About Buddhism

Welcome to Chandi Borobudur, very happy for your trip to visit the splendor and beauty of Borobudur as one of the main tourist destinations in Indonesia. This building has been part of a world heritage site since 1991. The friendly tour guide, on this occasion, will deliver narratives and explanations as an appreciation for studying and admiring the beauty of the architecture and fine arts of ancestral culture.

Chandi Borobudur and its area is a World Cultural Heritage site which has noble and historical value for the Indonesian people, so that all eyes are amazed by the splendor and beauty of this building. The government has designated Borobudur and its area as the main destination and super priority tourist visits. The reopening of this building for tourism is an attractive opportunity for Borobudur thematic tourism.

Borobudur thematic tour with the aim of getting to know Borobudur Temple more closely, studying the history and admiring the splendor and beauty of architectural artistic values, as an appreciation for learning and participating in maintaining and protecting the world cultural heritage site of Borobudur in Indonesia.

stupa of Borobudur

Borobudur stupa terraces

One of Borobudur's terraces with a row of stupas and views of Menoreh Hill to the south. Source: Guidance Technique Chandi Borobudur arisguide. arisguide's photo.

A Meaning of Pilgrimage

The result of title above goes to the brief explanation speaking about Borobudur. Some of wise men took more times to tell as well as the interpreattion about the symbolical meaning of Borobudur. It is Borobudur as a great monument and also a place of worship for Buddhist. Here are their explanation, and based on Buddhist teaching.

It starts on the structural design of candi Borobudur as a sacred Buddhist building has several shapes in each architectural meaning. When its word 'candi', it has own meaning, the origin name candi suggests one interpretation, but then the obvious differences in shape and appearance on the explanation. Raffles derived his interpretation from the one who belief about the meaning of candi was about the royal tombs, enshrining the ashes of the burnt corpses of the kings.

Later, in this assumption acquired widely acceptance among the scholars, but has recently been challenged. The new theory is that candi was a temple, related to the dead only in the sense that many of them are known to have been dedicated to deified kings who were famed for virtue during their life times.

Overall the description of Chandi Borobudur does not easily fit into this interpretation. This is not about what evidence exists and has been found of its use as a grave. Several tombs were found still on the north-eastern slopes of the Borobudur hill and the analogy with Kalasan relates that Borobudur's tombs, if any, should be located around the monument rather than within the temple itself.

It was then that Chandi Borobudur apparently was never meant to be a temple, as it lacked an accessible inner chamber, or a statue of a god, which pilgrims could worship before. On the other hand, the symbolism of the Chandi Borobudur fits perfectly with the meaning of the temple itself. The three planes of kamadhatu, rupadhatu and arupadhatu match perfectly with the other vertical sections of the temple, which depict the earth, atmosphere and sky.

In other words, Chandi Borobudur is more like all temples, it symbolizes the Cosmic Mountain, which in turn is a symbol of the parexcellence of the Universe according to Buddhism. However, there is one fundamental objection to this interpretation. The concept of Cosmic Mountain is purely Hindu and alien to Buddhism. Or, perhaps it could be said more precisely, Buddhist cosmology assumes no clear meaning from it. Therefore, the general assumption is that Borobudur is a stupa.

The Buddha is said to have once instructed his disciples to burn his remains after he entered nirvana, and to store his ashes in a stupa. On being asked what the stupa was, the Master immediately folded his clothes on the ground, then showed and placed his beggar's bowl upside down on it, and placed his staff on top of the bowl. These instructions result in one of these constructs, a shape usually consisting of a square base, semi-circular dome, and pinnacle.

However, when the architect built the oldest stupa, the shape of the stupa had no supports. The sturdy, dome-like structure sits above the ground, surrounded by a fence and topped by an umbrella. Only later was a square base added, with buttresses distinguished from the actual monument.

The umbrella is replaced with a permanent peak. Further development introduced another modification. For example, the base is multiplied, and thus transformed into a truncated stepped pyramid. The dome was pulled out, losing its original hemispherical shape. Again, the smaller stupas at the base are arranged around the main stupa. This combination of modifications can be found in one stupa.

