per the
resistance estimated. Once drawn, the foremost soldiers come on either side of the opponent
to be captured, engage briefly and then advance. Their place is taken up by the next soldiers
on either side, who again engage the opponent briefly and then advance. In this fashion, a
number of soldiers pass the enemy and proceed in a circular pattern. By the time the rear of
the formation arrives, the oblivious enemy is surrounded on all sides by seven tiers of
soldiers. The last soldiers of the formation give the signal of having completed the
Chakravyuha. On the signal, every soldier who so far has been facing outwards turns inwards
to face the opponent. It is only then that the captured enemy realizes his captivity. The army
can continue to maintain the circular formation while leading the captive away.

62
At one point in the great battle of the Mahabharata, the Kauravas gather their army into a large,
impenetrable circular formation. When Abhimanyu plans to break into the formation, the Pandavas and
their allies promise to follow him, providing assistance and protection. Once Abhimanyu penetrates the
enemy force, however, King Jayadratha and his army prevent the Pandavas from coming to their
kinsman's aid. Abhimanyu, though he fights valiantly and slays many opponents, is eventually killed.
Here he faces a force that includes the Kaurava brothers Duryodhana, Duhshasana, and Vrindaraka, as
well as such allies as Karna and Drona. At the right-hand side of the page the Pandavas face a group of
warriors led by King Jayadratha, who is seated on an elephant. Jayadratha was able to hold the powerful
Pandavas at bay through a favor he received from the Hindu god Shiva. On left the CHAKRAVYVA
formation

Family temple of Shiva

The Shiva temple is the only structure at Prambanan that has entrance ways opening to all
four cardinal directions. The doorway that faces east leads into the shrine’s central cella,
which contains a murti (Statute) of Lord Shiva.
The remaining three doors lead into three ancillary chambers which contain statues of the
Agastya (south), Ganesha (west) and Durga (north).
With regards to the central shrine, however, there is a possibility that these three murtis were
not the original occupants of the auxiliary chambers. Prambanan temple has 3 main divisions
in the main structure namely, the Vishnu Temple, Brahma, and Shiva temples. The three
temples are symbols of Trimurti in Hindu belief. All of them face to the east.
Each main temple has a temple facing the west, namely Nandini for Shiva temples, Angsa to
Brahma, and Garuda for Vishnu. Besides, there are 2 wedge temple, temple curtain 4, and 4
corner temples. Meanwhile, a second portion of the plot has 224 has a temple.
Entering the temple of Shiva temples located in the middle of the building and the highest
roof structure one comes across the 4 rooms. One main room contains a statue Siwa, while
the other 3 rooms each contain Durga statue (Siwa's wife), Agastya (Shiva temples teachers),
and Ganesha (the son of Siwa). Durga statue that have been used as the statue in

63
the legend of Roro Jonggrang. In the Vishnu Temple, located in the north of Siwa temple,
there is only one room containing a statue of Vishnu. Similarly Brahma is also lodged
singularly. Brahma too in the South is similarly placed. Temple facing enough bait is Garuda
temple that is located near the Vishnu temple. Save this temple stories about her half-human
bird called Garuda. Garuda is a mystical bird in Hindu mythology is well-known, with a
human face.Immediately to the east are three auxiliary shrines, each with a single staircase
and doorway facing to the west. The shrine to the immediate east of the Shiva temple, which
contains a statue of the sacred bull Nandi, is 25 m. in height and measures 15 m. x 15 m. at
the base. The remaining two shrines, which face the Brahma and Vishnu temples, are 22 m.
in height and measure 13 m. x 13 m. at the base.

The statuary that visitors see today in the interiors of these two structures are not the original
occupants. It is suggested that these buildings were intended to house the celestial vahanas
(carriers) of the Deities Brahma, Shiva, and Vishnu. However, this is by no means certain. It
has also been suggested that these buildings may have initially housed sculptures representing
Lord Shiva, including his shivalinga.

The tripartite structure of the shivalinga represent the trimurti of Brahma (square base),
Vishnu (octagonal mid-section) and Shiva (round tip).Near the central yard’s north and south
gates are two apit temples, the original purpose of which is not known. Each of these
structures has a height of 16 m. and measures 6 m. x 6 m. at the base. A total of eight smaller
kelir (screen) structures are located just inside the courtyard walls. These were probably used
to mark out the four cardinal points as well as the four intermediate directions of NW, NE,
SW, and SE.

64
In addition, the kelir temple that marks the center of the entire complex has actually been
incorporated into the structure of the main Shiva shrine. All nine temples are 4.1 m. in height
and measure 1.55 m. x 1.55 m. at the base.

The Shiva Temple’s Lokapalas – Guardians of the Directions of Space

On the outside-facing walls of the Shiva temple’s central cella there are a total of 24 relief
panels. Eight of these figures collectively represent a group of Deities called the Lokapalas
— the guardians of the eight directions of space. Vedic cosmology associates six of the eight
Lokapalas with six of the planets of ancient astronomy: Kubera (Venus), Varuna (Mercury),
Yama (Mars), Agni (Saturn), Issana (Moon) and Indra (Jupiter). In addition, the Lokapalas
Nirriti and Vayu were assigned stations in the sky that corresponded with certain star signs of
Vedic astronomy, called the nakshatras.

