C¹, 6, 5, 4, 3, 2 and 1;
Six of these 160 sculptures are badly damaged whilst one of them is wholly lost. (R. 5). Seven have less suffered. Twenty representations remained partially unfinished (C 3 and 4, B 7, A 2, U 4, S 1, O 7, N 5, M 2, K 4 and 3, H¹ 2, H 1, G 4 and 8, F 2, 4 and 6, D 3 and C¹ 4). Partly finished but for the rest not yet drawn in the rough are 3 scenes (H¹ 1, F¹, and D 4) whereas one (I 1) has been scarcely sketched.
On the flat frame above the series we see a few short indications engraved in ancient-javanese characters—dating, according to professor Kern, from about the year 800 of the Syaka-era,—roughly hewed and in a perfunctory manner, as if it were scratched in stone with a knife or a chisel, that is, above H 1, 2, 3 and 4 (twice); 5 (bis) and 6 (bis); F 1, 4, and 5; E 6 and 5; D 8, 6 (bis), 5 (bis), 4, 3 and 1 (bis)[83].
Some of these legends are no more or hardly to be read but the other ones read by Dr. J. Brandes don’t teach us any more than that which we may understand by closely examining the representations themselves, for instance, that the sĕmbah of the persons seated around a tomb or sanctuary refers to a reverence to a tyaitya[84].
Some inscriptions may contain the name of the person to be hewed, and to assist the sculptor.
The unfinished and scarcely sketched sculptures prove us that they, such as on other tyanḍis at Parambanan, have been hardly hewed here on the walls of the finished temples.
In these sculptures I could not have recognised any continuous series. Among many a domestic and some rural scenes I saw two or three fowlings with a pea-shooter or bow and arrow (M 5 and 3), and one fishing (I 6); one war-dance (C 5) and some other dancings on the occasion of which a wind-instrument provided with a bagpipe (S 2 and R. 17) was played on. Further there are offerings of food or flowers to Bodhisattvas or other venerable personalities, and once to the Dhyâni-Buddha Amitâbha, the Redeemer of this world (K 3), by six crowned men and to be distinguished by their glories (Bodhisattvas perhaps?)
On one sculpture (K 2) Amitâbha (?) has been four times represented as an ascetic in the wilderness. Sometimes there are hewed demons or raksyasas, most often attacking or killing other people (M 2, 3, 6, 7 and 8); tyaityas are to be seen more than once (U 3, T 6, 4 and 3, K 4, G 6, F 6, E 6, D 8, 6 and 3, and C¹ 6). Bodhi-trees covered by payongs and some gandharvas under their shade, such as to be found more than once in the Parambanan ruins and speaking of Buddhism even there, have been hewed five times (K 6, G 4, F 3 (bis) E 4 and C¹ 6), and once with a payong only (D 1). Vishnu’s tyakra has been once represented on a lotus-cushion in the sky (C 2).
Concluding word.
In a small compass I suppose to have mentioned all that may be discussed about the three buddhistic monuments speaking in this valley, on the two banks of the river Prågå, of a former high civilisation and of a very developed art.