There are no internal cell shrines, and the terraces are solid; Borobudur is thus a Buddhist stupa in the Indian sense. Each of the square terraces is enclosed in a high wall with pavilions and niches along the whole perimeter, which prevents the visitor on one level from seeing into any of the other levels. All of these terraces are lined with relief sculptures, and the niches contain Buddha figures. The top three circular terraces are open and unwalled, and the 72 lesser, bell-shaped stupas they support are of open stone latticework; inside each was a huge stone Buddha figure. The convex contour of the whole monument is steepest near the ground, flattening as it reaches the summit. The bottom plinth, the processional path, was the major

afterthought. It consists of a massive heap of stone pressed up against the original bottom story of the designed structure, so that it obscures an entire series of reliefs--a few of which have been uncovered in modern times. It was probably added to hold together the bottom story, which began to spread under the pressure of the immense weight of earth and stone accumulated above.

The whole building symbolizes a Buddhist transition from the lowest manifestations of reality at the base, through a series of regions representing psychological states, toward the ultimate condition of spiritual enlightenment at the summit. The unity of the monument effectively proclaims the unity of the cosmos permeated by the light of truth. The visitor was meant to be transformed as he climbed through the levels of Borobudur, encountering illustrations of progressively more profound doctrines the nearer he came to the summit. The topmost terrace, whose main stupa contained an unfinished image of Buddha that was hidden from the spectator's view, symbolized the indefinable ultimate spiritual state. The 72 openwork stupas on the circular terraces, with their barely visible internal Buddhas, symbolize incomplete states of enlightenment on the borders of manifestation. The usual way for a pilgrim to pay reverence to a Buddhist stupa is to walk around it, keeping it on his right hand. The vast series of reliefs about three feet (one metre) high on the exterior walls of the terraces would thus be read by the visitor in series from right to left. Between the reliefs are decorative scroll panels, and a hundred monster-head waterspouts carry off the tropical rainwater. The gates on the stairways between terraces are of the standard Indonesian type, with the face of the Kala monster at the apex, vomiting his scrolls.

The reliefs of the lowest level illustrate scenes that show the causal workings of good and bad deeds through successive reincarnations. They show, for example, how those who hunt, kill, and cook living creatures such as tortoises and fish are themselves cooked in hells or die as children in their next life. They show how foolish people waste their time at entertainments. From these scenes of everyday life, one moves to the terraces above, where the subject matter becomes more profound and metaphysical. It illustrates important Mahayana texts dealing with the self-discovery and education of the bodhisattva, conceived as being possessed by compassion for and devoted wholly to the salvation of all creatures. The reliefs on the uppermost terraces gradually become more static. The sensuous roundness of the forms of the figures is not abated; but, in the design, great emphasis is laid upon horizontals and verticals and upon static, formal enclosures of repeated figures and gestures. At the summit all movement disappears, and the design is entirely subordinated to the circle enclosing the stupa.

The iconography of Borobudur suggests that the legend of the royal bodhisattva recounted in many of the reliefs was meant to "authenticate" some king or dynasty. Yet it hardly seems possible that Borobudur was the focus of a specific royal cult, as there is no provision at all for the performance of royal ritual. It must have been, then, in some sense a monument for the whole people, the focus for their religion and life, and a perpetual reminder of the doctrines of their religion.

A considerable number of bronzes, some small, some large, have been found in Indonesia in a style close to that of the sculptures of Borobudur and Mendut. One fine, large standing image comes from Kotabangun in Borneo; but some come from Java. Many small cult images of the Buddha and Buddhist deities exist. Some are close in type to the early Pala images of Indian Bihar, the homeland of Buddhism, with which the Javanese must have maintained close touch. A few small but extremely fine gold figurines of undoubted Javanese workmanship have also turned up. For all their small size they must rate as first-class works of art. As well as images there are many beautiful bronze ceremonial objects, such as lamps, trays, and bells. These objects are decorated with the same kinds of ornament, although on a miniature scale, as the architectural monuments: scrolled leaves, swags, and bands of jewels.

Post-Borobudur tjandis

Post-Borobudur tjandis illustrate the Buddhist doctrine in different ways. Kalasan, for example, built in the second half of the 8th century, was a large, square shrine on a plinth, with projecting porticoes at the centre of each face. The roof was surmounted by a high circular stupa mounted on an octagonal drum, the faces of which bear reliefs of divinities. Topping each portico was a group of five small stupas, and another large stupa stood at each disengaged corner of the main shrine. The moldings were restrained and elegantly profiled. Each section of the exterior wall contains a niche meant for a figure sculpture. The decorative scroll carving is especially fine.

Another shrine from this period, Tjandi Sewu, consisted of a large cruciform shrine surrounded by smaller temples, only one of which has been restored. All of the temples seem to have had roofs in the form of tiered stupas, compressing the overall Borobudur scheme into the scope of a storied shrine tower. From Tjandi Plaosan came many beautiful sculptures, donor figures, and iconic images of bodhisattvas.

Perhaps the most interesting of the post-Borobudur Buddhist shrines of the 9th century is Tjandi Sari. It is an outstanding architectural invention. From the outside it appears as a large, rectangular, three-storied block, with the main entrance piercing the centre of one of the longer sides. The third story stands above a substantial architrave with horizontal moldings and antefixes. Two windows on each short side, three on each long, open into each story, though at the rear they are blind. The windows are crowned by large antefix-like cartouches of ornamental carving based on curvilinear pavilions hung with strings of gems. The uppermost windows are hooded with the Kala-monster motif. The roof bears rows of small stupas, and perhaps there was once a large central stupa. Inside, Tjandi Sari contains a processional corridor around three interior shrines that were possibly intended for images of the garbha-dhatu deities, as at Tjandi Mendut.

The last great monument of the central Javanese period, Lara Jonggrang at Prambanan, is indeed a colossal work, rivalling Borobudur. It was probably built soon after 900. Not Buddhist but Hindu, the shrine represents the cosmic mountain. There were originally 232 temples incorporated into the design. The plan was centred on a square court with four gates containing the eight principal temples. Facing east, the central and largest temple, some 120 feet (40 metres) high, was devoted to the image of Siva. To the north and south it is flanked by slightly smaller temples devoted to the two other members of the Hindu trinity, Vishnu and Brahma. The smaller shrines contained many subsidiary images. The whole complex was enclosed, far off-centre, in an extremely large walled courtyard.

Although these are Hindu buildings, their high-terraced shrine roofs bear tiers of elongated and gadrooned stupas. The reliefs on these structures are especially beautiful. One series, representing the guardians of the directions, integrates the ornamental motifs with the plastic forms of the bodies in a most original way. The balustrades and inset panels abound with lively reliefs portraying various deities or scenes taken from the great Hindu classics, especially the Ramayana.