Monumental JavaScheltema, J. F. (Johann Friedrich )
History
Monumental Java
Scheltema, J. F. (Johann Friedrich )
Indonesia -- Antiquities; Java (Indonesia) -- Antiquities; Monuments -- Indonesia -- Java
The strangers arrived in increasing numbers on the hospitable shores
of the good and generous _negri jawa_, whose kindly reception of those
adventurers is marvellously well represented on two of the sculptured
slabs of the Boro Budoor, a tale of rescue from the dangers of the sea,
a picture of the past and a prophetic vision of the welcome extended in
later days also to Muhammadans and Christians--to be how repaid! The
Hindus acquitted their debt of gratitude by building and carving with
an energy, to quote James Fergusson, and to an extent nowhere surpassed
in their native lands, dignifying their new home with imperishable
records of their art and civilisation.... The Venggi inscriptions of
the Diëng and the Kadu leave no doubt that the oldest manifestations
of Hinduïsm in Central and West Java were intimately related
and that the first strong infusion of the imported creed must
have operated until 850 Saka (A.D. 928). In 654 Saka (A.D. 732),
according to an inscription found at Changgal, Kadu, the ruler of
the land bore a Sanskrit name and sacrificed to Siva, erecting a
_linga_.[3] An inscription of 700 Saka (A.D. 778), found at Kalasan,
Jogjakarta, is Buddhistic and confirms the evidence of many other
records carved in stone and copper, of the oldest Javanese literature,
last but not least of the temple ruins, all concurring in this that the
two religions flourished side by side, the adoration of the Brahman
triad, led by Siva, acquiring a tinge of the beatitude derived from
emancipation through annihilation of self; Buddhism, in its younger
_mahayana_ form, becoming strongly impregnated with Sivaïsm, to the
point even of endowing the Adi-Buddha in his five more tangible
personifications with spouses and sons. Between two currents of faith,
each imbued with the male and female principle in a country where the
problem of sex will not be hid, it depended often upon a trifle what
kind of emblematic shape the sculptor was going to give to his block of
stone, whether he would carve a _linga_ or a _yoni_,[4] a Dhyani Buddha,
a Bodhisatva, a Tara or one of her Hindu peers.
Public-domain text, read in full here on John Shaqi.
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