At Borobudur Temple, it seems that a combination of modifications to the shape of the original stupa has created its present form. If so, the large stupa would be the main object, and the circular platforms and square terraces would represent a kind of double pedestal.

If the main objection to this theory is the structural disproportion that seems inconsistent with achieving otherwise high quality. To accept the assumption that the massive stupas that make up the monument is to agree that the extraordinarily impressive supporting masses are only of secondary importance. And this is unimaginable as a design idea that allows the main features and goals to be completely overwhelmed by frills.

Perhaps H. Parmentier, the French architect-archaeologist, had some of these in mind when he put forward the hypothesis that the ancient builders originally intended to build a single dome of prodigious size on several mounted square bases of terraces, but did not. unexpected. the sagging and shearing of the lower structure walls has forced them to change the upper design completely; hence the compromise of creating a much smaller dome, surrounded by three smaller sets of circular stupas.

According to him, this modified design gives the present form of the Borobudur Temple. A very different approach was taken by A. Hoenig, the German architect, who completely rejected the stupa idea. He suggested that Chandi Borobudur was meant to be a nine-storey stepped pyramid, with the usual temple buildings on its upper platform. He apparently had in mind the pyramidal temples of Cambodia, but this theory did not sufficiently take into account the uniqueness of the Chandi Borobudur.

Looking at history objectively, Borobudur Temple consists of a stepped pyramid on which there is a stupa. Neither the pyramids nor the stupas predominate. The two of them had melted into one unit. Therefore, in searching for symbolic meaning, a monument cannot be considered as a pyramid or stupa alone. In this case J.G. de Casparis found the most satisfactory explanation when he recognized the compound word 'Bhumisambharabudhara' from an inscription of 842 AD as the original name of Borobudur Temple.

This complicated word, from which the name 'Borobudur' is derived, serves to explain the importance of the monument as well as the name of its founder. As a technical term in Mahayana Buddhism, the compound word means: 'Mountain of accumulation of merit at ten Bodhisattva levels'. It could also be interpreted in architectural terms as 'Mountain with terraced terraces' or, in a more general sense, as the king of the earth, the Sailendra dynasty (saila indra = king of the mountains).

Such ambiguity in technical terms is quite common in the Sailendra charter. In arriving at his interpretation, De Casparis has to assume that Sailendra Buddhism can be understood in terms of ancestor worship. The idea of the Cosmic Mountain is not a significant concept in Buddhism, but the idea of a stepped mountain is clearly stated in the original name of Chandi Borobudur. And since in Indonesian prehistoric culture, stepped pyramids were a special symbol of ancestral dwellings in the mountains, it can be said that ancestor worship played an important role in the design of these monuments.

As a result, as the saying goes, the symbolic meaning of Chandi Borobudur actually has two origins, in Mahayana Buddhism, and in ancestor worship. In this context, De Casparis considers the great stupa to be the tenth level. The ten mounting terraces of the structure then correspond to the ten successive stages a Bodhisattva must attain before attaining Buddhahood; while nine kings of the Sailendra Dynasty preceded the reigning king who built the monument. It is known from history that kings identified themselves with their divine patrons: Hindu kings with Siva or Vishnu, and Buddhist kings with Bodhisattvas.

Buddhism

Liberation from the cycle of birth and death is the ultimate goal in Hinduism (as in the early evolution of Buddhism), but for Mahayana Buddhists it is the beginning of the Path that Bodhisattvas must follow. A Sailendra king must do his best to pave the way to attain Buddhahood. He had to accumulate as much virtue as possible during his reign. He also had to honor his predecessors, and one of the most meritorious ways of doing this was by erecting a monument dedicated to his patron and ancestors.

In ancestor worship, the predecessor is considered to have attained a higher level of perfection than the successor. The most distant ancestor, who founded the dynasty, is imagined to have attained the highest consummation, and the other ancestors are ranked sequentially in order of seniority. This apparently underlies the idea of the founder of Chandi Borobudur when he decided to create a monument that was very different from the traditional design. And by a very fortunate coincidence, the reigning king Sailendra happens to be the tenth king of the dynasty.