65
 The Temple Complex

The architecture of the Prambanan temple complex follows Vastu Shastra and was built on the
model of Mount Meru, the Cosmic mountain. The whole temple complex is a model of the
Universe according to Hindu cosmology. The urban center and the court of Mataram were
located nearby, in what would later become Yogyakarta. Hundreds of brahmins lived with
their disciples within the outer wall of the temple compound.

As mentiuoned earlier and toi recapitulate, 0riginally there were a total of 240 temples
standing in Prambanan. The temple complex consist of:
• 3 Trimurti temples: three main temples dedicated to Brahma, Vishnu, Shiva Mahadeva
• 3 Vahana temples: three temples in front of Trimurti temples dedicated to the vahana of each
gods; Garuda, Nandi and Hamsa
• 2 Apit temples: two temples located between the rows of Trimurti and Vahana temples on
north and south side
• 4 Kelir temples: four small shrines located on 4 cardinal directions right beyond the 4 main
gates of inner zone
• 4 Patok temples: four small shrines located on 4 corners of inner zone
• 224 Pervara temples: hundreds of temples arranged in 4 concentric square rows; numbers of
temples from inner row to outer row are: 44, 52, 60, and 68. Today, only 2 out of the original
224 perwara temples are renovated.

The Tri Mandala principle

The Prambanan temple consists of 3 zones, according to the Indonesian Hindu tri
mandala principle:
• Nista Mandala (outer zone) — a large space marked by a walled perimeter, which originally
measured about 390 m per side, and contained a sacred garden, an ashram for monks and
accommodation for the priests.
• Madya Mandala (middle zone) that contains hundreds of small temples
• Utama Mandala (holiest inner sanctum) that contains 8 main temples and 8 small shrines.
Just like Borobudur, Prambanan is structured in three mandalas, from the less holy to the
holiest realms. Both the compound site plan (horizontally) and the temple structure (vertically)
represents 3 layers of the Universe:
• Bhurloka (in Buddhism: Kāmadhātu), the lowest realm of common mortals; humans,
animals also demons. Where humans are still bound by their lust, desire and unholy way of
life. The outer courtyard and the foot (base) part of each temples is symbolized the realm of
bhurloka.
• Bhuvarloka (in Buddhism: Rupadhatu), the middle realm of holy people, occupied by rishis,
ascetics, and lesser gods. People here begin to see the light of truth. The middle courtyard and
the body of each temple symbolizes the realm of bhuvarloka.
• Svarloka (in Buddhism: Arupadhatu), the highest and holiest realm, reserved for the gods.
Also known as svargaloka. The inner courtyard and the roof of each temple symbolizes the
realm of svarloka. The roof of Prambanan temples are adorned and crowned with ratna
(sanskrit: jewel), the shape of Prambanan ratna took the altered form of vajra that represent
diamonds. In ancient Java temple architecture, ratna is the Hindu counterpart of the Buddhist
stupa, and served as the temple’s pinnacle.

66
Tri Zonal plan of Balinese Village temples TODAY is also similarKahyangan Tiga: Village
Temple

Balinese traditional society as a cultural community group in managing villages as residential

areas with completeness such as: temples, bale banjar, markets, houses, roads, is arranged in
one spatial layout based on the concepts of catus pata and luan teben, for example: markets,
wantilan, village temples, houses of village officials are placed at the corners of the catus
pata. These guideline were established in the first unified seminar on interpretation of
aspects of Hinduism which was held in Amlapura, Indonesia in 1974.

The village temple is the central place for ceremonial activities for the benefit of the village,
such as various ceremoniesemony. The village temple has a floor plan which is divided into
three parts (Nista Mandala, Madya Mandala, and Utama Mandala), but more generally the
first and second plans are combined into one, so that it appears to have two floor plans,
namely: Jaba side (first page) and innards (second page). ).

The two courtyards are surrounded by walls with entrances called Candi Bentar and Kori
Agung. Each part is accompanied by buildings with different functions. The number of
buildings in the first and second courtyards of the Pura Desa varies, but in this paper the main
buildings that must be present in every templeThe minimum buildings on the first zone are as
follows:

Candi Bentar.
The shape is halved which serves as the entrance to the first courtyard of the temple. To enter
the second courtyard (innards of the temple) through the temple brackets or kori agung with
various forms of variations and decorations.

67
Bale Kulkul.
It's in the front corner of the first page. The shape of the building is made high as a tower
with a kulkul or kentongan hanging above it. The function of the kentongan is related to the
implementation of ceremonies such as when nesunang batara and when saving. Another
function is as a sign that a meeting between temple residents will soon begin to discuss
various issues regarding temples such as: preparation for piodalan, plans for temple repairs
and others.

Great Ball.
The building is in the form of a long bale with a rather high base and the roof is supported by
several pillars. This building serves as the place for the pasamuhan (meeting) of the batara
during the ngusaba ceremony and after the mekiyis ceremony (pratima purification ceremony
from the batara).

Bale Gong.
This building serves as a place for gamelan, which is played when the piodalan ceremony
takes place to support the ceremony at the temple.

While the buildings on the second page (innards) of the Village Temple are:

Sanggar Agung.
This building is also known as Sanggar Surya. Placement in the upstream direction of the
temple innards plan. This building is open at the top, which functions as the stana of Hyang
Raditya/Hyang Widi.

