The temple remains generally—?The connection between Buddha and Brahma—?The Boro-Boedoer—?Loro-Jonggrang.

Of the temple ruins of Java, considered generally, Mr. Wallace says, "It will take most persons by surprise to learn that they far surpass those of Central America, perhaps even those of India."[12] Yet it is only recently that these great works have been recovered to the world. A Dutch engineer who was sent to construct a fort at Klaten, in 1797, found that a number of architectural remains existed in the neighbourhood of Brambanan, of which no account had been given. The natives, it appeared, regarded them as the work of some local deity, and, indeed, were in the habit of worshipping one conspicuous statue. He also found much difficulty in sufficiently clearing the ruins of the overgrowth of vegetation, so as to get an adequate view. Eventually he succeeded in making some rough sketches of them. In the year following the English occupation (1812), Colonel Colin MacKenzie visited Brambanan, and made an accurate survey of the ruins in that neighbourhood, which he sketched and described. At the instance of the Governor, Sir Stamford Raffles, Captain Butler was then sent to make drawings of the buildings, and to report upon them. This was the first methodical exploration of the Hindu ruins in Java; but it was only partial, and related almost exclusively to the Brambanan neighbourhood. A quarter of a century later, when the discovery of photography had made an exact reproduction of the sculptures possible, the Dutch Government instituted an exhaustive survey of the Boro-Boedoer temple. In July, 1845, M. Shaefer was commissioned to execute photographs of the bas-reliefs, but he was only partially successful. Two years later, an engineer, M. F. C. Wilsen, was sent out from Holland, and, after giving satisfactory proofs of his skill, definitely appointed in 1849, by a decree of the Council of Netherlands India, to make drawings of the bas-reliefs and statues of this temple. He was assisted by M. SchÖnburg Mulder. They commenced in April, 1849, and completed the whole of the task they had undertaken in the year 1853. M. Mulder's drawings proved, however, to be useless, and a new assistant, M. Mieling, was appointed. After various troubles, the drawings were finally completed in 1871, and the letterpress and plates published in 1874. This great literary work, consisting of several hundreds of large lithographed plans and drawings of sculptures and statues, with a complete account written by Dr. C. Leemans, director of the Public Museum at Leiden, was produced under the direction of the Dutch Minister of the Colonies. But even this splendid account of the Boro-Boedoer temple is not complete; since the date of its publication a new series of bas-reliefs have been discovered, and are being gradually photographed. In connection with the temples of Brambanan and Kalasan, also, new and interesting discoveries are being made from year to year. Indeed, images and sculptured stones are continually found all over the island. At Gunong PraÜ, forty miles south-west of Samarang, and further east, at Kediri and in Malang, there are large tracts of ruins; but the most imposing and interesting for the traveller are to be found in the centre of the island, in the neighbourhood of Magalang and Djokja, in positions indicated by the accompanying map. I shall endeavour first to give the reader a general idea of the extent and nature of these remains, and then, after a few remarks on the connection between Buddha and Brahma, to describe more at length the Boro-Boedoer temple, and that of Loro-Jonggrang, near Brambanan, the former of which is Buddhistic, and the latter Brahmanic, or Saivite.

At Boro-Boedoer, ten miles from Magalang, there are the remains of the vast temple of that name; and about a mile distant, on the nearer bank of the Prago river, is the small and externally insignificant temple of Mendoet. Inside this latter is a vaulted chamber, the roof of which springs from walls twenty feet in height, and rises to sixty feet in the centre, covering a fine statue of Buddha.

At Brambanan, a village near Djokja, there is a large mass of ruins, of which the most important are the temple of Loro-Jonggrang and a group of small temples called Tjandi Sewoe, or Thousand Temples. In the neighbourhood of the former ruins there are six large and fourteen small temples, twenty separate buildings in all. The ruins of the latter group cover a space of six hundred, square feet, and contain many splendid colossal figures. They are arranged in five regular parallelograms, consisting of an outer row of eighty-four temples, a second of seventy-six, a third of sixty-four, a fourth of forty-four, and a fifth (forming an inner-parallelogram) of twenty-eight. The centre is occupied by a large cruciform temple, ornamented with sculpture, and surrounded by flights of steps. All of these remains are greatly marred by the luxurious growths of tropical vegetation which cover them.

Half a mile further are the Tjandi Kali Bening, or Temples of Kalasan. Here there is a very fine and well-preserved temple, seventy-two square feet in extent, of which Mr. Wallace says that it is "covered with sculptures of Hindu mythology that surpass any that exist in India." There are also other ruins of palaces, halls, and temples in the neighbourhood.[13]

The stones used for the construction of the Boro-Boedoer and other temples in Java, and for the images found throughout the island, are of volcanic origin. They are supplied by the numerous volcanoes in the island, and carried down the sides of the mountains to the plains below in lava streams. To-day such stones are used largely for making roads. There is, however, a little limestone found in the southern districts of the island.

In the Boro-Boedoer, at Mendoet, and in the Tjandi Sewoe, Buddha was worshipped; but in the Temple of Loro-Jonggrang at Brambanan, and in the Temples of Kalasan, Siva (the third person of the Hindu Trinity—Brahma, Vishnu, Siva) was the central object of adoration. As the connection between the religion of Buddha and Brahma has been often misunderstood, a few words on this point may be of service to the reader.