A stepped pyramid always consists of an odd number of terraces. Borobudur Temple, however, has ten levels. The explanation may be that the designers of the monument had in mind not only indigenous traditions but - perhaps seven others - the Mahayana Bodhisattva Path. This bold breakthrough of tradition is a further demonstration of the high esteem that the founder of Chandi Borobudur had for the ancestors he identified with Buddha; and stepped pyramid? a stupa above is a symbol that best describes the virtues that successive dynasties have accumulated along the Bodhisattva Path.

Explaining Buddhism says in the sense that no god is worshipped, explaining Buddhism was not originally a religion. It is rather a doctrine that explains how to attain ultimate liberation from all suffering: abolishing karma, destroying samsara, and finally attaining nirvana. Underlying the doctrine is the belief that life is misery. Since the phenomenal world is unreal, life in all its aspects is an illusion. It changes all the time, and nothing is eternal in it. Life is a continuation of the previous life, and preparation for the next, a station in the endless cycle of birth and rebirth.

The shape and state of each station is determined by its predecessor. The determining factor is not the station itself, but karma, the balance of good and bad deeds. A positive balance will secure a better future life, and an ever-increasing life will culminate in rebirth in heaven. However, this does not break samsara, the cycle of birth and rebirth, for celestial beings are also temporary manifestations, the laws of cause and effect still apply.

Therefore, the ultimate goal is to avoid all forms of rebirth. At this final stage, the devotee attains arahatship. It wasn't that he was just waiting for the right moment to enter nirvana, which was absolute emptiness. The Four Noble Truths explain how ultimate salvation from samsara is attained. The belief that life is suffering is the first Truth. The second is that suffering is caused by craving – the desire to live and cling to the phenomenal world (which is assumed to be real because of wrong insight). The third truth is that suffering can be relieved by extinguishing desire.

The fourth is formulated in the Eightfold Path, showing the way in which craving can be extinguished. The path consists of the following steps: 1. right view, 2. right mind and aim, 3. right speech, 4. right conduct, 5. right livelihood or work, 6. right enthusiasm, 7. right memory, which sustains right and put aside the wrong, 8. right meditation.

Desire is the fundamental source of suffering, but it is actually secondary, for it is the result of a long process of illusive insight. The ultimate source of all suffering is avidya or ignorance. Indeed, it is ignorance that causes them to be fertile. Therefore, Buddhism has no value in ritual, or penance. Devotees seek refuge in the three pearls, Buddha, dharma is Buddhist teachings and Sangha is Buddhist community. By following the Buddha's example, by carrying out the Buddha's instructions, and by joining the Buddha's community of monks, he will be safely guided along the Noble Eightfold Path and attain nirvana.

In the further development of Buddhism, the attainment of nirvana ceased to be the ultimate goal. To be consistent with the Buddha's example, it is the safety of others that must be fought for rather than one's own; for, when the Buddha attained enlightenment, and there attained nirvana, he remained in this phenomenal world to give his share of salvation to other beings. The aim of his doctrine is to enable his followers to attain nirvana.

The change in attitude was again based on stories about the Buddha's past lives. It is assumed that the Buddha was reborn hundreds of times before he was born for the last time becoming the historical founder of Buddhism. In each of his incarnations, he distinguished himself by spectacular holy deeds. He is always ready to sacrifice everything he has, even his soul, for the sake of others. Indeed, he is a Bodhisattva, or naturally enlightened person, throughout the cycle of birth and rebirth.

Therefore, in the new sect, the Bodhisattva figure replaces the image of nirvana. Hence his followers call their school Bodhisattvayna while denoting the orthodox sect of Nirvanayana; the more popular name is Mahayana, or The Great Vehicle. The principle is to pursue safety for the people, not for oneself.

