Cultural property has an important meaning in national culture, especially to foster national pride and strengthen national identity. Borobudur, as one of the large, grand, and unique cultural heritages and world treasures, is admitted and listed in World Heritage List Number 348 at 13 December 1991 which was renewed as Number 592 in 1991.
This brief composition includes location, the shape or architecture of the structure, history of Borobudur Temple, the restoration, and preservation efforts done by Borobudur Heritage Conservation Office.
I. LOCATION
Borobudur Temple is located in Borobudur Village, Magelang, Central Java. Astronomically, it is positioned at 70.36’.28” South Latitude and 1100.12’.13” West Longitude. Geographically, Borobudur Temple is surrounded by Mount Merbabu and Mount Merapi in the eastern side, Mount Sindoro and Mount Sumbing in the northern side, and sit between Progo and Elo River. Borobudur Temple was built on a modified hill, with the altitude of 265 meters above sea level.
II. SHAPE OF THE STRUCTURE
· Borobudur Temple is 121,66 meters long and 121,38 meters wide.
· The height is 35,40 meters.
· It consists of 9 levels of terraces and a main stupa at the top of it. The terraces are made of 6 square terraces and 3 round terraces.
· Philosophically, it is divided vertically into Kamadhatu, Rupadhatu, and Arupadhatu levels.
· Technically, it is divided vertically into lower, middle, and upper floors.
· There are four stairways on four main compass directions with the east stairway as the main gateway.
· The rocks were taken from rivers near Borobudur with the volume of approximately 55.000 cubic meters (approximately 2.000.000 pieces of rocks)
III. RELIEF
Other than its meaning as symbol of the universe (Kamadhatu, Rupadhatu, and Arupadhatu), Borobudur Temple holds noble messages. The messages can be found through series of reliefs carved in the main or inner walls and the balustrades or outer walls. Borobudur Temple has 1.460 relief panels that tell grandeur stories arranged in 11 rows around the structure and 1.212 relief panels that function as decorative ones. The reliefs on Kamadhatu level (the foot of the temple) describe human behaviors that are still attached to earthly desire. It is shown on the hidden foot that was carved into 160 panels of Karmawibhangga reliefs which portray the law of cause and effect. The Rupadhatu level represents transitional world, where human begins to abandon earthly desire but is still bound with tangible world. On this level, there are 1.300 relief panels, consists of Lalitavistara, Jataka, Avadana, and Gandavyuha stories.
1. First Level
· Upper inner wall
Lalitavistara : 120 panels
This series of reliefs illustrates the life story of Budha Gautama that begins when the Gods in Tushita heaven granted Bodhisattva’s wish to descend to earth as a human named Buddha Gautama. Before the pregnancy, Queen Maya had a vision about admitting white elephant in her stomach. In Lumbini Pleasure Garden, she gave birth to a son named Prince Sidharta. Sidharta could walk second after he was born and on his first seven steps grew lotus. Soon after Queen Maya gave birth, she died, and Sidharta was raised by his aunt, Princess Gautami. After Sidharta grown up, he married Yosadhara, or also known as Princess Gopa. One day, on a journey outside the palace, Sidharta had Four Encounters. First, he saw a blind old man with a stick escorted by a child. Second, he saw a sick man, and then he met a dead man. The last encounter was the meeting with a monk that looked at peace compared to other people. Old age, sick, and died did not worried the peaceful monk. Because it was foretold that Sidharta would become a monk, his father built many glorious palaces for him. Nevertheless, after the Four Encounters, Sidharta, who became restless inside, finally left the palace in silence. Sidharta decided to be a monk by cutting his hair. He undressed the palace suit, wore dead slave’s clothes, and joined poor people. Before he began to meditate, Sidharta washed his body at Nairanjana River. He was happy when a gardener gave him a seat from dry grass. Below a Bodhi tree, in a full moon at month of Vaisak, Sidharta reached Supreme Enlightenment. Since then, he became a Buddha in the City of Benares.