Great Gedong.
The building is in the form of a gegedongan which is divided into three parts, namely, the
base of the gedong, the body of the gedong with walls around it on all four sides, so that the
body of the gedong is in the form of a room. This room can be reached through the door on
the front side of the building. The roof of the gedong is made of layers with a roof made of

68
palm fiber. This building functions as the stana of Lord Brahma, in the form of pratima and
does not use the likeness (characteristics) of Lord Brahma as is usually the case in sculptural
art.
In art, the statue of Lord Brahma is usually depicted as having four faces facing all directions,
four hands each holding a prayer beads, cypresses, a jug and round fruit. Sakti from Lord
Brahma named Dewi Saraswati riding a gowith a goose ride.

Queen Ketut Petung

The gedong-shaped building functions as a pepatih or companion of the God who resides in
the temple.

Ratu Ngerurah
The building is made in the form of a monument which functions as a guard and is
responsible for the security of the temple.

VILLAGE PURA PLAN- Description Floor plan

1 Gedong Agung.
2 Sedahan village head.
3 Queen Ketut Petung.
4 Great Halls.
5 Bale Pawedan.
6 Rumors.
7 Kuri Agung.
8 Apit Lawang.
9 Bale Agung
10 Bale Gong.
11 Bale Kulkul.
12 Candi Bentar

II
The Shiva temple of Prambanan

The inner zone or central compound is the holiest among the three zones. It is the square
elevated platform surrounded by a square stone wall with stone gates on each four cardinal
points. This holiest compound is assembled of 8 shrines or candi. The 3 main shrines, called
are dedicated to the three Gods of the Trimurti: Brahma, Vishnu, and Shiva Mahadeva.

The Shiva temple is the tallest and largest structure in Prambanan Loro Jonggrang
complex. Candi Shiva — the central shrine — rises 47 m high and contains 4 inner chambers

69
that face the 4 points of the compass. The eastern gate of Shiva temple is flanked by two small
shrines, dedicated to the guardian gods Mahakala and Nandhisvara.

The Shiva temple is encircled with galleries adorned with bas-reliefs telling the Ramayana. To
follow the story accurately, visitors must enter from the East side and began to
perform pradakshina.
The Shiva shrine is located at the center and contains five chambers, four small chambers in
every cardinal direction and one bigger main chamber in the central part of the temple. The
east chamber connects to the central chamber that houses the largest temple in Prambanan, a
three-metre high statue of Shiva Mahadeva.

The statue bears the lakçana (attributes or symbol) of Shiva such as the skull and sickle
(crescent) at the crown, and third eye on the forehead. The four hands that holds Shiva’s
symbols: prayer beads, feather duster, and trisula (trident).
The other three smaller chambers contain statues of Shiva’s consort Durga
Mahisasuramardini, Rishi Agastya — one of the Saptarishis who took the yogic sciences
across South Asia — and Ganesha.
The shrine of Durga is also called the temple of Rara Jonggrang, after the Javanese legend
of Rara Jonggrang. Indeed, Javanese folk religion was always superposed with the more
elitist Shiva-Buddha syncretism.

A well containing the peripih was discovered under the center of the Shiva temple. The stone
casket contained sheets of copper, charcoal, ashes, earth, 20 coins, jewels, glass, pieces of gold
and silver leaves, seashells and 12 gold leaves (which were cut in the shapes of a turtle, Nāga
serpent, padma, altar, and an egg).

The sacred peripih is the core of the shrine in all Indonesian temples

The Temple Complex

The architecture of the Prambanan temple complex follows Vastu Shastra and was built on the
model of Mount Meru, the Cosmic mountain. The whole temple complex is a model of the
Universe according to Hindu cosmology.

70
The urban center and the court of Mataram were located nearby, in what would later
become Yogyakarta. Hundreds of brahmins lived with their disciples within the outer wall of
the temple compound.
Originally there were a total of 240 temples standing in Prambanan. The temple complex
consist of:
• 3 Trimurti temples: three main temples dedicated to Brahma, Vishnu, Shiva Mahadeva
• 3 Vahana temples: three temples in front of Trimurti temples dedicated to the vahana of
each gods; Garuda, Nandi and Hamsa
• 2 Apit temples: two temples located between the rows of Trimurti and Vahana temples on
north and south side
• 4 Kelir temples: four small shrines located on 4 cardinal directions right beyond the 4 main
gates of inner zone
• 4 Patok temples: four small shrines located on 4 corners of inner zone
• 224 Pervara temples: hundreds of temples arranged in 4 concentric square rows; numbers
of temples from inner row to outer row are: 44, 52, 60, and 68. Today, only 2 out of the
original 224 perwara temples are renovated.