The goal of Mahayana Buddhists is to become a Bodhisattva, on the long journey to attain Buddhahood. This implies that there will be many future Buddhas besides the previous Buddhas. And since the Buddha on earth is considered a manifestation of the eternal transcendental Buddha, the pantheon is quite developed.

The human Buddha is called Manusi Buddha, while the transcendental Buddha is called Dhyani Buddha. Unlike the Dhani Buddha, the Manusi Buddha only has a temporary existence. As soon as he completes the task of bringing liberation into the world of suffering, he disappears into Pari Nirvana.

To guard the dharma and safeguard the sangha, Dhyani Buddha emanated once again, now no longer in human form but in the form of a divine being. The term of this celestial emanation, called Dhyani Bodhisatva, ends as soon as the next Manusi Buddha is born on earth to bring enlightenment to the new world. If there are countless Manusi Buddhas, there must also be countless Dhyani Buddhas. However, in systematizing the pantheon, only five Dhyani Buddhas are considered: three for the past, one for the present, and one for the future. A fixed place in the universe, coinciding with the cardinal points of the compass, is assigned to each Dhyani Buddha.

The order of the 'ruler' Dhyani Buddhas in the world, and the compass points assigned to them, can be summarized as follows:

1. Dhyani Buddha: Vairochana

Dhyani: Bodhisattva Samantabhadra

Manusi Buddha : Krakuchchanda

Place : Zenith

Time: Past

2. Dhyani Buddha : Aksobhya

Dhyani Bodhisattva : Vajrapani

Manusi Buddha : Kanakamuni

Place : East

Time : Past

3. Dhyani: Amoghasiddhi

Dhyani Bodhisattva : Ratnapani

Manusi Buddha : Kasyapa

Place : North

Time : Past

4. Dhyani: Amitabha

Dhyani Bodhisattva: Avalokita

Manusi Buddha : Sikyamuni

Place : West

Time : Present

5. Dhyani Buddha : Ratnasambhava

Dhyani Bodhisattva: Visvapani

Manusi Buddha : Maitreya

Place : South

Time : Future

Its more detail:

Borobudur-insight into a meditation

Buddha Statue

This is when you are on Borobudur, the biggest Buddhist building in the world, in every side of outer wall of narrative bas relief sculptures and decorative carvings, Candi Borobudur is full of Buddha statues, its placed in the niches and all depicting Dhyani Buddhas. They are on the Rupadhatu terraces and in the 3 circular terraces of stupas.

Borobudur statues of Rupadhatu terraces, they are placed in its niches, arranged in rows on the out sides of every balustrades. It is diminish in size since measuring in progress, at the first and the second balustrades have 104 niches, there are 88 niches at the third, the fourth are 72 niches and the fifth has 64, so all about there are 432 statues in the niches originally.

The statues of the arupadhatu are placed in perforated stupas, which are themselves arranged in three concentric circles. The first circular terrace supports 32 domes, the second 24, the third 16, so that originally there were 72 Dhyani Buddha statues, out of sight but still partly visible in the stupas. Of the original total of 504 Buddha statues, over 300 are mutilated (mostly headless), and 43 are missing.

At first sight the Buddha statues seem all alike, but closer observation reveals evident differences, particularly in the mudras (position of the hands). The Buddhas at the first four balustrades have different mudras, each peculiar to one particular side of the monument. The statues facing East have the same mudras, and so have respectively the Buddhas facing South, West and North. The Buddhas on the uppermost (fifth) balustrade all have the same mudra, regardless of the direction they face. This same mudra also characterizes the 72 statues on the three circular terraces.

In other words, the Borobudur statues show five kinds of mudra, corresponding to the five cardinal points of the compass (East, West, North, South, Zenith), and also to the Mahayana conception of the five Dhyani Buddhas. One point of the compass is ascribed to each Dhyani Buddha, and the distinction between the Dhyani Buddhas is indicated by the different mudras.