· Lower inner wall
Manohara dan Avadanas : 120 panels
Manohara Story describes Sudanakumaravada story, which is a story about the marriage of Prince Sudana and a nymph named Manohara. After saving a dragon from danger, a hunter named Halaka receives a gift in form of a lasso which can catch anything. One day Halaka sees a group of nymphs takes a bath in a pool. He succeeds in capturing one of the nymphs with his lasso. Because Halaka feels that he is not suited for Manohara, he presents Manohara to Prince Sudana despite his father’s disagreement. Many obstacles can not hinder the marriage between Prince Sudana and Manohara.
Avadana Story tells the reincarnations of holy people, one of them is about King Sipi’s devotion in protecting weak creatures. A little bird asks for king’s help for not getting eaten by the eagle. The eagle agrees not to eat the little bird in the exchange of King Sipi’s flesh. As it is turned out, the weight of the little bird is the same with the weight of King Sipi. King Sipi then sacrifices himself to be eaten by the eagle. This story teaches that a leader should be brave in sacrificing himself for his people and all of living creatures.
· Lower balustrade
Jatakamalas (stories about animal) : 372 panels
. Upper balustrade
Jatakas (stories about animal) : 128 panels
The relief contains series of Jataka story, which tells about reincarnations of Buddha before he is born into human named Prince Sidharta Gautama. Commonly, it describes the reincarnations of Buddha as noble animals which sacrifice themselves. One of Jataka stories is about the monkey and the bull. The naughty monkey likes to annoy the bull but the bull stays silent. Goddess of Forest advises the bull to fight the monkey, but the bull refuses. The bull is afraid if the monkey goes away from the forest and disturbs the peace of other animals. Finally, Goddess of Forest kneels down in front of the bull because of the bull’s posture in maintaining the peace and harmonious life of the forest.
Another story is about an elephant which sacrifices itself to feed the hungry refugees.
2. Second Level
· Inner wall
Gandavyuha : 128 panels
The relief describes the meetings of a merchant with his good friends in search of wisdom. Sudana admires Maitreya because of his compassion towards all humans and animals. Sudana learns from the wisdom of Maitreya that all living creatures can become good and useful friends. Guided by his friends, Sudana finally reaches enlightenment.
· Balustrade
Jatakas/Avadanas : 100 panels
The relief probably continues the story about the life of Buddha in the past. Some recognized pieces, located at northwest side of the structure, are Bodhisattva incarnates as a captured peacock and finally preaches his teachings.
3. Third Level
· Inner wall
Gandavyuha : 88 panels
The relief describes the chronicle of Bodhittva Maitreya as a future Buddha. This is the continuity of the stories in the second level.
· Balustrade
Gandavyuha : 88 panels
The relief describes the chronicle of Bodhittva Maitreya as a future Buddha. Bodhisattva Maitreya is recognized by the little stupa on his crown.
4. Fourth Level
· Inner Wall
Gandavyuha : 72 panels
The relief probably describes the life story of certain Bodhisattva (Samantabadra?). The story is about the vow Sudhanakumara took to follow Bodhisattva Samantabadra as his guidance.
· Balustrade
Half of this series of relief describes the chronicle of Bodhisattva Maitreya, while the other half is still unknown.
IV. STATUE
· Number of statues
Assuming that every recess and stupa contains a statue, there are 504 statues in Borobudur Temple.
· Location of statues
In Rupadhatu level, there are 432 statues, and higher the terraces, smaller the size. In addition, the higher statues are placed in recess, with the detail of:
First terrace : 104 statues
Second terrace : 104 statues
Third terrace : 88 statues
Fourth terrace : 72 statues
Fifth terrace : 64 statues
In Arupadhatu level, there are 72 statues with the same size and placed in stupas, with the detail of:
Sixth terrace : 32 statues
Seventh terrace : 24 statues
Eighth terrace : 16 statues
· In Rupadhatu level, there are 432 Dhyani-Buddha statues placed inside the recess in four main compass directions, which are:
- Statues of Dhyani-Buddha Aksobya in the east side with the hands form Bhumisparsamudra
- Statue of Dhyani-Buddha Ratnasambhawa in the south side with the hands form Waramudra
- Statues of Dhyani-Buddha Amitabha in the west side with the hands form Dyanamudra
- Statues of Dhyani-Buddha Amoghasidha in the north side with the hands form Abhayamudra
- Statues of Dhyani-Buddha Vairocana on balustrade wall of the fifth level with the hands form Witarkamudra
- In sixth, seventh, and eight terraces, there are statues of Dhyani-Buddha Vajrasattva inside the stupas with the hands form Dharmacakramudra
· Lion Statues
According to Buddhism, lion is the vehicle of Buddha to ascend into heaven and symbol of power in chasing bad evil to preserve the purity of Borobudur Temple. There are 32 lion statues in Borobudur Temple.
