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RATU BAKA TEMPLE
The Ratu Baka Temple is located on top of a hill, South of Prambanan Temple, Bokohardjo District. In 1 790, van Boeckhots reported the finding of an ancient remains in Ratu Baka high plains which had been a homestead of a King. The study on this area began in 1938 by Bosch, Krom and Stutterheim. Their study was restricted to site description and measuring. Detailed investigation began 1950 to 1954 by Archeology Bureau of the Indonesian Government. The study revealed the presence of two stone-platform building called "Batur" , Batur Bale and Batur Pringgitan. The "batur" structure could be the basement of wooden house. These stone building were surrounded by stonewalls. Two main entrance gate and Batur Bale were restored in 1954.
Besides stone buildings other ancient items were found, small and large bowls made of copper, water pitcher, four stones with short inscriptions, and inscriptions written on gold and silver bars, Durga statue, Eagle statue, male breast statue and earthen ware. In 1973, Bronson and Teguh Asmar made further intensive study. They found foreign ceramic fragments, local earthen ware and white stones as components of building materials. The study was continued to 1978.
The surrounding walls, Pendapa and Pringgitan Building and gates were tried to be restored, but the right location of those buildings were hard to find.
1. Restoration and Now Findings at Queen Baka Temple
There was no evidences of when and who made the Queen Baka Temple. Four inscription stones had been found in the location. But unfortunately, the inscription stones had been so much damaged to pieces. Reassembling had been tried, but the pan of the inscription which mentioned the name and year of the building were lost and had not been found. According to Casparis, the inscriptions were originated from the year 778. His view was based on the similarity of the kind of letters, the writings and terminology to the Kalasan Inscriptions (778 A.D.). He suggested that the Kalasan Inscription and Queen Baka Inscription were written by the same King. There were two opinions regarding the king and its Dynasty. Kalasan Inscription mentioned the name of two Kings, Panamkarana and Panangkaran from Sanjaya Dynasty and Cailendra Dynasty (Buddhist). If one would like to match the lost name of the King from Cailendra Dynasty one should follow the Kalasan Inscription and figure out whose name was not mentioned. That name might be found from other inscriptions with similar religion and year to Kalasan Inscription. This inscription was found in Klurak Village, Prambanan district. Klurak Inscription shown the date 782 A.D., and the King figure was Indra, which most experts believed to be Sri Sanggramadhananjaya. On the other hand, the Single King Theory believed that there was only one King, Panamkarana. Panamkarana was a Hinduist (Ciwa) which was ordered to change his religion into Buddhist by his father (Based on Sragen Inscription. Sragen is located near Solo, East of Prambanan). Based on the Single King Theory and Casparis's view, the lost name of the King in Queen Baka Inscription should be Panamkarana. Most expert believed that the title of Panamkarana was Rakai Panangkaran Dyah Cangkara Sanggramadhananjaya. So in this case the Queen Baka temple ( which was also known as Queen Baka Palace ) was built in 778 A.D. by the order of Sri Maharaja Panamkarana who was a Buddhist. This view should be investigated more detail, Anyhow, the presence of Buddhist activity in Queen Baka area could not be denied. This evidences were shown by the presence of archeological artifact with Buddhist traits such as buildings with stupa and stupica (small stupa) which were made from clay.
Besides the inscription that show the building of holy places for Awalokiteswara, three other inscriptions were also found. Casparis named the inscriptions as Inscription-a, Inscription-b and Inscription-c. The alphabetic derived from the sequence of the findings. But based on the content of those inscriptions, according to Sukmono the sequence should be a - c - b . All the inscriptions derived from the year 856 AD. Inscription-a described the effort of meditation, Inscription-c expressed battle, and Inscription-b referred to the authority of a king. The three inscriptions described the sequence of occasions which followed by the building of a monument. According to Sukmono, there were three monuments, and according to Casparis, the building of the three monuments were ordered by King Kalasdbhawa alias Cri Kumbhaja alias Rakai Walaing Cri Kumbhayoni who was indeed Rakai Pikatan from Sanjaya Dynasty (Ciwa Religion, Hinduism). Some experts believed that Rakai Pikatan was the authority figure in Queen Baka Region. Was Rakai Pikatan authority collapsed into the hand of a king who was a Hindu in 856 A.D.?. This evidence were supported by the presence of Durga and Yoni statues besides the inscriptions written on Inscription a, b and c.
