,ruins of ,buddhistic ,temples          
,,in                                    
,prg-,valley4                           
,tyanis ,brbudur1 ,mndut and ,pawon     
,,by                                ,dr4
 ,i4 ,,groneman1                        
translated from the dutch by ,j4 ,h4    
,druk van ,h4 ,a4 ,,benjamins1          
,semarang1                              
#aiab4                                  
,preface4      ,when in #ahif ,i was    
obliged to retire from practice1 on     
account of  sickness1 ,i shortly after  
took up my residence at ,jogykart again 
in  order to devote myself to the       
antiquarian and ethnological studies    
dear  to me1 and to which purpose ,i had
 to establish myself in the             
neighbourhood of the principal ,hindu   
ruins in ,java1 that is1 in the  plain  
of ,parambanan1 and in the valley of    
,prg whereas ,i could not  rely on being
 assisted by the ,dutch ,government or  
whomsoever2 ,i had  grown too old under 
a system of ,government who even refuse 

a professor  septuagenarian to follow   
his profession4    ,as for the ,indian  
antiquities however1 there are still    
many things to be  learned1 not only    
because many a sculpture and symbolical 
ornament of  building has not yet been  
explained or1 so to say1 insufficiently 
interpreted1 but also because some of   
these images have been wrongly          
understood and expounded4 ,i therefore  
thought it my duty to have my  knowledge
 of them increased by a continued study 
of the antiquities  themselves1 and by  
consulting such writings as ,i could    
dispose of with  my limited means4    ,i
 also would comply with other people's  
wishes by giving a simple  description  
of the most interesting ruin in the     
village of ,mndut  situated by the      
way-side to the ,brbudur1 and mention   
the small  tyani ,pawon lying in its    
neighbourhood4    ,and so ,i gathered   
all data for an up-to-date fifth edition
 in behalf  of the continually          
increasing number of visitors who come  

to visit these  incomparable temples1   
which1 in spite of expensive but        
insufficient  restoration1 seem doomed  
to decay4                               
,g4    ,jogyrkart #aijf4    ,having     
succeeded at last in finding a person   
from whose hand both the  editor and    
myself express a wish to see a good     
,english translation of  this little    
book1 ,i consequently completed and     
rewrote the former text  7#aijf-aijg474 
,,contents4                             
,page4    ,preface                      
#c    ,buddhistic temples in ,prg-valley
                                   #e   
,tyani ,mndut                           
#ac    ,tyani ,pawon                    
#bc    ,tyani ,brbudur                  
#bf    ,concluding word                 
#ij    ,errata                          
#ib                        ,ruins of    
,buddhistic temples in ,prg-valley4     
,i4    ,the ,buddhists believe their    
community1 their worship1 their church1 
or  whatever one may be inclined to call

 this1 to have been founded #bd         
centuries ago by the wise and humane    
king's son of ,kapilavastu1 called      
,gautama1 the ,shkja muni or wise       
,shkja1 ,buddha or the  ,enlightened4   
,all that which the later legends       
related either of ,buddha  himself or of
 his former lives1 they consider        
historically true4    ,competent        
,orientalists1 among whom the ,dutch    
ex-professor ,dr4 ,h4 ,kern1  stated    
however that1 much about those legends  
that cannot be true from  a historical  
point of view1 will become quite        
comprehensible and  possible as soon as 
taken in a mythical sense1 and when we  
understand  the hero of the myth to be a
 sun-god4 ,and then it will be perfectly
  indifferent to us1 non-,buddhists1    
whether those legends may or may not    
have historical foundations and whether 
the ,buddha of the ,buddhists  may have 
really lived and existed or not4        
,still it is an indisputed matter of    
fact1 that the ,buddhist religion  must 

have existed as such for about three    
centuries before the beginning  of our  
era1 and professed by king ,ashoka the  
great4 ,inscriptions  partly saved1 and 
found upon columns1 and on the walls of 
rocks1 prove  all this to be just#a4    
,this ,buddhism taught that mankind     
might be freed from any sensual         
passion1 and sin by following a pure    
conduct of life1 and from the curse  of 
being continually reincarnated in either
 a human or animal being1 and  that it  
could gain eternal rest as the highest  
reward of virtue on  earth4 ,and        
therefore ,buddhism taught self-command1
 self-denial and  self-conquest2 the    
love of all beings either man or beast3 
patience with  others1 the sons of      
different castes1 and patience too with 
the  followers of all other religions4  
,the original ,buddhism can't be called 
a religion1 for it knew no god and      
didn't believe in a personal            
immortality4 ,but like any other        
creation of  time and of human desire to

 form and reform again and again1       
,buddhism  also lost much of its        
original character1 and so it came to   
pass that  ,buddhism in the first year  
of our era after its separation into two
 main  sections1 the so-called southern 
and northern churches1 especially  the  
last mentioned or the ,mahyna           
acknowledged1 besides the ,buddha of    
this world1 quite other ,buddhas to be  
the redeemers of former and future      
worlds1 whilst the ,buddhists thought   
all of them to be the revelations  of a 
same original and impersonal deity1     
,adi-,buddha2 and even the gods  or some
 of the gods of the ,hindus were        
admitted as the awatras of the  same    
first ,buddha#b4 ,it may be easily      
understood that this ,buddhism  also    
invented hell in contradiction to       
heaven4 ,however1 by no means an  abode 
for the eternal damned1 such as the hell
 of ,christianity alludes  to4    ,but  
the southern church1 the ,hnayna swerved
 less far from the ancient  doctrine1   

though it may be true that it did not   
always keep its  originality1 for in its
 pagodae1 are also found a few          
sculptures  honoured there as the       
representations of ,buddha himself#c4   
,since some centuries ,buddhism has been
 repelled from its country of  birth by 
the ancient ,hinduism4 ,its place was   
taken by the shivaistic and  other      
,hindu religions which at their turn    
again were partly superseded  by        
,islmism4    ,but the ,hnaynistic       
worship still exists in ,ceylon and in  
,further-,india at ,burma1 and ,siam and
 ,kamboja and ,mahjnism at  ,npl and at 
,tibet and1 more or less degenerated1 in
 ,china and  ,japan4 ,it flourished for 
some centuries in the island of ,java1  
but  became entirely exterminated by the
 fanatic and absolutely intolerant      
followers of ,allah and ,mohammed4      
,this was death after life2 slavery     
after the command of senses2 the        
decline of a civilisation lost for ever1
 and of a highly developed art  whose   

products1 by time's tooth changed into  
ruins1 still testify to her  lost       
greatness4    ,this ,mahynism only      
acknowledged ,buddha the redeemer of    
this world1  next to him were honoured  
the ,buddhas of three former worlds1 and
 even  a fifth ,buddha1 the redeemer of 
a future world1 which is to exist in    
the darkness of ages after the crack of 
this doom4 ,these are the five          
,dhyni-,buddhas3 ,wairotyana1 ,akshobya1
 ,ratnasambhava1 ,amitbha  and          
,amoghasiddha4 ,and with the exception  
of these five ,buddhas they  also       
honoured the five ,dhyni-,bodhisattvas  
or ,buddha's sons or ,buddhas  in a     
state of being1 that is1 in a state of  
self-exercise or self-denial  which     
precedes the ,buddhaship4 ,they are in  
the same order of succession3           
,samantabhadra1 ,wadyrapni1 ,ratnapni1  
,padmapni and  ,wishvapni4 ,the southern
 church doesn't know these              
,dhyni-,buddhas and  ,bodhisattvas1 so  
their images on the ,brbudur and on     

other tyanis in  ,java prove to us that 
the ,buddhists of those temples belonged
 to the  northern church4    ,proofs of 
the existence of ,hnaynism in ,java1    
there were none as yet4  ,but the       
,chinese ,buddhist ,j ,tsing1 who       
visited ,india and the ,dutch           
,indonsian countries in the seventh     
century of our era1 wrote us that at    
that period of time ,hnaynism must have 
ruled here in ,java#d4    ,it goes      
without saying that even the ,mahynists 
honoured1 among others1  the ,buddha of 
this their world1 ,amitbha1 as their    
,lord and  ,redeemer1 putting faith in  
his life on earth as man and prince's   
son1 as  ascetic and preacher1 just as  
the ,israelites do believe in the       
personage  of their ,jahv1 their ,lord  
,god of ,hosts1 their god of battle and 
revenge1 and just like our ,german      
ancestors trusted in ,odhin1 and  ,thor1
 and in the dying sun-god ,baldur4      
,and when we wish to judge and          
understand the temples built by these   

,buddhists1 we also ought to start from 
that point of view1 and accept  the hero
 of the legend as if he should have     
really lived1 and suffered  in order to 
redeem the world from the burden of the 
sin of life1 and  from the curse of     
death1 and infinite regenerations4      
,,ii4    ,the ,buddhists assert the     
ashes of their ,buddha to have been     
divided  after his cremation into eight 
towns1 and buried there4 ,king ,ashoka  
is  said to have seven of these graves  
re-opened again so as to distribute  the
 holy ashes among some #hdjjj metal1    
crystal or stone vases or urns to  cause
 them to be spread throughout his empire
 and without1 and kept  under barrows or
 stpas4    ,we know the proper history  
of ,buddhism to begin with this king in 
the  third century before our era1 and  
in several parts of ,hindustan are      
found still undamaged inscriptions      
chiselled at his order upon rocks as  so
 many unobjectionable evidences of this 
fact4 ,i willingly allow this  number of

 #hdjjj to be very exaggerated--yet1 it 
is a fact proved by many  an existing   
and opened grave1 that the ,buddhists of
 that or later date1  and wherever they 
might have settled1 always kept small   
quantities of  ashes or bones they      
considered the remains of their         
,buddha's corpse1 in  order to be buried
 under earthen or stone barrows to      
honour them as the  relics of the great 
,master himself4#e    ,there where the  
,buddhists founded a community1 there1  
under such a hill  or stpa they also    
buried an urn of ashes whereas the hill 
itself was  honoured as the ,master's   
grave4#f    ,those hills however1 were  
badly protected from the influences of  
temperature and time1 and not proof     
against the profaning hand of man1  and 
therefore built of stone1 the dgaba or  
dagob1 generally placed  on a pedestal  
of composed leaves of the lotus1 the    
padmsana1 hardly  dispensible to ,indian
 images4#g    ,many temples' ornaments  
have been copied after these dagobs1    

among  others1 the shape of the         
small-sized prayer-bell which is still  
rung by  the visju in chinese temples   
even at this day4 ,these are facts      
proving  this tomb-stone's having been  
highly honoured4      ,,iii4    ,not    
anything do we know about the ,buddhists
 of eleven centuries ago who  once      
populated these regions where afterwards
 arose the ,mohammedan  empire of       
,mataram4 ,we only know that there      
formerly must have existed  a ,hindu    
empire of this name because of a found  
copper engraving all  covered with      
ancient-javanese writing which contained
 in a oath-formula  the words3 8,sri    
mahrja i ,mataram40    ,we understand   
them to have come from ,india1 probably 
from the ,north1 but  we don't know when
 this happened1 and when they first     
began to deposit  their ,buddha ashes   
worthily4    ,it may be easily imagined 
however1 that also the ,brbudur must    
have  been such a depository1 and so    
much the more1 because of its being too 

large to think of a mausoleum built in  
honour of even the most powerful  prince
 of that empire4    ,in flat defiance of
 ,rhys ,davids's opinion who declared   
the ,brbudur  to be only #g centuries   
old1 we1 on the other hand1 are inclined
 to give  this monument1 according to   
later data1 more than eleven            
centuries#h4    ,that the ,buddhists of 
,central ,java were a powerful nation at
 that period  of time may fully appear  
from the extent and splendour of the    
building  which surpasses all other     
,buddha- and ,hindu temples on all the  
earth4    ,and though it may be true    
that the grouping of the rock temples of
  ,alara 7vulg4 ,ellora7 and ,ajunta in 
,india occupies more room1 and  granting
 ,angkor in ,kamboja 7which wasn't a    
,buddhist temple7 to seem  more majestic
 when seen at a distance1 still1        
according to competent  judges who also 
visited these ruins1 the ,brbudur is    
grander by far as  well for the unity of
 its whole as for the harmony of its    

different  parts1 and for both the      
nobleness of the schemer's thought and  
the  excellence of the execution4       
,this harmony supports the opinion of   
this building's having been built  after
 the scheme of one and the very same    
architect2 a man of a  surprising       
intellectual capacity indeed1 who could 
have conceived such a  scheme to be     
carried out in an incalculable number of
 years by hundreds  of thousands of     
labourers4    ,we cannot possibly       
believe that so much labour and time    
would have been  spent on the building  
of a prince's mausoleum1 however        
powerful he might  have been4           
,moreover1 there are reasons enough to  
suppose that the prince of  this empire1
 at whose command the ,brbudur must have
 been built1  commenced or partly       
achieved1 should have died before the   
finishing of  this colossal work1 and   
that his ashes were buried in the       
sumptuous  grave temple1 at that period 
of time most likely already finished1   

and  the ruins of which we shall visit  
in the dess 7native village7 of  ,mndut4
 ,or more exactly3 that his successor or
 children or  blood-relations1 or       
perhaps his people1 built this tyani on 
the pit  in which those ashes had been  
put away1 and that as a worthy mausoleum
  to the king who once presented his    
subjects with the ,brbudur4    ,some    
unfinished parts of both the ,brbudur   
and the ruins in the valley  of         
,parambanan1 especially the unfinished  
imageries at the foot 7hidden  again    
under the outer-terrace7 on the         
outer-wall of the large temple1  make us
 suppose that these products of art had 
been scarcely achieved1  and the        
imageries hardly finished and placed on 
their walls1 when the  buddhistic empire
 of ,central ,java fell into a state of 
decay or became  ruined at all4         
,upwards of a thousand years have rolled
 since over these colossal ruins4       
,earthquakes1 and volcanic eruptions    
replaced their masses of stone1  solar  

heat and torrents introduced and        
supported their decay1 parasitic  plants
 dispersed their foundations1 and       
narrow-minded slaves of  ignorance and  
fanaticism damaged or spoilt many of    
their produce of  art--still the ruins  
stand there as an impressive fact       
scarcely no less  uncredible than       
undeniable2 a majestic product of a     
master-mind of the  past1 a stone epic  
immortal even in its decline4      ,on  
account of its general form 78par le    
dessin gnral1 mais par l  seulement07   
the ,french scholar about ,indian       
matters ,a4 ,barth called  the ,brbudur 
the only stpa in ,java#i1 and this may  
be just when we  understand a stpa to be
 only those barrows where were buried   
some  ashes or another relic of the     
,buddha himself1 and when we consider   
all  other tyanis in this island--with  
the exception of the monasteries  which 
are no tyanis--to be nothing else but   
the mausolea of sons of  ,princes1 or of
 gurus and monks1 or belonging perhaps  

to other noble  men and women4          
,hereabove we already saw reasons enough
 to make us suppose that ,tyani  ,mndut 
had been built on the ashes of the      
prince of the buddhistic  empire of     
which we don't know anything but its    
having been supreme in  ,central ,java  
for at least eleven centuries ago4      
,these ruins stand in the village after 
which they have been named1 along  the  
road leading from ,jogykart to the      
,brbudur1 not far from the  ,maglang    
route1 and as they are the first we     
reach on our way from one  of the two   
capitals1 and generally visited1 we     
shall therefore first  describe this    
most interesting grave temple4          
,tyani ,mndut4      ,leaving ,jogykart  
by steamtram or by carriage1 and driving
 through the  dessa of                  
,muntilan--properly speaking a ,chinese 
settlement--1turning two  or three miles
 farther on near the stopping-place of  
,kalangan1 #h miles  south of ,maglang1 
into a by-path leading westward to the  

,brbudur1  we1 within an hour1 shall    
arrive at the real javanese village of  
,mndut1 which is situated on the left   
bank of the river lo4 ,on this  spot1 as
 it were under the shadow of the ,buddha
 temple1 eleven centuries  old at least1
 a ,roman ,catholic mission built a     
little church and  parsonage1 and opened
 a school for javanese children4        
,living ,christianity near the ruins of 
dead ,buddhism6    ,heavy teak wooden   
scaffoldings surrounded these ruins on  
all sides1 and  on the north-western    
frontside solid wooden stairs lead      
upward till  under the attap#aj         
temporary roof4 ,this was to protect the
  ,brbudur's pyramidical roof 7at that  
time not yet shut off again7 and        
protect also the three almost undamaged 
gigantic images from rain and           
sun-blaze4 ,this scaffolding still      
appeared as a witness of ,w4 ,a4 van de 
,kamer's clever diligence4 ,some eleven 
years ago1 when in ,government's        
service as official for ways and roads1 

he got the order given to him by        
choice1 to begin the work of            
restoration1 and that above his own work
 as  overseer in service of the         
,department of ,public ,works4          
,notwithstanding1  he continued for     
three years this enterprise trusted to  
him1 and without  any other reward but  
the title of architect the diploma of   
which he had  already got in ,netherland
 for many years ago4 ,under his command1
 and  without any accident1 he had the  
heavy and badly menaced pyramidic roof  
brought downward1 and he succeeded in   
having the decaying and declining  walls
 erected again1 and that in a manner 7as
 ,i once witnessed7  unconditionally    
admired by competent experts1 among whom
 ,i know  high-placed engineer officers4
 ,but his work became unjustly objected 
by  the philological president of a     
newly appointed ,brbudur committee he   
saw suddenly placed above him 7van de   
,kamer71 and the pitiable manner  in    
which the former official induced him to

 ask for exemption from the  labour dear
 to him1 and to retire from             
,government's service some years        
afterwards1 ,i already explained and    
blamed in #aija by means of some        
non-published writings1 because the     
latter1 still subordinate at that  time1
 could not defence himself1 and above   
all1 because of my being  competent and 
obliged to do so as an honest man1 loyal
 to the ancient  device3 8,fais ce que  
dois1 advienne que pourra04 ,even to me 
this deed  became a source of           
misunderstanding and grief4      ,the   
first striking thing we see is that1 in 
contravention to almost all  other      
buddhistic buildings1 the frontage of   
these ruins have not been  placed       
opposite to the ,east1 the sun-rise1 but
 strange enough1 opposite  to the       
,northwest4 ,when ,i first visited this 
temple in #ahge ,i saw that  the porch  
which had been built before this        
frontage1 had partly  disappeared4 ,only
 its side-walls1 the greater part at    

least1 and  fortunately1 the two        
interesting sculptures had remained4    
,this was also  the case with the #ad   
large stone steps leading from without  
to the same  porch1 and flanked by heavy
 holds in the form of the garua-nga     
ornament we are going to know by-and-by4
    ,the colossal pyramidic roof1 and   
part of the front wall above and north  
of the entrance to the inner-room were  
greatly lost4    ,the two sculptures    
before the entrance show us1 to the     
left1 a princess  in a garden of        
fruit-trees1 with a suckling at her     
breast1 and many  playing children all  
round about her4 ,and opposite to them1 
to the  right1 we see an ,indian1--not  
buddhistic--prince with much more       
children  in such another garden4       
,all the children wear a crescent of the
 moon on the hind part of their  heads1 
but both the children and their parents 
miss everything that  might have spoken 
of a buddhistic character4 ,the prince  
himself wears a  three stringed cord of 

a caste 7upavta71 and is therefore      
characterised as a not buddhistic one4  
,buddhism doesn't know any  caste4      
,nevertheless1 there are ,dutch scholars
 who suppose this prince to be          
,buddha's father1 this woman ,buddha's  
mother4 ,even professor ,kern  wrote to 
me that this woman with her suckling    
should be nobody else but  ,may with her
 son in ,lumbini garden4 ,the ,indian   
prince however1  remained inexplicable4 
,the buddhistic king of ,siam1 ,chula   
,longkorn1 gave me in #ahif another  and
 far better explanation which solved all
 difficulties1 and to which  ,i'll come 
back again after having first given a   
superficial description  of the gigantic
 images we see in this temple4    ,let  
us therefore enter through the opened   
iron railing now replacing the  wooden  
inner door1 which for more than some #gj
 years ago1 was used  perhaps1 as       
fire-wood4    ,the space before the     
unadorned south-easterly back-wall is   
occupied by a  heavy altar-shaped throne

 not yet long ago newly built in an     
exceedingly  simple style4    ,and on   
this throne sits a colossal ,buddha     
image1 by no means however1  a nude one1
 so as professor ,veth wrongly wrote in 
his standard work3  8,java10 but this is
 dressed in the cowl of the southern    
,buddhists  uncovering his right        
shoulder and arm2 his two legs dangling 
and resting  on a small cushion with his
 two hands before his breast in such a  
posture 7mudr7 as the ,mahynists1 the   
followers of the 8,big  ,carriage0 of   
the northern church1 generally 7not     
always7 give to the  first of their five
 ,dhyni-,buddhas4 ,in ,ceylon and in    
,farther ,india  however1 there where   
,hnaynism of the southern church still  
exists1  which doesn't know any         
,dhyni-,buddha1 this posture simply     
means  8blessing40    ,to the right of  
this ,buddha nearly #d yards high1 we   
see a buddhistic  prince seated on a    
throne abundantly decorated with ngas1  
lions1 and  elephants1 and ornamented   

with lotus-cushions and feet cushions4  
,the  monk's hood1 the bottom of which  
goes under the princely garb over his   
left shoulder and breast1 and the small 
,buddha image in his crown  characterise
 him as a ,buddhist1 and that in        
contradistinction to the  other prince  
we see opposite him1 to the left of the 
,buddha4 ,and though  this prince also  
has his seat on an equally richly       
ornamented throne1  yet we don't see any
 image in his crown1 and then he doesn't
 wear a  monk's hood1 but only the      
three-stringed upavta which             
characterises  him as not buddhistic4   
,on this ground professor ,kern thought 
this ,indian prince as inexplicable  as 
the other one we saw in the porch before
 the entrance4    ,the two kings wear   
the prabha1 or disk of light1 on the    
back part of  their heads4 ,buddha does 
not1 or no more2 for this may have been 
fixed  to the wall of the temple1 and   
afterwards fallen down after that the   
image itself had slidden from its seat1 

or before its having been placed        
there#aa4    ,on account of the posture 
of his hands before his breast there are
 some  ,dutch scholars who suppose this 
,buddha to be the first ,dhyni-,buddha  
,vairotyana1 and the two other princes  
they think to be ,bodhisattvas  or      
future ,buddhas1 whilst the one on the  
north-easterly wall is said to  be the  
fourth ,dhyni-,bodhisatthva1 ,padmapni  
because of his being  provided with a   
small image of the fourth               
,dhyni-,buddha1 ,amitbha1  in his crown4
    ,which ,bodhisatthva we then must   
see in that other image nobody could    
tell us1 because it misses all          
attributes4    ,this however1 is also   
the case with the buddhistic king's     
image1 and  though it may be provided   
with a ,buddha image in its crown1      
occasionally  given to some             
,bodhisatthvas1 yet it doesn't          
characterise every wearer as  such4     
,moreover1 ,i more than once            
demonstrated that all the crowns are    

provided with no other image but the one
 of the ,buddha himself in his  posture 
of meditation 7or rest after death71 and
 therefore we can't  accept these images
 to be ,bodhisatthvas1 or more          
especially ,padmapni1  the ,bodhisattva 
of the fourth ,dhyni-,buddha who1 after 
all1 should have  been characterised by 
this ,bodhisatthva's usual attribute1   
the padma  or lotus placed near his     
face4 ,but these two images also miss   
this  flower and the stem of the lotus  
which the ,bodhisatthvas generally keep 
in their left hands4 ,sometimes however1
 we see them in their right  hand1 and  
the flower with the symbol above one or 
two leaves4    ,so the meaning of the   
mentioned scholars doesn't explain these
 #c  images whereas ,siam's king1 on his
 visiting this temple in #ahif1         
satisfactorily interpreted the          
north-westerly image1 wearing1 like he  
does himself1 a ,buddha image in his    
crown1 to be perhaps the king of the    
buddhistic empire1 under whose reign the

