367. Small Temple at Brambanam. (From a Drawing at the India Office.) No scale.
In the great temple the central cell measured 45 ft. each way, and with the four attached cells, one of which served as an entrance porch, it formed a cross 90 ft. each way, the whole being raised on a richly ornamented square base. This building is richly and elaborately ornamented with carving, but with a singular absence of figure-sculpture, which renders its dedication not easy to be made out; but the most remarkable feature of the whole group is the multitude of smaller temples which surround the central one, 238 in number. Immediately beyond the square terrace which supports the central temple stand twenty-eight of these—a square of eight on each side, counting the angular ones both ways. Beyond these, at a distance of 35 ft., is the second square, forty-four in number; between this and the next row is a wide space of above 80 ft., in which there are only six temples, two in the centre of the north and south faces, and one on each of the others. The two outer rows of temples are situated close to one another, back to back, and are 160 in number, and form a square, each face of which is about 525 ft. All these 238 temples are similar to one another, about 12 ft. square at the base, and 22 ft. high,[618]
all richly carved and ornamented, and in every one is a small square cell, in which was originally placed a cross-legged figure, probably of one of the Jaina saints, though the drawings which have been hitherto published do not enable us to determine whom they represent—the draughtsmen not being aware of the distinction between Buddhist and Jaina images.
When looked a little closely into, it is evident that the Chandi Siwa is neither more nor less than Boro Buddor taken to pieces, and spread out, with such modifications as were necessary to adapt it to that compromise between Buddhism and Brahmanism which we call Jaina.
Instead of a central dagoba, with its seventy-two subordinate ones, and its five procession-paths, with their 436 niches containing figures of Buddha, we have here a central cell, with four subordinate ones, each containing no doubt similar images, and surrounding these 236 cells, containing images arranged in five rows, with paths between, but not joined together with sculpture-bearing screens, as in the earlier examples, nor joined side by side with the sculpture on their fronts, or inside, as was invariably the case in similar temples in Gujerat of the same age.
Sir Stamford Raffles states A.D. 1098[619] for the completion of this temple which, from the internal evidence, I fancy cannot be far from the truth. It would, however, be extremely interesting if it could be fixed with certainty, as these Javan monuments will probably be found to be the only means we have of bridging over the dark ages in India. Already we can see that Takht-i-Bahi, Boro Buddor, and Chandi Siwa form landmarks in a series extending over at least 500 years, which we may hope some day to fill up, though the materials for it do not at present exist. We have not even correct drawings of the pickle-bottle-like cells of the Gandhara monasteries, and those at Chandi Siwa are so ruined, that it is difficult to make out their form. It seems, however, quite clear that they, with the domes and spires that crown the cells of the Boro Buddor façade, form parts of one connected series. They are, in fact, merely developments of one form which, with a little information, it would be very easy to trace back to its original source.
Tree and Serpent Temples.
There is still another class of temples in Java which, when properly investigated, promises to throw great light on some vexed questions of Indian mythology and art. They are found principally in the provinces of Kediri and Malang, in the eastern part of the island, and, from dates on some of them, seem to be among the most modern examples of Javan art, all hitherto known being dated in the century preceding the overthrow of Majapahit in A.D. 1479.
Four of these are described by Heer Brumund,[620] but only one, so far as I know, that of Panataram in Kediri, has been photographed, and no plans or architectural details of any have yet been published. It is consequently difficult to speak with certainty regarding them, but they are too interesting to be passed over in silence. The annexed woodcut will convey some idea of that at Panataram, though necessarily on too small a scale to render all its details recognisable. Generally they may be described as three-storeyed pyramids, having a flat platform on the top, with a well-hole in its centre open to the sky. In this instance the lower platform, so far as I can make out, is about 100 ft. square, with a projection or bastion on each face, behind which the stairs leading to its summit are arranged, as in the great Ceylonese dagobas (ante, p. 190). From this a flight of sixteen steps leads direct to the platform of the second, and a similar flight to that of the third storey. The basement here is ornamented with numerous bas-reliefs on panels, representing subjects, taken principally from the ‘Ramayana,’ but many also from local legends. Each of these is separated from that next it, by a panel, with a circular medallion, containing a conventional animal, or a foliaged ornament. The bas-reliefs of the second storey are better executed, and, from their extent, more interesting; their subjects, however, seem to be all taken from local legends not yet identified. The third is ornamented by panels, with winged figures, griffons, Garudas, and flying monsters, more spirited and better executed than any similar figures are in any examples of Hindu art I am acquainted with.