During the restoration activities in 1984, other information were found. Among other things were the presence of irrigation system under the South part of the Queen Baka remains, basement structure, fragments of earthenware and foreign ceramics. The restoration was continued in 1986, The same findings were found.
2. Structural Description of Queen Baka Temple
The temple had a main gate at the West side. The front verandah is tilting to the East (to the rear side). This verandah consisted of three terraces. The three terraces was separated with high walls (3.5 meters) made of andecite stones, Along the wall separating the second and the third terraces was a ditch which was 1.5 meter wide, and 1.5 deep. The walls and base of the ditch strengthen by andecite stone structure.
In front of first terrace (lowest terrace) was an open-space which was lower than the terrace. This first terrace was lower than the second, while the third terrace was higher than the second terrace. The first terrace had a dimension of 18 x 180 square meters. The second terrace was 20x170 square meters. The third terrace is the highest and had the largest area. From the structural features, the northern side of the terrace was connected to the steep banks of hill which was indeed carved to be a wall. The southern and eastern wall was made of white stones.
Based on the building sites, the Queen Baka temple complex could be divided into three localities, the West, the Southwest and the Northeast buildings.
3. The West Buildings
This building is a form of gate and is located at the far-west end of the building. This gate building, the main gate consisted of three entrance gate, the middle gate was larger than the other two flanking gates. The middle gate was a squared structure with the dimension of 5 x 10 meter, and 8.50 meter high. The two accompanying gates had similar squared structure, 8 x 3 meter wide and 7.40 meters high. An outermost gates, two smaller gates flanking next to the firs t three had a dimension of 7 x 3 square meters and 5.30 meters high.
Inside the third terrace, about 37 meters away from the main gate to the East), there was a building made-of andecite stones called Cremation Temple. The function of this temple was proved by the presence of cremation remains. This temple had the dimension of 23 x 23 meters, and 3.41 meter high. At the West part of this temple, a stairway to the top was found. On top of this temple was a wide open well with a dimension of 5 x 5 meter wide and 1.45 meter deep. The walls of the well was supposed with andecite stones.
4. The Southeast Building
The buildings at the Southeast could be divided into three groups, the first, the second and the third group.
1). Group 1 Buildings.
Buildings of this group consisted of two "batur" structure, which was called "Batur Paseban". The Batur buildings was located in rows toward the East and West. The Paseban buildings were made of andecite stones with. the dimension of 12 x 16 meters and 0.26 meter high ( West Paseban ), 15x 25 meters and 0.57 meters high ( East Paseban ).
2). Group 2 Buildings.
These group of buildings was located 136 meters away, Southeast of "Paseban buildings". This group consisted of two "batur buildings" (also known as "Batur Pendopo" and "Batur Pringgitan") Pendopo = a big room used for meeting or a reception room for guests; pringgitan = room for entertainment) surrounded by walls made of andecite stones. "Batur Pendopo" had the dimension of 20 x 21 meters and 1.46 meter high. There was a stairway at the East and West side. Batur Pringgitan had the dimension of 6 x 21 meters and 1.52 meter high. There was only one stairway at the South. The two Batur buildings were connected with 2-meter corridor. Along both sides of the corridor was stairway to the top. On top of Batur Pendopo and Batur Pringgitan were stone pedestal (almost a cubic stone used to support a wooden pillar, 24 on the top of Batur Pendopo, and 12 on the top of Batur Pringgitan. The balustrade surrounding the Batur Pendapa and Batur Pringgitan had the dimension of 35 x 43 meters and 3.5 meters high. This balustrade was made of white and andecite stones. The gate through this balustrade was located at the south, the west and the Noah side.
Another batur building called Batur Bale was located about 2.5 meters to the East of the two batur. Batur Bale had the dimension of 7 x 36.5 meters and 1,1 0 meters high. Three stairways were present at the West side of the building.
About five meters to the Southeast of the gate, there was another batur with the dimension of 11 x 12 meters and 0.39 meters high, and another batur made of andecite stones was located about three meter to the East. This batur was thought to be a check pond with a dimension of 4 x 3 meters and 2 meters deep.
3) Group 3 Buildings.