 ,brbudur was built4    ,further he     
supposed the other image to be the      
latter's not-buddhistic  father and     
predecessor whilst both father and son  
7the latter afterwards  became a        
buddhist71 might have been honoured by  
their descendants who  brought together 
the two images in this sanctuary under  
the blessing  of the only ,buddha1 the  
redeemer of this world4 ,so this ,buddha
 image has  nothing to do with any      
,dhyni-,buddha1 and by no means with the
 first  of them4        ,illustration3  
,tyani ,mndut4      ,imagery in front of
 the entrance of the ruin4      ,hrit1  
the goddess of the ,yakshas1 with some  
of her #ejj      children4    ,this     
explanation of the king-,buddhist became
 so comprehensible and  logical to me   
that ,i could not but accept and defend 
it against others1  and so ,i came to   
the hypothesis that the ashes of the two
 kings 7but  certainly the son's ashes7 
must have been buried in this tyani4    
,their urns may be found back again in a

 deep pit under the throne of the       
,buddha1 or under the seats of the other
 images1 just as we had found  such urns
 of ashes in other tyanis1 in square    
pits1 under the pedestals  of the       
images1 and generally adorned with some 
figures of precious metal  and provided 
with some coloured precious stones1 the 
emblems of the  seven treasures1 the    
sapta ratna which were given to the     
dead4    ,these pits occupied the whole 
depth of the foundation of these        
temples1  under the floor of the        
inner-rooms which may have been         
intentionally  built so high above the  
surface of the earth4 ,this1 perhaps1 is
 also the  reason of the heavy          
substructure of tyani ,mndut4    ,had   
,van de ,kamer remained charged with the
 work of restoration to  these ruins the
 ,resident of ,kedu would then have     
granted us to examine  this affair more 
closely before the throne was rebuilt   
again1 and the  ,buddha image replaced  
upon it4    ,but this didn't happen4    

,that ,siam's king declared the two     
images before the entrance to be the    
representations of the buddhistic king's
 parents with their children  seemed    
more than reasonable to me1 especially1 
because of all  difficulties being      
solved then4 ,didn't ,may1 like any     
other mother of  ,buddha1 die seven days
 after his birth8 ,and then1 all        
writings known to  me1 don't mention    
anything about ,siddhrta's brothers or  
sisters4 ,and  all these children can't 
possibly be angels or celestials1       
because in  the smaller panels1 above   
the groups in the porch1 we always see  
them  hewn floating in the air4         
,however reasonable this idea of the    
hnaystic king may have seemed to  me1   
yet ,i could not maintain this when ,i  
was told by ,mr4 ,a4 ,foucher1 the      
great knower of the ancient ,indian     
,buddhism1 that in ,old ,gandhra he     
often saw the ,buddha1 just as is the   
case here1 sculptured in the  mudr of   
preaching1 standing between the two     

,bodhisatthvas1  ,avalokitsvara and     
,manjusri4 ,this1 among others1 is to be
 seen at  ,srnth in the northern        
environs of ,bnars which passes for the 
very place where the ,buddha should have
 preached for the first time4  ,this is 
ordinarily indicated by means of the    
tyakra between two  gazelles1 and       
consequently hewn at the foot of        
,buddha's throne4 ,mr4 ,a4  ,foucher    
also taught me that my                  
fellow-country-man1 ,dr4 ,j4 ,ph4       
,vogel1  leader of the archaeological   
service in ,british ,india1 rightly     
declared  the two demi-relievoes in the 
porch 7volume #dth of the 8,bulletins de
  l'cole franaise d',extrme-,orient07 to
 be the representations of  ,hrit and   
,kuvera1 the goddess and the god of the 
,yakshas with  some of their children4  
,in many a cloister in ,gandhra he saw  
the  ,yaksh ,hrit represented with one  
child at her breast1 and that1  after   
she herself1 who is said to have been   
the former personification  of small-pox

 7variolae71 had been converted by the  
,buddha4    ,he had taken away one of   
her #ejj children1 and remonstrated with
 her on  the sorrow she gave the mothers
 of the children killed by her1 in      
consequence of which she totally changed
 her character1 became truly  converted 
and afterwards honoured as a patroness  
of children4      ,i am not going to    
expatiate about the artistic value of   
this produce of  the ancient plastic    
arts in ,old ,india4 ,one should see    
them oneself and  then judge whether the
 ,indian sculptor knew how to chisel out
 living  thoughts which are not less    
striking and beautiful than those of the
  ,greeks in the age of ,pericles1 and  
much better hewn than those of the      
,egyptians in the time of the           
hieroglyphics1 of ,memphis and ,thebae1 
of ,carnak and ,philae#ab4    ,but there
 are more things to be seen in the      
sanctuarium of tyani  ,mndut4    ,the   
space within the four heavy walls is not
 a square or rectangular  one1 but      

rather a trapezoid with parallel front- 
and back walls4 ,its  side-walls        
somewhat join each other from front to  
back4 ,i don't know any  other example  
of deviation from the rectangular form1 
and therefore try  to find its meaning  
in the sculptor's effort to increase the
 impression  the large images make upon 
the visitor1 by slightly supporting its 
perspective4        ,illustration3      
,tyani ,mndut4      ,imagery in front of
 the entrance of the ruin4      ,kuwera1
 the god of riches and of the ,yakshas1 
with some of his      children4    ,two 
niches have been spared in each of these
 side walls1 but not  symmetrically like
 we see them hewn before the impressive 
image-group1  and not behind it or on   
the back wall4 ,half way between the    
entrance and  the two corners however1  
two similar niches adorn the front wall4
 ,all  these six niches have been framed
 with the garua-nga ornament1 that  is1 
with two composed serpent's bodies whose
 tails disappear into the  mule of a    

monstrous garua head we see above the   
vault of these  niches1 and whose       
outward turned heads are provided with a
 proboscis4    ,in each niche there lies
 a small lotus cushion but without any  
image4  ,even in #ahcd during the       
digging up of the ruin buried under an  
overgrown  mound1 no images were found  
in- or outside these niches4    ,what   
then was the meaning of them8    ,they  
were explained to us by the ,french     
,indian architect ,henry  ,parmentier   
who spoke of analogical cases in        
,farther ,india ,bulletins  de l'cole   
franaise d',extrme ,orient#ac4 ,even    
there the temples  closely related to   
the ,hindu ruins in ,java had no windows
 or openings  outside the entrance which
 opened into an equally dark porch2 and 
as it  was very dark inside the walls   
were provided with niches for lamps to  
light the images throning in these      
sanctuaries4    ,after mature           
consideration ,i came to the conclusion 
that the niches of  tyani ,mndut must   

also have had this destination1 and this
 may be the  reason why all of them were
 affixed in front and opposite 7not     
behind7  the three images1 so that ,i   
never doubted the four walls to have had
  any other opening than the door which 
opened through the front wall  into the 
almost equally dark porch4    ,this     
conviction of mine has been confirmed by
 some corresponding cases1  among       
others1 by the fact that the four still 
undamaged walls of the  comparatively   
large inner-rooms of tyani ,svu in the  
plain of  ,parambanan1 have no other    
opening but the door which gives        
entrance to  the 7eastern7 porch4       
,however1 we don't see any niche in the 
inner-room  of tyani ,kalasan1 perhaps  
because there was room enough in these  
two  sanctuaries to place one or more   
lights before or on the altars which    
carried the ,buddha or ,tr image4    ,in
 the main temples of the ,parambanan    
group1 with the exception of  tyani     
,shiva1 there was no place for these    

lights4 ,the altar-shaped  pedestals of 
the images were much smaller there1 and 
round about them  there was but little  
room4    ,this temple's walls hewn with 
exquisitely modelled festoons had also  
no  niches1 and could not have had them 
unless one would have partly  sacrificed
 its panels4 ,but in all other1 less    
spacious temples whose  walls were      
unadorned1 are still to be found simple 
and square formed  stones1 #b of which  
we see in each side-wall1 and #a on     
every side of the  entrance through the 
front wall1 consequently just as the #f 
niches in  tyani ,mndut and equally fit 
to the same purpose4 ,had not the front 
walls of these sanctuaries partly fallen
 down ,i am sure we then could  see that
 they also had no windows above the     
entrances1 and that neither  the        
inner-rooms of tyanis ,svu and ,kalasan1
 nor the sanctuary of  tyani ,mndut ever
 had them till before some years when   
the president  of the 8,oudheidkundige  
,commissie0 7board of antiquarian       

science7  ordered these openings to be  
pierced through the front wall scarcely 
rebuilt by ,van de ,kamer4 ,and that1   
contrary to this architect's  official  
objections1 and against my not-official 
but well argued  warning4 ,an           
irresponsible deforming1 a violation of 
the original  architecture1 a           
desecration of a primevally pure style6 
,and this becomes much clearer to us    
when we raise our eyes1 and fully  see  
how this polygonal hole spoils the      
harmony of the character of the         
pyramidical vault so beautifully        
thought1 and which ,i mean to have once 
known as a closed whole4    ,those who  
contemplate this pseudo-vault           
unprejudicedly will no more  regret than
 ,i do1 that such a thing could have    
happened without having  been redressed 
up to this date4 ,it is true1 it would  
cost much labour  again1 and money too1 
but this labour and money would         
undoubtedly be far  better accounted for
 than that which was uselessly spent to 

commit such  an unpardonable mistake4   
,dr4 ,brandes may have been deceived by 
the form of the hole the  dropping      
stones had made outside in the front    
wall above the entrance1  and which he  
knew from engravings only1 for1 when he 
first visited this  temple ,van de      
,kamer had this wall erected again just 
as it once was1 and  without any other  
opening but the door4 ,on account of    
analogical ,indian  ruins pictured in   
,fournerau's and ,porcher's works1 ,i   
stated elsewhere  how the falling       
asunder of such walls which had been run
 up with hewn  stones without mortar1   
are to form the very same angular lines 
of breach  ,dr4 ,brandes unrightly      
ascribed to the architect's intention to
 build  them so4    ,it is true that the
 front wall of the inner-room of tyani  
,svu makes  us think1 from its inside at
 least1 of such a relievo vault1 but    
this  had been entirely shut off to its 
outside1 and consequently not likely  to
 have ever done duty as a               

8light-case0#ad4 ,had ,dr4 ,brandes     
taken  van de ,kamer's objections and my
 warning into unprejudiced              
consideration1 this meaning of his would
 not have been possible4    ,tyani      
,mndut has the outward appearance of a  
quadrangle with a  somewhat rectangular 
wing in the centre of each of its four  
sides4    ,consequently an icosahedral  
resting on an equally polygonal         
foundation  of larger extent4 ,the      
north-western forebuilding1 which       
reached much  farther1 and formerly had 
been separately roofed in1 contained the
 porch  to which a broad and            
fourteen-tread staircase will lead us   
even now4  ,this staircase is flanked by
 heavy banisters formed of composed naga
  and garua heads we are going to know  
somewhere else4    ,however1 among the  
sculptures we see on the outer-wall1    
,mr4 ,m4 ,foucher  recognised not       
without some reserve the main image on  
the northeast  side as the eight-armed  
mahynistic deity ,tyund or ,tsyund1     

standing between the ,bodhisattvas      
,avalokitsvara and ,manjusri2 on  the   
wall to the south-east 7the hind-part   
thus7 he thought he saw  ,avalokitsvara 
himself1 four-armed1 and between two    
,taras2 and on  the south-western side  
he saw ,tsyund once more1 but now       
four-handed  and standing between the   
very same two ,bodhisattvas we see on   
the  north-easterly outer-wall4 ,on the 
side-panels of this wall he  recognised 
the ,bodhisattva ,manjusri1 on the      
south-east side  ,vajrpani1 the         
,bodhisattva of the second              
,dhyni-,buddha2 and on  the outer-wall  
to the south-west he saw ,manjusri      
again1 the former  with his sword and   
the latter with his book on a blue      
lotus4 ,all the  small series sculptured
 on the outsides of these heavy stairs  
refer to  ancient legends4      ,the    
king of ,siam told us that in the whole 
of his buddhistic empire  there was only
 one image which1 though much more      
damaged1 could be  compared to the      

colossal ,buddha image we see here1     
whilst his brother1  prince ,damrong1   
called the ,mndut ,buddha priceless4    
,in #ahif1 and afterwards in #aija1 ,h4 
,m4 rendered due homage to the  ,buddha 
image by a devout smbah 7salaam7 and by 
strewing  smboja-flowers 7,plumeria     
acutifolia ,poir7 in its lap2 and so did
  the ,queen4                           
,tyani ,pawon4      ,v4    ,leaving the 
native village of ,mndut behind us1     
crossing shortly after  the small iron  
bridge built over the river ,elo1 and   
after having been  ferried over the     
,praga1 when a mile's drive farther     
westward1 we arrive  at the little dukuh
 of ,brjnl 7or ,brjnalan7 where we see  
the  very small tyani ,pawon before our 
having turned into the broad            
knari-avenue which leads through the    
native village of ,br to the  hill of   
the ,brbudur4 ,some years ago this tyani
 had been pulled down  and afterwards   
rebuilt again4 ,its name which means    
8kitchen0 is clear  enough to make us   

understand how the ,javanese would have 
shown the  striking contrast between    
this small temple and the other more    
extensive  one1 as if it were a kitchen 
compared with a mansion or temple4      
,why then was this small ruin pulled    
down and afterwards rebuilt again8      
,it once stood there under the shadow1  
partly upon and among the roots of  a   
gigantic tree1 the most beautiful randu 
alas or 8wild cotton-tree0  7,bombax    
malabaricus ,d4 ,c47 ,i ever saw4 ,a    
whole1 so strikingly  beautiful that it 
charmed the eyes of all who understood a
 little the  language of lines and forms
 7and colours71 and of harmony and      
contrast4  8,an image of life which     
kills1 and rises again from death40     
,in #aija conducting the ,jena professor
 ,ernst ,haeckel to this spot1 when  on 
our journey home from the ruins of the  
,brbudur1 this scholar so  sensible of  
nature's beauty drew this rare scene in 
his sketch-book1 and  devoted himself   
for two or three hours to the           

contemplation of this  combined creation
 of art and nature4    ,and even to him 
the mutilation this majestic tree had   
already undergone  in its frame of roots
 beautifully formed by nature1 seemed to
 be a  sacrilege against--just as very  
long ago the destruction of ancient     
art--by ,nature4 ,but the latter worked 
quite unconsciously whereas the         
profaning hand of man did not4    ,i    
know full well the most insignificant   
remainders of this ancient ,art  to be  
of great value to ,science2 as well as  
the creations of ,nature2 in  my opinion
 however1 it would have been by no means
 necessary to fell  this gigantic tree  
in order to preserve this small produce 
of art1  though others with a less      
developed sense for nature's beauty may 
be  inclined to think otherwise4    ,the
 architect van de ,kamer1 one of the two
 members of the former  ,brbudur        
,committee however1 did not4 ,he also   
thought it wrong to  sacrifice this tree
 8not because the ruin doesn't show us  

anything else  we don't know better     
preserved elsewhere2 but because it     
might have been  pulled down stone by   
stone1 and then 444 rebuilt again       
without killing  the tree itself40 ,that
 which had been hidden under the 444    
tree on the  north side was crushed long
 ago1 and ,i therefore thought the      
felling  down of this tree a useless    
deed and consequently a mistake4        
,attending  in #aijj the ,dutch         
,governor-general ,roozeboom to these   
ruins we were  photographed under this  
tree by his adjutant the naval officer  
de  ,booy1 but the photographic         
productions soon faded4 ,the following  
year ,i  accompanied the ,padang        
photographer ,c4 ,nieuwenhuis to tyani  
,pawon  spending one night in the       
,brbudur pasanggrahan 7resthouse74 ,next
 day  he successfully succeeded in      
photographing the glorious group which  
still speaks of the truth ,i asserted1  
though the tree itself has been  lost   
for ever4      ,the small ruin has some 

conformity to the many1 almost as large 
grave  temples1 which surround the main 
temple of tyani ,svu1 in ,parambanan    
valley1 in four rectangles4 ,probably1  
also to those surrounding the  terrace  
of the larger ruins of the ,parambanan  
group in three  quadrangles1 still1     
these are no truisms1 because out of the
 #aeg small  tyanis we dug up we found  
nothing else but their foundations only1
  and a few altar-shaped pedestals      
7without any escape-pipe for the        
holy-water the different sculptures were
 aspersed with1 so that these  pedestals
 are likely to have carried ,buddha     
images7 such as are to be  seen in the  
small temples of tyani ,svu4 ,other ones
 now adorn the  premises of the         
residences of leaseholders living in    
these environs1 for  instance1 at the   
tyani ,svu sugar-factory4    ,but this  
conformity is not a perfect one4    ,a  
small square room with a very small     
porch we enter by means of some  narrow 
treads flanked by the ,garua-,naga      

ornament1 but this room is  empty and   
unadorned1 and ,i haven't known it      
otherwise for more than #cj  years4     
,there is only a shallow niche in each  
side-wall in front of the  place where  
once may have stood a pedestal and      
image4    ,on account of their height   
and breadth ,i estimated these niches   
too  shallow for an image1 a long time  
ago1 and before ,i knew their           
destination4 ,just as in tyani ,mndut   
these niches may have been  consequently
 used to light the inner-part by means  
of little bronze or  earthenware lamps  
we also found elsewhere1 and all this in
 spite of the  very small and narrow    
air-openings1 even those in the back    
wall which1  though newly covered1 only 
admit a very dim light now that the     
small  porch1 separately roofed in1 has 
been rebuilt and covered again even     
when the two small doors remained open4 
,i suppose that1 just as in other such  
tyanis1 there must have stood in  this  
dark inner-room opposite to the         

7westerly7 entrance a small cubic       
pedestal without any sidelong           
escape-pipe1 and thereupon a small image
  of the ,buddha or of another          
buddhistic greatness4 ,beneath there1 in
 a  small square pit1 may have been     
buried an urn containing the ashes of a 
guru or of some monk of high standing1  
and finally ,i suppose this  small      
mausoleum to have been built by their   
surviving relations who  generally but  
not slavishly kept within the provision 
of the  existing examples of such a     
style of building4    ,the outer-walls  
of this small temple have been also hewn
 with  demi-relievoes of ,bodhisattvas  
and bodhi-trees with gandharvas4    ,it 
is an extraordinary thing that even the 
entrance of this  incontestably true    
buddhistic temple had not been made on  
the east side  but to the west4 ,but as 
for the small tyanis ,svu and           
,parambanan  they also did not follow   
this rule4                              
,tyani ,brbudur4      ,,vi4    ,after   

having walked through the umbrageous    
knari-avenue and the  village of ,br    
which we meet on our way when starting  
from the dukuh  of ,brjnl1 we shall     
arrive within half an hour at the hill  
upon  which we see stand the            
pasanggrahan1 and the colossal ruin4 ,by
 carriage  in less than a quarter of an 
hour4    ,the first sight of this wonder
 of architecture is a rather            
disappointing  one because1 when        
standing at the end of the avenue1 we   
only perceive  the outer-walls of its   
south-easterly angle4    ,but this      
becomes quite otherwise as soon as we   
have reached the top of  the hill1 and  
got out of our carriages in front of the
 mentioned  pasanggrahan lying opposite 
the north-west corner of the ruin1 but  
which  has been built as high as its    
foot4 ,we then overlook the enormous    
mass  of stone gradually developing     
itself in majestic lines and forms1 in  
all  the terraces1 following each other 
in a regular range of succession till   

we see rise in their centre the high    
cupola now covered again by a cone  with
 three sun-shades#ae4    ,if we want to 
understand the overwhelming beauty of   
this ruin we must  first try to know the
 whole in its different parts1 and best 
of all1  examine to what purpose this   
work of art had been produced by the    
,buddhists of ,central ,java who are    
said to have existed there more than    
eleven centuries ago4    ,i suppose     
that1 when their predecessors left      
,india for ,java1 they are  likely to   
have brought a vase or urn containing   
some real or pretended  ashes of the    
,buddha himself in order to bury them   
under a simple hill or  in an artless   
dagob as soon as they had reached the   
place of their  settling1 to render     
these ashes to the worship of the       
believers1 and to  make them suppose as 
if this hill or cairn were the real     
grave of the  ,master himself4          
,illustration3 ,the ,tyani ,brbudur 7,n4
 ,w4 front74    ,but after a lapse of an

 uncountable number of years or1 perhaps
 some  centuries1 this colony became a  
large and powerful empire1 and--just as 
the ,christians first assembled in      
grottoes or catacombs1 and afterwards   
built churches rich and magnificent like
 ,st4 ,peter's at ,rome1 and the        
,cologne cathedral--the ,buddhists also 
disregarded their simple cairn1 and     
wanted something better1 something more 
worthy and beautiful1 in  consequence of
 which they built a dagob large and in  
solemn style1  surrounded by many       
gradually descending terraces1 walled in
 and covered  with sculptures abundantly
 hewn1 which was to speak1 with the     
clearness  of plastic art or in the     
poetic language of symbolism1 of the    
,master and  his doctrine1 of the       
,redeemer and redemption1 of life's     
insufficiency  and of victory after     
death4#af    ,he who would approach this
 dagob to sacrifice his flowers to the  
,buddha1  to meditate his life there1   
and perhaps1 to utter his homage in a   

prayer#ag was obliged to mount all these
 terraces1 and walk along these         
sculptures which became1 as it were1 a  
revival of the ,buddha and his  doctrine
 which taught him the dissolving in the 
nirvna1 the  approaching of the infinite
 not-to-be as the end purpose of all    
life1  and the deliverance of all the   
miseries of a sensual existence#ah4     
,many a sculpture reminded him there    
that self-conquest1 self-command1       
singleness and purity of heart1 veracity
 and meekness1 and the love for  all    
beings1 either man or beast1 were to    
lead him to that final purpose4    ,and 
if not blind with his eyes open1 he     
reached at last the ,master's  grave in 
a frame of mind so pure and noble1 so   
serious and well-meant  that the        
pilgrimage itself became a step on the  
right path4    ,but not always1 and not 
to every one4    ,for even the          
impressions received there were of a    
transient kind1 and it  may be that many
 a one who went there for form's or     

appearances' sake  only1 remained as    
insensible of these impressions as he   
was of the  majestic vista the highest  
terraces displayed deep down and far off
 on  the surrounding mountains1 valleys 
and plains1 a view most astonishing1    
and culminating in the satisfaction of  
mounting the ruin even at this  day4    
,let us now follow the way the pilgrim  
took1 and mount the hill which  carries 
this heavy mass of stone4    ,standing  
on the small plain at its north-west    
corner1 in front of the  pasanggrahan   
where we now find comparatively nice    
accommodation1 and  where once may have 
stood the cloister or dwelling of the   
monks who took  care of the stpa1 we    
overlook the whole scene3 a polygonal   
mass of  dark-grey stone1 a chaos of    
dome-shaped roofs and cones1 of         
re-entering  walls and projecting frame 
work1 crowned by a higher situated      
middle-cupola the lost cone of which van
 ,erp renewed after the copy of  found  
fragments1 but which was afterwards     

removed again4    ,we approach and      
ascend the outer-terrace1 a             
tridodecahedral or rather a  quadrangle1
 each side projecting twice outside in  
the shape of a  rectangle1 and          
encircling the equally polygonal temple4
    ,this terrace has nothing to do with
 the original style of building4 ,for   
about two yards deeper there lies       
another one1 formerly extending three   
yards farther to outside1 but now for   
the greater part hidden under a  burden 
of #eejj cubic metres of stone#ai4      
,supposing now this lower terrace to be 
some two yards deeper on1 we then       
arrive at the 7probably7 original outer 
terrace2 but as its uncovered  outer    
part has been lost since1 we now can't  
possibly ascertain its  bounds4         
,when1 according to my schematism       
offered to the ,dutch ,government by the
  board of directors of the             
8,oudheidkundige ,vereeniging01 the     
upper  series were dug up 7#ahij7 and   
the lower-part of the ruin's outer wall 

had been uncovered1 we found there heavy
 frames and bands1 and  underneath a    
series of #afj images much better hewn  
than the  demi-relievoes1 and for the   
greater part well preserved under their 
firm  covering4 ,some years ago we had  
not the slightest idea of their         
existence4 ,i proposed the ,dutch       
,government to have them photographed so
  that they now have come within the    
range of the study of                   
archaeologists#bj4    ,it therefore     
appears that the first outer-terrace    
must have been twice  heightened at its 
original foot1 that is1 before the last 
planned  imageries had been entirely    
finished at its foot or hardly sketched4
    ,and this must have been done by the
 ,buddhists themselves to assure1       
perhaps1 firmer foundations to the whole
 building#ba4    ,but let us now return 
to the outer-terrace we mounted4 ,in    
former times  it must have been         
surrounded by a heavy breast-work which 
now has  disappeared altogether4    ,in 

