The selection of reliefs is not due to the artists' fancy but aims at illustrating certain works. Thus the scenes of the Buddha's life reproduce in stone the story of the Lalita Vistara[410] and the Jâtaka pictures are based on the Divyâvadâna. It is interesting to find that both these works are connected with the school of the Mûlasarvâstivâdins, which according to I-Ching was the form of Buddhism prevalent in the archipelago. In the third gallery the figure of Maitreya is prominent and often seems to be explaining something to a personage who accompanies him. As Maitreya is said to have revealed five important scriptures to Asaṇga, and as there is a tradition that the east of Asia was evangelized by the disciples of Asaṇga or Vasubandhu, it is possible that the delivery and progress of Maitreya's revelation is here depicted. The fourth gallery seems to deal with the five superhuman Buddhas[411], their paradises and other supra-mundane matters, but the key to this series of sculptures has not yet been found. It is probable that the highest storey proved to be too heavy in its original form and that the central dagoba had to be reduced lest it should break the substructure. But it is not known what image or relic was preserved in this dagoba. Possibly it was dedicated to Vairocana who was regarded as the Supreme Being and All-God by some Javanese Buddhists[412]. The creed here depicted in stone seems to be a form of Mahayanism. Śâkyamuni is abundantly honoured but there is no representation of his death. This may be because the Lalita Vistara treats only of his early career, but still the omission is noteworthy. In spite of the importance of Śâkyamuni, a considerable if mysterious part is played by the five superhuman Buddhas, and several Bodhisattvas, especially Maitreya, Avalokita and Manjuśrî. In the celestial scenes we find numerous Bodhisattvas both male and female, yet the figures are hardly Tantric and there is no sign that any of the personages are Brahmanic deities. Yet the region was not wholly Buddhist. Not far from Boroboedoer and apparently of about the same age is the Sivaite temple of Banon, and the great temple group of Prambanam is close to Kalasan and to the other Buddhist shrines mentioned above. It consists of eight temples of which four are dedicated to Brahmâ, Śiva, Vishṇu and Nandi respectively, the purpose of the others being uncertain. The largest and most decorated is that dedicated to Śiva, containing four shrines in which are images of the god as Mahâdeva and as Guru, of Ganeśa and of Durgâ. The balustrade is ornamented with a series of reliefs illustrating the Ramayana. These temples, which appear to be entirely Brahmanic, approach in style the architecture of eastern Java and probably date from the tenth century, that is about a century later than the Buddhist monuments. But there is no tradition or other evidence of a religious revolution.