Daily worship is not performed in these temples but offerings are laid before the shrines from time to time by those who need the help of the gods and there are several annual festivals. The object of the ritual is not to honour any image or object habitually kept in the temple but to induce the gods, who are supposed to be hovering round like birds, to seat themselves in the chair provided or to enter into some sacred object, and then receive homage and offerings. Thus both the ideas and ceremonial are different from those which prevail in Hindu temples and have more affinity with Polynesian beliefs. The deities are called Dewa, but many of them are indigenous nature spirits (especially mountain spirits) such as Dewa Gunung Agung, who are sometimes identified with Indian gods.
Somewhat different are the Durgâ temples. These are dedicated to the spirits of the dead but the images of Durgâ and her attendant Kaliki receive veneration in them, much as in Hindu temples. But on the whole the Malay or Polynesian element seemed to me to be in practice stronger than Hinduism in the religion of the Balinese and this is borne out by the fact that the Pĕmangku or priest of the indigenous gods ranks higher than the Pĕdanda or Brahman priest. But by talking to Balinese one may obtain a different impression, for they are proud of their connection with Madjapahit and Hinduism: they willingly speak of such subjects and Hindu deities are constantly represented in works of art. Ganeśa, Indra, Vishṇu, Kṛishṇa, Sûrya, Garuḍa and Śiva, as well as the heroes of the Mahâbhârata, are well known but I have not heard of worship being offered to any of them except Durgâ and Śiva under the form of the linga. Figures of Vishṇu riding on Garuḍa are very common and a certain class of artificers are able to produce images of all well known Indian gods for those who care to order them. Many Indian works such as the Veda, Mahâbhârata, Râmâyana, Brahmâpurâṇa and Nîtiśâstra are known by name and are said to exist not in the original Sanskrit but in Kawi. I fancy that they are rarely read by the present generation, but any knowledge of them is much respected. The Balinese though confused in their theology are greatly attached to their religion and believe it is the ancient faith of Madjapahit.
I was unable to discover in the neighbourhood of Singarâja even such faint traces of Buddhism as have been reported by previous authors[457], but they may exist elsewhere. The expression Śiva-Buddha was known to the Pĕdandas but seemed to have no living significance, and perhaps certain families have a traditional and purely nominal connection with Buddhism. In Durgâ temples however I have seen figures described as Pusa, the Chinese equivalent of Bodhisattva, and it seems that Chinese artists have reintroduced into this miscellaneous pantheon an element of corrupt Buddhism, though the natives do not recognize it as such.
The art of Bali is more fantastic than that of ancient Java. The carved work, whether in stone or wood, is generally polychromatic. Figures are piled one on the top of another as in the sculptures of Central America and there is a marked tendency to emphasize projections. Leaves and flowers are very deeply carved and such features as ears, tongues and teeth are monstrously prolonged. Thus Balinese statues and reliefs have a curiously bristling and scaly appearance and are apt to seem barbaric, especially if taken separately[458]. Yet the general aspect of the temples is not unpleasing. The brilliant colours and fantastic outlines harmonize with the tropical vegetation which surrounds them and suggest that the guardian deities take shape as gorgeous insects. Such bizarre figures are not unknown in Indian mythology but in Balinese art Chinese influence is perhaps stronger than Indian. The Chinese probably frequented the island as early as the Hindus and are now found there in abundance. Besides the statues called Pusa already mentioned, Chinese landscapes are often painted behind the seats of the Devas and in the temple on the Volcano Batoer, where a special place is assigned to all the Balinese tribes, the Chinese have their own shrine. It is said that the temples in southern Bali which are older and larger than those in the north show even more decided signs of Chinese influence and are surrounded by stone figures of Chinese as guardians.
FOOTNOTES:
[369] I have not been able to find anything more than casual and second-hand statements to the effect that Indian antiquities have been found in these islands.
[370] There is no lack of scholarly and scientific works about Java, but they are mostly written in Dutch and dissertations on special points are more numerous than general surveys of Javanese history, literature and architecture. Perhaps the best general account of the Hindu period in Java will be found in the chapter contributed by Kern to the publication called Neerlands Indië (Amsterdam, 1911, chap. VI. II. pp. 219-242). The abundant publications of the Bataviaasch Genootschap van Kunsten en Wetenschappen comprise Verhandelingen, Notulen, and the Tijdschrift voor Indische Taal-, Land-, en Volkenkunde (cited here as Tijdschrift), all of which contain numerous and important articles on history, philology, religion and archæology. The last is treated specially in the publications called Archaeologisch Onderzoek op Java en Madura. Veth's Java, vols. I. and IV. and various articles in the Encyclopaedie van Nederlandsch-Indië may also be consulted. I have endeavoured to mention the more important editions of Javanese books as well as works dealing specially with the old religion in the notes to these chapters.
Although Dutch orthography is neither convenient nor familiar to most readers I have thought it better to preserve it in transcribing Javanese. In this system of transcription j = y; tj = ch; dj = j; sj = sh; w = v; oe = u.
[371] Râm. IV. 40. 30. Yavadvîpam saptarâjyopaśobhitam Suvarṇarûpyakadvîpam suvarṇakaramaṇḍitam.
[372] Ptolemy's Geography, VII. 2. 29 (see also VIII. 27, 10). Ἰαβαδίου (ἢ Σαβαδίου), ὅ σημαίνει κριθῆς, νῆσος. Εὐφορωτάτη δὲ λέγεται ἡ νῆσος εἶναι καὶ ἔτι πλεῖστον χρυσὸν ποιεῖν, ἔχειν τε μητρόπολιν ὄνομα Ἀργυρῆν ἐπῖ τοῖς δυσμικοῖς πέρασιν .