the centre of each side this parapet was
 replaced by the upper step  of a       
staircase on two sides closed in by     
means of heavy banisters4    ,the       
banisters of such stairs ended into nga 
heads with turned  elephant's trunks and
 gave entrance to the lower heightening4
    ,out of all still existing stairs1  
and upon those we now find ourselves    
there are other ones leading over all   
the higher terraces to the large        
middle-dagob we can still reach along   
this path without being obliged to  walk
 all round these galleries1 and without 
passing the imageries  standing there4  
,on our first way we therefore only walk
 about part of the outer-terrace1  along
 the north- and half east-side1 and it  
is on this side that we  shall mount the
 stair which will bring us to the very  
first gallery  7also walled in on its   
outside7 on the second terrace4 ,and we 
shall find  there the starting-point of 
four different series of alto-relievoes 
of  which some prepare each other in    

regular succession4    ,yet1 these      
imageries1 more or less reviving the    
heavy outer-wall above  the outer       
terrace1 and consequently standing      
comparatively high above  the lower     
series we uncovered in #ahij 7now       
covered again7 don't tell  us any story 
or legend1 but allude to symbolical     
ornaments only4    ,notwithstanding1    
they can't be said to be without sense1 
though we may  not readily understand   
them4    ,they represent numberless1 but
 continually modified repetitions of    
some  motives3 a man seated near an     
incense-offering or a flower-vase1 and a
  man standing between two women1 nymphs
 or servants2 both scenes every  time   
separated by a single woman's image     
provided with a lotus or  another       
symbol4 ,this lotus may refer to female 
,bodhisattvas1 otherwise  ,i should be  
inclined to think of apsarasas or       
celestials1 because ,i  don't see any   
reason for so many ,bodhisattvs4 ,and   
yet1 why not1  provided that they are   

not taken as personal1 legendary or     
historical  ,bodhisattvs4    ,don't we  
also find them in other ruins 7tyani    
,parambanan1 and tyani  ,svu71 and in   
the ,sari and ,plahosan cloisters8#bb4  
,and on the top of the heavy cornice    
covering these imageries1 stand--or     
formerly stood--from distance to        
distance1 just above the sacrificers1   
small temples of a completely similar   
form1 each of them containing a  deep   
niche1 wherein a ,buddha image on a     
lotus-throne provided with the  prabha  
or disc behind his head4    ,a square   
spire with screen-shaped stories        
reminding us of the ,siam  pagodae or of
 some tyaityas also represented on the  
imageries of our  temple1 crowned each  
small temple which had been flanked by  
two wings  with similar but lower       
spires4 ,and between every two small    
niche-temples  stood--or stands--1 just 
above the groups of the three small     
images1 an  altar-shaped stone-block1   
covered by a bell-shaped dagob which has

 or  had been crowned with a conical    
column4    ,the front part of each of   
these dagob-pedestals has been adorned  
with  a sitting man's or woman's image  
with a flower-vase or an                
incense-offering1 or with both of them4 
,the back parts of these niche- and     
dagob temples formed--and they  partly  
still form--an 7formerly7 uninterrupted 
cornice which carried the  small spires 
and the dagobs1 and beneath1 a single   
wall-opening which1  following all the  
re-enterings of the tridodecahedral1 was
 only  interrupted by the four doorways 
which showed us a repetition 7on a      
larger scale7 of the small              
niche-temples4    ,these stairs were and
 are still the weak points of the       
architecture4    ,dissimilar as they are
 in height and depth of the steps1 they 
sometimes  occupy the greater part of   
the floor of the surrounding galleries4 
,even  the doorways once covering them  
from terrace to terrace1 but which now  
have for the greater part disappeared1  

were less proportioned to the  whole1   
and therefore not always equally rich in
 style1 and beauty4 ,it  still appears  
from that which has remained that the   
side-posts of these  doorways--just as  
those of each niche--had been formed by 
the serpent's  bodies of two ngas whose 
tails ended into the mule of a          
monster-head  we saw above the doorway4 
,we already came across this very same  
motif on  our walk round the niches1 and
 on the banisters of tyani ,mndut and   
tyani ,pawon1 and find it back in all   
the ,buddha temples in ,java1           
especially in those of the plain of     
,parambanan1 and in the ruins of  the   
temple group of this name whose         
buddhistic character will not be  easily
 acknowledged4 ,at the foot of the      
doorway 7or of the niche7 these         
nga-heads ended into outward turned     
mythical monster-heads which1 at  first 
sight remind us of elephants rather than
 of snake-like animals1  because their  
upper lips generally 7not always7 change

 into a trunk  curled up on their       
foreheads4 ,wilhelm von ,humboldt and   
after him all  ,european examiners1     
among whom the ,dutch scholar ,leemans1 
therefore took  these monstrous figures 
for elephant's heads without perceiving 
however1  that they changed into        
serpent's bodies when seen on the       
side-posts of  the doorways2 they also  
didn't see the relation there was       
between these  heads and the            
monster-head above the doorways and     
niches4    ,many years ago ,i had been  
misguided myself1 and in the beginning  
,i even  defended my error against the  
king of ,siam who was1 for all ,i know1 
the  only one that disputed this1 and   
,h4 ,m4 succeeded in convincing me by   
logical argumentation4    ,in this      
ornament the nga represents a power     
inimical to buddhism1 and  the monster  
which conquers this power by crushing   
the enemy's tail  should be1 according  
to the ,siam opinion1 ,rahu who also    
tries to  devour the sun during every   

eclipse4      ,this is comprehensible   
because this ,rahu has always been      
represented  as a head only1 and after  
that his body severed from his head by  
,vishnu's tyakra1 had fallen into the   
sea and perished4    ,when ,i afterwards
 communicated this explanation of the   
royal ,buddhist to  the members of the  
,mission archologique de l',indo-,chine1
 this  mission's director 7who          
afterwards became the first director of 
the  cole franaise d',extrme ,orient71  
,mr4 ,louis ,finot1 the great           
indo-archaeologist1 7even according to  
professor ,kern7 thought this           
monster-head didn't represent ,rahu but 
,garua1 the destroyer of the  ngas4 ,and
 when ,i argued ,i had always seen this 
whana1 god  ,vishnu's riding animal or  
eagle1 represented as a bird or as      
man-bird  provided with wings and claws 
or at least with the beak of a bird of  
prey1 the ,french-,indian scholar       
assured me he did know ,vishnu's        
representations seated on such a        

monster-head only#bc4    ,it was ,i who 
afterwards found such garua-heads with  
claws of a bird  of prey 7with #c or    
sometimes #d front-toes74    ,as for the
 rest ,garua is the deity's faithful    
servant1 and1 according  to the         
,buddhists of the northern church1      
,vishnu must have revealed  himself in  
their ,buddha for the ninth time4 ,he is
 also the natural  defender of this     
church1 and the destroyer of its        
subterranean enemy4    ,in the form of  
the ,javanese kris 7creese7 ,i found1   
for about seven  years ago1 the nga     
mostly adorned with a proboscis and an  
elephant's  lip which may be taken as an
 indisputable proof of the truth of our 
idea  about this nga-symbol4    ,but we 
are standing1 in front of the eastern   
staircase1 or before that  which has    
remained of it4        ,illustration3   
,northern staircase of the ruin of the  
,brbudur1      with the gate leading    
from the fourth polygonal and           
surrounding      terrace to the round   

ones and the high middle-dagob4 ,the    
only gate      which has remained       
intact1 with the ,garua-,nga ornament on
 its      frontside4    ,even the       
beautiful banisters rising from above1  
out of a monster's mule1  and ending in 
a nga-head with trunk curled up1 are no 
more to be  seen#bd4    ,eight high     
steps lead us to the first gallery4     
,the very first thing we see is that the
 two walls are hewn with two  series of 
imageries richly framed1 and placed     
above each other1 whilst  it is clear to
 be seen that this must have been done  
after that these  walls had been run up 
from their combination of stone-blocks1 
and that  an uninterrupted band of      
exquisite festoons has been affixed     
above these  sculptures under the       
cornice of the back-wall4    ,because of
 their having been modelled in relief   
style all these  sculptures are         
therefore no basso but alto-relievoes4  
,the upper series of the front wall     
covers the somewhat declining back      

parts of the mentioned niche- and dagob 
temples4    ,on the back wall we see    
similar temple-groups1 but all of them1 
even  the small niche-temples1 are      
crowned with dagobs and cones4    ,the  
three following and higher walls also   
carry such temple-groups1 and  beneath  
the cornices of the outer-walls we see a
 band modified for each  wall1 but      
always beautifully thought1 and formed  
of elegant rosettes and  guirlandes with
 birds4    ,on the five encircling walls
 of the ,brbudur we see no less than    
#dcb  niches provided with              
,buddha-images we are going to speak    
about  afterwards#be4    ,we now turn to
 the left in order to begin our walk    
along the sculptures  of the upper      
series of the back-wall4    ,this wall  
is the only one that has remained almost
 wholly preserved1  showing us a        
comparatively well explained row of     
following events which  give us an idea 
about the life of the ,buddha ,siddhrta 
,gautama1 the  ,shkyamuni1 from         

beginning to end#bf4    ,out of these   
#abj sculptures we can only give a      
superficial description  of a few of    
them that have been explained best4     
,those of the lower series and of the   
two rows on the front wall of  this     
gallery1 and the few rows of the two    
walls of the three following  galleries 
we shall pass in silence4 ,not yet all  
of them have been  explained1 and many a
 sculpture has been so badly damaged    
that it  doesn't seem possible to       
explain them4 ,other ones are lost at   
all4 ,that  which remained well         
preserved generally represents a worship
 of the  ,buddha1 of dagobs or tyaityas1
 of bodhi-trees1 or perhaps of different
  relics4 ,sometimes they also show us a
 distribution of viands1 or other       
presents1 a preaching1 a fable about    
animals or a scene from the former      
lives of the ,buddha as man or beast1 or
 certain ,bodhisattvas or divine        
predecessors of the ,buddha1 the        
,redeemer of this world#bg4    ,some    

sculptures are likely to be mere        
symbols4 ,formerly their number         
amounted to more than #bjjjbh4    ,let  
us begin our walk to the left of the    
eastern staircase in order to  return to
 our starting-point following the course
 of the sun of the  northern            
hemisphere#bi1 going through the ,south1
 ,west and ,north4 ,this  order of      
succession regulated after this sun1 we 
always find back on  these and other    
,hindu ruins2 more or less a witness of 
the northern  origin of ,javanese       
,buddhism#cj4    ,the ,siamese also     
followed this direction1 and maintained 
that a walk to  the right of the ,buddha
 or the dagob1 consequently with our    
left side  turned to it1 would show our 
ignorance or want of respect4    ,for   
convenience' sake1 and in order to      
assist the visitor in finding the  few  
sculptures1 we shall always count them  
from the preceding staircase  or from   
the first till the ninth wall-angle1 and
 begin with the eastern  staircase4     

,the first scenes relate that which     
preceded ,buddha's life4    ,the fourth 
sculpture of the series 7,no4 #g of     
,wilsen's pictures in ,dr4  ,leemans'   
work71 or #a after the first angle1 may 
be1 according to  ,foucher1 some of the 
many ,pratyeka-,buddhas#ca in the park  
of gazelles  near ,bnars1 and1 when a   
deity informs them the birth on earth of
 a  consummate ,buddha1 one of them     
rises from his lotus-throne in order to 
be burned by his own shine and ascetic  
diligence when seven elbows  higher in  
the air4 ,the former explanation given  
by ,leemans and myself1  according to   
,wilsen's1 was inaccurate4    ,further  
towards the ,south we meet more than one
 representation of  ,buddha's parents1  
the ,shkya king of ,kapilavastu1        
,shudhdana1 and  his first wife ,my1    
honoured for the coming event1 the next 
birth of  the divine son4    ,the       
twelfth 7#bc ,w4 ,l41 #a after the      
fourth angle7 is a symbolical           
indication of ,buddha's descent from    

heaven in a palanquin moved on in  the  
air by celestials4    ,the thirteenth   
7#be ,w4 ,l41 #b after the fourth angle7
 shows us ,my  asleep1 guarded by female
 servants1 receiving the ,buddha in a   
dream1 in  the shape of a white elephant
 carried by lotus-cushions1 descending  
from  heaven into her lap#cb4    ,the   
twenty-seventh 7#ec ,w4 ,l4 eighth      
angle1 #a7 shows us ,my on her  journey 
to her paternal home4 ,according to     
time-honoured usage she goes  there to  
wait for her confinement4 ,however1 she 
doesn't come any farther  than ,lumbini 
garden1 and the following sculpture 7#ee
 ,w4 ,l4 angle  nine1 #a7 tells us how  
she1 while standing there under a tree1 
saw the  ,buddha born from her side1 and
 how the latter immediately took seven  
steps to each of the four zones of      
heaven1 and as many steps to the        
zenith1 and that as a sign of his next  
authority over the five parts  of the   
world#cc4    ,a rain of lotus flowers   
falls upon him1 and lotus-plants open   

themselves  under his feet on each step 
he takes4 ,the crescent of the moon on  
the  hind part of his head must refer to
 his heavenly or perhaps princely       
origin#cd4    ,on the following         
sculptures we see the young king's son1 
most times on  his father's knees1      
honoured by brahmins and laymen4 ,his   
mother is no  more to be seen1 because  
she 7as every ,buddha-mother7 died seven
 days  after his birth4    ,the         
thirty-first sculpture 7#fa ,w4 ,l41 #a 
after the southern staircase7  may refer
 to the brahmin who perceives the       
,buddha-tokens at ,siddhrta's  body1 and
 predicts his next greatness2 however1  
in quite another sense  than the king   
wishes4    ,on #gg and #gi 7,w4 ,l41    
angle two1 #e and #f7 we perceive       
similar scenes1  but this happens more  
after all4    ,the forty-ninth 7#ig ,w4 
,l41 angle five1 #d7 on the westside    
sketches  us ,siddhrta's authority over 
others1 and also as for manly strength4 
,in  a wedding match 7svayamvara7 he    

bends a bow no other can bend1 and      
sends his arrow through seven cocoa     
trees4 ,on this ground he gains the     
hand of his cousin ,rashodara1 the most 
beautiful girl of all ,shkya            
virgins#ce4    ,four other sculptures   
refer to the four encounters outside the
 palace1  which1 in spite of paternal   
precautions1 showed him life's misery4  
,what  then would be the use of these   
precautions to celestial beings who only
  revealed themselves to him1 and to his
 equerry and guide in order to  persuade
 the next ,buddha in giving up all      
worldly greatness and domestic          
happiness2 in leaving his father and    
family1 and gaining strength in a  life 
of retirement1 of privation and         
expiation1 of self-denial and           
self-command in order to finish his     
heavenly task3 the redemption of        
suffering mankind6    ,outside the      
eastern gate he first comes across a    
decrepit grey-head  7#aaa ,w4 ,l41 #f   
after the seventh angle72 afterwards1 on

 his drive from  the southern gate1 he  
meets a sick one in death-struggle 7#aac
 ,w4 ,l41  angle #h1 #a72 and when he   
finds himself outside the western       
entrance a  corpse shows him the end of 
life 7#aae ,w4 ,l41 angle nine1 #a71 and
  finally1 outside the northern gate1 a 
mendicant friar or bhikshu  teaches him 
as how to gain the victory over life and
 death1 and find  peace by ruling all   
carnal desires 7#aag ,w4 ,l41 angle     
nine1 #b74    ,on the sixty-first       
sculpture 7#aba ,w4 ,l41 #a after the   
western  staircase7 he discusses his    
resolution with his disappointed father4
 ,the  sleeping watchmen or servants    
refer to the night which passes on      
discussing the subject4    ,on the two  
following sculptures 7#abc and #abe ,w4 
,l41 #b and #c after the  staircase7 he 
communicates his resolution to his wife 
7or wives71 and  his meditating posture1
 but also the larger disc of light      
crowning the  higher seat upon which1   
among sleeping women and servants1 he is

  watching the last night1 all this     
speaks of the holy task of life which   
raises him for ever above his family4   
,the following scene 7#abg ,w4 ,l41 #a  
after the first angle7 tells us1  how1  
in spite of closed doors and sleeping   
gate-keepers1 he succeeds in  leaving   
house and home to begin abroad the life 
of a poor wanderer  seated on the noble 
sun-horse ,kanthaka4 ,the lotus-cushion 
carrying him  again1 just as it happened
 when he descended to earth1 and which1 
on the  next sculptures 7#abi ,w4 ,l41  
#a after the second corner7 also carries
  ,kanthaka through the air1 speaks once
 more of his heavenly sending4    ,then 
come the leave-takings from his servant 
,tyhanda 7#aca ,w4 ,l41  second angle1  
#b71 and the taking off his princely    
garb 7#acc ,w4 ,l41  second angle1 #c71 
his hair-dress and weapons 7#ace ,w4    
,l41 second  angle #d and following     
ones71 and shabbily clothed in a        
hunter's  skirt--his first cowl turned  
yellow by long usage--he begins the life

 of  the thinking ascetic whose         
sanctifying power we see continually    
indicated by the lotus-cushion and the  
disc of light4    ,mra1 the wicked      
spirit of darkness1 vainly tries to     
check him by  offering him the dominion 
over the four parts of the world 7the   
,east1  ,south1 ,west1 and ,north7#cf4  
,far from his native town ,siddhrta     
already began his new life which        
henceforth gave him claim to the name of
 the wise ,shkya  7,shkya-muni7#cg4     
,the following sculptures show us the   
penitent clothed as ,buddha with  the   
urna and the tiara1 the ring of hair on 
his forehead1 and the  knot of hair on  
his crest1 with the lotus-cushion and   
disc of the sun  worshipped by princes  
and inferior people1 by priests and     
laymen1 men1  women and celestials4     
,on the seventy-second sculpture 7#ada  
,w4 ,l41 angle three1 #a7 we see  him   
ask for being instructed by the wise    
brahmin ,alara who is unable to  teach  
his wiser superior#ch4 ,the ,shkya's    

superiority appears from  his ,buddha   
posture and his lotus-throne4    ,on the
 now following one #adc ,w4 ,l41 #a     
after the fourth angle we see  him near 
another wise person1 called ,udraka#ci1 
and as this one also  turns out to be   
his inferior he leaves him accompanied  
by five of his  ,udraka's disciples4    
,on the following one #ade ,w4 ,l41 #b  
after the fourth angle he  approaches   
,rajargriha#dj1 the capital of the      
empire of ,magadha4 ,its  king ,bimbisra
 and the queen come to visit him1 and   
offer him half their  empire1 but the   
,bodhisattva doesn't seek for worldly   
greatness4    ,the two first scenes on  
the north side #aea and #aec ,w4 ,l41   
fifth  angle1 #a and #b place him and   
his five followers on the banks of a    
brook1 vainly trying to seek strength   
for wisdom in a life of  abstinence and 
penitence4 ,he therefore breaks with    
that life and with  his disciples1 who  
wrongly suppose him an apostate and     
leave him alone  to continue elsewhere  

their lives of penitence4 ,six years of 
misery  convinced the wise ,shkya that a
 sound spirit can live in a sound body  
only4    ,the sculptor of these scenes  
incorrigibly hewed the disciples'       
dislike  in their ,master's changed     
opinion1 which is to be seen in their   
spokesman's posture4 ,the hands of this 
man are a masterpiece of  expression4   
,it would be a loss never to be remedied
 if these hands were  taken away1 which1
 after all1 would be of no value to the 
robber because  they can't give back the
 proportion to their arms and bodies4   
,nothing1  however1 is safe from the    
rapaciousness of foolish                
tourists-compilers4    ,the eighty-first
 sculpture #afa ,w4 ,l41 angle seven1 #a
 teaches us  how ,sujt1 the daughter of 
a village headman1 takes care of the    
penitent1 almost dying from exhaustion1 
and how she refreshes him with          
nutritive milk4    ,we see an almost    
similar representation on the           
eighty-fourth sculpture  #afg ,w4 ,l41  

angle seven1 #d4 ,such repetitions are  
more to be seen1  though they are rare  
ones4    ,the ,shkya ,muni accomplished 
his purpose at last4 ,he got all        
knowledge1 and truth became his power4  
,he has ripened to appear as  ,buddha1  
the ,enlightened1 the awaking luminary  
celestial1 to come  in the world wrapped
 in darkness1 to teach the true         
doctrine1 the  dharma1 and redeem       
mankind from sin4    ,seated on a heap  
of bulrush1 under a fig-tree1 afterwards
 sanctified as  the tree of knowledge1  
the bodhidruma1 he fights his last fight
  against the ,evil ,spirit which he    
knows to conquer once more2 and the     
latter budges from his side for ever4   
,on the ninety-fourth sculpture #ahg ,w4
 ,l41 the first after the first  angle  
after the western staircase we see how  
the weapons of demons or  false deities 
fall upon him as harmless flowers4 ,a   
second and larger  disc speaks of his   
increasing power1 the magnificence of   
the sun rising  in full glory4    ,the  

following sculpture 7#ahi ,w ,l41 after 
the second angle7 tells us  how ,mra    
tries to conquer him by the charmingness
 of his daughters1 the  apsarasas 7the  
rosy morning-mists7 7,kern74 ,but though
 one of these  nymphs adopts the shape  
of ,yashdar1 ,rhula-mata 7the mother of 
,rhula1 ,siddhrta's son71 he henceforth 
lives a life of love highly  beneficial 
to all beings4    ,teaching and honoured
 he goes to ,banaras 7,bnars7 such as   
the last  sculptures on the north side  
will show us4    ,on the one hundred and
 seventeenth 7#bcc ,w4 ,l41 eighth      
angle1 #a7 he  proclaims truth to the   
five disciples found back1 and now for  
ever his  faithful followers and first  
apostles#da4    ,the three last         
sculptures of the whole series which    
bring us back again  to our             
starting-point near the eastern         
staircase1 speak of ,buddha's           
greatness1 but don't refer to his       
journey to the native-town and to the   
reclaiming of father and son1 of his    

wife and step-mother1 the first         
buddhistic nuns4 ,the last sculpture but
 one 7#bcg ,w4 ,l41 #b after the  ninth 
and last angle7 speaks of his death1 for
 the washing of his  corpse hewn there1 
may only apply to his death1 though the 
sitting  posture of the dead one may    
seem in flat defiance of this4#db ,but  
this  posture on the lotus-throne1 with 
his two hands in his lap1 is the        
posture of meditation or perfect rest   
suiting the nirvna which is  also the   
posture of the fourth ,dhyni-buddha1    
,amitbha1 hewn on the  four lower-walls 
and dominating there the ,west1 opposite
 to the setting  sun speaking in a      
symbolical sense of the finished task of
 life4    ,behind the dead one we see   
stand two monks pouring their vases to  
purify the corpse before the cremation  
will make an end to his material        
existence4    ,on the last sculpture    
7#bci ,w4 ,l41 #c after the last angle7 
the ,buddha  thrones in the very same   
posture1 as the glorification of death1 

as the  immortal ,talhgata who1 in spite
 of his material death1 continues to    
live in his holy doctrine1 and who can  
never die as such4    ,that the study of
 ,foucher's work could also assist me in
 finding the  sense of some other not   
comprehended sculptures may appear from 
the #eth  panel after the #gth angle    
past the eastern staircase1 which shows 
us  the killing of ,siddhrta's elephant 
by his angry nephew ,dervadatta4        
,,viii4    ,when1 for more than thirty  
years ago1 ,i began to study the        
majestic  ruin1 ,i thought 7like ,i     
afterwards wrote#dc in my first essay   
about the  ,brbudur7 many other         
imageries1 at least those of the        
undermost series  of the back wall1 and 
those of the uppermost row on the front 
wall of  this first gallery1 to be the  
representations of ,buddha's former     
lives1  of the jtakas of the man        
honoured by all the ,buddhists of the   
northern  and the southern church as the
 ,redeemer of this world1 the           