The Tri Mandala principle

The Prambanan temple consists of 3 zones, according to the Indonesian Hindu tri
mandala principle:
• Nista Mandala (outer zone) — a large space marked by a walled perimeter, which
originally measured about 390 m per side, and contained a sacred garden, an ashram for
monks and accommodation for the priests.
• Madya Mandala (middle zone) that contains hundreds of small temples
• Utama Mandala (holiest inner sanctum) that contains 8 main temples and 8 small shrines.
Just like Borobudur, Prambanan is structured in three mandalas, from the less holy to
the holiest realms. Both the compound site plan (horizontally) and the temple structure
(vertically) represents 3 layers of the Universe:
• Bhurloka (in Buddhism: Kāmadhātu), the lowest realm of common mortals; humans,
animals also demons. Where humans are still bound by their lust, desire and unholy way of
life. The outer courtyard and the foot (base) part of each temples is symbolized the realm of
bhurloka.
• Bhuvarloka (in Buddhism: Rupadhatu), the middle realm of holy people, occupied by rishis,
ascetics, and lesser gods. People here begin to see the light of truth. The middle courtyard and
the body of each temple symbolizes the realm of bhuvarloka.
• Svarloka (in Buddhism: Arupadhatu), the highest and holiest realm, reserved for the gods.
Also known as svargaloka. The inner courtyard and the roof of each temple symbolizes the
realm of svarloka. The roof of Prambanan temples are adorned and crowned with ratna
(sanskrit: jewel), the shape of Prambanan ratna took the altered form of vajra that represent
diamonds. In ancient Java temple architecture, ratna is the Hindu counterpart of the Buddhist
stupa, and served as the temple’s pinnacle.
The Shiva temple
The inner zone or central compound is the holiest among the three zones. It is the square
elevated platform surrounded by a square stone wall with stone gates on each four cardinal
points. This holiest compound is assembled of 8 shrines or candi. The 3 main shrines, called
are dedicated to the three Gods of the Trimurti: Brahma, Vishnu, and Shiva Mahadeva.
The Shiva temple is the tallest and largest structure in Prambanan Loro Jonggrang
complex. Candi Shiva — the central shrine — rises 47 m high and contains 4 inner chambers
that face the 4 points of the compass. The eastern gate of Shiva temple is flanked by two small
shrines, dedicated to the guardian gods Mahakala and Nandhisvara.

71
The Shiva temple is encircled with galleries adorned with bas-reliefs telling the
Ramayana. To follow the story accurately, visitors must enter from the East side and began to
perform pradakshina.

The Shiva shrine is located at the center and contains five chambers, four small
chambers in every cardinal direction and one bigger main chamber in the central part of
the temple. The east chamber connects to the central chamber that houses the largest temple
in Prambanan, a three-metre high statue of Shiva Mahadeva.
The statue bears the lakçana (attributes or symbol) of Shiva such as the skull and sickle
(crescent) at the crown, and third eye on the forehead. The four hands that holds Shiva’s
symbols: prayer beads, feather duster, and trisula (trident).
The other three smaller chambers contain statues of Shiva’s consort Durga
Mahisasuramardini, Rishi Agastya — one of the Saptarishis who took the yogic sciences
across South Asia — and Ganesha.

The shrine of Durga is also called the temple of Rara Jonggrang, after the Javanese legend
of Rara Jonggrang. Indeed, Javanese folk religion was always superposed with the more
elitist Shiva-Buddha syncretism. A well containing the peripih was discovered under the
center of the Shiva temple. The stone casket contained sheets of copper, charcoal, ashes, earth,
20 coins, jewels, glass, pieces of gold and silver leaves, seashells and 12 gold leaves (which
were cut in the shapes of a turtle, Nāga serpent, padma, altar, and an egg).

The sacred peripih is the core of the shrine in all Indonesian temples
Brahma and Vishnu temples
The two other main shrines are those of Vishnu on the north side of the Shiva shrine, and the
one of Brahma on the south.
Vahana temples
The other three shrines in front of the three main temples are dedicated to the vehicles
(vahana) of the respective gods — the bull Nandi for Shiva, the sacred swan Hamsa for
Brahma, and Vishnu’s kite Garuda. Precisely in front of the Shiva temple is the Nandi temple,
which contains a statue of the Nandi bull.
Apit temples
Between these rows of the main temple, on the north and south side, stand two Candi Apit
temples. Apit in Javanese means “flank”. The two temples flanked the inner courtyard on the
north and south sides. The room inside the Apit temples is now empty. However, it is probable
that the southern Apit temple was dedicated to Sarasvati, while the northern Apit temple was
dedicated to Lakshmi.
Beside these 8 main temples, there are also 8 smaller shrines: 4 Candi Kelir on four cardinal
directions of the entrance, and 4 Candi Patok on four corners of the inner zone.
• Kelir in Javanese means “screen”, especially referring to wayang kulit, fabric screen. It refers
to a structure that obstructs the main cardinal entry of the gopura, similar to the aling-aling in
Balinese architecture.
• Patok in Javanese means “peg”. It refers to the shrine location at the four corners of the inner
compound.
The two walled perimeters that surround the remaining two yards to the interior are oriented to
the four cardinal points. The second yard’s walled perimeter surrounds a terraced area that
consists of four rows containing 44, 52, 60, and 68 pervara temples, or 224 structures in total.
Most of them are still in ruins and only some have been reconstructed.The 16 temples located
at the corners of the rows face two directions; the remaining 208 structures open to only one of

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the four cardinal directions. These shrines are called Candi Perwara — guardian or
complementary temples. It is believed they were meditation place for priests and worship
place for devotees.

INTERPRETATIONS

• 224 Pervara temples: hundreds of temples arranged in 4 concentric square rows; numbers
of temples from inner row to outer row are: 44, 52, 60, and 68. Today, only 2 out of the
original 224 perwara temples are renovated.