V. STUPA
· There are 73 stupas in Borobudur Temple, consist of 1 main stupa, 32 stupas on first round terraces, 24 stupas on second round terraces, and 16 stupas on third round terrace.
· Shape of the stupas
- Main stupa has hollow space, without holes
- Stupas on round terraces have holes:
Diamond holes at stupas on first and second round terraces
Square holes at stupas on third round terraces
· Diamond holes have symbolic meaning as a philosophy in reaching into level of perfection.
· Square holes have symbolic meaning as a simpler philosophy or “perfection” compare to the diamond shape which is fancier.
· Arupadhatu level pictures formlessness world, symbol of eternal perfection. It consists of three round terraces; first round terrace is called nirvana, second round terrace is called parinirvana, and third round terraces is called mahaparinirvana.
VI. HISTORY OF BOROBUDUR TEMPLE
a. The Re-Awakening
Borobudur Temple was rediscovered in 1814 when Sir Thomas Stanford Raffles, British Governor General, assembled activities in Semarang. Raffles got information that in Kedu region had been found carved stone structure. Raffles sent Cornelius to clean it up. This work was prolonged by Kedu Resident named Hartman in 1835. Other than the cleaning, he also did research especially on the main stupa of Borobudur Temple. Nevertheless, it was never published. The structure and relief sketches were done by Wilsen for 4 years began in 1849. The photo documentation was made in 1873 by Van Kinsbergen.
b. The Creation
According to Casparis, based on interpretation of the inscription dated in 824 AD dan Sri Kahulunan inscription in 842 AD, the founder of Borobudur Temple is Smaratungga who ruled in 782 – 812 AD in the period of Syailendra Dynasty. It was built to glorify Mahayana Buddism.
According to Dumarcay, Borobudur Temple was established in 5 phases of construction:
· Phase I + 780 AD
· Phase II and III + 792 AD
· Phase IV + 824 AD
· Phase V + 833 AD
3. The Entitling
Regarding the naming of Borobudur, there are several opinions such as:
Raffles:
The ancient Budur (Boro= ancient, budur= name of place)
The great Buddha (Boro= great, budur= Buddha)
Many Buddhas (Boro= many, budur= Buddha)
Moens:
City of Buddha’s admirers
Casparis:
Comes from the words sang kamulan i bhumisambharabudara, cited from Sri Kahulunan inscription in 842 AD, which means holy structure that symbolize virtuousness in ten levels of Bodhisattva
Poerbatjaraka:
Monastery in Budur (Budur= name of place/village)
Soekmono and Stutertheim:
Bara and Budur mean monastery in a hill
In addition, according to Soekmono, Borobudur Temple is a place for pilgrimages to glorify Mahayana Buddhism and worship the ancestors.
4. The Mystery
Borobudur Temple still leaves unique and interesting mysteries, such as:
· Who the founder was and how it was built are still mysteries that can not be revealed clearly until nowadays. There is a legend believed by people surrounding the temple about a figure named Gunadharma. According to the legend, the architect who built Borobudur Temple was Gunadharma. It was told that he lived in Syailendra era. The king ordered Gunadharma to build a giant and glorious holy building. With all the abilities he had, Gunadharma carried out the king’s order. He worked hard in years to finish the temple. Finally, a giant and glorious temple was founded. After finishing his job, Gunadharma felt very tired and then he walked to the south. He climbed Menoreh Hills and when he reached the top of the hills, he laid his body to rest and finally he forever fell asleep. As stated by the legend, the shape of Menoreh Hills in the south of Borobudur Temple truly gives impression about the Gunadharma figure who laid rest there.
· Another interesting thing is the belief on a statue of Buddha in Arupadhatu level, on first round terrace, at the east side. It is called the statue of Kunto Bimo and said that whoever touches the index finger, for man, or heel, for woman, all of the wishes will come true.