The buildings of this group were located lower than the second building group, consisting of ponds and two batur building. One of the batur building was called Batur Keputren (keputren = woman). The ponds were located 20 meters East of Batur Bale. The ponds were divided into two group, the South ponds and the North ponds. The South ponds and the North ponds were separated by a wall made of white stones. The gates to the South ponds were located at the South, West, North and the East side. The location of the North gate was not known.
Batur Keputren (the women batur) was located about 70 meters East of the ponds, and consist of two batur buildings in a row (South-North). Between the two batur was a corridor. The South Batur Keputren had a dimension of 20 x 20 meters and 1.52 meters high. Three gates to the top were located at the South, West and the East side of the batur. Several umpak (a cubic stones used to support wooden pillar) were found on top of the South Batur.
The North Batur Keputren had a dimension of 15 x 15 meters, consisting of two terraces tilting to the East. The height of the first terrace was 0.45 meter, and the second terrace was 0.70 meter. Between these two terraces was a stairway made of andecite stones.
The present batur building showed that two Batur Keputren had a wall surrounded with gates at the South, West and the Noah side.
5. The Northeast Buildings
The buildings of this group consisted of two caves. These two caves were carved steep banks of a rocky hill, North side of the Queen Baka temple complex. The two caves facing to the South were called "Gua Lanang" and "Gua Wadon" (Gua = cave; Lanang = male; Wadon = female). The male cave was located 300 meters to the Northeast of Batur Paseban. and female cave was located 20 meters Southeast of male cave, The first was located lower than the last.
The ancient building at Queen Baka Temples were also known as Queen Baka Palace. Most of the buildings were batur type as the main feature. Other buildings were in the form of walls, balustrades, and ponds. These batur buildings were clearly as the floors or basement of big buildings which the top were made of wood. So these batur buildings were meant as homes. These information were supported by inscriptions at the temples. Ethnographic comparison showed that these type of homesteads were also present on other parts of Indonesia.
Based on the locality and building components of Queen Baka Temple, the reasons to build the temple complex in such way was a strategy for highest security and safety from any alien assault. The same structural design of buildings also existed in Nias which were held that way up to now. Evidences for the security system of the Queen Baka Temple complex were the existence of ditches, rows of high walls etc. These structural designs proved that this temple was a fortress of important persons, the King and his family. It required further archeological evidences. Casparis did not denied the possibilities of the temple being the home of important persons, but not the King and his family but as a "vihara", the house for high priests, identical to that of "abhayagiri Vihara in Ceylon. Casparis's postulation was based on the inscriptions found at Queen Baka Temple, such as the awalokiteswara (or vihara a house for priest).
Borobudur, a Buddhist stupa in the Mahayana tradition, is the largest Buddhist monument in the world. Located on the Indonesian island of Java, 40 km (25mi) northwest of Yogyakarta, Borobudur was built between 750 and 850 AD.
The magnificent temple is a three-dimensional mandala (diagram of the universe) and a visual representation of Buddhist teachings.
For centuries, Borobodur lay hidden under layers of volcanic ash. The reasons behind the desertion of this magnificent monument still remain a mystery.
Some scholars believe that famine caused by an eruption of Mount Merapi forced the inhabitants of Central Java to leave their lands behind in search of a new place to live. When people once again inhabited this area, the glory of Borobudur was buried by ash from Mount Merapi.
Borobudur was rediscovered in 1814 by Sir Thomas Stamford Raffles who, during his visit in Semarang, received a report indicating the discovery of a hill full of many carved stones. The hill was believed by the local inhabitants to be the site of an ancient monument called budur. Raffles then commissioned a team led by Cornelius to investigate the hill.
It was in 1835 that the site was cleared. Some efforts were made to restore and preserve the colossal monument since then. Unfortunately, in 1896 the Dutch colonial government gave away eight containers of Borobudur stones, including reliefs, statues, stairs and gates, as presents for the King of Siam who was visiting Indonesia.
A restoration program undertaken between 1973 and 1984 returned much of the complex to its former glory, and the site has since become a destination of Buddhist pilgrimage. On January 21, 1985 the temple suffered minor damage due to a bomb attack. In 1991, Borobudur was listed by UNESCO as a World Heritage Site.
Viewed from above, Borobudur takes the form of a giant mandala, symbolically depicting the path of the bodhisattva from samsara to nirvana, through the story of Sudhana described in the Gandavyuha Sutra, a part of the Avatamsaka Sutra. In total, this massive monument contains over 2 million stone blocks.