Brahma and Vishnu temples

The two other main shrines are those of Vishnu on the north side of the Shiva shrine, and the
one of Brahma on the south.
Vahana temples
The other three shrines in front of the three main temples are dedicated to the vehicles
(vahana) of the respective gods — the bull Nandi for Shiva, the sacred swan Hamsa for
Brahma, and Vishnu’s kite Garuda. Precisely in front of the Shiva temple is the Nandi temple,
which contains a statue of the Nandi bull.
Apit temples
Between these rows of the main temple, on the north and south side, stand two Candi Apit
temples. Apit in Javanese means “flank”. The two temples flanked the inner courtyard on the
north and south sides. The room inside the Apit temples is now empty. However, it is probable
that the southern Apit temple was dedicated to Sarasvati, while the northern Apit temple was
dedicated to Lakshmi.
Beside these 8 main temples, there are also 8 smaller shrines: 4 Candi Kelir on four cardinal
directions of the entrance, and 4 Candi Patok on four corners of the inner zone.
• Kelir in Javanese means “screen”, especially referring to wayang kulit, fabric screen. It refers
to a structure that obstructs the main cardinal entry of the gopura, similar to the aling-aling in
Balinese architecture.
• Patok in Javanese means “peg”. It refers to the shrine location at the four corners of the inner
compound.
Pervara temples
The two walled perimeters that surround the remaining two yards to the interior are oriented to
the four cardinal points. The second yard’s walled perimeter surrounds a terraced area that
consists of four rows containing 44, 52, 60, and 68 pervara temples, or 224 structures in total.
Most of them are still in ruins and only some have been reconstructed.
The 16 temples located at the corners of the rows face two directions; the remaining 208
structures open to only one of the four cardinal directions. These shrines are called Candi
Perwara — guardian or complementary temples. It is believed they were meditation place for
priests and worship place for devotees.

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Lokapalas
The lokapalas, the celestial guardians of directions, can be found in Shiva temple.
The Rishis
The rishis were carved on Brahma temple wall, while in Vishnu temple the figures of male
deities devatas are flanked by two apsaras.
Lion and Kalpavriksha
The lower outer wall of these temples was adorned with a row of small niches containing an
image of sinha (a lion) flanked by two panels depicting kalpavriksha trees. These wish-
fulfilling sacred trees are flanked on either side by kinnaras or animals, such as pairs of birds,
deer, monkeys, horses, elephants etc.
https://www.youtube.com/watch?v=qmyBQeLSKDc
Kala
The carvings include the famous Kala representations that are seen everywhere on Javanese
temples. It reminds of the fact that Time swallows everything.

The Ramayana and the Bhagavata Purana

The temple is adorned with bas-reliefs telling the story of the Ramayana and
the Bhagavata Purana. The Ramayana starts on the Shiva temple balustrade and continues
on the Brahma temple.
On the balustrades in the Vishnu temple there is series of bas-relief panels depicting the stories
of lord Krishna from the Bhagavata Purana. The bas-relief of the Ramayana illustrate how
Sita, the wife of Rama, is abducted by Ravana. The monkey king Hanuman brings his army to
help Rama and rescue Sita.
The story starts from the east entrance where visitors turn left and move around the temple
gallery in a clockwise direction. This conforms with the pradaksina performed by pilgrims
who move in a clockwise direction while keeping the sanctuary to their right.
This story is also shown by the Ramayana Ballet, regularly performed every full moon night at
the Trimurti open-air theatre.

Other temples in the area of proximity

• Lumbung — Buddhist-style, consisting of one main temple surrounded by 16 smaller ones.

• Candi Bubrah — Buddhist temple
• Sewu — Buddhist temple complex, older than Roro Jonggrang. A main sanctuary
surrounded by many smaller temples. Well preserved guardian statues, replicas of which stand
in the central courtyard at the Jogja Kraton.
• Candi Morangan — Hindu temple complex buried several meters under volcanic ashes,
located northwest from Prambanan.

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• Candi Plaosan — Buddhist temple built by a Hindu king for his Buddhist queen. Two main
temples with reliefs of Boddhisatva and Tara. Also rows of slender stupas.
• Ratu Boko — Complex of fortified gates, bathing pools, and elevated walled stone
enclosure, all located on top of the hill.
• Sajiwan — Buddhist temple decorated with reliefs concerning education. The base and
staircase are decorated with animal fables.
• Banyunibo — A Buddhist temple with unique design of roof.
• Barong — A Hindu temple complex with large stepped stone courtyard. Located on the
slope of the hill.
• Ijo — A cluster of Hindu temple located near the top of Ijo hill. The main temple houses a
large lingam and yoni.
• Arca Bugisan — Seven Buddha and bodhisattva statues, some collapsed, representing
different poses and expressions.
• Kalasan — 8th-century Buddhist temple built in commemoration of the marriage of a king
and his princess bride, ornamented with finely carved reliefs.
• Sari — Once a sanctuary for Buddhist priests. 8th century. Nine stupas at the top with two
rooms beneath, each believed to be places for priests to meditate.
• Sambisari. Hindu temple discovered in 1966, once buried 6 m under volcanic ash. The main
temple houses a linga and yoni, and the wall surround it displayed the images of Agastya,
Durga, and Ganesha.
• Gebang — A small Hindu temple discovered in 1937 located near the Yogyakarta northern
ring-road. The temple displays the statue of Ganesha and interesting carving of faces on the
roof section.
• Candi Gana — Rich in statues, bas-reliefs and sculpted stones. Frequent representations of
children or dwarfs with raised hands. Located in the middle of a housing complex. Under
restoration since 1997.
• Candi Kedulan — Discovered in 1994. Square base of main temple visible. Secondary
temples not yet fully excavated.
oooooooooooooooooooooooooooooooooooooooooooo

The Perwara Temples

Etymology of the word Perwara. “perwira” in Kamus Besar Bahasa Indonesia, Jakarta:
Language Development and Fostering Agency — Ministry of Education, Culture, Research,
and Technology of the Republic Indonesia, 2016 is from Malay perwira,
from Malay perwira (“hero; brave”), from Sanskrit प्रवीर (pravīra). Doublet of prawira.
pêrwira (first-person possessive perwiraku, second-person possessive perwiramu, third-
person possessive perwiranya)
1. (military, law enforcement) officer.
Synonym: opsir
2. (obsolete) hero, brave.
Synonym: pahlawan
perwira
1. (obsolete) heroic, brave.
Synonyms: gagah, berani
Perwara means (archaic) female escort of the king. (archaic) queen.