Brahmanism, which was the established worship of the Hindus when Buddha taught, was a religion which admitted of many sects; and Buddha, although his ethical system was independent of Brahmanic theology, recognized the existence of the popular deities. The distinction, then, between Brahmanism and Buddhism is purely arbitrary; the latter is merely a new growth of the former, and they both exist in British India at the present day. In China also there is a similar fusion of religious beliefs, where there are three established cults—those of Brahma, Confucius, and of the TaÖists, or nature-worshippers. The Confucian religion is rather a system of ethics than a cult; but the rites of the Buddhist and TaÖist temples are attended indiscriminately by the majority of the Chinese, the priests of the separate temples alone confining themselves to the worship of a particular deity. In India, however, the special followers of the two systems do not exhibit an equal liberalism of sentiment; while the worship of Brahma is considered orthodox, the cult of Buddha is regarded as heretical. The Buddhistic temples of Java, coming midway between the oldest Buddhistic temples of India and the modern shrines in Burmah, Ceylon, and Nepaul, the present seats of the cult, supply an interesting lacuna in the antiquities of Buddhism. The Javan form of this religion is especially allied to that of Nepaul. It bears a general resemblance to the Buddhism of Northern India, but is distinct from that of Ceylon and the south. It is not surprising, therefore, that ruins of temples dedicated to the services of both religions should exist side by side, nor that the grosser and more popular Brahmanic forms should have developed more largely than the more spiritual worship of Buddha, both in India to-day and in Java previously to the Mohammedan conquest.

The temple of Boro-Boedoer is built upon a slight rounded eminence, the last of a chain of hills on the eastern bank of the river Prago. The entire edifice rests upon an equilateral base of six hundred and twenty feet, situated due N.S.E. and W., and rises gradually in terraces adapted in design to the form of the hill. These consist of two lower terraces which are square in form; four galleries (or passages, with sculptures on either side), which are still rectangular in form, but have twenty angles to admit of their following the rounded contour of the hill; and four terraces, of which the first has twelve angles, while the remaining three are circular, adorned with cupolas, each containing a statue of Buddha; and finally the whole is surmounted by a huge cupola, fifty feet in diameter, in which rests the central figure of Buddha. Access from one terrace to another is gained by four flights of steps, running up the centre of each front, at the several entrances of which are placed two huge lion-monsters. Dr. Leemans, in his account of the building, enumerates five galleries; but in reality there are only four, since the outside of what he calls the first gallery is merely a second basis for the whole structure, as is shown by the nature of its decoration, viz. simple architectural designs and groups of deities. The lower terrace, of which Dr. Leemans only guessed the existence, is now being excavated and photographed section by section. Only one section is kept open at any given time, because the earth is necessary to support the vast mass of stonework which forms the entire building, and it was for this reason, namely, to prevent the structure from breaking up, that this terrace was formerly banked up. It is found that this lower terrace is decorated with sculptures representing ordinary mundane scenes, the world being the basis on which all the higher religious phenomena rest. In the first gallery (Leemans' second), the bas-reliefs represent a continuous selection of scenes from the historical life of Buddha; in the second, there are sculptures of the lesser deities recognized in the Brahmanic worship, such deities having been adopted into the Buddhistic pantheon; in the third the higher deities are represented, where the shrine, and not the deity, is worshipped; in the fourth there are groups of Buddhas; and in the central dome there is the incomplete statue of the Highest Buddha—Adibuddha. This is unfinished by design, in order to indicate that the highest deity cannot be represented by human hands, having no bodily but only a spiritual existence.

Such is the design of this great religious monument, of which even the bare ruins, in their melancholy magnificence, inspire the mind of the spectator with mingled feelings of wonder and solemnity.The temple of Loro-Jonggrang is one in which, as at Kalasan, the object of worship was Siva, and not Buddha. This god, as already stated, was the third of the three persons of the Hindu Trinity; the first being Brahma, or the Creator, and the second Vishnu, the Preserver. Siva, the Destroyer, is also the Reproducer, and appears in Java to have been worshipped under three forms: (1) as Mahadeva, or the Great God; (2) as Mahayogi, or the Great Teacher; and (3) as Mahakala, or the Destroyer. Guru (or Goeroe) is an alternative name for Siva Mahayogi, and his statues in this temple are so called. The edifice is greatly inferior in size to that of Boro-Boedoer; it rests upon a rectangular basement having twelve angles, and measuring some eighty feet across in either direction. Like the former temple, its position is almost exactly square with the points of the compass. The basement is ornamented with ordinary religious ornaments, consisting of sacred trees and lions. Above this is a gallery, of which the parapet on the inner side is decorated with scenes taken from the Ramayana (the second of the two great Indian epics), while the opposite wall of the temple is adorned with forms of deities. In the centre or body of the temple are four chambers, one of which—the principal—is itself larger, and contains a larger image than the others. They are each alike approached by flights of steps in the centre of the four sides of the edifice. The deities represented are—in the northern chamber, Durga; in the western, Ganesa; and in both the southern and eastern, Guru. Now, according to the Brahmanic pantheon, Durga (the Goddess) was the mother, and Guru the father, of Ganesa, the elephant-headed God of Wisdom. The connection between Siva and the Rama epic is this. The Ramayana is the history of the incarnation of Vishnu as Rama, and contains an account of the war waged by Rama with the giant Ravana, the demon king of Ceylon. In the poem mention is made of the Vedic god Indra and his Maruts. Subsequently Siva, the world destroyer, was identified with Indra in the form of Rudra, the god of tempests; hence the appropriateness of scenes from this story on a Saivite temple. It only remains to add that the name of the temple, Loro-Jonggrang, is simply the native name given to the particular Durga (or Goddess of Efficient Virtue) represented in the shrine, and means literally the "Maiden with beautiful hips."