,dhyni-,buddha  of the ,mahynists1 for  
the last time reincarnated for about #be
  centuries ago1 and who enjoyed the    
rest of the nirvna after having         
finished his heavenly task1 but in order
 to reveal himself once more to  a      
future world1 that is1 as the ,redeemer 
of not yet existing beings4    ,when in 
,july #ahif ,i attended the king of     
,siam for three days on his  journey to 
the ruins1 this royal ,buddhist         
expressed the same  supposition1        
especially with regard to the lower     
series on the back wall  of this first  
gallery4    ,but ,i could not possibly  
study these jtakas as long as ,i didn't 
know  any translation of the original   
sanscrit- or pli text#dd in one of  the 
languages known to me4    ,in #ahic     
professor ,j4 ,s4 ,speyer published in  
the 8,bydragen van 't  ,koninklijk      
,instituut0 an ,english translation of  
#cd of these legends  derived from a    
sanscrit manuscript1 the so-called      
,jtakamla or the  wreath of birth       

stories#de4    ,and in the same         
8,bijdragen01 but in those of #ahig1    
professor ,kern gave  a translation of  
an essay which had appeared from the    
hand of the  ,russian ,orientalist      
,sergius ,e4 ,oldenburg--as far as it   
concerned the  ,brbudur--who discussed  
the representations of a few jtakas on  
different monuments whereas ,dr4 ,kern  
had been so kind as to inform me  of    
them by letter4    ,it therefore became 
possible for me to recognise in the two 
mentioned  series some of the legends   
treated in ,speyer's ,jtakaml1 and      
moreover1 show some other ones          
elsewhere4    ,and five years ago       
,speyer gave at length a full account of
 the  ,maitrakanyaka legend             
superficially treated by ,oldenburg1 and
 hewn on  six sculptures of the lower   
series on the back wall4 ,oldenburg     
however1 had only mentioned five of     
them4    ,in ,november #ahii ,i visited 
the ,brbudur in order to examine all    
these  sculptures one by one1 that is1  

in as much as they still existed and had
  not been lost or damaged1 or no more  
to be recognized since the  engravings  
studied by ,oldenburg had been drawn in 
,leemans' work4    ,it is a pity that   
these drawings are not exactly true     
ones1 and not to  be relied upon1 but we
 shall afterwards speak about them4     
,as short as possible ,i shall          
successively treat these sculptures1    
mentioning again their numbers they     
refer to when counted from the          
preceding staircase1 and afterwards from
 the first till the ninth  reentering or
 projecting wall angle1 and begin again 
from the eastern  staircase1 and walk   
towards the ,south4 ,doing this ,i'll   
have to count in  the disappeared and   
consequently missing sculptures--and    
many of them  have been lost on the     
front wall--1 because otherwise the     
numbers after  each new loss would      
become quite worthless4                 
,corner-sculptures are  those which     
occupy the two sides of a wall angle1 in

 ,leemans' engravings  divided in two by
 a perpendicular line4    ,let us begin 
with the upper series on the front wall 
after the eastern  staircase4    ,second
 corner1 #c1 #d and #e 7,w4 ,l41 #af1   
#ag1 and #ah47df4    ,the ,lord once    
lived as a rich man who did much good4  
,one day rising  from table to fill the 
beggar's bag of a monk1 ,mra1 the ,evil 
,spirit1  opened a precipice before his 
feet wherein he saw hell flaming4 ,but  
the  ,lord steps through this precipice1
 remains uninjured1 and favors the      
monk1 in reality a ,pratyka-,buddha1 a  
heavenly saint1 with a gift and  the    
latter afterwards disappears in a       
brilliant cloud4    ,on #c we see the   
benefactor with his gifts1 on #d he     
steps through hell1  and on #e the monk 
ascends to heaven4    ,hell is          
represented here by condemned persons in
 a cauldron with boiling  contents4     
,second corner #aa and #ab 7,w4 ,l4 #bd 
and #be74 ,the ,bodhisattva once  lived 
as a hare in a wilderness frequented by 

many hermits4 ,her  authority over all  
other animals was honoured even in      
heaven4    ,in order to put her to the  
test1 ,indra1 the god1 descends to her  
in the  shape of an exhausted traveller4
 ,an otter brings him fish1 a jackal    
presents him with a lizard and a cup of 
sour milk 7left behind by  another      
traveller71 and a monkey favors him with
 juicy fruit to refresh  the man4 ,but  
the hare who could give nothing else but
 bitter grass flung  herself into a fire
 7burned by ,indra's will7 in order to  
be taken by the  poor man as roasted    
food4 ,but now ,indra shows himself     
again in his  divine shape1 saves the   
hare out of the flames1 and carries her 
to  heaven in order to adorn his own    
palace1 and that of the dvas1 and  also 
the moon1 with the hare's picture#dg4   
,on #aa the animals carry their presents
 to ,indra1 and on #ab the hare is      
going to fling herself into the fire4   
,second corner1 #ah1 the                
corner-sculpture and #a and #b after the

 third  corner 7,w4 ,l41 #ca1 #cb1 #cc  
and #cd74    ,the ,lord as a king of a  
happy people4 ,five yakshas 7demons71   
expelled from ,kuvera's kingdom1 the    
subterranean god of riches1 come  to    
tempt him in order to ruin him4 ,they   
ask him for a good meal1 but  refuse the
 best things the king offers them1 and  
demand human blood and  human flesh4    
,the ,lord doesn't wish to let them go  
unsatisfied1 but he is not inclined  to 
sacrifice one of his subjects1 and      
therefore offers them his own  blood and
 flesh in spite of his ministers' and   
courtiers' resistance4    ,the demons   
reclaim themselves and acknowledge the  
king's holiness1 he  then admonishes    
them not to do wrong in future1 but only
 that which is  good 7also1 among       
others1 to leave off drinking           
intoxicants74    ,indra descends from   
heaven to praise the ,lord and to close 
his wounds4    ,on #ah and on the       
corner-sculpture the yakshas come across
 a herd who  praises the king's virtues4

 ,on #a and #b we see them near the     
king4    ,these five yakshas were       
afterwards reincarnated men1 and became 
the  first disciples who followed and   
left again the ,shakya-muni in order  to
 join the ,buddha once more1 and to     
become his first apostles#dh4    ,fourth
 corner1 #c1 #d and #e 7,w4 ,l4 #cg1 #ch
 and #ci74 ,now the ,buddha of  after   
life was king ,samjaya's son and        
hereditary prince4    ,one day1 riding  
his white elephant1 he met with some    
brahmins who asked  him1 in the name of 
their king1 for the elephant4 ,he       
dismounts and gives  them the noble     
animal4    ,on account of this foolish  
deed he saw himself driven away by his  
father  who acted at the instigation of 
his 7the father's7 courtiers4    ,he    
mounts his carriage accompanied by      
,madr1 his wife1 and their two          
children1 and then sets off4 ,once more 
some brahmins come to ask him for  his  
fine horses4 ,the prince gives his      
consent1 and puts himself before  the   

carriage4 ,another brahmin appears now1 
and demands this carriage2  ,madr and   
the children get out1 and the prince    
takes his little son on  his1 and the   
mother takes their little daughter on   
her arm to continue  their journey      
afoot4    ,trees bend their branches in 
homage1 lotus-ponds refresh1 and clouds 
overshadow them1 and so they reach their
 place of exile where they find  a      
tabernacle built for them by ,indra4    
,one day1 when ,madr found herself in   
the wood to seek for roots and  fruit   
for their meal1 there came a brahmin    
demanding from her husband  the two     
little ones in order to lead them away  
as bound slaves4    ,an earth-quake     
calls ,indra's attention1 and when the  
deity hears the  cause of this he also  
comes1 as a brahmin1 to the now         
childless father1  and claims the       
latter's wife1 the disconsolate mother4 
,but as the prince is also inclined to  
comply with this demand of his1  ,indra 
reveals himself and gives him back all  

that which he lost4 ,even  his place at 
his father's court4    ,on #c we see him
 cede his elephant1 and the children    
have been hewn on #d4  ,on #e the       
yakshas conduct the princely carriage   
after having put out  the horses4       
,fifth corner1 #a1 #b1 #c and #d ,w4    
,l41 #dh1 #di1 #ej and #ea4    ,time was
 when the ,lord himself was a king to   
whom one of his subjects  offered his   
most beautiful daughter4 ,at the advice 
of his courtiers sent  to her1 fearing  
that the king would become crazy of love
 for such an  strikingly beautiful      
woman1 he declines the offer after which
 she  marries one of his officials4 ,one
 day taking a drive the king saw her1   
and took a passionate love to her4 ,on  
his being informed that she had  already
 entered upon marriage he controls his  
passions1 and even refuses  to get her  
from the hands of her own husband1      
because he places his  feelings of      
justice above his personal happiness4   
,on #a the offer is being delivered to  

the king2 on #b his messengers visit    
the virgin2 on #c they give the prince a
 full account of the state of  things1  
and on #d the king meets her himself4   
,fifth corner4 #e ,w4 ,l41 #eb4    ,as a
 retired old sailor the ,lord1 though   
almost blind1 allowed himself  to be    
gained into embarking for a commercial  
journey in order to assure  the ship a  
safe voyage4    ,a heavy storm flung the
 ship far away1 and through unknown seas
 till  near the end of the world4       
,return again was impossible and their  
ruin  seemed to be inevitable4 ,one     
means only could save them1 and they    
prayed  the deities for help for the    
sake of the ,lord's spotless virtue and 
love  of truth4 ,and this succeeded4    
,the storm abated1 and they could return
 to the harbour4 ,on their journey  home
 through an emerald-green sea1 the blind
 sailor1 seeing with the  eyes of other 
passengers1 told them to pull up sand   
and stones from the  bottom of the sea1 
and take them on board by way of        

ballast4 ,on their  arrival into the    
harbour this appeared to be precious    
stones and jewels4    ,the only remained
 sculpture shows us the merchants with  
their ship on  the open sea4      ,fifth
 corner1 #i and #aj ,w4 ,l41 #ef and    
#eg4    ,we here see the ,lord as a fish
 obeyed by all other fishes of the lake4
  ,because of want of rain this lake    
once dried up1 and became a little  pool
 in which the fish didn't know any means
 to escape from the birds of  prey4 ,the
 ,bodhisattva prayed ,indra for rain as 
a reward for his true  virtue1 and the  
deity himself came to him1 and it rained
 as fast as it  could pour1 and ,indra  
promised that the very same spot would  
be never  tried again by such a plague4 
,the first sculpture represents the     
fishes in the lake before1 and the      
other one1 after the rain4      ,fifth  
corner1 #aa ,w4 ,l4 #eh4    ,a young    
sparrow--it was the ,bodhisattva--who   
despised all little worms  and          
insects--was outdistanced by the other  

young of the paternal nest4  ,when on   
the occasion of a forest-fire all other 
animals fled away he  only remained     
behind1 because he could not fly4       
,praying he knew to  persuade the       
fire-god ,agni into going off4 ,since   
that day every  forest-fire died out on 
this spot4    ,we see the young sparrow 
on the nest whilst the other birds fly  
away in  all directions1 and while all  
other animals give way for the fire4    
,fifth corner1 #ab ,w4 ,l4 #ei4    ,it  
once happened that the ,lord descended  
from heaven in the shape of  ,indra#di  
in order to convert a king1 ,sarvamitra1
 who daily drank too  much strong liquor
 with his courtiers4 ,as a brahmin      
,indra now offers  the king a bottle of 
sra praising the pernicious properties  
of this  drink in so eloquent a manner  
that the prince renders homage to the   
preacher as a guru 7teacher71 after     
which the latter admonishes him to  fear
 drinking that he might afterwards live 
with him in heaven4    ,the sculpture   

needs no further interpretation4        
,seventh corner1 #c1 #d1 #e and #f 7,w4 
,l4 #fe1 #ff1 #fg and #fh74    ,in the  
primeval forest the ,lord once lived1 as
 a brahmin1 a life of  severe penitence 
with six brothers and one sister4 ,only 
every fifth day  they came together in  
his hut to hear him proclaim the        
doctrine4 ,as for  the rest they didn't 
see each other4 ,every day their two    
servants put  the eight portions of     
lotus-stems on the leaves of the lotus1 
and  according to their age they came   
one by one to fetch their sober meal in 
order to take it in their own hut4      
,indra1 putting the ,bodhisattva to the 
test1 took away the first portion       
during five following days so that the  
,lord was obliged to fast4 ,on the  next
 service the others assembled again1 and
 saw how their brother had  grown thin4 
,being informed of the cause of it      
everyone wished the thief  to be        
punished in a fitting manner1 and even  
three strange auditors1 a  yaksha1 an   

elephant1 and a monkey cursed the thief1
 every one of them  in his own manner4  
,the ,lord1 returning good for evil1    
hopes that this  one and the other that 
suspected one of them1 wrongly perhaps1 
may live  to see all his wishes         
fulfilled4 ,but then ,indra comes1 and  
accusing  himself he says why he did    
so--and humbles himself before the ,lord
 whom  he wishes to serve as his        
superior4    ,on #c and #d we see the   
hermits in the wood4 ,on #e is to be    
seen the  lotus-pond with the servants  
seeking for leaves and stems1 and on #f 
we  see ,indra humbling himself before  
the ,lord4#ej      ,seventh corner1 #aa1
 #ab and #ac ,w4 ,l4 #gc1 #gd and #ge4  
,another time the ,lord1 a rich brahmin1
 left everything he possessed1 and      
accompanied by his wife1 who didn't wish
 to leave him1 he went to the  woods to 
live there a hermit's life4    ,there   
they were found by the king who came in 
this region to chase1 and  touched as he
 was by the woman's beauty he ordered   

her to be kidnapped  and carried away to
 his zenana4    ,in spite of her cry for
 help her husband doesn't oppose himself
 against  this robbery1 and when the    
king asks him why he does not the       
brahmin  answers with an oration about  
the virtue of self-command1 and he      
therefore compels the king to honour him
 as an ascetic and to ask his  pardon4  
,on #aa we see the brahmin and his wife 
on their way to the wood2 on #ab  the   
hunting king1 and on #ac the woman's    
abduction4      ,seventh corner1 #ae1   
#af1 and #ag and the eighth corner1 #a  
7,w4 ,l41 #gg1  #gh1 #gi and #ha74      
,in the lake of ,mnasa the ,bodhisattva 
once ruled as a king over many  hundreds
 of thousands of swans1 and was assisted
 by his viceroy ,sumukha4  ,their praise
 sounded till the court of the king of  
,bnars who desired  to meet the two     
swans4 ,he therefore ordered another    
lake to be made in  the neighbourhood of
 his court-capital which was much more  
beautiful  than the first mentioned1 and

 promulgated everywhere that he should  
guarantee the safety of all birds who   
came to visit the new lake4    ,the     
swans of ,mnasa went there in spite of  
their ruler's objections1  and so the   
,lord himself was obliged to follow     
them4    ,shortly after he saw himself  
caught by the king's hunter1 and all    
other  swans flew away with the         
exception of ,sumukha however1 who would
 not  leave the ,lord4 ,the bonds which 
tied him to his king were stronger than 
those which kept the king in his trap1  
he said1 and he demanded the  hunter to 
bind him first1 and afterwards release  
his master4    ,this touched the hunter 
and releasing both of them the ,lord now
 requests  him to speak with the king to
 persuade the latter not to punish1 but 
to  reward his hunter4 ,this happens1   
and the king offers rich presents to    
the two swans they decline1 and now all 
the swans return to their lake4    ,this
 lake with the swans has been hewn on   
#ae4 ,on #af the king is informed  of   

these birds4 ,on #ag we see how the     
,lord is caught whilst all the other    
swans fly away with the exception of one
 of them4    ,the following sculpture   
after the eighth corner1 which          
represents the  meeting with the king1  
is almost wholly lost1 the other one is 
lost at  all4      ,ninth corner1 #e1   
#f1 #g and #h ,w4 ,l41 #ij1 #ia1 #ib and
 #ic4    ,another king once pursued a   
sharabha a strong kind of stag1 and fell
  from his horse into a cleft over which
 the wild beast had easily jumped1  but 
before which the horse started back in  
full run4 ,the sharabha  descends into  
the cleft in order to rescue the fallen 
man1 and help him  on his way home after
 having admonished him to persevere in  
all princely  virtues4    ,the chasing  
king we see on #e2 on #f the hunter     
stands on the brink of the  cleft1 on #g
 we see the stag the ,lord run to assist
 the fallen man1 and  on #h the latter  
bids his rescuer farewell4              
,southern staircase1 #b1 #c1 #d and #e  

,w4 ,l4 #ie1 #if1 #ig and #ih4    ,in   
another life the ,master ruled as a ruru
 another kind of stag over  all other   
wild animals4 ,one day he rescued a     
traveller out of a swollen              
mountain-stream1 and for his only reward
 he wished the saved man to be  silent  
about the event4    ,now the queen1     
whose dreams had never turned out to be 
false ones1 had  dreamed of a stag who  
preached the doctrine sitting on a      
throne4 ,the  king therefore offered a  
rich reward to him who could show him   
this  miracle of an animal4    ,the     
drowned person was a poor fellow1 and   
breaking his promise1 he led  the king  
into the wood and showed him the ruru1  
but doing this the  hand which had      
served him to indicate the animal1 fell 
from his arm as  if it had been cut by a
 sword4    ,the stag now asked the king 
who had conducted him there1 the prince 
mentions his guide's name1 and when the 
ruru recognises and reproaches  him his 
breach of faith1 and whilst the king has

 the intention to shoot  at the man1 the
 noble animal sues the weak man's mercy 
who had by his  own fault recklessly    
lost his welfare in this1 and in a      
future world4    ,the king pardons the  
guilty one and conducts the stag to his 
palace1 and  throning there the ruru    
preaches the law of love before the     
whole  court4    ,the animals in the    
wood have been hewn on #b2 on #c the    
drowned person is  rescued2 the king    
meets the stag on #d1 and the preaching 
stag has been  hewn on the #eth         
sculpture4      ,southern staircase1 #f1
 #g1 #h and #i ,w4 ,l4 #ii1 #aja1 #ajb  
and #ajc4    ,the ,buddha of after life 
once ruled as king over a troop of      
monkeys in  the ,himlaya4 ,they lived in
 a fig-tree1 abundant with fruit1       
situated  on the bank of a brook4 ,in   
order not to make the tree known by its 
delicious fruit the king ordered his    
people not to have a single fruit       
ripened on the branches which hung over 
the water4    ,once upon a day such a   

fruit unperceivedly ripened fell into   
the stream1  and drove away to an open  
spot in the wood1 where the king and his
 wives  were fishing4    ,never before  
had the prince seen or tasted such a    
fine and nice fruit1  and so he went    
up-stream to look for the tree4         
,seeing the many monkeys he told his    
hunters to drive them away4 ,but in     
order to take to flight the animals had 
to risk a leap no one but their  ruler  
only ventured to undertake4 ,he jumps1  
reaches the mountain-slope  situated on 
the other side1 and seeks there for a   
long bambu which  enables him to return 
to the tree4 ,armed with this he forms  
with his own  body a bridge over which  
all the monkeys know to escape at the   
cost of  the ,lord who sees his skin    
torn to bloody pieces by the monkeys'   
toes4    ,this happens to the           
astonishment of the hunters who now     
catch up the  swooning king of monkeys1 
and lay him upon a bed of leaves4 ,he   
soon came  to1 and when the king        

interrogates him the ,lord answers that 
he did his  duty1 because a prince      
should serve his subjects1 and not let  
himself served by them4    ,on the #fth 
and #gth sculpture the king accepts the 
fig1 on #h he and his  hunters go in    
search of the tree1 and on #i has been  
hewn the wonderful  escape of the       
monkeys4      ,southern staircase1 #aj  
and the corner-sculpture of the first   
angle  ,w4 ,l4 #ajc and #ajd4    ,the   
,lord once lived in a wood as an ascetic
 and taught patience to all  who visited
 him4    ,it then came to pass that the 
king and his wives came into this wood  
to  amuse themselves1 and while the     
latter took a bath in a brook1 which ran
  there1 the former fell asleep4        
,awaking he didn't see them any more4   
,they had strayed to the hermit and     
listened to his preaching4 ,the king    
found them there1 and angrily called    
the preacher a liar1 and menaced him    
with his sword4 ,the wise man  however1 
remained calm1 and the king1 embittered 

as he was by his wives'  supplications1 
came up to the pious teacher1 and cut   
his hands1 ears1  nose and feet4    ,the
 martyr1 who only feared that the king  
could be said to have killed  an        
innocent person1 suffered much more from
 his sorrow for the king's  fall than   
from his own wounds1 but when the       
evildoer left the dying man  he saw the 
ground opening itself before him1 and   
fell into the flaming  depth4    ,the   
frightened courtiers thought that the   
preacher himself had punished  their    
master1 and they asked for mercy1 and   
dying the poor man blessed  them1 and   
also the murderer whose ruin had        
remained unknown to him4    ,on #aj we  
see the king asleep1 on the             
corner-sculpture we see him go off  to  
seek for his wives4 ,i suppose the first
 and #bnd sculpture behind the  corner  
,w4 ,l4 #aje and #ajf refers to the     
widows on their way home4      ,second  
corner1 #e ,w4 ,l41 #aaa4    ,this      
sculpture brings us again in the        

presence of a king1 the  unbelieving    
prince of ,videha1 who lived a life of  
unjustice renouncing  all virtues4      
,there was a time when the ,lord lived  
as a devarshi a  wise one among the     
celestials in the ,brahmloka1 and       
descended to  earth to convert the      
unbelieving ruler4    ,as sure--he      
says--as this life has been preceded by 
other lives there will  once come other 
future lives4 ,he then speaks about the 
tortures of hell  which fall to the     
evil-doer and unbeliever when he doesn't
 mend his  life1 and 444 the king       
acknowledges that he is in the right1   
and bids  the ,lord to lead him         
henceforth on the right path#ea4    ,the
 sculpture need no further explication4 
,second corner1 #f1 #g1 #h and #i ,w4   
,l41 #aab1 #aac1 #aad and #aae4         
,seven hundred astrayed and exhausted   
travellers meet on their way an         
elephant1 the ,bodhisattva4 ,they had   
been expelled from their country  with  
#cjj others who had died on the way4    

,by means of his trunk the elephant     
shows them the way to a stream where  to
 quench their thirst and near which they
 will find a dead elephant  whose meat  
will feed them4 ,along a shorter cut he 
speeds to the  indicated spot1 runs     
headlong into the bottom of a ravine and
 was  smashed4    ,it is on this spot   
that the hungry wanderers find his dead 
body1 and  angels descend from heaven to
 sing his praise4    ,on #f the exiles  
come across the elephant2 on #g we see  
them on their way  to the place pointed 
out to them2 on #h the elephant is ready
 to fall  into the precipice1 and on #i 
the saved ones worship the ashes of     
their  rescuer4    ,i suppose this      
homage to the ashes closed in a tyaitya1
 as if it were  to indicate a preceding 
cremation1 should be taken in a         
symbolical sense  only4      ,second    
corner1 #aj1 #aa1 #ab and #ac ,w4 ,l41  
#aaf1 #aag1 #aah and #aai4    ,this is  
one of the most important jtakas4    ,as
 ,sutasoma1 a king's son1 the           

,bodhisattva was once walking with his  
wives in the garden of his palace when  
there entered a brahmin whom they       
invited to deliver a harangue about     
virtue4 ,this harangue was  unexpectedly
 interrupted by the arrival of a monster
 who put all of them  to flight1 that   
is1 with the exception of the prince    
himself4 ,another  king had formerly    
procreated this monster by a lioness2   
most times he  lived of human flesh     
only4 ,persecuted as he was by his own  
subjects  after his father's death he   
called in the aid of the demons and     
promised  them a sacrifice of one       
hundred king's sons4 ,he now came to    
carry off  ,sutasoma to add him to the  
princes he already apprehended4         
,sutasoma resolves to follow the lion's 
son in order to convert him and  to     
rescue the imprisoned princes4 ,but on  
his arriving at the den of the  violent 
monster he remembers that he left the   
brahmin unrewarded1 and  that he hasn't 
wholly heard the latter's preaching1 and

 so he asks for  permission to do that  
which he neglected2 afterwards the      
man-eater could  dispose of him4    ,the
 latter who has already gathered his    
#ajj princes after all1 releases  his   
prisoner hoping to rejoice afterwards at
 the man's fall as a person  false to   
his word4    ,but after having heard and
 presented the brahmin with gifts       
,sutasoma  returns to the lion's son in 
spite of his parents' and wives'        
supplications4 ,has not the lion's son  
become his benefactor by allowing  him  
to do his duty8 ,on this ground he has a
 right to his commiseration  and to be  
released from the curse resting on him  
by birth4    ,and when the astonished   
robber asks him what this brahmin did   
say the  prince delivers so eloquent a  
harangue about law that the lion-man    
converts himself and puts all his       
prisoners at liberty to follow them to  
,sutasoma's residence4    ,on #aj we see
 the prince with the brahmin2 on #aa the
 former is carried  away by the robber2 