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Ijo temple is Hindu candi (temple) located 4 kilometers from Ratu Boko measuring 0.8
hectare compound at present. The main temple is on the higher ground on the hill with
several terraces. It was estimated that more than 10 Perwara or lesser temples ruins are still
buried in this terraces.

Sambirejo, Prambanan, Sleman Regency, Special Region of Yogyakarta, Indonesia

Perwara temples

2 of three perwara temples.

The main temple compound located on the uppermost terrace, consists of a large main temple
facing west and three perwara temples on front of it facing east. These three perwara temples
was meant to honor Trimurti, having cella or room and there are windows perforated in the
rhombus shape. The roof is arranged in three stages adorned with rows of ratnas.

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 The main temple, showing the three niches. One of the
perwara temples can be seen behind it.
The main temple has square ground plan with a large linga and yoni adorned
with naga serpent. The union of phallic linga and yoni symbolize the cosmic sacred union
between Shiva and Parvati as his shakti. There are three niches on each sides of inner wall in
the room, each niches flanked with a pair of devata, Hindu lesser gods and goddesses flying
toward the niches.The roof of main temple is arranged in three ascending terraces decreased
in size to the top forming stepped pyramid.
In the case of Prambanan these 4 shrines are also the "Candi Perwara", guardian or
complementary temples, the additional buildings of the main temple. Some believed it was
offered to the king as a sign of submission. The Perwara are arranged in four rows around the
central temples.

Ruins of the Perwara temples at Sompura Paharpur

Ijo temple Candi Ijo; is a Hindu candi (temple) located 4 kilometers from Ratu Boko or
around 18 kilometers east from Yogyakarta, Indonesia. The temple was built between 10th to
11th century CE during the Mataram Kingdom period.The temple compound is located in
Groyokan hamlet, Sambirejo village, Kecamatan Prambanan, Sleman Regency, Yogyakarta.
The temple's name derived from its location, the Gumuk Ijo hill. The temple compound stood
on western slope of the hill, in a quiet region east of Yogyakarta, around 4 kilometers
southeast from Ratu Boko archaeological compound. The temple elevation is 410 meters
above the sea level. The western hill of Gumuk Ijo overlooks rice paddies, villages
and Adisucipto International Airport.

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The temple compound measures 0.8 hectares, however the original temple compound is
estimated to be far larger. On the hill foot and slopes on western sides there are some
archaeological artifacts and temple ruins which suggest the larger compound may exists from
the foot ascending to the main temple.

III
Perwaras of Prambanan

The Prambanan temple compound is Bokoharjo, Prambanan, Sleman

located approximately 17 kilometres (11 mi) northeast Regency, Special Region of Yogyakarta
of the city of Yogyakarta on the boundary between & Prambanan, Klaten Regency, Central
Central Java and Yogyakarta Location Java, Indonesia

Coordinates 7°45′8″S 110°29′30″E

Originally built in 850 CE during the

Built
reign of the Hindu Sanjaya dynasty
Prambanan, the Most Beautiful and Graceful Hindu Temple in Indonesia. Located not far
from the Buddhist Borobudur temple, the proximity of the two temples tells us that on Java,
Buddhism and Hinduism lived peacefully next to one another. Prambanan is a magnificent
spectacle and an icon of Indonesia's cultural heritage. It is locally known in Javanese as Rara
Jonggrang, is a grand Hindu temple complex dating from the 9th century, it is notable for its
shrines and statues of Hindu patheon and Ramayana bas relief. The Borobudur Temple
Compounds on the other hand, is one of the greatest Buddhist monuments in the world, and
was built in the 8th and 9th centuries AD during the reign of the Syailendra Dynasty. The
monument is located in the Kedu Valley, in the southern part of Central Java, at the centre of
the island of Java, Indonesia.

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While Borobudur is a Buddhist temple, Prambanan is a Hindu temple. Furthermore, the
temple of Borobudur is the largest Buddhist temple in the World and the largest temple in
Indonesia, while the temple of Prambanan is the largest Hindu temple in Indonesia.They are
both 50 Kmn from each other a drive of 1 hr 31 min via Jl. Magelang/Jl. Magelang -
Yogyakarta/Jl. Semarang – Yogyakarta

Etymology of the word Perwara. “perwira” in Kamus Besar Bahasa Indonesia, Jakarta:
Language Development and Fostering Agency — Ministry of Education, Culture, Research,
and Technology of the Republic Indonesia, 2016 is from Malay perwira,
from Malay perwira (“hero; brave”), from Sanskrit प्रवीर (pravīra). Doublet of prawira.
pêrwira (first-person possessive perwiraku, second-person possessive perwiramu, third-
person possessive perwiranya)
3. (military, law enforcement) officer.
Synonym: opsir
4. (obsolete) hero, brave.
Synonym: pahlawan
perwira

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 2. (obsolete) heroic, brave.
Synonyms: gagah, berani
Perwara means (archaic) female escort of the king. (archaic) queen.