The five mudras are as follows:

1. Bhumisparsa mudra, meaning the hand position touching the earth. The open left hand rests on the lap, the right hand is placed on the right knee with the fingers pointing downwards. This mudra is associated with the moment when the Buddha called the Earth Goddess to witness while refuting Mara’s impeachments. It is the mudra peculiar to the Dhyani Buddha Aksobhya, who resides in the Eastern Quarters.

2. Abhaya mudra, symbolizing the reassurance to refrain from fear. The open left hand is placed on the lap, the right hand is lifted up above the right thigh with the palm forward. This gesture is attributed to the Dhyani Buddha Amoghasiddhi, the Lord of the Northern Quarters.

3. Dhyana mudra, expressing meditation. Both hands are opened and placed on the lap, the right hand above the left hand, the thumbs touching. The mudra is ascribed to Amitabha, the Dhyani Buddha of the western Quarters.

4. Vara mudra, the mudra of charity. It resembles the bhumisparsa mudra, but the palm of the right hand is turned upwards while the fingers rest onthe right knee. This mudra denotes that the Dhyani Buddha is Ratnasambhva of the Southern Quarters.

5. Dharmachakra mudra, symbolizing the turning of the Wheel of the Law. Both hands are held before the breast, the left hand below the right. The left hand is turned upwards with the ring finger touching the thumb, while the ring finger of the right hand touches the little finger of the left. The position suggests the turning of a wheel. This mudra is attributed to the Dhyani Buddha of the Zenith, Vairochana.

Applying this information to the statues of Chandi Borobudur, the Buddhas at the East side are identified as Aksobhyas, while those at the North, West and South sides are Amoghasiddhis, Amitabhas and Ratnasambhavas respectively. This holds true in respect of the statues of the first four balustrades. Those of the fifth balustrade, all having the same mudras, are identified as Vairochanas, and similarly those in the stupas on the circular terraces.

The rupadhatu is ‘guarded’ by 92 Aksobhyas at the East, 92 Amoghasiddi his at the North, 92 Amitabhas at the West, and 92 Ratnasambhavas at the South (26 at the first, 26 at the second, 22 at the third, and 22 at the fourth balustrade). The arupadhatu has its square base enclosed by 64 Vairochanas in the niches of the fifth balustrade, and its circular terraces are occupied by 72 other Vairochanas. The fact that the Dhyani Buddhas in the open niches of the balustrades are entirely visible, whereas those in the stupas of the circular terraces are partly disclosed suggests a sequence mounting to a climax which is reached when there is only one more Dhyani Buddha, completely invisible.

The five different Dhyani Buddhas are emanations of the Adi Buddha (the Supreme or Primeval Buddha), who generally is not represented in any tangible form. Consequently the single replacement of an image by a stupa, which is after all the symbol par excellence of Buddhism, is wholly reasonable. Moreover, this is no common stupa, but a huge one, crowning the entire monument and its surroundings. Nevertheless, it is conceivable that, in view of the presence of the five Dhyani Buddhas, a representation of the Adi Buddha was thought necessary for Candi Borobudur. In that case, there should be a statue inside the big dome.

The main stupa does in fact have an inner space, big enough to accomodate a statue as large as those of the Dhyani Buddhas. However, there is much confusion regarding the location of the statue reportedly found in the middle of the nineteenth century, which was first mentioned in 1853 although, if it existed, should surely have been noted during Hartman’s visit in 1842. Since the rediscovery of Chandi Borobudur it was found that a big hole in the eastern wall of the main stupa allowed easy entry into its interior.

The investigations of Cornelius, who was involved in the first clean-up of the monument as early as 1814, did not neglect the inside of the dome but none of his reports mentions the presence of a statue in it; neither did any of the other investigators between then and 1842. Hartman himself did not write any report on his activities at Chandi Borobudur.

The story about the statue told in connection with his visit in 1842 was apparently obtained from the villagers and it was in circulation forover ten years before being taken up in an account written in 1853. The statue in question is now located under the canary trees to the northwest of the monument. It was taken out of the main stupa when the monument was restored in the beginning of the present century, and was not put back there simply because of the lack of any convincing evidence to show where it really belonged. On close observation, this statue proves to have several imperfections.