#ab refers to the continuation of the   
preaching1 and  on #ac has been hewn the
 reclaiming of the lion-man4            
,second corner1 #ad1 #af and #ag third  
corner1 #b 7,w4 ,l4 #abj1 #abb1 #abc    
and #abg74    ,once upon a day the ,lord
 was born as the son of a king whose    
elder  sons had died young4 ,in order to
 withdraw him from the influence of the 
demons the newborn son was educated in  
an iron house 7ayogriha74    ,once      
driving through the residence the young 
man saw much that set him  thinking2 he 
saw how old age1 sickness and death     
threatened everyone  while storms1      
inundations and fire destructed their   
properties4 ,returned  at home he       
resolves to part from the world and to  
live in the wilderness  as a hermit and 
penitent1 and to ask his father's       
consent4 ,all that  lives1 is from the  
moment of being in mother's womb1 doomed
 to death1 is  not it8 ,and all that    
lives kills to save life1 but nobody can
 kill  death4 ,even the angels and devas

 can't4    ,his father asks him whether 
this death will not catch him in the    
wilderness as sure as anywhere1 but     
agreeing he says that death can't  find 
him unfit to the preparation for the    
transition in a future life4    ,the    
father agrees at last1 and the prince   
devotes his further life to  the dhyna1 
the holy meditation which will lead him 
to the brahmloka4    ,the prince's birth
 has been hewn on #ad2 #af shows us the 
brahmin's homage  to the new-born2 #ag  
represents the drive outside the palace1
 and #b after  the following corner     
describes the prince's life in the      
wilderness4    ,besides1 ,i suppose the 
corner-sculpture and the first behind   
the corner  7,w4 ,l41 #abd and #abf7 to 
refer to the prince's leave-taking from 
his  father and wives1 just as it       
afterwards happens with ,siddhrta4#eb4  
,striking is the conformity of this life
 with that of the king's son of         
,kapilasvastu4      ,fourth corner1 #b1 
#c and #e 7,w4 ,l41 #abi1 #acj and      

#acb74    ,living in the primeval forest
 as a strong buffalo the ,buddha of     
after  life was continually teased by a 
monkey who1 taunting the wild animal's  
inexhaustible kindness1 perpetually came
 in his way4    ,a yaksha admonishes the
 bull to be less patient and to crush or
 thrust  down the snarer1 but the strong
 one answers that the monkey can't be   
otherwise than he now is1 and that they 
should bear him as he is4 ,there  is no 
better exercise in meekness than suffer 
a bad treatment patiently1  and by which
 one may hope to set the snarer         
thinking1 and make him turn  from sin4  
,on #b we see the bull and the monkey1  
on #c we also perceive the yaksha1  and 
on #e the bull delivers his harangue to 
the demon1 and know to  persuade him    
into acknowledging and praising         
virtue#ec4      ,fourth corner1 #f1 #g1 
#h and #i 7,w4 ,l41 #acc1 #acd1 #ace and
 #acf74    ,the ,lord once living in the
 wilderness as a wood-pecker came across
 a  lion who suffered unbearable pains  

because of a piece of bone which had    
remained in his throat4 ,the wood-pecker
 relieved his pains by putting a  piece 
of wood into the opened mule1 and by    
getting the bone out of the  throat4    
,a long time afterwards flying round and
 almost starving from hunger the        
wood-pecker met the lion again who was  
regaling himself on an antelope1  he had
 just killed4    ,after a moment's      
hesitation his former rescuer begs him  
for a little bit  of the antelope's     
meat1 but the lion asks the beggar      
whether he is tired  of life1 and       
whether he ought not to be thankful that
 his life was  spared when he formerly  
ventured himself into the inquirer's    
mule4 ,a  lion doesn't know any         
commiseration4    ,ashamed the          
wood-pecker flies away4 ,a sylvan deity 
follows him1 and asks  why he doesn't   
pick the lion's eyes1 and takes as much 
of the prey as he  likes4 ,and the bird 
answers with a glorification of virtue2 
he who does  good will find his reward  

in a future life1 but he who returns    
evil for  evil will lose the merit of   
all his good deeds4    ,the deity       
praises the wood-pecker as a wise one1 a
 saint1 and  disappears4    ,on #e has  
been hewn the lion in the wood where the
 wood-pecker comes-to  him2 on #g the   
lion writhes with pain1 and on #h he is 
helped by the  wood-pecker4    ,on #i we
 see the hungry bird near the lion with 
his prey4    ,major ,van ,erp supposes  
that this last sculpture should refer to
 another  jtaka4 ,see at the bottom4    
,many pieces formerly placed among the  
mentioned sculptures1 have been  lost   
whereas other ones have not yet been    
explained4 ,but when we  remember how   
those described here follow each other  
in the same range of  succession like   
the jtakas in the ,mla translated by    
,speyer1 we  then may believe that the  
not expounded and missing sculptures    
have had  some connection with other    
former lives1 and that even this gallery
  may have been a continuous series4    

,oldenburg indicated indeed1 still other
 jtakas in this series which had  not   
been translated by ,speyer1 that is1    
after the western staircase1  #f1 #g1 #h
 and #i 7,w4 ,l41 #aib1 #aic1 #aid and  
#aie74    ,the ,lord hewn as a tortoise 
at sea takes the endangered crew of a   
sinking ship on his back1 and carrying  
them ashore he offers his own  body to  
the starving ones4    ,on #f has been   
hewn the tortoise1 on #g the sinking    
ship surrounded by  sharks and other    
fish1 on #h we see the tortoise with the
 shipwrecked men  on his back1 and #i   
describes the rescued ones with their   
rescuer who is  inclined to sacrifice   
himself4      ,on the front-wall of the 
fifth and highest gallery ,oldenburg    
meant the  second sculpture behind the  
southern staircase 7,w4 ,l4 ,,ccclxxxix7
 to  be the ,lord as the horse ,balha1  
which1 once carried travellers across   
the sea4    ,but as for the lower series
 of the back-wall of the first gallery  
he  shows to3    #c after the eastern   

staircase and #a after the next corner  
which  should refer to king ,dakshina   
,pantyala's conversation with the       
bewitched  nga ,janmatyitra2 the        
latter's exorcism and redemption by     
hunter  ,halaka 7the ,lord71 and the    
hunter's admission into the residence of
 the  grateful nga4    ,this nga is to  
be recognised at the serpents in his    
hair#ed4    ,mr4 ,foucher fortunately   
gives us an account of this story       
7according  to the text of the          
,divyvadana7 far more detailed than ,i  
could have  possibly taken from other   
sources4    ,it refers to the ,sudhana  
,kumr ,vadna3 the #ath after the second 
corner1 and following relievoes3 #h1    
#aj1 #ab1 #ad1 #af1 #ah1 #bj1 #bb1 #bd1 
#bf1  #bh1 #cj1 #cb1 #cd1 #cf1 #ch and  
#dj ,w4 ,l4 ,it begins with the first   
panel south  of the eastern staircase4  
#a4 ,in the empire of ,pantyla there    
once lived #b kings1 one in the         
north1 and the other in the south4 ,the 
first was a good prince1        and his 

empire prospered4 ,the latter was bad1  
and his empire had        fallen into   
decay4 ,probably1 the first prince may  
have been hewn        here4    #b4 ,the 
other bad king discusses with his       
ministers what to do to raise        his
 empire from decay4 ,under the pretext  
of a hunting-party he        inspects   
his neglected country1 and then forms a 
plan to kidnap        the young nga     
,jammatyitraka from the hands of his    
thriving        neighbour4 ,now it      
should be understood that this nga lives
 in a        pond situated outside the  
capital of north-,pantyla1 and as he    
knows to dispose of rain the country    
abounds with excellent        produce   
even during the dry monsoon4 ,perhaps   
the brahmin we see        before the    
king1 will be the snake-charmer whose   
crimes we are        going to know4     
#c4 ,this relievo shows us a succession 
of three events4 ,first of all 7to      
the right7 the young nga kneeled down   
calls in hunter ,halaka's               

assistance4 ,in the midst we see the    
same nga1 angrily and most              
unwillingly rising from his lotus-pond  
under the brahmin's formula        of   
exorcism1 and in front of the latter's  
sacrificial fire2 but        hunter     
,halaka kills the conjurer after having 
compelled him to        give up his     
wicked plan4      ,and to the left may  
have been hewn the very same brahmin    
when he    shortly before got the king's
 secret command to commit this evil4 ,in
    this case this episode should be    
exceptionally thought as a preceding    
one to both the middle-most and first   
sculpture4    #d4 ,the young nga's      
parents make their son's rescuer        
splendidly        welcome4 ,on this     
occasion the hunter wears a princely    
costume        which is above his rank  
7caste71 but he appears without his     
host's        present1 the never failing
 knot4    #e4 ,in the ,himlaya4 ,the    
hunter squats down near the kinnar      
,manohar        he caught with his knot4

 ,to the left other kinnars are flying  
over a lotus-pond4 ,to the right we see 
the ascetic whose words        directed 
the hunter's arm on his catching the    
fairy4    #f4 ,the hunting ,sudhana1    
crown prince of the northern empire1 is 
just        coming on1 and the hunter   
presents him with the kinnar he caught4 
,fairy and prince fall in love with one 
another4    #g4 ,the king of the        
northern empire1 ,sudhana's father1     
discusses with his        purohita or   
private prelate1 the traitor in this    
drama1 who        tries to persuade the 
king into charging the prince with the  
heavy        burden to overpower a      
rebellious vassal against whom no less  
than        #g expeditions had already  
failed4    #h4 ,the prince bids his     
mother fare-well1 and charges her with  
the care        of his young wife4      
#i4 ,sudhana under a tree outside the   
rebellious town4 ,vaisyravana1 one of   
the four great deities of this country1 
sends his general ,pntyika        with a

 troop of yakshas to assist him4    #aj4
 ,once more in ,hstinapura1 the royal   
residence of the northern        empire4
 ,the king asks his purohita to         
interpret a bad dream upon        which 
the priest demands to sacrifice a kinnar
 in order to        avert an immanent   
danger4 ,the king hesitates1 and the    
queen gives        proof of her dislike4
    #aa4 ,the good heart of both        
triumphs1 and ,manohar escapes through  
the        air4    #ab4 ,with the       
assistance of the yakshas ,sudhana      
performed the task he        took upon  
his shoulders and offers his father the 
taxes and fines        of the rebels    
submitted4    #ac4 ,after having learned
 the reason of ,manohar's absence he    
applies to        his mother again for  
help4    #ad4 ,druma1 king of the region
 of the kinnaras1 surrounded by his     
court4 ,manohar1 seated on his left     
hand1 relates her experience            
among mankind4 ,so we find ourselves in 
the ,himlaya again1 in this             

region of fairies and spirits hardly to 
be penetrated4    #ae4 ,sudhana consults
 the risyi who once helped the hunter on
 his        catch1 and who now hands him
 a ring and a travelling-plan ,manohara 
had given him to this purpose4    #af4  
,sudhana outside the capital of king    
,druma1 where he comes across           
some kinnars who are drawing some water 
out of a well to        cleanse         
,manohar's body from all human-smell4   
,sudhana flings the        ring into a  
vase of one of the fairies1 and requests
 her to be the        first to empty    
this vase on her mistress's head4       
,according to the        text ,foucher  
consulted1 the fairy should have        
remained quite        ignorant of all   
this1 consequently the sculptor must    
have swerved        from this text1 or1 
perhaps1 meant another one4    #ag4     
,manohar found the ring1 and tells her  
father about ,sudhana's        coming4  
,the king agrees to put him to the test2
 to the left of        this relievo we  

see him bend his bow to drive an arrow  
through #g        cocoa-trees4 ,druma   
himself is watching this1 and to be     
recognised        by his prabha4    #ah4
 ,he then gives the prince his daughter4
    #ai4 ,the newly-married couple is   
now enjoying their happiness in the     
woman's quarter4 ,in honour of them1 and
 to the accompaniment of        music1 a
 court-dancer is showing her art of     
dancing4 ,this fair        dancer is one
 of the best proofs of the sculptor's   
art4    #bj4 ,returned at ,hastinpura   
the newly-married distribute presents   
among their people4    ,in this same    
series follow #f other sculptures       
referring to the  ,maitrakanyaka-jtaka2 
a note-worthy karma-legend4    ,we shall
 find them after having turned the fifth
 corner of the  northern staircase1 and 
on our having reached the east side of  
the  ruin where we are going to view the
 #bnd1 #c;d and #dth sculpture 7,w4 ,l41
  #bad1 #baf and #bah71 and #a after the
 sixth corner 7,w4 ,l41 #bbj71 and #a   

and #b after the seventh corner 7,w4    
,l41 #bbb and #bbd7 all of which ,mr4   
,winter photographed for me4    ,on the 
first of these imageries we first see a 
woman handling a  balance1 and probably 
serving the customers of the young      
merchant  ,maitrakanyaka4 ,this woman is
 likely to be his mother1 and if he     
himself  has been hewn near her1 he     
can't possibly be the shabbily dressed  
and  bearded man who stands next to her4
 ,this man rather reminds of a brahmin  
or a mendicant friar instead of a rich  
merchant4 ,the man by her other  side is
 not visible on the photograph4         
,clearer however1 is the following group
 in which professor ,speyer made  us    
known ,maitrakanyaka's mother throwing  
herself at her son's feet1 and          
beseeching him to give up his plan to   
undertake a sea-voyage4    ,the widow's 
tress made the professor suppose that   
the beautiful  moustache 7with which    
,wilsen adorned this little sculpture in
 ,leemans'  work7 should be a mistake of

 the draughtsman4 ,and he observed this 
rightly1 and so did ,i after heaving    
read ,speyer's essay1#ee because ,i     
have been able to ascertain in loco that
 even the woman's breasts1  ,wilsen     
didn't see or engrave at least1 are     
clearly to be seen and  palpable4 ,to be
 very short the legend runs as follows3 
,maitrakanyaka was still a child when   
his father was shipwrecked on a  voyage4
 ,according to time-honoured usage he   
was afterwards inclined to  choose his  
father's profession4 ,in the beginning  
his mother told him  that he had kept a 
shop1 and afterwards had dealt in       
perfumes and in  gold4    ,maitrakanyaka
 did likewise1 and gave his mother the  
first #d1 #h1 #af and  #cb krshpanas he 
gained1 that they might be divided among
 the  brahmins and indigent4 ,these were
 four good deeds4    ,but when he was   
told that his father had gone abroad on 
business1 and as  he soon saw that his  
mother could not deny this he resolved  
to tread in  his father's foot-steps in 

spite of his mother's resistance who    
feared  to lose her only child in the   
very same way like she formerly lost his
  father4 ,bathing in tears she fell on 
her knees at last1 and tried to  detain 
him at the last moment1 but he gave her 
a kick and went on board4  ,this was one
 evil deed1 and according to the        
doctrine of the karma1  the eternal law 
of cause and consequence1 he should be  
punished for  this deed of his as sure  
as he would be rewarded for his good    
deeds4    ,on the second sculpture we   
see him shipwreck1 and after having     
reached  the shore he finds there four  
celestial young women who reward him for
  his first good deed by letting him1   
for many years1 dream a dream of        
perfect happiness till his karma drives 
him away from there1  successively      
showing him eight1 afterwards sixteen1  
and at last  two-and-thirty more and    
more beautiful nymphs in return of the  
as many  krshpanas he formerly gave away
 to the indigent4 ,finally he happens   

to enter a castle which gate closes     
itself behind him1 and there he sees  a 
martyr bearing a red-hot wheel turning  
for ever on his head1 that is1  the     
inexorable punishment to all who        
insulted their father or mother4  ,this 
wheel the unhappy one will always bear  
till another1 guilty of the  same deed1 
will release him4    ,on the third1     
fourth1 and fifth sculpture have been   
hewn the  encounters with the #h1 #af   
and #cb nymphs1 though1 for want of     
room1 we  can't see #e of the #af and   
#ai of the #cb nymphs4 ,and on the sixth
 and  last sculpture we first see       
,maitrakanyaka suffer under the torture 
of  the red-hot wheel1 but at a short   
distance from this we see him  released 
by the expression of his self-denying   
wish1 that another1  guilty of such a   
deed1 may never come to free him4    ,i 
think the last group of this very same  
imagery should refer to the  conclusion 
of this karma-legend3 the ,bodhisattva's
 dying and his  transition into the     

nirvna4#ef4    ,foucher means that the  
four relievoes which precede the        
shipwreck1 refer  to the same jtaka1 and
 that ,maitrakanyaka may have been      
already  represented with his mother on 
the first sculpture where the son       
offered  his mother a purse filled with 
the krshpanas he first gained4 ,on the  
following panel1 divided into two by a  
style of building1 ,foucher sees1  to   
the right1 the son in his last business 
which may appear from the  goldsmith's  
balance whereas the larger purse should 
refer to the very  same one in which he 
gathered the #cb krshpanas4    ,on the  
other1 left part1 ,foucher thinks he    
also sees the mother at her  son's feet4
 ,so does ,speyer1 and so do ,i4    ,as 
with regard to the following relievoes  
,i refer to that which ,i  already said 
formerly4    ,as for the seventh relievo
 ,i beg to point to my explanation1 and 
interpretation in my 8,oudheidkundige   
aanteekeningen0 ,,ivth 7page #be  and   
#bf74 ,according to ,foucher the        

sculptor should not have dared to       
represent ,maitrakanyaka as a repentant 
sinner1 because of his being the        
,bodhisattva himself4 ,anyhow1 the      
redemption of this punishment by a  deed
 of the highest self-denial appeared so 
very significant to me that  it should  
not have been unnoticed1 neither in     
metaphor nor in writing1  but this would
 have been impossible if this punishment
 had not preceded  the redemption       
itself4    ,and moreover1 granting the  
one little sculpture to represent the   
older  penitent with the flaming nimble 
on his head1 it surely should have      
preceded ,maitrakanyaka's sculpture1 and
 by no means come after this  whilst ,m4
 first arrives in the town of darkness1 
and afterwards finds  there the martyr  
from whom he takes possession of the    
nimble4 ,and last  of all1 the          
separating trees should not have had any
 sense at all if  they should not refer 
to two following events relating to the 
very same  person4    ,i think it my    

duty to point to the following          
sculptures of the upper  series of the  
front-wall which represent no jtakas but
 refer to the  ,buddha of after life4   
,after the eastern staircase and the    
second corner1 #ae 7,w4 ,l41 #bh74      
,buddha in a preaching posture forming  
the tyakra with the thumb and  index of 
his right arm such as all ,buddhas do1  
we see hewn in the niches  of the       
highest1 fifth1 wall#eg4                
,lotus-throne and prabha1 style of      
hair-dress and costume have been  hewn  
in the same manner as those of the      
,buddhas of all niches4 ,all round      
about him we see auditors rendering     
homage to him4    ,western staircase1   
fifth corner1 #b 7,w4 ,l41 #bce7 shows a
 similar  sculpture1 but above the      
,buddha two angels are floating in the  
air1 and  near him we see stand burning 
incense-offerings4    ,after the seventh
 corner1 #d and #h 7,w4 ,l41 #beb and   
#bef7 we see similar  representations1  
with this difference however1 that on   

the last  sculpture the ,lord has been  
hewn in the posture of the fifth        
,dhyni-,buddha 7like all ,buddhas on the
 #d lower walls on the north  side71 and
 that his curls of hair have not been   
finished4    ,still other relievoes of  
this very same lower series have been   
explained  by ,mr4 ,foucher4    ,at the 
south-west corner1 west of the southern 
staircase1 has been  hewn king          
,mndhtar's life1 but not any sculpture  
before the eighth can  be expounded from
 the ,divyvadna text4 ,the seven        
preceding sculptures  are likely to     
refer to the same history the sculptor  
brought to light  something more than   
the text's writer did1 who starts from  
the hero's  birth1 and describes his    
acts of government after having given a 
short  account of his youth4            
,foucher's meaning was quite            
unexpectedly confirmed by another       
writing1  the so-called                 
,bodhisattvavadnakalpalata which runs as
 follows3    8,one day 7king7 ,uposyada 

went on horseback in order to visit a   
hermit's  colony which had asked for his
 assistance to be defended from demons4 
,there were princely risyis who kept a  
stone bottle ready4 ,this was meant  for
 a sacrifice which was to have the power
 to procreate children4 ,the  king1     
tired as he was of the long ride1 and   
before he could be prevented  from doing
 so1 empties the bottle4 ,returned at   
home he discovers an  unpainful swelling
 on his head1 and when the tumour had   
ripened at  length out came a boy whose 
education was disputed by the #fj4jjj   
women  of the harem40    ,on this ground
 of birth the child was called          
,mrdhyaya1 and ,mndhtar  or ,mrdhatar   
when both names are joined together4    
,it was the ,kasymir poet ,ksyemendra   
who gave ,foucher this missing link  to 
explain the sculptures4    ,on the two  
first relievoes we see the distribution 
of presents done in  the name of the    
king that he might get a child4    ,on  
the third sculpture the king is         

departing4    ,on the fourth we see     
,upasyada dismounting1 and the          
sacrificial vase he  is going to drink  
from4    #e shows us the child got by   
this4    #f and #g refer to the         
horoscope of the future tyakravartin or 
suzerain        of the world1 and the   
astrologer's reward4    ,on #h the young
 prince bids his father farewell in     
order to travel about        the        
country4    ,on #i he is informed of his
 father's death1 and his succession to  
the        throne4    #aj4 ,between the 
young prince and two risyis floating in 
the air1        recognisable by their   
large tuft of hair and their rosaries1  
we        see some broken winged birds  
sitting on the ground4 ,the curse of    
one of the #ejj risyis1 living in a     
neighbouring wood1 broke their          
wings4      ,the king1 indignant at such
 cruelty1 denies the risyis every right 
for    staying on his territory4    #aa4
 ,on his further journey ,mndhtar forms 
a plan to cause a rain of        corn so

 as not to oblige his people to work any
 longer4    #ab4 ,cotton shall be       
cultivated no more1 neither spinned nor 
weaved1 and        now ready clothes are
 falling down out of the clouds4    #ac4
 ,taking offence at the fact they       
ascribe the merit of all these          
wonders to themselves1 the king now     
produces a seven days' rain of          
gold which fell within the walls of his 
palace1 and with the        exception of
 the king himself and his ministers we  
only see women        gather the        
treasures falling down out of vases     
hidden in the        clouds4    #ad4    
,mndhtar marches out to conquer the     
world4 ,the feet of none stir        the
 earth4    #ae4 ,a yaksha shows the king
 the way as how to make new conquests4  
,the        sculptor represented this   
yaksha as a brahmin-minister4    #af4   
,the guide brings the king to his       
pinnacle of glory4 ,two kings having    
a striking resemblance to each other1   
throne in a palace on seats        which

 are equally high4      ,one of them is 
,syakra1 the ,indra of deities1 and on  
,mndhtar's    unuttered wishes he ceded 
to him half his territory4 ,only by his 
non-blinking the god is to be           
distinguished from the man-king1 and it 
goes without saying that the sculptor   
was not able to show this4    #ag4      
,deities fighting asuras 7devils74 ,with
 the assistance of their        human   
ally the deities gain the victory over  
them4    #ah1 #ai1 and #bj don't exactly
 correspond to the text which teaches us
        that ,mndhtar asked his         
ministers who got the day4      8,the   
king0 they replied upon which the creezy
 one tried to dethrone    ,indra in     
order to rule himself4 ,scarcely did he 
entertain this1 when    he saw himself  
flung down from heaven to earth1 and    
dying he bewails    his blind           
impertinence4    #bj may bear upon his  
cremation1 and upon the entombing of his
 ashes into        a stpa4      ,out of 
the #aj relievoes in front 7south7 of   

the western staircase1 the  sixth       
explains itself4    ,a pigeon was caught
 by a falcon1 and the ,bodhisattva buys 
the poor  animal's liberty by offering  
the bird of prey a proportional part of 
his  own flesh4 ,this is the so-called  
,sybi-jataka4      ,out of the #cj      
relievoes belonging to the lower series 
of the  north-west corner1 some #bb or  
#be may refer to the ,rudryanavadana4   
,passing the first #c sculptures north  
of the western staircase we shall  see  
on3    #d4 ,rudryana1 king of ,roruka1  
consulting ,ryagriha merchants about    
the merits of their prince1 ,bimbisra4  
#e4 ,a king receives from a courtier a  
square sheet of paper or gives him      
this4 ,it is ,rudryana's letter         
addressed to ,magadha's king4 ,so       
the principal personage should be one of
 these two1 but who knows        which8 
,it doesn't appear after all4    #f4 ,a 
reception at the court of one of them in
 order to lend an ear to        the     
bearers of the letter or to take their  