The Prambanan main structure is surrounded by small temples called the temple Perwara.
Perwara as mentioned earlier means guardian or peripheral and perwara is an Indonesian
word for an escort temple.It also means an escort either by females or by soldiers

Ruins of Perwaras surrounding Prambanan Shivagriha/ Prambanan Temple building in Sleman,

Yogyakarta, photographed from the air, Friday (27/6/2014). Prambanan Temple was built in the 10th century
during the reign of two kings, Rakai Pikatan and Rakai Balitung.

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Worker measuring one of the Perwara Temple

Yogyakarta Cultural Heritage Conservation Center (BPCB) officers measure boulders at the
Prambanan Temple Tourist Park complex. The BPCB Yogyakarta Prambanan Temple Unit
team carried out trials constructing Perwara Temple number 14 on the south side of the
Prambanan Temple complex in order to restore its original form.
Baca selengkapnya di artikel "Trial construction of Perwara Temple in
Prambanan", https://tirto.id/bYaZ

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The Preservation of Cultural Heritage of Yogyakara will temporarily postpone the restoration
of Perwara Temple in the Prambanan Temple Complex during the national Eid holiday-Head
of Protection, Develpment and Utilization Section the Preservation of Cultural Heritage
Yogyakara, Wahyu Astuti, said in Yogyakarta on Sunday.“We try to complete the restoration
of Perwara Temple by the middle of November. We aim to restore one temple within a
year.”
Perwara Temple surrounds the main temple in the complex of Prambanan Temple, during the
Dutch colonization, two temples have been restored, In 2018 they restored another temple.

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Restoration of PERWARAS in Prambanan from 2022

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Perwaras of Ploasan

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 ABOUT THE AUTHOR

DR UDAY DOKRAS

© Dr. Uday Dokras-

DEAN
INDO NORDIC AUTHORS’ COLLECTIVE
Institute of International Historiography
B.Sc., B.A. (managerial economics) LL.B. Nagpur University, INDIA
Graduate Studies, Queen’s University,Kingston, CANADA
Graduate Diploma in Law & PhD, Stockholm University, SWEDEN
Vedic Architecture, Vaastu and Astrology Consultant
7
Holder of the WORLD RECORDS
Highest number of research Papers and Books written
Hindu Temples
Buddhism
Vaastu
2 - Worldwide Book of Records

#1 7 x
2 - Unique World Record
1-INDIA Book of RECORDS
1-Kalam Book of Records
1 Institute of International Historiography
780- BOOKS & 2500 RESEARCH PAPERS- in academia.edu.
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 3 million Readers as on 1 June, 2024.
Dr.Uday Dokras, a leading historiographer, is Ranked as #1 in the world in SIX categories
for having written the highest number of books and research papers on-Vedic Architecture,
Dhamma, (including Borobudur Buddhism), Angkor Wat (Vrah Vishnuloka), Shivagriha at
Prambanan, Design elements of the ancient Kingdoms of Dvaravati and Vandan in Indo
China.

A senior management professional in HR domain prior to his retirement, he was Group Vice -
President of MZI Group in New Delhi and has anchored Human Relations in Go Air ( Go
Airlines India Pvt Ltd-Mumbai) , Hotel Holiday Inn; Lata Mangeshkar Hospital and Medical
College- amongst other corporate entities. Resident of Sweden for 12 years, where he studied
and worked, he anchored HR in Stadbolaget RENIA, SSSB.

He has studied in Nagpur for B. Sc. B.A. (Economics) and LLB.

He has done his Graduate Studies from Canada at the Queen's University, Kingston
He has a PhD, Stockholm University, Sweden.
Apart from that he has done a Management Training Program in Singapore.
A scholar of the Swedish Institute for 5 years, he has been an Edvard Cassel Fund and
Wineroth Fund Awardee.

In 1984 he was involved with the Comparative Labor Law Project of the University of
California, Los Angeles, U.S.A. He was also visiting lecturer there.
In 1985 he was invited by the President of Seychelles to do a study of the efficacy of the
labor laws of Seychelles.

Author of thousands of research papers and almost 640 + books, his brief life sketch is part of
the English study text book of 7 th Class Students in Sweden -“Studying English-
SPOTLIGHT 7”- and 8th Class students in Iceland - SPOTLIGHT 8- and Lausnir.

His books adorn many International Libraries and the US Library of Congress has awarded
him a copyright. A prolific writer and decipherer of ancient mysteries. Is currently Consultant
in Vedic Architecture and Dean of the Indo Nordic Authors’ Collective, Stockholm,
SWEDEN and President of the International Institute of Historiography, Tampare ,
FINLAND.
Dr Dokras has his family in Gurugram, India-Australia and New Jersey, USA.

2700 Research Papers and 780 BOOKS written by DR UDAY DOKRAS

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Referred to in more than 200+ research papers and theses .Contributor to various magazines and
literary Fora.