Some scholars think that this massive monument is a gigantic textbook of Buddhism to help people to achieve enlightenment. To read this Buddhist textbook in stone requires a walk of more than two miles. The walls of the galleries are adorned with impressive reliefs illustrating the life of Buddha Shakyamuni and the principles of his teaching.
Representing the existence of the universe, Borobudur perfectly reflects the Buddhist cosmology, which divides the universe into three intermingled separate levels. The three levels are Kamadhatu (world of desire), Ruphadatu (world of forms), and Arupadhatu (world of formlessness).
The hidden base of Borobudur was originally the first level, which contains the gallery of Kamadhatu level. It is thought that during construction Borobudur experienced a landfall that threatened the entire building. To prevent the whole monument from collapsing, the Kamadhatu level was closed and made into a new base that holds Borobudur steady.
This level of Kamadhatu pictures the world of passion and the inevitable laws of karma. The first 117 panels show various actions leading to one and the same result, while the other remaining 43 panels demonstrate the many results that follow one single effect. At least 160 relief panels were carved around this level, based on the manuscript of Karmavibhangga. What is left of these can be seen in the Southeast corner of this level.
The reliefs of the Rupadhatu level show the stories based on the manuscripts of Lalitavistara, Jataka-Avadana and Gandavyuha. The Lalitavistara reliefs, consisting of 120 panels, tell us about the life of Siddhartha Gautama Buddha. It starts with the glorious descent of Buddha from the Tushita heaven. Born as Prince Siddhartha, Buddha's childhood was isolated from the outside world's misery. Accidentally witnessing the misery of sickness, decrepitude and death, young Prince Siddharta decided to escape from the worldly life and commencing his search of freedom from suffering. Siddhartha’s long and painful search finally led him to the highest level of enlightenment and made him Buddha, the Enlightened One. This story ends with Buddha’s sermon in the Deer Park near Benares.
The Jataka is a collection of stories about Buddha's previous reincarnation, chains and virtues. According to the Jataka, Buddha was born 504 times before being born as Prince Siddharta, taking on the forms of god, kings, princes, learned men, thieves, slaves, and a gambler. Many times he was born in the forms of animals such as lion, deer, monkey, swan, big turtle, quail, horse, bird and many others. But the Boddhisatva (Buddha-to-be) was distinguished from all other kings, slaves, or animals among whom he lived. The Boddhisatva is always superior and wiser than those around him.
As to the relief of Avadana, the main figure is not the Buddha himself. All the saintly deeds pictured in this part are attributed to other legendary characters. The stories are compiled in Dvijavadana (Glorious Heavenly Acts) and the Avadana Sataka (The Hundred Avadana). The first 20 frames in the lower series of stories on the first gallery depict the Sudhanakumaravana.
The series of reliefs covering the wall of the second gallery is dedicated to Sudhana’s tireless wandering during his search for the highest wisdom. The story is continued on the walls and balustrades of the third and fourth galleries. Most of the 460 panels depict the scenes based on the Mahayana text Gandavyuha, while the concluding scenes are derived from the text of Badracari.
On the last three circular uppermost terraces, 72 stupas circle the huge main stupa that crowns the top of the temple. The circular form represents the eternity without beginning and without end, a superlative, tranquil, and pure state of the formless world. There are no reliefs on the three circular terraces.
All but the largest central stupas on the upper levels contain a (more or less) life-sized statue of the Buddha kneeling, although many of these statues are missing or damaged. There are also many alcoves along the lower levels which contain similar statues but many of these are missing or damaged as well.
There are several flights a day to Yogyakarta from both Jakarta and Bali. Flight time is about one hour for both. Traveling overland from Bali is possible by minibus but may take up to 24 hours on busy roads. From Jakarta, there are several trains a day, costing about $15 for air-conditioned first class, which can take between 7 and 10 hours.
Getting from Yogyakarta to Borobudur takes an hour by car. Vehicles with a driver can easily be rented at the airport or from hotels for about $35 a day. Exploring Yogyakarta is best by three-wheeled pedicab or horse-drawn cart for about $2 an hour.
Below is a location map and aerial view of Borobudur. Using the buttons on the left, zoom in for a closer look or zoom out to get your bearings. Click and drag the map to move around. For a larger view, see our Indonesia Map or get our free Google Earth download.