leaves4 ,all round about        a large 
dish1 likely full of rice1 we see some  
#bj smaller plates        full of other 
eatables4    #g4 ,bimbisra receives the 
jewel-case ,rudryana sent him with the  
letter4    #h4 ,in the midst we see the 
box containing the presents made in     
return        all which ,magadha's king 
destined for his cousin of ,roruka4     
,the principal personage is ,bimbisra   
again1 who gives1 or        ,rudryana1  
who receives4    #i4 ,bimbisra gets a   
precious armour from ,rudryana4    #aj4 
,roruka's inhabitants on the occasion of
 the present's arrival made        in   
return by ,bimbisra2 a drawing with a   
silhouette of the        ,buddha4 ,the  
bearer is riding an elephant4    #aa4   
,almost on a part with #d1 but now      
,rjagriha's messengers are              
sounding the praise of the ,buddha4     
#ab4 ,rudryana requested the ,buddha for
 being instructed by a monk1 and        
the ,lord sent him ,mahktyyana who now  
takes a higher seat next        to the  

king4 ,a declining gesture of the monk  
may refer to a        refusal to preach 
the doctrine in the woman's quarter4    
,this ought        to be done by a nun4 
#ac4 ,the nun ,syail preaches before the
 king and his wives4    #ad4 ,such      
another representation but with a second
 nun standing behind        ,syail4 ,in 
all likelihood an ordinator4 ,in the    
king's place we see        a third      
,,bhiksyun who may be queen             
,tyandraprabh4 ,acquainted as        she
 is with the circumstance that she won't
 live much longer she        got the    
king's permission for being admitted    
into the order4    #ae4 ,the queen1     
after death born again in heaven1       
descends to show the        king the way
 for a reunion in the ,great ,beyond4   
#af4 ,rudryana communicates to his son  
,syikhanin his resolution to            
become a monk1 and so to abdicate the   
throne in his son's behalf4    #ag4 ,at 
,ryagriha the ,buddha consecrated       
,rudryana a bhiksyu1 and        on his  

first way as a mendicant friar he       
declines ,bimbisra's rich               
offerings4    #ah4 ,to the right we see 
how merchants from ,rudryana's country  
inform        him ,syikhanin's bad      
behaviour4 ,and to the left how the son 
is        informed by his wicked        
ministers about his father's return1 and
 we        then also see how he         
therefore forms a plan to have his      
father        murdered4 ,in the         
back-ground we see ,syikhanin's mother  
in her own        palace4    #ai4 ,even 
this relievo is divided in two4 ,to the 
right ,syikhanin learns        that his 
father has been killed1 perhaps by the  
man with the long        sword4 ,and to 
the left he seeks comfort from his      
mother who frees        him from the    
heavy burden of parricide by letting him
 know that        ,rudryana wasn't      
really his father4    #bj4 ,but the     
equally unpardonable murder of a        
bhiksyu1 a saint1 weighs        heavily 
on the king4 ,in order to free him from 

so great a debt        they now pretend 
there are no saints4 ,deceivers are     
those who mean        to be arahats4 ,to
 the left we see two cats1 each of them 
in a        stpa of her own4 ,they have 
been taught to answer to the names      
of the two first converts convinced by  
,mahktyyana1 and to the        right we 
see the queen-mother with her son who   
agrees with such        sofisms4    #ba4
 ,to the right king ,syikhanin in a     
sedan-chair4 ,he tells his retinue      
to throw sand at the monk ,mahktyyana4  
,to the left the monk        himself1   
released as he now is from the heap of  
sand1 predicts        ,roruka's downfall
 to the two good ministers ,hiru and    
,bhiru4    #bb4 ,from his palace the    
king is watching the rain of jewels     
which        precedes the wicked storm  
of sand#eh4      ,people jostle each    
other on catching up the treasures4 ,in 
the    foreground we see the two good   
ministers loading a boat with the       
mentioned riches4    #bc4 ,fate in      

fulfilment4 ,roruka and almost all its  
inhabitants are        buried under the 
sand4 ,we see ,mahktyyana on his        
home-journey in        the village of   
,khara4 ,through the air the tutelary   
goddess of        the destructed town   
followed him to that place1 and the monk
        leaves her his begging cup over 
which a stpa will be built4    #bd4 ,in 
the next stage1 called ,lambaka1 the    
inhabitants offer the        royalty to 
the monk's disciple1 ,symaka1 because of
 the wonder        they saw1 that is1   
that the shadow of the tree under which 
he took        his seat1 behaved to     
himself but didn't follow the course of 
the        sun4    #be4 ,in the third   
stage1 named ,vokkna1 the monk gives his
 mendicity to        a woman1 who in    
former life1 had been his mother4       
,reason for the        building of a new
 stpa4    #bf1 #bg and #bh4 ,a rural    
scene between two sea-pieces4 ,on #bg we
 see a monk        in a town fenced all 
around4 ,mahktyyana's return in         

,syrvast4 #bf and #bh represent ,hiru's 
and ,bhiru's disembarkment        on the
 spots where they once will found the   
towns of ,hiruka1 and        ,bhiruka4  
,the #b remaining panels1 #bi and #cj1  
relate the touching story of the two    
kinnaras who could never forget that one
 day1 #fig years ago1 man and  wife had 
been separated in their millennial life 
for a whole night  because of a swollen 
river4    ,the king of ,bnars1 one day  
hunting for game1 surprised and listened
  to them4 ,in the one relievo we see   
the prince hewn in a standing--in the   
other in a sitting posture1 for the rest
 both the representations  consecrated  
to the kinnara- or ,bhaltya-jtaka1 have 
been hewn in  the same manner4    ,these
 mythical beings ,i always called       
gandharvas because they always          
represent birds provided with a human   
head and bust4 ,i never saw them  with a
 horse's head like kinnara's have been  
described in ,dowson's  ,classical      
,dictionary4      ,with the exception of

 the ,maitrakanyakavadna1 mentioned     
here-above1  ,foucher didn't explain any
 other relievo of the inferior series of
 the  back wall at the north-west       
corner1 because we haven't any data4    
,he also had no time necessary for a    
complete and decisive study of the      
sculptures we see on the #c higher      
galleries4 ,he only acknowledged their  
less historical or legendary sense but  
accepted their iconographic  character4 
,some sculptures of the second gallery  
,i thought to be  ,hindu-gods           
represented as ,bodhisattvas1 he1 on the
 other hand1  thought they were         
,avalokitsyvara1 and ,manjusyri4 ,this  
does  correspond at last to my meaning  
because ,avalokitsyvara is nobody  else 
but the deity ,shiva1 in this case      
,padmapni1 at the same time the  fourth 
,dhyni-,bodhisattva4      ,,ix4    ,a   
short word about some sculptures we see 
on the three higher galleries4  ,no     
double series are to be seen there1 but 
the hewn panels1 especially  those of   

the back-walls of the second and fourth 
gallery1 are a little  higher1 and have 
been partly modeled in an excellent     
style4    ,wilsen's and ,leemans'       
engravings are not always true          
representations of  the sculptures      
themselves1 f4 i4 no3 #bad 7,w4 ,l47    
representing the  unpardonably bad      
drawing of ,maitrakanyaka's mother4 ,but
 for professor  ,speyer's acute         
observation she would have been never   
recognised perhaps1  and this group     
would then have remained unexplained for
 ever1 if this  sculpture1 and so many  
other ones1 might happen to be ruined at
 all4  ,fortunately enough1 ,i ordered  
this group to be photographed for about 
#d  years ago1 and these photos can't   
possibly lie#ei4    ,the productions1   
formerly taken by ,mr4 van ,kinsbergen  
to the cost of the  ,dutch ,government1 
are beyond my reach1 and so ,i've not   
been able to  control whether this      
sculpture has been photographed or not4 
,i think it  was not4#fj4    ,let me    

mention another example of ,wilsen's    
inaccuracy1 the thirtieth  sculpture we 
see on the back-wall of the second      
gallery1 and so much  the more1 because 
it might have been easily photographed4 
,more than one  expert did so1 among    
others1 in #aija 7in my presence7 the   
known ,padang  and ,atyh photographer   
,c4 ,nieuwenhuis4 ,comparing this photo 
with  ,wilsen's drawing we shall        
perceive that the two inner-pilasters of
 the  small temple have been wrongly    
drawn1 and that the outer-pilasters1    
behind the standing women1 have been    
forgotten2 that the prabha  7glory7     
behind the saint's head1 we see sitting 
inside this small  temple1 impossibly   
goes upward before the upper-threshold  
of the  entrance2 and that the young    
lions and the throne's carpet have been 
disfigured as well as the garlands and  
prayer-bells1 both in form and  placing4
 ,this also refers to the visitor's     
parasol1 and to the  flower-offering we 
see near him4 ,the second parrot1 just  

above the right  bodhi-tree1 and one    
flower-piece to the right under this    
tree1 have been  wholly left out4 ,this 
visitor's hand flatly folded for a smbah
  7salaam7 has not been folded flatly1  
because the finger-tips only  touch each
 other1 so that the smbah itself is to  
be recognised no  more4 ,the right foot 
of this man the drawer also forgot#fa4  
,it is not difficult to show such       
mistakes in other drawings of ,wilsen's2
  and ,i therefore suppose them not to  
be relied upon for the explanation  of  
further particulars4    ,there where    
,wilsen copied monks 7bhiksyus7 he      
nearly always raised  them to ,buddhas  
by decorating their clean-shaven heads  
with the  hair-crown1 the tiara or      
usynsya6 as if he1 who didn't even know 
the text the sculptor had followed1 knew
 far better than the latter6 ,and  don't
 we know how he1 just like ,ovid in his 
,metamorphoses1 changed  women into men 
or otherwise8      ,i further point to  
the above mentioned sculpture because of

 the worship  of the bodhi-tree         
characterised by parasols and tymaras   
7fly-flaps71 rosettes and prayer-bells4 
,such fig-trees are still  cultivated   
and honoured by all the ,ceylon 7and    
elsewhere7 pagodae even  at this day1   
and in consequence of this worship by   
buddhistic ancestors  the ,sundas and   
,javanese always respect kiaras and     
wringins  7banyan-trees7 and other akin 
,ficaceae4    ,such trees as we always  
see on the alun-aluns1 the front-places 
of  kratons and dalms of princes and    
native chiefs originally meant1 ,i      
think1 a recognition to ,buddha's       
fig-tree4 ,the preacher and his         
doctrine are forgotten here in ,java1   
but one of the forms of this  worship   
still exists4      ,i mention the       
eighteenth and the twenty-second        
sculpture 7eastern  staircase1 fifth    
corner1 #b and sixth corner1 #a7 because
 of the  winged shell1 the syankha1     
provided with payongs and tymaras as a  
sign of dignity4    ,even now ,javanese 

princes carry the tykr1 the trisul and  
other  weapons of deities in their      
ampilan#fb1 and so ,vishnu's tyankra    
doesn't mean that the person whom it is 
carried after1 should refer to  this    
deity1 though it is true that the       
,buddha of the ,mahynists  must be this 
god's avatra4    ,among the following   
imageries ,i more especially see        
,hindu-gods as  ,buddha's predecessors4 
7,bodhisattvas74    ,the four-armed     
sculpture we see on #ah 7southern       
staircase1 fourth  corner #e71 in       
,buddha posture on a throne carried by a
 bull1 the nandi1  the vhana or ,shiva's
 carriage1 makes us think1 even without 
any other  characteristic1 of a         
,bodhisattva1 perhaps4 ,the lost head   
might have  given more certainty4       
,similar images we find on #ajj1 #aja1  
#ajb and #ajd ,w4 ,l4#fc4    ,on the    
first 7northern staircase1 second       
corner1 #a7 we see a  four-armed        
sculpture on a lotus-throne in ,buddha  
posture1 with the  glory1 and in his    

left hand an elephant's hook and a      
flower4 ,the objects  in his right hand 
are to be recognised no more4 ,the      
throne itself has  been adorned with    
elephants1 lions and ngas4 ,the four    
arms near the  single face may possibly 
refer to ,vishnu or another deity1 but  
not to  ,brahma which we see generally  
hewn four-faced3 the small ,buddha image
 in  the crown only speaks of           
,buddhism#fd4    ,and as ,buddha1       
according to the northern church1 had   
been ,vishnu's  avatra1 this deity may  
by no means raise our astonishment      
because of  his being represented here  
as a ,bodhisattva4    ,even the         
following sculpture 7#b after the second
 corner7 has been hewn  four-armed1 but 
too badly damaged to be recognised as   
the deity it  should represent4    ,this
 also refers to the third sculpture 7#c 
after the corner74 ,the six  arms may   
point to ,shiva4    ,the fourth         
sculpture 7#e after the same corner1 ,w4
 ,l41 #ajd7 would not be  easily        

recognised on ,wilsen's drawing4 ,on the
 ruin itself however1 there  is no doubt
 whatever1 because we here see clear    
enough that the  upavta is nothing else 
but the ,cobra 7snake7 with a nicely    
modeled  and crowned head4 ,and this    
only speaks of ,shiva or of his son     
,ganesha  who has been always           
represented as an elephant or with an   
elephant's  head so that here he can't  
be meant as such4    ,another sculpture 
7,w4 ,l41 #ajf1 the seventh after the   
second corner7  is still note-worthy1   
because the temple wherein it sits 7not 
on a  lotus-cushion7 has been crowned by
 five shivatic trisyulas4 ,should  this 
be a woman's image it then may represent
 a ,tr or female  deity1 but it hasn't  
any token to be recognised as ,durg1 the
 syakti  of ,shiva#fe4    ,unique of its
 kind is the sixty-ninth sculpture on   
the back-wall of  the following1 third1 
gallery 7northern staircase1 second     
corner1  #b74    ,to the left we see a  
deity 7a ,bodhisattva1 perhaps7 in a    

temple crowned  by eleven trisyulas4 ,to
 the right such another deity 7or       
greatness87  on a lower seat4 ,between  
these two stands a tree the branches of 
which  don't bear leaves or fruit1 but  
swords and daggers4 ,and beneath there  
we  see a cauldron full of boiling      
contents hanging over a flaming fire4   
,next to this we see three 7armed7 men  
guarding three fettered prisoners  who  
are likely to ask for mercy to the      
second1 less great deity4 ,it  seems    
however1 that one of the keepers is     
waiting for further  instructions of the
 deity we see in the small temple4      
,the eleven trisyulas make us think of  
,shiva again1 perhaps as ,kla1  the god 
of death1 the all destroying time4      
,leemans thought this representation    
should be connected with a  particular  
event or1 should refer1 in a general    
sense1 to hellish  punishments4 ,the    
last mentioned explanation seemed       
acceptable to me1 but  then when taken  
in a pure symbolical sense4    ,the king

 of ,siam simply called this a          
representation of hell4 8,buddha  sees  
hell40      ,we may leave the walled    
terraces after having seen two other    
sculptures  we find on the back-wall of 
the fourth and highest gallery which has
 no  more than #bj angles and hewn      
wall-panels4    ,first of all ,i'll     
mention the fifty-seventh sculpture 7#c 
after the  northern staircase74 ,there  
we see a ,buddha throning in a temple   
upon  which we see1 to the right1 a     
flaming tyakra and1 to the left1 a      
crescent of the moon floating in the air
 on lotus-cushions4    ,and last of all 
,i'll point to the seventieth sculpture 
7fifth corner  #b71 showing us a similar
 representation1 but where the tyakra   
has been  replaced by the disc of the   
sun4#ff    ,one can't possibly wish a   
more eloquent witness of the harmony of 
the  tyakra and disc of the sun1 and of 
the connection there is between  these  
celestial bodies and the ,buddha1       
between ,buddha and ,vishnu  or1 in     

other words1 between the ,buddha- and   
sun-worship4    ,for completeness' sake 
,i further mention that on the back-wall
 of this  gallery are to be found many  
sculptures upon which more than five    
till  seventeen ,buddhas have been hewn 
in different postures 7mudrs74 ,in my   
opinion the king of ,siam rightly       
observed that here can't be meant any   
,dhyni-,buddha4      ,foucher gave us   
another reasonable explanation of these 
sculptures by  connecting them with     
,syrvast's great wonder when the ,buddha
  covered all the heaven with the       
reflexions of his own body4 ,for the    
sake  of brevity ,i therefore refer to  
that which has been mentioned hereabout 
in my 8,oudheidkundige ,aanteekeningen0 
,,iv1 p4 #db and #dd4    ,it only       
remains for me now to speak a few words 
about the relievoes  major van ,erp     
recognised to be jtaka-representations  
guided as he was  by the text of the    
great work of ,mr4 ,cowell's and        
contributors4    ,in the lower series on

 the front-wall of the first gallery we 
see1 on  the second sculpture south of  
the eastern staircase1 the ,bodhisattva 
ploughing his field as a farmer4        
,performing this task he suddenly finds 
a treasure the fourth part of which he  
presents the needy4 7,w4 ,l41  engraving
 ,,cxxxvi74 ,this is the                
,kanytyanakhandhajtaka4    ,in the upper
 series on the very same wall van ,erp  
thought the last of  the #d sculptures1 
after the fourth corner west of the     
southern  staircase1 to be another      
,sigala-jtaka4 ,in imitation of         
professor  ,speyer's however1 ,i        
described this as the jtaka's           
conclusion1 the  starving sparrow asking
 the lion for a little bit of the prey  
he  killed shortly before4 7,w4 ,l4's   
engraving ,,clxx74    ,and in #e        
relievoes on the same front-wall1 but on
 the northern side of  the ruin 7not    
engraved in ,l's7 he meant he saw the   
,mora-jtaka1 where  the ,bodhisattva1   
caught as a peacock by the hunter of the

 king of  ,bnars1 teaches the doctrine  
to the prince4    ,another jtaka has    
been still mentioned in ,leemans'       
7,engraving  ,,clxxxiii1 and ,,clxxxiv  
and #c other ones71 where the           
,bodhisattva died a  monkey when he     
sacrificed his life for the sake of his 
blind mother4 ,his  younger brother did 
likewise all which can't prevent the    
hunter from  shooting down even the     
mother-monkey after having first killed 
the two  others4    ,it is the          
,syula-,nandiya-jtaka in which the      
wicked hunter is being  severely        
punished4    ,according to the pli-text 
the ,buddha himself related that this   
former  hunter afterwards became his    
wicked nephew ,devadatta2 his younger   
brother-monkey ,ananda1 and that their  
blind mother was afterwards             
reincarnated in his step- and           
foster-mother ,gotam#fg4    ,van ,erp   
gives us at last an explanation of      
another relievo we see on  the lower    
series of the same wall1 but this hasn't

 been engraved in  ,leemans' work       
either4 ,consulting the ground-plan we  
come across number  #abj which refers to
 the panel it has been sculptured upon4 
,van ,erp  possesses a photography of   
this4    ,it corresponds pretty well to 
the relievoes ,i described as #aa and   
#ab of  the upper series behind the     
second corner south of the eastern      
staircase1 because in the two jtakas the
 ,bodhisattva represents a  hare who    
flings herself into a fire to feed a    
hungry traveller2 in this  ,syasya-jtaka
 however1 the mentioned hungry man does 
not represent the  deity ,indra but     
rather a risyi or anachorete1 who       
rescues the hare out  of the flames as  
well as ,indra did4      ,i further     
mention that each of the terraces under 
foot lies about #c  yards higher than   
the preceding one1 and communicates with
 each other by  staircases of about #aj 
treads on an average4    ,further1 that 
each gallery between the walls is about 
#b yards wide1 and  that these walls    

have a thickness of #a yard4    ,and    
finally1 that there are among the       
architectural ornaments1 ,i didn't      
mention1 numerous nga-heads with opened 
mules and upward curled  trunks which   
formerly carried off the rain-water     
7from under all these  walls7 to outside
 from terrace to terrace4 ,nowadays this
 water  permeates through the time-worn 
stones into the rather loose soil of the
  hill till under the ruin4 ,dropping   
through all lower joints1 and  between  
the stones falling asunder more and more
 upon which the heavy  stpa has been    
built1 it can't be otherwise or all this
 is to destroy  the ruin more and more1 
and sooner or later there will come a   
time when  the temple itself shall      
partly or wholly fall to the ground1 444
 when  the ,dutch ,government don't know
 to prevent this by doing all that will 
be indisputably necessary4    ,and as it
 is a truth not to be denied that solar 
heat and rain-water  are the two        
prevailing factors to cause the         

destruction of these and  other ruins   
the only way to prevent all this must be
 therefore found  by shutting out       
solar-heat and rain1 that is1 by means  
of a protecting  cover such as drawn up 
and offered to the ,dutch ,government by
 ,mr4 van  de ,kamer4 ,any other manner 
of 8restoration0 will turn out to be a  
failure even when one may succeed in    
joining together all loose stones1  and 
in cementing all the gaps4 ,for the     
stone itself 7andesit-lava7 is  so very 
porous that is used anywhere in ,java   
for filtering-stones4    ,however1 it   
doesn't alter the fact that there will  
be no much chance  that the ,dutch      
,government will do what ,i also        
recommended her as the  only thing      
needful4#fh ,the late ,dr4 ,brandes1 the
 first official  president of the       
8,oudheidkundige ,kommissie voor ,java  
en ,madoera0 had  proposed a far less   
sovereign but cheaper effort to the     
rectification of  this sorrowful state  
of things1 and even the authorities in  