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World#1 Honorifics by following Agencies & other titles
Largest Number of Religious Research papers written by an individual-world-
record
https://www.worldwideworldrecords.com/post/largest-number-of-religious-
research-papers-written-by-an-individual-world-record-by-uday-dokras
MOST ARTICLES ON DHAMMA
https://www.uniqueworldrecords.com/records/posts/most-articles-on-
dhamma

Maximum number of books written on Hindu Temples by an Individual

https://www.worldwideworldrecords.com/post/maximum-number-of-books-
written-on-hindu-temples-by-an-individual-world-record-by-dr-uday-
dokras#:~:text=The%20World%20Record%20For%20Maximum,The
%20Worldwide%20Book%20Of%20Records.

Highest number of articles and books written on Hindu Buddhist Temples

of Indonesia( Including Borobudur and Prambanan)

Highest number of Research Papers/ Books (Literary endeavours) published

by an Individual- UNIQUE Book of world records

Maximum sociocultural research papers uploaded by an

individual on a single website INDIA BOOK of RECORDS
recordsmanagement@indiabookofrecords.in

Award and honor Bahujan Hitai Sangh award for writing

highest number of books and Research on BOROBUDUR

https://www.academia.edu/110112500/
Bahujan_Hitai_Sangh_Fetes_dr_Uday_for_highest_number_of
_Books_and_Research_papers_written_on_BOROBUDUR
The Jain Foundation presented the Jaina Achiever Trophy to Dr Uday Dokras
for his prolific writings on historiography of Jainism and Jain religious
structures and contributing erudite articles to numerous Jain Journals such as
Nagabharana: Recent Trends in Jainism Studies and SWASTIKA: Epigraphy,
Numismatics, Religion and Philosophy
https://www.academia.edu/110112203/
Jaina_award_to_Dr_Uday_Dokras
Economic Times (20 July 2022) mentions and acknowledges contribution of
Dr. Uday to design elements of New Parliament House of India vis-a-vis
Dwarpals or door guardians.
https://www.academia.edu/109139672/
Design_components_of_the_new_Parliament_complex_of_INDIA_inspired_by
_the_author_Dr_Uday_Dokras_work

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 https://
drive.google.com/file/d/1rr86sEWr4SVN4pdIMHkS-lqmKF6jl5nR/view?usp=sharing

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 World Record Holders 2023
Maximum Number of Research Papers
Completed by an Individual Person
Dr Uday Dokras
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From the Newspaper Times of India March 24, 2018

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Iceland & Sweden- both countries use the English Text book
SPOTLIGHT-one of the lessons in which is about Dr Uday Dokras
https://mms.is/sites/mms.is/files/atoms/files/
7057_spotlight_8_nem.pdf (page 44)

Prof. S.Deshpande,Past President of the Indian Institute of

Architects, New Delhi INDIA releasing the book of Dr Dokras
HINDU TEMPLES on the web in CARONA times ( May 2020)

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Sojiwan (Javanese orthography: Såjiwan, or sometimes spelled Sajiwan) is a 9th-
century Mahayana Buddhist temple located in Kebon Dalem Kidul village,
Prambanan, Klaten Regency, Central Java. The temple is located nearly two
kilometres southeast of Prambanan temple. This temple is among number of temples
scattered in Prambanan Plain.

Sojiwan temple, in 2009 during reconstruction

It is dated 829 Saka (907 CE) currently stored in the National Museum of
Indonesia mentioned the inauguration of Rukam village restoration by
Queen Pramodhawardhani after devastation by a volcanic eruption. She
reconstructed the village on the condition that the inhbitants of Rukam village would
take care of a sacred building located in Limwung. This sacred building was identified
as Sojiwan temple. The temple was built between 842 and 850 CE, approximately in
the same era as the Plaosan temple nearby.

Sojiwan temple was rediscovered in 1813 by Colonel Colin Mackenzie, a subordinate

of Sir Stamford Raffles. He examined the archaeological remains around the
Prambanan plain and rediscovered the ruins of the wall surrounding the temple. The
temple was left in ruins for decades until the government launched the reconstruction
effort started in 1996. Since 1999 the temple become the training and education center
for the temple reconstruction project. During the reconstruction, the excavation
discovered a wall structure surrounding the temple and also a stone-paved causeway
in front of the temple. In 2006 the reconstruction project was halted and took a major
blow because of the earthquake, which caused the reconstructed building parts and
scaffolding to collapse. The reconstruction project was completed in December 2011,
and inaugurated by Mari Pangestu, Indonesian Minister of Tourism and Creative
Economy. The reconstruction took 15 years and 8.27 billion rupiah cost.

112
 Sojiwan temple in 2014, after reconstruction
The temple was made of andesite stone, its size, style, and form are similar to those
of the Mendut temple near Borobudur. The temple complex measures 8,140 square
meters, with the main building measuring 401.3 square meters and 27 meters high.
The base of the temple contains 20 bas-reliefs connected to the Buddhist stories
of Pancatantra or Jatakas from India. From these 20 reliefs, 19 remain. The stairway
is flanked by two large makaras. The inner chamber of the temple contains two niches
and lotus pedestals, originally hosting Buddha and Bodhisattva statues. However,
currently, the chamber is empty. The temple roof took the form of a stepped pyramid
crowned with stupas.

During the restoration project, the excavation works discovered two rows of walls
surrounding the temple, located 14 meters and 30 meters from the main temple. Other
discoveries include paved pathways, stairs, and temple stone block fragments
surrounding the main temple, suggesting that Sojiwan was a temple complex, there
were perwara temples (lesser complementary temples) that once stood within the
temple complex.

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