_Antiquities._--Ordinary traces of early human occupation are few in Java. The native bamboo buildings speedily perish. Stone weapons are occasionally found. But remains of the temples and monastic buildings of the Hindu period are numerous and splendid, and are remarkable as representing architecture which reached a high standard without the use of mortar, supporting columns or arches. Chandis (i.e. temples, though the word originally meant a depository for the ashes of a saint) are not found in western Java. They exist in two great zones: one in middle Java, one in eastern Java, each with its own distinguishing characteristics, both architectural and religious. The former begins in the Dyeng plateau, in the east of Banyumas, and extends into the east of Bagelen, Kedu and the neighbouring districts of Semarang, northern Jokjakarta, and the western corner of Surakarta. The latter lies mainly in Surabaya, Kediri and Pasuruan. A considerable number of ruins also exist in Probolinggo. Farther east they grow scarce. There is none in Madura. The remains of Macham Putih in Banyuwangi are possibly of non-Hindu origin. In the regency of Kendal (Semarang), to the north of Kedu, the place-names show that temples once existed.[16] Some of them are Sivaite, some Buddhist, some astoundingly composite. None of the Buddhist buildings shows traces of the older Himaryana form of the creed. The greatest of all is a perfect sculptural exposition of the Mahayana doctrine. As to the period during which these temples were erected, authorities are not agreed. Ijzerman assigns the central Java groups to between the 8th and the 10th centuries. The seven-storeyed vihara (monastery) mentioned in the famous Menang-Kabu inscription (Sumatra) as founded by Maharaja Dhiraya Adityadharma in A.D. 656 is by some supposed to be Boro-Budur. A copper plate of 840 refers to Dyeng (Dehyang) as one of the sacred mountains of Java. One thing seems certain, that the temples of the eastern zone are of much more recent origin than most, at least, of the central zone. They are generally distinguished by the characteristics of a decadent and more voluptuous age, and show that the art of the time had become less Indian and more Javanese, with traces of influences derived from the more eastern East. At the same time it must be noted that even in Boro Budur there are non-Indian elements in the decoration, indicating that the Hindu architect employed native artists and to some extent left them a free hand.