,netherland  concurred with this idea of
 his1 though they would be inclined to  
think  quite otherwise if they could    
unprejudicedly examine this question in 
loco4 ,and the newly appointed          
president1 the competent scholar and    
great authority on ,indian matters1     
shall he think otherwise8#fi4 ,or  will 
the rain-water continually permeate     
through and under the  invaluable ruin1 
and carry away its bottom1 and assure at
 last the ruin  of the richest and most 
beautiful ,hindu-work of art we possess1
 which1  in all ,india and even in the  
mainland1 speaks of the ,buddha8444     
,should  we then1 as a civilised        
colonising power1 not be worthy of such 
a  treasure8    ,oh1 could ,i only      
persuade the ,indian and ,dutch         
authorities into  willing and acting in 
quite another and better sense6         
,the major of the ,indian engineer      
corps1 ,mr4 van ,erp1 did everything he 
could1 notwithstanding the limited means
 the ,dutch ,government allowed  him to 

dispose of1 and he consequently         
co-operated to the preservation  of this
 precious ruin for a longer or shorter  
period of time4 ,but this  is not yet   
enough4 ,granting the means of our      
7,dutch7 small empire to be  too feeble 
to such a purpose--why then not try to  
form a  ,brbudur-,society like the      
,french founded a ,socit d',angkor in   
behalf of the ruins of ,kamboja1 which  
not only found support from the  side of
 fellow-country-men in ,europe and      
,farther-,india or anywhere else1  but  
also from foreigners8      ,x4          
,finding ourselves on the fourth gallery
 we see there twelve-treaded  staircases
 leading to the twenty-angled upper     
plane which had been  walled in to its  
outside only4 ,successively             
7concentrically thus7 we see  there     
three circular terraces continually     
rising one yard and a half1  declining  
three yards1 and connected with each    
other by means of seven  or             
eight-treaded staircases4    ,along the 

outer-edge of the first we see stand #cb
 open worked dagobs  or tyaityas2 on the
 second there are #bd1 and on the third 
and highest  #af1 so altogether #gb4    
,and within this circle rises the       
majestic  middledagob as the only real  
dagob or stpa representing the leading  
idea1 the final purpose of the whole    
ruin4    ,when standing on the polygonal
 upper plane the space between the      
spires  of niches and tyaityas of the   
highest wall offers a strikingly        
beautiful aspect deep down and far off  
on the surrounding mountainous          
landscapes2 a vista we enjoy far better 
when from the third and highest         
circular terrace4 ,the whole valley of  
,prg lies there westward at the  foot of
 mount ,mnoreh1 a neptunian formation of
 volcanic  materials--and1 to the east1 
of the high twin volcanoes ,mrbabu and  
,mrapi1 and1 to the north1 of the       
,sumbing1 the highest volcano of  this  
part of ,central ,java4      ,all the   
open worked tyaityas of the round       

terraces have a round foot  modeled like
 a lotus-cushion doing duty as ,padmsana
 which carries the  sculpture 7placed   
thereupon and inside7 with its          
bell-shaped barrow4    ,the bell with   
square openings has a height of #a yard 
carrying a  slantingly rising square    
stone-block crowned with an octangular  
cone  rounded off on its top#gj4    ,the
 large middle-dagob has the same type1  
but its wails partly rise in  a         
perpendicular line above the foot nicely
 framed and hewn in the style  of a     
colossal lotus-cushion in order to      
finish into a flat cupola rising  for at
 least #h yards above the highest       
circular terrace4    ,it was van ,erp   
who found back some fragments of the    
large cone1 which  once crowned this    
real dagob1 so that he was able to      
finish again this  stpa1 now wholly     
closed again1 and crowned once more with
 the basis  of the cone4    ,the        
unfinished ,buddha image found inside in
 its bhumi-sparsya-mudr  had been kept  

outside1 and provisionally deposited on 
the hill at the  north-western foot of  
the ruin4    ,now it will be impossible 
to reach this dagob's top because the   
temple-stone staircase leading to this  
7it should be understood however1  that 
the staircase itself did not belong     
there71 has been removed1 but  a walk on
 the highest terrace situated at the    
foot some #dj yards above  the hill-top 
is still worth while1 and the eyes are  
pleased then with  the very same        
beautiful vista formerly to be          
overlooked from a brick  bench placed on
 the damaged cupola1 and overburdened as
 it were with the  names of unknown     
visitors scratched upon it4    ,deep1   
ever greening and blooming1 or1 in      
harvest-time1 brown-yellow or           
earth-colored planes1 most often        
cloud-likely bedewed early at morn1     
breathing life and enjoyment of life1 so
 to say under the powerful ribs  of     
mount ,mnoreh1 badly bursten and highly 
crowned1 and the cloud-like  tops of    

craters of more than three volcanoes1   
and the active ,mrapi  still vomitting  
death or destruction in their           
surroundings1 but also  producing new   
life on the soil all covered with       
time-worn  volcanic-ruins4    ,in face  
of such a stupendous creation we feel   
very little--yet1 as the  children of   
the very same creation1 rich1 and as    
thinking beings happy  and great#ga4    
,,xi4    ,it only remains for me now to 
add a short description to the ,buddha  
sculptures which made the ruin call3    
,bra-budd or ,pr budd1 that  is1 the    
many or conjoint ,buddhas4#gb4    ,all  
of them are in a sitting posture with   
crossed legs1 almost in the  same       
posture the ,javanese call sil1 but     
upright4    ,they are dressed in a thin 
mantle uncovering their right arms and  
shoulders--such as the monks of the     
southern church wear their cowls--and   
have the tiara1 the round hair-knot1 on 
their heads all covered with  short     
curls4 ,even the rn1 the little tuft of 

hair on their fronts is  still to be    
seen on many a sculpture1 and on the    
other ones1 less  accurately hewn1 they 
are forgotten#gc4    ,the posture of all
 of them tells resignation and peace1   
and may speak of  the later final       
dissolving in the nirvna1 the joy- and  
painless  not-to-be4    ,but the        
sculptor didn't succeed in interpreting 
all the sculptures in  this sense4 ,not 
all the sculptors had been equally good 
artists for they  must have had much    
more work the best of them might have   
finished alone4    ,among the sculptures
 placed opposite the five zones of      
heaven1 the  ,east1 ,south1 ,west and   
,north and the ,zenith1 there is to be  
seen a  slight difference in the posture
 of the right hands1 and something  more
 difference in the posture of the two   
hands with regard to those  sculptures  
we see on the round terraces4 ,all the  
sculptures on the  five encircling walls
 have been hewn with their left hands in
 their  laps1 that is1 with the palm on 

the right foot4 ,those on the four lower
  walls have 7on the east side7 their   
right hands with their backs1 on  the   
south side these very same hands with   
the palms upwards on the  right knees2  
those of the west 7opposite to the      
setting sun7 hold both  their hands in  
their laps1 and those of the north rise 
their right  hands a little above the   
right thigh1 palm forward1 and the five 
fingers closed together in a            
perpendicular line4    ,the sculptures  
of the whole fifth and highest walls    
dominating all  the regions of heaven   
only distinguish themselves from those  
on the  northern lower walls by means of
 the bent index of the raised right     
hand forming a closed circle with the   
somewhat joined thumb1 that is1  because
 of the stone's brittleness4    ,the    
sculptures of the open worked tyaityas  
on the three round terraces  however1   
raise their two hands before the        
epigastric region1 the left  one with   
the palm and the bent finger-tips in an 

upward direction1 the  right one with   
the palm to the left and the fingers    
bent over those of  the other hand#gd4  
,moreover1 they all miss the glory and  
have not been  placed in open           
temple-niches above a human and         
mythical- and animal  world represented 
by many sculptures1 but hewn in         
transparently closed  graves1 and in    
higher spheres above this world4 ,there 
is consequently  more difference than   
between the sculptures of the five      
encircling  walls4    ,there is still   
another sculpture unique of its kind4   
,when1 a long time ago1 in the beginning
 of our last century1 the  middle-dagob 
was opened a double space was found     
inside1 a smaller above  a larger one1  
and1 among others1 a ,buddha image      
corresponding in size to  all other     
sculptures1 whereas the posture of the  
hands tallied with  those on the eastern
 lower walls#ge4    ,this image having  
been unfinished can't be ascribed to the
 merest chance  or to an untimely stop  

of the temple-building1 because the     
dagob itself1  where it had been wholly 
closed in1 was finished afterwards4     
,so it must have been intentionally left
 in this state1 but ,i can't  possibly  
accept the supposition that it should   
refer to the future  fifth              
,dhyni-,buddha in state of being4    ,a 
future1 not yet existing ,buddha can't  
be materialized by a  half-sculptured   
image1 and the fifth ,dhyni-,buddha is  
never hewed in  the posture of the hands
 of the second1 but always1 such as on  
the  northern lower walls1 in his own   
mudr whereas the future ,buddhas as     
,bodhisattvas were represented not only 
in other postures but also in  another  
dress and ornament and with their own   
attributes4    ,besides1 the hypothesis 
challenged by me would not yet solve    
still  existing mysteries1 but would    
only give rise to other enigmas which   
don't bring us any farther4    ,the     
explanation of the fact may be much     
simpler4    ,i think it may have been   

considered quite unnecessary to finish a
  sculpture in such an accurate manner  
like all the other ones1 if it  should  
be hidden from sight for ever4          
,what is the meaning of these different 
,buddhas8    ,according to the posture  
of the hands we may divide them into    
six--according to other data into three 
groups4 ,nothing more and  nothing less4
    ,the three groups are3    #a4 ,the  
#dcb ,buddhas of the open temple-niches 
on the five richly hewed                
encircling walls1 all of them seated on 
lotus-thrones and crowned        with   
glories4    #b4 ,the #gb ,buddhas of the
 open worked tyaityas on the three round
        terraces1 without any glory or  
lotus-throne but represented by the     
padmsana of the tyaitya-foot4 ,but even 
the human and animal        world hewn  
under the niche-,buddhas we don't see   
there again4    #c4 ,the only ,buddha of
 the large dagob entirely sequestered1  
without        glory or throne1 but     
seated above the padmsana which carries 

the whole dagob4      ,the posture of   
the hands however1 ought to refer to six
 groups1    because there are six       
different mudrs4      ,wilhelm von      
,humboldt was the first who considered  
five of the six    ,buddhas to be the   
representations of the five             
,dhyni-,buddhas4      ,three of them3   
,vairotyana1 ,akshobhya and ,ratna      
,sambhava successively    redeemed and  
ruled over three following former       
worlds2 the fourth1    ,amitbha--our    
,gautama or ,shakya-muni--ruled over our
 world these #bd    centuries1 and is   
said to be succeeded1 after the creation
 of a new    world1 by the fifth and    
last1 ,amogasiddha1 the ,buddha of love4
      ,especially in the posture of the 
hands there is some conformity          
between five of the six ,brbudur-images 
and the five ,dhyni-,buddhas    such as 
we see them hewed in ,asia4 ,but there  
are also some points of    difference4  
,in the ,mongol countries1 for instance1
 the two first ,dhyni-,buddhas    are   

throning in the ,east2 the third in the 
,south1 the fourth in    the ,west and  
the fifth in the ,north#gf4             
,taking1 according to the posture of the
 hands1 the images of our ruins    to be
 ,dhyni-,buddhas the ,east would then be
 only occupied by the    second and the 
zenith by the first of them1 that is1   
above the    round terraces which don't 
dominate any region of heaven4 ,but this
    happens more elsewhere in ,asia4    
,but which will be the sixth ,buddha    
represented there by all the            
sculptures of the fifth and highest     
encircling wall1 and dominating    all  
the zones of heaven1 but which can't be 
a ,dhyni-,buddha8      ,that's a new    
enigma rightly explained by the king of 
,siam1 ,i    suppose1#gg and which ,i'm 
going to show directly4      ,and that  
the unfinished ,buddha of the large     
dagob can't represent    the fifth      
,dhyni-,buddha appears from the posture 
of the hands which    would refer to the
 second1 #ib times hewed on the eastern 

lower-walls4      ,should it represent a
 ,dhyni-,buddha1 it must be this one and
 for    such an idea ,i can't find any  
reason4      ,had the ,mahynists had the
 intention to place there one of their  
five ,dhyni-,buddhas1 they surely would 
have rendered homage to their    own    
,redeemer1 the fourth4 ,the four other  
ones may have only had a                
legendary-historical sense1 consequently
 also the second4 ,in spite    of the   
mudr of this second ,dhyni-,buddha the  
image itself should    not be meant as  
,akshobhya1 but simply as the perfect   
,buddha1 the    ,shakya having taking   
flesh as ,buddha--for this is the       
meaning of this    mudr even to the     
,buddhists of the southern church who   
don't know    several ,dhynis but the   
only ,buddha4      ,and as these five   
,dhyni-,buddhas don't wholly explain the
 images of    the ,brbudur1 and don't   
wholly expound the sixth1 ,i therefore  
thought it reasonable to take all the   
,buddhas of the five encircling    walls

 as one separated group1 those of the   
three circular terraces as    a second1 
and the ones of the closed dagob as the 
only    representative of a third1      
whereas the placing of the sculptures on
    these five walls should be connected
 with the five zones of heaven          
,siddhrta took possession of after his  
birth#gh4      ,should this group       
represent the ,buddha perhaps1 with     
reference to the    human- and animal   
world described by the sculptures hewed 
beneath    there1 we then may refer to  
,wilsen's and ,leemans' and accept the  
images 7taken from the mentioned world7 
of the upper-terraces to be    the      
,buddha as ,arahat in a state of supreme
 purity or holiness1 in    the nirvna1  
perhaps4 ,the ,buddha wholly enclosed by
 the large dagob1    and so positively  
separated from the world1 may refer to  
the    parinirvna1 that is1 the wholly  
dissolving in the infinite    not-to-be2
 death without regeneration1 the final  
purpose of all    life#gi4      ,for    

this dagob is a closed grave in which   
for about1 or at least1    eleven       
centuries ago the ,buddhists may have   
hidden the vase containing    some ashes
 of the really died ,buddha2 a trace of 
the remainders of the    great wise man1
 the spotless preacher2 a minim quantity
 of the    ,master's ashes1 the divine  
redeemer of all that lives and suffers1 
that thinks1 feels and dies4      ,mr4  
,foucher starts from the principle that 
he doesn't like to contradict    the    
explanation as if these ,buddha images  
were to represent    ,dhyni-,buddhas1   
but he means that they should be        
examined more    closely1 and completed1
 and that the different groups ought to 
be    judged again after severe study4  
,as for the present he discerns3    #a1 
the bhunisparsya mudr in the #ib niches 
on the #d first walls to        the     
,east2    #b1 to the ,south the         
vara-mudr2    #c1 to the ,west the      
dhyni-mudr2    #d1 to the ,north the    
abhaya-mudr1 and    #e1 in the #fd      

niches on the fifth and highest wall the
 vitarka-mudr        7the gesture of    
discussion7 and higher1 among the #gb   
cupolae of        the #c circular       
terraces3    #f1 the dharma-tyakra-mudr 
7mark of distinction71 and finally the  
only sculpture from the wholly closed   
dagob1 hewed in the                     
bhumi-sparsya-mudr4    ,so there is a   
slight difference between ,foucher's    
idea about the  north-indian ,mahynists 
and my defended explanation of the ,siam
  ,hnaynists4    8,this is ,buddha      
preaching the tyakra0 said king ,tsyula 
,longkorn to me1  8and this means the   
tyakra01 joining the tops of the thumb  
and the  index of his right hand so as  
to form something like a circle4        
,this seemed convincing to me1 and ,i   
found this idea confirmed not only  on  
all and still undamaged statues on the  
highest wall1 but also1 and  especially1
 on a great many relievoes of the second
 gallery which  represent the ,buddha in
 a preaching posture4    ,it is true    

that the exactness of this view of mine 
had been indirectly  denied by my great 
official antagonist1 the late ,dr4      
,brandes1 but  never did he dispute or  
refute this scientifically4      ,mr4   
,groeneveldt1 formerly the most         
competent authority on our ,hindu       
sculptures in the ,dutch ,indies1       
thought the unfinished image of the     
middle-dagob to be a representation of  
the ,adi-,buddha1 and this would        
certainly have expounded this statue in 
it separately placing1 if this          
immaterial primeval ,buddha might have  
been ever represented in a  material    
image4 ,and there are more objections   
than only this  impersonality of the    
divine primeval being materially        
revealing  himself in the different     
,buddhas1 and consequently not hewed at 
,nepl and ,tibet but only represented by
 a symbol1 a circle or two  eyes#hj4    
,would the mahynistic architects of the 
,brbudur have acted in quite a          
different sense8    ,i don't see any    

,dhyni-,buddha in this ,buddha1 but only
 the perfect  preacher having taken     
flesh as the ,buddha1 the ,master1 who1 
though he  did die1 continues to live as
 long as this his world will exist4     
,each posture of the hands has its own  
meaning1 and there are much more  than  
five mudrs even in the hnaynistic       
countries like ,siam where  one doesn't 
know any ,dhyni-,buddha4    ,this also  
refers to the posture of the sixth1 for 
a long time  unexplained ,buddha on the 
highest encircling wall whose mudr was  
rightly called dharma tyakra#ha4 ,thumb 
and index1 circularly joined  together1 
represent the tyakra1 god ,vishnu's     
disc1 the sun1 the symbol  of the       
dharma1 the buddhistic ,doctrine4       
,buddha has been consequently hewed     
there as preacher1 preaching the        
doctrine to all people1 and consequently
 towards all the regions of  heaven4    
,and this teaching of the king-,buddhist
 has been perfectly  confirmed by the   
fact that on all the sculptures         

7especially on those  we also see on the
 backwall of the second gallery7 the    
thumb and the  index join each other in 
the very same manner4    ,that this     
preaching preacher has been placed upon 
the highest wall will  be easily        
understood if we consider the preaching 
of the doctrine to be  the highest vital
 expression of ,buddhism1 and possibly  
referred to both  the world of the four 
zones of heaven and to the one of the   
celestials  in the zenith4      ,,xii4  
,a few remarks about the sculptures of  
the original foot of the  outer-wall we 
didn't discover before #ahhf4 ,in #ahij 
,i proposed them to be  uncovered and   
photographed1 afterwards they were      
covered again in the  ancient manner1   
and hidden from sight4    ,they have    
been hewed on a projecting wall-foot    
which goes tolerably deep  beneath the  
heavy ogive1 now resting as a socle     
again on the surrounding  outer-terrace 
that has been afterwards built all round
 the #cf-;angled  basis of the temple1  

but only on #bd of the #dj panels4 ,the 
two sides of  each of the double        
fore-buildings of the four temple-fronts
 built  towards the different zones of  
heaven1 haven't been adorned with any   
sculpture1 but the staircases divide the
 four middle fore-buildings into  two   
panels4    ,each of the #bd hewed panels
 contains six or eight imageries one    
metre long by about #hj inches high4 ,a 
system of flat frames might have        
separated the whole series from the     
mentioned ogive1 so to say1 a  regular  
combination interrupted by the          
staircases only4    ,if the #afj scenes 
which form this combination are to      
represent a series  of following events 
or legends we then must try to find the 
beginning  7like on nearly all other    
hindu temples7 to the south of the      
eastern  staircase following it from    
there through the ,south1 ,west and     
,north till  the starting-point in the  
,east4    ,this didn't happen and could 
not have happened when they were        

photographed because the temporary      
uncovering began and was continued at   
more than one place at the same time    
without knowing how many sculptures     
there would be found4 ,they have been   
marked on the clichs with capital       
letters for the different panels1 and   
with figures for the scenes of  each    
panel 7from #a till #f or #a till #h71  
but these numbers have been             
occasionally noticed in a just          
direction1 and from time to time in a   
reversed successive number4 ,on a few   
copies we don't see any letter and      
number2 they may have been cut off with 
the margin of papier4    ,fortunately1  
the figures in lead pencil on the       
back-side could assist  me1 though they 
sometimes started from quite a wrong    
point4    ,the ,dutch ,government       
ordered #ae pair of photos to be taken  
from these  clichs1 and presented them  
to special musea or societies4 ,i1 the  
schemer of the plan1 do not belong to   
the favoured4 ,but the afterwards       

wrecked ,archaeological ,society did1   
notwithstanding ,i1 her president1  sent
 this plan to the ,government for about 
#be years ago#hb4    ,those who desire  
to examine these photos will find here  
the letters and  figures in the just    
successive number of the sculptures to  
begin with  ,c #a south of the eastern  
staircase4      ,c1 #a1 #b1 #c1 #d1 #e  
and #f2    ,b1 #a1 #b1 #c1 #d1 #e1 #f1  
#g and #h2    ,a1 #a1 #b1 #c1 #d1 #e and
 #f2    ,u1 #f1 #e1 #d1 #c1 #b and #a2  
,t1 #h1 #g1 #f1 #e1 #d1 #c1 #b and #a2  
,s1 #f1 #e1 #d1 #c1 #b and #a2    ,s1   
#a1 #b1 #c1 #d1 #e and #f2    ,r1 #a1   
#b1 #c1 #d1 #e1 #f1 #g and #h2    ,q1   
#a1 #b1 #c1 #d1 #e and #f2    ,p1 #f1   
#e1 #d1 #c1 #b and #a2    ,o1 #h1 #g1   
#f1 #e1 #d1 #c1 #b and #a2    ,n1 #f1   
#e1 #d1 #c1 #b and #a2    ,n1 #a1 #b1   
#c1 #d1 #e and #f2    ,m1 #a1 #b1 #c1   
#d1 #e1 #f1 #g and #h2    ,l1 #a1 #b1   
#c1 #d1 #e and #f2    ,k1 #f1 #e1 #d1   
#c1 #b and #a2    ,i1 #h1 #g1 #f1 #e1   
#d1 #c1 #b and #a2    ,h1 #f1 #e1 #d1   

#c1 #b and #a2    ,h1 #a1 #b1 #c1 #d1 #e
 and #f2    ,g1 #a1 #b1 #c1 #d1 #e1 #f1 
#g and #h2    ,f1 #a1 #b1 #c1 #d1 #e and
 #f2    ,e1 #f1 #e1 #d1 #c1 #b and #a2  
,d1 #h1 #g1 #f1 #e1 #d1 #c1 #b and #a2  
,c1 #f1 #e1 #d1 #c1 #b and #a2    ,six  
of these #afj sculptures are badly      
damaged whilst one of them is  wholly   
lost4 7,r4 #e74 ,seven have less        
suffered4 ,twenty representations       
remained partially unfinished 7,c #c and
 #d1 ,b #g1 ,a #b1 ,u #d1 ,s #a1 ,o #g1 
,n #e1  ,m #b1 ,k #d and #c1 ,h #b1 ,h  
#a1 ,g #d and #h1 ,f #b1 #d and #f1 ,d  
#c and ,c #d74  ,partly finished but for
 the rest not yet drawn in the rough are
 #c  scenes 7,h #a1 ,f1 and ,d #d7      
whereas one 7,i #a7 has been scarcely   
sketched4    ,on the flat frame above   
the series we see a few short           
indications  engraved in                
ancient-javanese characters--dating1    
according to professor  ,kern1 from     
about the year #hjj of the              
,syaka-era1--roughly hewed and in a     

perfunctory manner1 as if it were       
scratched in stone with a knife or a    
chisel1 that is1 above ,h #a1 #b1 #c and
 #d 7twice72 #e 7bis7 and #f 7bis72 ,f  
#a1 #d1 and #e2 ,e #f and #e2 ,d #h1 #f 
7bis71 #e 7bis71 #d1 #c and #a 7bis7#hc4
    ,some of these legends are no more  
or hardly to be read but the other  ones
 read by ,dr4 ,j4 ,brandes don't teach  
us any more than that which we  may     
understand by closely examining the     
representations themselves1 for         
instance1 that the smbah of the persons 
seated around a tomb or  sanctuary      
refers to a reverence to a tyaitya#hd4  
,some inscriptions may contain the name 
of the person to be hewed1 and to       
assist the sculptor4    ,the unfinished 
and scarcely sketched sculptures prove  
us that they1 such  as on other tyanis  
at ,parambanan1 have been hardly hewed  
here on  the walls of the finished      
temples4      ,in these sculptures ,i   
could not have recognised any continuous
 series4  ,among many a domestic and    

some rural scenes ,i saw two or three   
fowlings  with a pea-shooter or bow and 
arrow 7,m #e and #c71 and one fishing   
7,i #f72  one war-dance 7,c #e7 and some
 other dancings on the occasion of which
 a  wind-instrument provided with a     
bagpipe 7,s #b and ,r4 #ag7 was played  
on4  ,further there are offerings of    
food or flowers to ,bodhisattvas or     
other  venerable personalities1 and once
 to the ,dhyni-,buddha ,amitbha1 the    
,redeemer of this world 7,k #c71 by six 
crowned men and to be distinguished  by 
their glories 7,bodhisattvas perhaps87  
,on one sculpture 7,k #b7 ,amitbha 787  
has been four times represented as  an  
ascetic in the wilderness4 ,sometimes   
there are hewed demons or  raksyasas1   
most often attacking or killing other   
people 7,m #b1 #c1 #f1 #g  and #h72     
tyaityas are to be seen more than once  
7,u #c1 ,t #f1 #d and #c1 ,k  #d1 ,g #f1
 ,f #f1 ,e #f1 ,d #h1 #f and #c1 and ,c 
#f74 ,bodhi-trees covered by  payongs   
and some gandharvas under their shade1  

such as to be found  more than once in  
the ,parambanan ruins and speaking of   
,buddhism even  there1 have been hewed  
five times 7,k #f1 ,g #d1 ,f #c 7bis7 ,e
 #d and ,c #f71  and once with a payong 
only 7,d #a74 ,vishnu's tyakra has been 
once  represented on a lotus-cushion in 
the sky 7,c #b74                        
,concluding word4      ,in a small      
compass ,i suppose to have mentioned all
 that may be discussed  about the three 
buddhistic monuments speaking in this   
valley1 on the  two banks of the river  
,prg1 of a former high civilisation and 
of a  very developed art4    ,those who 
require1 or desire1 a better insight    
into the ancient  ,buddhism1 and those  
who wish to know more about its         
sanctuaries to be  found here in ,java  
and elsewhere in ,india1 are kindly     
referred to the  works ,i consulted by  
the study of this subject1 and to those 
,i wrote  myself and which have been for
 the greater part mentioned in or at the
  bottom of the text of this little     

book4    ,granting ,buddhism to have    
been lost in ,java and elsewhere in     
,india1--yet1  it still exists1 more or 
less degenerated1 still counting more   
followers  than any other religion ever 
counted1 and its lucky freedom from     
bigotry1 especially in the hnaynistic   
countries1 and noble doctrine of  love  
and self-command is raised above all    
suspicion#he4      ,jogjakart1 ,october1
 ,november #aijf1 and #aiaa4            
,,footnotes4      #a,see1 among others1 
,h4 ,kern's 8,geschiedenis van het      
,boeddhisme01 ,,ii1      page #cjh and  
following ones1 and ,dr4 ,s4 ,lefman's  
8,geschichte des      alten ,indins01   
,berlin #ahhj1 page #gfh and following  
ones1 and the      engravings on page   
#gfi and the picture 8,der ,aokafelsen  
van      ,girnaroden ,jungadh im ,jahre 
#ahfi01 in the #c;d number of this work 
opposite to page #beg4    #b,see my     
illustrated work published in #ahic by  
8het ,koninklijk      ,instituut voor de
 ,taal-1 ,land- en ,volkenkunde van ,n4 

