Borobudur+Temple+Compounds

**Borobudur Temple Compounds: Buddha Image Sitting in Open Chamber **

Art work title: Buddha Image Sitting in Open Chamber. 8th and 9th century Buddhist sculptures Artist: Unknown Country: Indonesia Province: Central Java Date: 8th and 9th century Medium: Stone Provenance: United Nations Educational,Scientific and Cultural Organization

The sitting Buddha in the chamber is one of the many Buddhist statues in the Borobudur Temple Compounds. The Borobudur Temple Compounds is a ninth-century Mahayana Buddhist monument. It is believed that the Borubudur Temple Compounds represent Buddhist cosmology. The monument contains six square platforms with three circular platforms on top. It has 2,672 relief panels that are decorated and a total of 504 Buddhist statues. At the center of the top platform is where the main dome is located encompassed by 72 Buddhist statues. The Borobudur Temple Compounds were abandoned as a result of the decline of Buddhist and Hindu kingdoms in Java. Beneath volcanic ash, The Borobudur Temple Compounds layed hidden for many centuries. In 1814 Native Indonesians enlightened Sir Thomas Stamford Raffles, the ruler of Java, of the Borobudur Temples location.
 * Introduction**

The Borobudur Temple Compounds is a large site with many Buddhist statues. The one featured in the picture is just one of many. It was made of stone like the rest of the site is. The stature is shown in a seated position. The Buddhist statue is seated inside of a circular platform. The platform has many individual stones which create the circle. Each stone has a hole in the top of each. The holes that are seen on top are not visible from the picture enough to tell how far that they go down the stone. Each stone almost touches each other; there is a small crack in between each. They may at once have been touching. Each stone is shaped like an hour glass figure. The two hands of the statue are touching each other in front of the rib cage region. Three fingers are sticking up on one hand. The other hand as the thumb and index finger interlocked with each other. The body is proportional. The eyes, lips nose, head, arms, and body all go together. The only thing that looks like it is not proportional is the ears. They are very long and large compared to everything else. The statues eyes are closed. There are three rings going around the neck giving the statue a neck that looks tight. The statue has hair on the head. It goes all around and comes to a ball shape on the middle top. The hair is shown by circles going around in lines on the head. The body of the Buddhist statue has no definition to it. The viewer does not see any muscles. It is only known where the elbows are because the arms are bent. The stone of the Buddhist statue is in good condition. There is some discoloration throughout the stone though. Some parts are lighter and some parts are darker than others. The stone may have some damage. It appears as if some may have been eroded away. The statue over all is in very good condition though. Behind the statue the viewer sees large objects made of stone; more part of the temple. These objects are made of different colored squares of stone. This part of the temple looks rougher. It appears as though there may have been more damage and erosion here compared to the Buddhist statue.
 * Descriptive Analysis**

This Buddhist statue as well as the entirety of the Borobudur temple compounds was used as a place of worship for Buddhists on pilgrimages. There are three tiers of the compounds which are meant to symbolize the three stages of Buddhist cosmology (Kamadhatu- world of desire, Rupadhatu- the world of forms, Arupadhatu- the world of formlessness). This is important in determining the importance of this particular statue which is located right before the top of the temple which represents the world of formlessness or Arupadhatu. This realm is the “highest division of the threefold world. The world of formlessness lies above the world of form and the world of desire. It is the immaterial realm of the spirit, which is said to be free from the limitations of matter and from all thought of matter.” This definition gives a deeper insight to the context in which the Buddha is displayed. Buddhist statues use something known as mudra to convey their meanings. These are simply hand gestures that carry a universal iconography throughout the Buddhist faith. The statue found at the Borobudur temple compounds mudra is known as the Gesture of Turning the Wheel of Dharma. This has a few different meanings within it; “the thumb and index finger of the right hand stand for wisdom and method combined, the other three raised fingers symbolize the teaching of the Buddhist doctrine, which leads sentient or consciousness beings to the paths of the beings of three capacities (enlightened beings). The position of the left hand symbolizes the beings of the three capacities, which follow the combined path of method and wisdom.” The mudra and the placement of the Buddha right before the top which is used to represent the world of formlessness conveys a direct message to the Buddhist on his pilgrimage. It tells whoever is on their pilgrimage that through the wisdom and method of the Buddhist faith it is possible for them to become a being of three capacities and free themselves of thought. Since the Buddhist faith calls for Buddhists to leave all worldly attachments behind and become a “wander” which implies a somewhat lonely lifestyle, the statue would serve as a positive reminder to the Buddhist on their pilgrimage as to what they are striving for. The Buddha’s seated position is a common one and many look similar to this one with its eyes closed. This is used to show the Buddha is in great concentration in his meditation. Once you can understand the context in which this statue is displayed and its symbolism, you are able to learn a lot about the culture of Buddhist of this time. The statue conveys messages of wisdom, method, and faith to achieve an enlightened state of being. This shows that these aspects of a Buddhist life were important to them in the 8th and 9th century.
 * Formal and Contextual Analysis**

//Printed// Dohanian, D.K. "Faith and Power in Japanese Buddhist Art, 1600-2005.(Brief article)(Book review)." __CHOICE: Current Reviews for Academic Libraries__ 45.11 (July 2008): 1934(1). __General OneFile__. Gale. Eastern Michigan University. 16 Mar. 2009
 * Sources**

Ghori, Ahmer K., and Kevin C. Chung. "Interpretation of Hand Signs in Buddhist Art.(Author abstract)." __Journal of Hand Surgery (American Volume)__ 32.6 (July-August 2007): 918(5). __Academic OneFile__. Gale. Eastern Michigan University. 16 Mar. 2009.

Kuhlman, James R. "Leidy, Denise Patry. The Art of Buddhism: An Introduction to Its History & Meaning.(Brief article)(Book review)." __Library Journal__ 133.20 (Dec 1, 2008): 134(1). __General OneFile__. Gale. Eastern Michigan University. 16 Mar. 2009.

Ong, Ling. "The kinesthetic Buddha, human form and function -- Part 2: The preparation for lotus.(Author abstract)(Report)." __Journal of Bodywork & Movement Therapies__ 11.4 (Oct 2007): 340(12). __Academic OneFile__. Gale. Eastern Michigan University. 12 Mar. 2009.

//Online-sources// "Borobudur Temple Compounds". Untited Nations Educational, Scientific and Cultural Organization. febuary 25, 2009 []

"Buddhist Art and Architecture" []

"Borobudur Introduction" []