The facial expression is ugly, one arm is shorter than the other, the fingers are not complete, and the pleats of the cloth are carelessly carved. The statue is in fact unfinished. In view of the supreme quality of all the other statues it is hard to believe that such imperfections could have been tolerated if the statue was indeed meant to depict the Highest Buddha of Chandi Borobudur. It is more plausible to assume that this particular statue was one that was rejected and, for that reason, left unfinished.

Source: Guidance Technique Chandi Borobudur arisguide.

Get more narration and materials about Chandi Borobudur in Barabudur atau Borobudur, Candi Buddha Pusaka Budaya Indonesia.

Reading is more fun exploring the thematic narratives in more detail in Selamat Datang di Kebudayaan Borobudur.

Reading in English is fun and also seems so interesting to translate into language that is easy and flexible, get readings in detail in Welcome to Borobudur Temple, the fabric of life in the Buddhist culture.

Explore, admire the beauty of art in pictures and photos by typing the detailed link in PHOTO IMAGE BOROBUDUR.

Borobudur Story relief wall hallway

The beauty of the relief carvings of the Borobudur story on the walls and balustrades. Source: Borobudur Conservation Center. Chandi Borobudur Scouting Technique arisguide. arisguide's photo.

Traveling and visiting with the aim of getting to know Borobudur more closely, studying its history, taking part in thematic tours and exploring Borobudur as a sacred Buddhist building is something very special, admiring the splendor and beauty of the architectural artistic value, is a form of appreciation and participation in preserving and protecting Borobudur which is a world cultural heritage site, Chandi Borobudur.

In the historical narrative of Borobudur, the relief panels carved on the walls at the foot of the temple are mentioned in the Karmawibhangga text, regarding the offering of footwear called 'Upanat' to the Brahmins.

Upanat Borobudur

Giving footwear with the name 'Upanat', footwear offered to Brahmins, in order to obtain rewards and prosperity in life. Source: Guidance Technique Chandi Borobudur arisguide. arisguide's photo.

Upanat Borobudur

One of the reliefs on the wall at the foot of the temple in the Karmawibhangga text, is about offering footwear with the name 'Upanat', footwear offered to Brahmins, in order to obtain rewards and prosperity in life. Source: Guidance Technique Chandi Borobudur arisguide. arisguide's photo.

Explaining that 'Upanat' is the footwear used when visiting the terrace of Borobudur Temple. This visit aims to get to know Borobudur better, learn about its history, take a thematic tour and admire the splendor and fine art of this monument. This is a form of appreciation and getting to know Borobudur, as well as playing a role in maintaining and protecting the world cultural heritage site in Borobudur, Indonesia.

Read the complete narrative and material about Chandi Borobudur by visiting and make your tour even more enjoyable, explore in more detail the thematic narrative of Borobudur culture with Pamong Carita. Reading becomes more fun, digging into the narrative in more detail and reading in English is indeed fun and also seems very interesting to translate into easy and flexible language, get detailed reading at Welcome to Borobudur Temple, the fabric of life in the Buddhist culture. Explore, admire the beauty of fine art in images and photos at PHOTO IMAGE BOROBUDUR.

Chandi Borobudur

World Cultural Heritage Site since 1991, one of the views of Borobudur from the northwest. Source: Guidance Technique Chandi Borobudur arisguide. photo arisguide.

Welcome to Borobudur Temple

Chandi Borobudur or Barabudur is a Mahayana Buddhist temple built in the 9th century, consisting of six square terraces and three circular terraces, topped by a central dome, surrounded by 72 stupas and decorated with 2,672 relief panels and 504 Buddha statues.

Chandi Borobudur or Barabudur

is a 9th–century Mahayana Buddhist temple, which consists of nine stacked platforms, six square and three circular, topped by a central dome, surrounded by 72 stupas and decorated with 2,672 relief panels and 504 Buddha statues. Source: Guidance Technique Chandi Borobudur arisguide. Foto arisguide.