,i40 entitled3      8,tyani ,parambanan 
na de ontgraving0 and therein the       
photo's of      many deities represented
 as ,bodhisatthvas1 and my              
8,boeddhistische      tempel- en        
klooster-bouwvallen in de               
,parambanan-vlakte04 ,surabaya          
#aijg4    #c;,in the ,buddha pagodae ,i 
visited in ,ceylon1 at ,colombo and its 
environs1 ,i saw badly hewn or coloured 
images of ,shiva and of      ,ganesja4  
,the monks called these images the      
representations of      ,buddha4        
#d,see the ,english translation of his  
8,record of the ,buddhist ,religion     
as practised in ,india and the ,malay   
,archipelago 7,a4 ,d4 #fga-fie70 by     
the ,japanese scholar ,i ,takakusu41    
provided with a preface of prof         
,max ,mller and published by the        
,clarendon press at ,oxford in #ahif4   
,pages ,,xxii1 ,,xxv1 ,,xxxix and       
,,xlviii of the 8,general               
,introduction40    #e;,in a temple at   
,kandy in ,ceylon is kept a tooth which1

 though of      animal origin1 took the 
place of a former so-called             
,buddha-tooth      which has been       
destroyed by fire4 ,this tooth1 named   
,dalada1 is      taken care of1 and     
honoured too4 ,and the holiest pagoda in
 this      island1 the ,thuparama1      
possesses one of ,buddha's clavicles1   
according to the assertion of its       
believers certainly with as much        
right as the ,catholic ,christians      
maintain the genuineness of many a      
relic of ,jesus and the apostles4       
#f;,even the ashes of other saints1     
princes and noble men1 of gurus or      
teachers1 of priests or monks1 were     
occasionally put away in such           
graves upon which arose the glorious    
mausolea the ruins of which we          
still admire at this day4    #g;,it     
won't do maintaining that these dagobs  
should have been formed      after the  
lotus1 the holy padma1 and that its     
openings in the      transparent dagobs 
on the round terraces above the ,brbudur

 must      represent the empty          
seed-holes of the nursery of the ripe   
lotus4 ,the      leaves of a lotus      
7,nelumbium speciosum ,willd7 fall off  
before      bending downward1 and then  
the pericarp only remains on its stem   
like a urned cone or cupola whose flat1 
uprighted and afterwards1      by the   
sagging of the withering stem1          
downrighted base has been      stung by 
the seed-holes4 ,not the bell-shaped    
sides1 for they      remain closed4 ,so 
these openings must have quite another  
sense than      the one derived from the
 natural form of the lotus-plant4       
,only the red lotus1 the ,nelumbium     
speciosum referring to all      this1   
and recognisable by its peduncles and   
leaf stalks rising high      above the  
water1 has been frequently represented  
on ,hindu temples4      ,but not the    
white lotus1 the ,nymphae ,lotus ,linn41
 the leaves and      flowers of which   
are floating on the surface of the      
water4    #h,professor ,kern wrote to me

 that the alphabetical writing of the   
inscriptions we see on some             
demi-relievoes on the outer-walls should
      date from the year #hjj1 or       
thereabouts1 of the ,shaka era1 thus our
      ninth century4 ,and this rather   
corresponds to the age of the           
,buddha temples in the plain of         
,parambanan4 ,does not a stone of one   
of these tyanis testify to this temple's
 having been built in the      year #gja
 of the shaka era1 and dedicated to the 
service of ,tr      in honour of the    
prince's guru or teacher1 who may have  
been      buried there8 ,and in the year
 #dae the ,chinese ,buddhist1 ,fa ,hien1
      when in ,java1 came across many a 
brahmin ,hindu4 ,he didn't speak        
about ,buddhists1 but this circumstance 
alone does not prove his not      having
 met co-religionists1 nor does it       
produce any evidence of      their      
non-existence in the interior of ,java  
he didn't visit      probably4 ,i ,tsing
 see note says that the inhabitants of  

,java and      of the other islands of  
the ,archipelago principally embraced   
,hnaynism4 8,buddhism was 444 chiefly   
the ,hnayna0 7page ,,xlvii71      and   
8the ten or more islands of the         
,southern ,sea 7,sumatra1      ,java    
etc47 generally belong to the ,hnayna40 
7page ,,xxx74 ,such      happened in our
 seventh century4    #i,see his essay   
about ,aymonier's3 8,le ,cambodge01 ,i1 
written in the      8,bulletin de       
l',ecole franaise d',extrme-,orient01   
,,ii1 page #hc note      #d4            
#aj;,attap means palm-fronds used for   
thatch by the ,javanese                 
7,chambers74        ,the scaffolding has
 been removed since1 and the stone roof 
was      rebuilt by the major engineer  
,van ,erp4 #aiaa4    #aa,this prabha has
 been also restored4 #aiaa4    #ab,the  
heavy colonnades of which will be       
sacrificed to the swelling      waters  
of the river ,nile4 ,but they are doomed
 to destruction because      this stream
 must vivify the rainless country4      

#ac;,i1 number #c1 p4 #bdi and ,,ii1    
number #a1 p4 #bj and #cj4              
#ad8,oudheidkundige ,aanteekeningen0    
,,iv1 p4 #ei and #fj4    #ae,this cone's
 top has been removed again because of  
,mr4 van ,erp's      having been unable 
to prove his reproduction of this cone  
with its      umbrellas to be           
incontestably true4    #af,this idea of 
mine about the graduation of the        
,brbudur's origin is      given as a    
questionable hypothesis4 ,however great 
the consequences      were1 we can not  
know until we have compared the         
alto-relievoes of      these and other  
,javanese ,hindu-temples with the       
artless      wall-paintings ,i saw in   
the ,ceylon pagodae4    #ag;,buddha     
himself thought it useless to pray1 but 
the ,buddhists of      later times      
prayed however1 but didn't worship the  
images      themselves4 ,the            
,chinese--very degenerated              
,buddhists--light their pipes      on   
the flames of the consecrated waxcandles

 burning on the altar1      and consider
 this no sacrilege4    #ah;,according to
 ,rhys ,davids's work1 nirvna means the 
state of      holiness which ripes man  
for death without regeneration1 the     
so-called parinirvna4 ,but the          
signification of nirvna itself          
differs in proportion to time and caste4
    #ai,this superstratum is about #b1e 
yard high and #g yards wide4 ,the lower 
terrace on the outside was about #c     
yards wider1 and #a yard high4          
,these numbers are nearly just and      
sufficient enough to my purpose4        
#bj;,at that time ,i could not have     
thought of a permanent uncovering1      
because the preservation of the whole   
ruin would have required                
retain-walls too expensive1 and too much
 disfiguring the temple      itself4    
,the architect van de ,kamer thought it 
afterwards possible1      but expensive1
 to have the ruin restored again1 and   
its original      foot permanently      
uncovered4 ,sunlight1 heat and          

rain-water however1      would do much  
to its decay unless the ruin itself     
became wholly      covered4 ,otherwise  
the time-worn joints becoming more and  
more wide      would admit much more    
rain-water between the stones into the  
earth      of the hill under the ruin1  
and this earth would then be carried    
away more rapidly than is the case now1 
and have the ruin spoilt and            
decayed4    #ba;,above the first        
discovered imageries of the foot we     
found      inscriptions in ancient      
,javanese characters scratched in stone4
 ,on      this ground the ,society1     
presided by myself1 proposed the ,dutch 
,government to have the whole temple's  
foot uncovered 7in the only      way    
possible7 without endangering the foot  
itself1 whilst the cost      was        
estimated at  #gfh4 ,the ,government put
 up with it1 and granted      the       
necessary sum for the budget of #ahij4  
#bb;,as well as so many angels painted  
by our artists don't always             

represent a ,gabriel1 a ,raphael or a   
,michael4    #bc;,bulletin de l'cole    
franaise d',extrme ,orient1 ,i1 ,no3 #a 
page      #ba-bb4    #bd;,both this ,nga
 and ,garua are mythical beings who     
adopt different      shapes4            
,on the lower        wall   #d  #bf     
#ajd          on the second         0   
#d  #bf  #ajd          on the third     
0    #d  #bb   #hh          on the      
fourth         0    #d  #ah   #gb       
and on the fifth      0    #d  #af   #fd
          together                      
#dcb    #bf,the first effort to         
interpret this series we owe to the     
,austrian      draughtsman in           
,netherlands-,indian civil service ,f4  
,c4 ,wilsen4    #bg,we shall afterwards 
speak about these former lives or       
jtakas4 ,it      was ,mr4 ,foucher who  
afterwards expounded many               
representations1 and      after him1 van
 ,erp also explained another few ones4  
#bh;,if we don't count those on the     
front sides of the more than #djj       

small dagobs1 we see there3             
,on the outer-wall1    above            
#djh          0   0   0   0             
below                   #afj          on
 the front-wall of the first gallery    
#efh          on the back-wall          
#bdj          on the second gallery in  
front                #aib          0   0
   0   0         behind                 
#ajh          third gallery1        in  
front                #afe          0   0
                 behind                 
#hh          fourth gallery1       in   
front                #adb          0   0
                 behind                 
#gj          altogether                 
#bada    #bi,the relation of this fact  
with the apparent course of the sun to  
the      inhabitants of the northern    
hemisphere in which ,farther ,india1 and
      ,hindostan are situated1 was1 thus
 far1 shown by nobody before me 7in     
#ahhg74 ,still it is an important fact  
to those who believe the ,buddha      a 
sun-god4    #cj,of ,north-,india where  

,buddhism first arose4                  
#ca,pratyeka-,buddhas are believers     
raised by their own consummating to     
the dignity of a ,buddha2 they have1    
however1 no right to teach or           
redeem other people4    #cb,one of these
 servants massages her like the         
,javanese still do      7pidjt72 another
 fans her or chases away annoying flies 
and      gnats4    #cc;,i think it      
permitted to show the relation there is 
between this      representation1 and   
the placing of the five ,dhyni-,buddhas 
we see      on the highest 7round7      
terraces1 opposite to the zenith1 and   
upon      the encircling walls opposite 
to the four zones of heaven4    #cd;,dr4
 ,leemans thought he saw in this        
crescent of the moon the tips of      a 
headkerchief4 ,had he seen the          
sculptures himself he would not have    
been mistaken in such a way4 ,siddhrta  
wears a crown 7makuta71 and      this   
doesn't match the headkerchief1 neither 
does the ,javanese      kuluq or        

ceremonial cap4 ,such crescents of the  
moon are also      weared by ,hrit's and
 ,kuvera's children on the two          
sculptures      before the entrance of  
tyani ,mndut1 but without headkerchiefs4
        ,kern says that ,buddha means   
both the awaking of the sun and of the  
moon and that the two celestial bodies  
also refer to ,buddha on the      other 
sculptures of the ,brbudur4 ,had the    
,dutch ,government sent      ,leemans to
 ,java1 before he wrote his work1 he    
should not have taken      a snt-leaf   
7,alocasia macrorrhiza ,schott1 an      
,arodee      consequently7 for a        
banana-leaf 7,musa ,l417 but he should  
then have      seen how even this leaf  
is still used by the ,javanese as a     
provisional umbrella1 and he should have
 understood why in former      times it 
was carried as ampilan after the saints 
and princes1 just      as the cow's hair
 fly-fan4 7tjemara74    #ce,occasionally
 called ,gopa4 ,some people say these   
are the names of two      women1 and as 

the #deth sculpture 7#ajg ,w4 ,l47      
represents him enjoying      his        
domestic happiness the schemer should   
then have thought of two      women4    
,ceylon writers know to tell us that    
#ajjj men could not bend      this bow1 
and that the blow of its string was     
heard at a distance of      #gjjj miles4
 ,this bowshot which enabled him to gain
 his bride's hand      has been also    
mentioned in other legends--it was once 
awarded to      ,rma in the ,ramyna1 and
 to ,arjuna in the ,mahbhrata4 ,in      
,homeros' ,odyssea ,penelope's lovers   
vainly try to do the same with          
,odysseus' bow upon which all were      
convinced by his mastershot1 and        
killed4    #cf,the evil spirit had no   
authority over the fifth part of the    
world1      the zenith4                 
#cg;,according to other people muni     
means an anchoret or ascetic4           
#ch,leemans calls him ,arala ,kalama4   
#ci;,in ,leeman's work ,rudra4          
#dj,the ,javanese would now say griy rj1

 that is1 royal house4    #da,who these 
#e apostles were in former lives another
 series of      sculptures on the front 
wall of this gallery will teach us4     
#db,on one of the sculptures at         
,parambanan we see the death of king    
,dasyaratha1 ,rama's father1 represented
 in almost the same manner4    #dc;,in  
8de ,indische ,gids0 of #ahhg4          
#dd,the writings of the ,mahynists have 
been written in sanscrit1      those of 
the ,hnaynists generally in the pli     
language4    #de,speyer and other       
sanscrit scholars write3 ,jtaka         
according to an      acknowledged manner
 of writing which replaces the ,dutch dj
 by the      j1 the j1 by the y1 the tj 
by c4 ,because ,i also write for        
laymen who don't know this writing ,i   
try to do my best to replace      these 
consonants by our own1 and therefore    
write tyakra and      tyaitya instead of
 cakra and caitya what would seduce many
 a      one to say kakra and kaitya4 ,in
 ,english of course1 we write j         

instead of the ,dutch dj4               
#df;,engraving ,,cxxxviii and following 
ones4    #dg;,by the ,dutch called3 8the
 little man in the moon40 ,about such   
another jtaka1 explained by ,van ,erp1  
look at the bottom of this      page4   
#dh,see above1 the sculptures #gc1 #gg1 
#gh and #aag4    #di,this happens more  
amongst the jtakas4    #ej,like anywhere
 we also see here the red ,nelumbium    
speciosum hewn as      a lotus plant    
with its leaves and flower rising above 
the water2 but      not the white       
,nymphaea ,lotus the leaves and flowers 
of which are      driving on the surface
 of the water4    #ea,the eternal hell  
of the ,christians as a punishment for  
temporary      sin the ,buddhists don't 
know4    #eb,see ,w4 ,l41 #aba1 #abc and
 #abe of the upper series of the        
back-wall4    #ec;,in ,mr4 ,a4          
,tissandier's work 8,cambodge et ,java0 
published by ,mason      at ,paris in   
#ahif1 we find opposite page #abd a good
 engraving of this      last sculpture  

7picture ,,xxviii72 but the author1 who 
even dares      maintain that this whole
 series has nothing to do with          
,buddhism1      says that it represents 
a young1 richly diademed ,hindu         
worshipping      the bull 7the nandi7 of
 ,shiva6 ,by so much ignorance          
,tissandier      blames his work1 and   
444 himself4 ,striving we may err1 but  
let us at      any case strive after    
science within reach4    #ed;,i thought 
we should not think here of the mythical
 subterranean      serpents1 but of a   
likewise called and fabulous tribe4     
,but ,mr4 ,foucher didn't agree with me4
 ,the ngas1 he said1 are      generally 
hewn as serpents1 but often as men with 
snaky hair4    #ee;,in the 8,bijdragen  
van 't ,koninklijk ,instituut0 of #aijg4
    #ef,those who desire to know more   
about the deeper1 mythical sense of     
these jtakas are kindly referred to     
professor ,speyer's essay or      my    
8,een karma-legende0 provided with #f   
photo's of the photographer      ,a4    

,winter1 published by the firm ,h4 van  
,ingen at ,surabaya4    #eg,see at the  
bottom of this page4    #eh,the ,jtakaml
 ,v1 #ae1 tells us that the clouds      
8weeped like      water-jars turned     
about40    #ei,see my above mentioned   
8,karma legende04    #fj,the            
difficulties we meet by placing the     
camera in the narrow space      there is
 between the front and back-walls of the
 galleries have not      yet been wholly
 obviated4 ,yet1 it would be advisable  
to do what has      turned out to be    
possible before that the sculptures     
should be lost      for ever4    #fa;,in
 the ,ceylon pagoda at ,kelany ,i saw   
the ,buddhists perform the      smbah in
 the very same manner as done by the    
,javanese1 and      ,siam's king and    
queen when on the ,brbudur and in tyani 
,mndut1 and in the same manner ,i saw   
this mark of veneration hewn      on all
 the buddhistic imageries known to me4  
,perhaps1 it was the      ,buddhists who
 once introduced this smbah in ,java4   

#fb,see my illustrated work 8,in den    
,kdaton te ,jogjkart0 published      in 
#ahhh by ,e4 ,j4 ,brill at ,leyden1     
picture ,,ii1 and the ,i,xth4      photo
 of my illustrated work 8,de garbgs te  
,jogjkart0      7published by the       
8,royal ,institute0 in #ahie74          
#fc;,at ,parambanan and ,plahosan we    
already knew these deities to be        
,bodhisattvas4 7,see my above mentioned 
works3 8,tyani ,parambanan      na de   
ontgraving0 and 8,boeddhistische        
tempel-en kloosterbouwvallen      in de 
,parambanan vlakte047        ,some time 
before the digging up of ,parambanan    
,mr4 ,groeneveldt      wrote to me3     
8,the theory as if these sculptures     
should represent      known princes we  
must give up40        iva was one of the
 lokivaras of the ,buddha-pantheon1 and 
we know      even other brahmin deities 
to have been admitted into this4 ,such  
is      also the case with the holy     
queens of ,leemans' work who are ,trs   
or aktis 7wives or powers of deities74  

#fd,till #ahif ,i also thought that     
these small ,buddha images1 we see in   
the crown1 characterised the wearers as 
,bodhisattvas1 that is1 the             
,bodhisattvas of the ,dhyni-,buddhas    
whose small images were hewn in      the
 crowns4 ,the king of ,siam denied this4
 ,because of his being a      buddhistic
 prince himself he also wore such small 
images in his      crown4 ,moreover1 ,i 
never saw another image in these crowns1
 except      the one with the two hands 
in his lap1 which is to signify the     
mudr dhyna or meditation1 a posture the 
,mahynists gave to the      fourth      
,dhyni-,buddha1 ,amitbha1 the ,redeemer 
of this world4 ,if      now these small 
images were to characterise             
,dhyni-,bodhisattvas1      why1 another 
,bodhisattva but ,padmapni the fourth1  
would have been      never hewn4        
,should they refer to buddhistic princes
 it then may be easily      imagined    
that they never referred to another     
,buddha but the one of      this their  

world4 ,on undeniable images these small
 ones therefore      only point to the  
buddhistic character the northern church
      adjudicated to these deities4     
#fe,the crescent of the moon ,leemans   
ascribes to this sculpture we      don't
 see anywhere1 but is to be perceived on
 the preceding one1      #aje4    #ff,on
 the fourteenth sculpture on the        
front-wall of this gallery the      sun 
and moon have been sculptured with seven
 stars 7planets874                      
#fg8,oudheidkundige aanteekeningen0     
,,iv1 p4 #ee-eh4    #fh8,oudheidkundige 
,aanteekeningen0 ,i and ,,ii4           
#fi;,dr4 ,vogel doesn't come4           
,but ,i also do expect very much from   
the younger sanskritic scholar1         
,dr4 ,n4 ,j4 ,krom1 the appointed       
president of the 8,oudheidkundige       
,kommissie0 whose acquaintance ,i've    
made to my great satisfaction4          
,later note1 ,october #cth #aiaj4       
#gj;,i don't know how it must have been 
possible for von ,saher to see          

linggas and yonis in these buddhistic   
produce of art4 ,buddhism      doesn't  
know any lingga- or yoni-worship4 ,see  
his 8,versierende      kunsten in ,ned3 
,oost-,indi01 p4 #ae1 #ah1 #ba and #fd4 
#ga,when the sky is not overclouded we  
see from this point #i volcanoes        
with the exception of the ,sindr and    
,diyng which hid      themselves behind 
the ,sumbing-giant4 ,this old volcano   
still rises      #cccf ,metres above    
sea-level1 the ,mrbabu and ,sindr 7or   
,sndr7 reach a height of #cade ,metres1 
the ,mrapi #bhge ,metres1      the far1 
not always visible ,slamt #cdgb ,metres2
 the adjacent      neptunian ,mnoreh 7or
 ,minoreh7 doesn't reach more than #ajjj
      ,metres4        ,never shall ,i   
forget the first night ,i partly spent  
on this full      moon lit spot1 a death
 past under1 and over me the immortal   
light4      ,this happened more than #cg
 years ago4    #gb,the last mentioned   
estimation of name ,i got from a former 
,maglang      regent1 now called haji or

 kaji ,danu ning ,rat4 ,the ,javanese   
generally wrote and write budd1 in      
,javanese characters3 ,javanese         
script    #gc;,according to ,kern the   
word rn means a symbol of both the sun  
and lightning4    #gd;,a young          
,dutchman1 whom ,i met in #ahih in the  
,brbudur's      pasanggrahan1 thought he
 saw a mutual difference in the posture 
of      the hands of these #gb          
dagob-,buddhas4 ,this difference really 
exists1      but only in the manner in  
which the different sculptors           
interpreted      the positively meant   
posture of the two hands4        ,this  
very same difference in the execution of
 one and the same task      is also to  
be seen on other ,buddha images4 ,should
 it have another      meaning the thesis
 that these sculptures are to represent 
the      different five ,dhyni-,buddhas 
would then be frustrated1 because       
there would be much more than five1     
indeed4        ,the man appealed to the 
official draughtsman accompanying him1  

an      absolutely unscientific fellow4 
#ge,the other objects were a little     
metal vase with cover--formerly         
containing some ashes1 perhaps--2 some  
ancient javanese coins and      another 
small metal image4 ,in the pits of other
 tyanis in ,java we      also found     
stone urns with ashes1 and coins or     
other objects of      precious metal1   
and some coloured precious stones which 
were given      to the dead in their    
graves1 and symbolically representing   
the      sapta ratna or seven treasures4
 ,see my 8,boeddhistische tempel-       
en klooster-bouwvallen in de            
,parambanan-vlakte0 and my 8,tjani      
,idjo0 in the 8,tijdschrift v4 ,ind4    
,t41 ,l4 en ,v4 ,k40 published in       
#ahhh4    #gf,out of the six ,buddhas of
 the ,brbudur we don't see any trace of 
a      sixth ,buddha such as we found in
 a different form at ,nipl3             
four-armed1 in a mythical dress1 crowned
 and provided with peculiar             
attributes4    #gg,see my 8,een         

,boeddhisten-koning op den ,brbudur0    
appeared in 8het      ,tijdschrift van  
,indische ,taal-1 ,land- en             
,volkenkunde0 of #ahif1 and      the    
manuscript of the interpreting second   
part1 not published by the      editors1
 but of which ,i afterwards sent a copy 
to professor ,kern      and other       
learned men4    #gh,on the              
twenty-seventh sculpture 7,w4 ,l4 #ec74 
#gi;,i for me don't know any analogue of
 these three groups though they      may
 exist elsewhere in the mainland1 so    
that this explanation of      mine will 
be a questionable thesis only4          
#hj,see ,oldfield's 8,sketches from     
,nipal0 p4 #ij and #aeg and the         
pictures opposite p4 #bai and #bfj of   
the second volume4    #ha,see my        
apologetics mentioned in ,,vi note #ad  
and my 8,oudheidkundige                 
,aanteekeningen01 ,i4    #hb,notes of   
the 8,kon4 ,instituut0 7,royal          
,institute7 from #ahhg1 p4 ,,xciv       
and following ones4    #hc;,g #e has    

been wrongly marked with #f1 just as the
 following one has      been numbered ,g
 #f4    #hd;,each dagob is a tyaitya1   
but not each tyaitya is a dagob4        
,this word is only given to the         
depositary of one or more than one      
relic4 ,see ,kern's 8,geschiedenis van  
het ,boeddhisme in ,indi01 ,,ii      p4 
#aci and following ones4        ,in the 
same manner ,i saw ,ceylon ,buddhists   
render due homage to the      dagob at  
,kelany4    #he;,i'm not a ,buddhist    
myself though ,i highly esteem the      
undegenerate      ,buddhism of the      
southern church4                        
,,errata4        p4 #ae line #c from    
bottom3 ground instead of groud4    p4  
#cj note #bb line #a from top3 as well  
instead of as weil4    p4 #ch line #g   
from bottom to be read3 the knot of hair
 on his crest1            with the      
lotus-cushion and disc of the sun       
worshipped by            princes and    
inferior people1 by priests etc4    p4  
#fj line #ag from top3 but instead of   

bu4                                     
,transcriber's ,notes      --,silently  
corrected a few typos1 including listed 
errata4    --,retained publication      
information from the printed edition3   
this e,book    is public-domain in the  
country of publication4    --,in the    
text versions only1 text in italics is  
delimited by    underscores4