· The other famous mystery is the unfinished Buddha statue in Museum of Karmawibhangga, which is well-known as Kyai Belet. By Buddhists, it is considered as the Supreme Buddha which was placed in the main stupa.
· Last but not least, what is actually in the top of the temple is still a mystery. There is an assumption about chattra or some kind of umbrella. The current chattra that is kept in Museum of Karmawibhangga is a reconstruction done by Van Erp. Nevertheless, some archeologists still have a doubt that it was really exist at all.
5. The Preservation
There were two restorations done in preserving Borobudur Temple. The first was carried out by the Dutch government under the direction of Van Erp, and the second one was performed by the Indonesian government led by Soekmono.
· First Restoration (1907 – 1911)
First restoration was fully sponsored by Netherlands East government. It was focused on the top of the structure which is the three round terraces and main stupa. Because some rocks could not be recovered, the chattra could not be placed again at the top of the main stupa. Restoration done in lower terraces was only to level the hallway and repair the wall and balustrade without dismantling the leaning structure. The efforts in preserving the structure have been done since the first restoration such as monitoring and research. In the meanwhile, the corrosion and impairment process was occurring caused by many factors.
The result of a research done by a committee in 1924 showed that there were three factors concerning the damaging of the structure, which were corrosion, mechanical work, and pressure and tension inside the rocks. (O.V. 1930 : 120-132)
· Second Restoration (1973 – 1983)
After the restoration done by Van Erp finished in 1911, the maintenance of Borobudur Temple was continued to be carried on. Based on the comparison between the condition at that time and the Van Erp’s photos 10 years before, it was understood that the impairment process of Borobudur Temple was still in going and getting worse from time to time. The damage ultimately happened in the wall of the structure caused by the climate. Moreover, the structure itself was beginning to collapse. As Indonesia joined United Nations, Indonesia automatically became the member of UNESCO. Through UNESCO, Indonesia appealed international countries to save the historic site. The effort was a success. With the funding that came from Pelita and UNESCO, total restoration was done in 1975. Because the Arupadhatu level was still intact, the focus point was to break down the lower terraces. The disclosure was categorized into three kinds of work, which were archaeology engineering, that included the dismantling of all parts of Rupadhatu level (four square terraces above the foot of the structure); civil engineering, that included the construction of bony concrete foundation to support the structure and drainage pipes and waterproof layers inside the structure; and chemical archaeology, that included the cleaning and conserving the rocks. After the three works finished, the clean rocks were re-assembled into the original shape.
· Monitoring
Even though Borobudur Temple was restored, the maintenance and preservation is still carried on by authorized agencies. Besides, Borobudur Temple is located in open area so that it is delicate to the surrounding environment that could cause impairment and corrosion. Therefore, Borobudur Heritage Conservation Office performs monitoring and evaluation process continuously. The monitoring includes monitoring of the state conservation of stone, monitoring of temple and hill stability, monitoring of geohydrology, monitoring of environment, monitoring of seepage water, and monitoring of utilization and security.
6. The Safety Measure
Based on JICA Master Plan Study in 1979, the conservation effort is done by zoning the area surrounding Borobudur Temple into:
· Zone I Main zone; for the conservation, protection, and preservation maintenance on the structure of the temple and its environment. (±44,8 ha)
· Zone II Supporting zone; the area surrounding zone I which is used for tourism spot, research, culture, and conservation of the structure. (±42,3 ha)
· Zone III Development zone; the area surrounding zone II which is used for limited settlement, farming, green way, or certain facilities to ensure the conservation on zone I and the optimization of the tourism park in zone II. (±932 ha)
· Zone IV Preservation zone; the area on the outside of zone III which is a historic area to preserve archaeological objects (5 km in radius).
· Zone V Preservation zone; the area on the outside of zone IV which is an archaeological site to preserve hidden historical objects (10 km in radius).
Based on Presidential Decree Number 1 Year 1992, zone I and II are maintained by the government. Zone I is maintained by Borobudur Heritage Conservation Office and zone II is utilized by PT Taman Wisata Candi Borobudur, Prambanan, dan Ratu Boko. The facilities in zone II are parking lot, ticket window, information center, museum, souvenir stores, etc. Zone III, IV, and V are owned by the communities surrounding the site which its utilization is monitored by local government.
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