The Sri Dalada Maligawa - Sri Lanka
The Sri Dalada Maligawa or The Temple of the Sacred Tooth Relic is a temple in the city of Kandy in Sri Lanka. It was built within the royal palace complex which houses the only surviving relic of Buddha, a tooth, which is venerated by Buddhists. The relic has played an important role in the local politics since ancient times, it's believed that whoever holds the relic holds the governance of the country, which caused the ancient kings to protect it with great effort. Kandy was the capital of the Sinhalese kings [Calling all Kandyan kings Singhalese is a manipulation of facts. Most of the kings were Tamil Hindus from Nayak Dynasty of Madurai Tamil Nadu, south India. The last king of Kandy, entitled Sri Vickrama Rajasingha(n)1815, whose name is Kannusamy, was one of the Tamil Hindu kings from Madurai].
These Tamil kings made immense contributions to Buddhism and they were the pioneers of Dalada Maligava. Unfortunately, Sri Vicrama Rajasingha(n), for the reason of his non-buddhist Tamil origin, was betrayed to the British by Singhala Buddhist Adigar Ehelopola in 1815. Kings from 1592 to 1815, fortified the terrain of the mountains and made difficult to approach Kandy. The city is a world heritage site declared by UNESCO, in part due to the temple.Monks of the two chapters of Malwatte and Asgiriya conduct daily ritual worship in the inner chamber of the temple, in annual rotation. They conduct these services three times a day: at dawn, at noon and in the evening.
On Wednesdays there is a symbolic bathing of the Sacred Relic with an herbal preparation made from scented water and flagrant flowers, called Nanumura Mangallaya. This holy water is believed to contain healing powers and is distributed among those present.The Temple has sustained damage from multiple bombings by terrorists in the past. The first deadly attack was carried out by JVP (Janatha Vimukthy Peramuna), a Singhalese Buddhists terrorist outfit which has now entered into parliamentary politics, split into JVP and NFF, in the late 1980s. On January 25, 1998, Liberation Tigers of Tamil Eelam (LTTE) terrorists carried out a deadly suicide attack inside the temple, killing 8 civilians and leaving 25 others injured, as well as significant damage to the temple structure.But has been fully restored each time.Liberation Tigers of Tamil Eelam (LTTE) terrorists Attack on January 25, 1998
Sacred Tooth Relic in Sri Lanka
From the time of its arrival in Sri Lanka in the 4th century until the end of the 10th century when the capital Anuradhapura was shifted to Polonnaruva, only a few instances are recorded in the chronicle Mahavamsa. Yet Fa-Hsien, the Chinese traveller monk, who lived in the Abhayagiri monastery in the 5th century has left behind many details about the worship and rituals connected with the Tooth Relic. According to him, the procession instituted by king Kirti Sri Meghavanna in the 4th century, was continued in a grandeur scale. The sacred Tooth Relic was taken in procession from the Tooth Relic shrine to the Abhayagiri Vihara where the Relic was exhibited for three months with elaborate ritual worship.
Based on the descriptions of literary texts dealing with the sacred Tooth Relic, and also the sporadic references of the chronicle, it is possible to conclude that the sacred Tooth Relic was well guarded by the kings and considered it to be the palladium of kingship. Some of the kings even went to the extent of prefixing the term `Datha' (Tooth) to their names, e.g. Dathopatissa, Dathappabhuti, Dalamugalan, etc., which indicates their close association with the sacred Tooth Relic.
The intrusion of South Indian Cholas and the internal disharmony in the ruling houses resulted in the Tooth Relic facing unsafe vicissitudes now and then. Yet, the historical records indicate that the Tooth Relic continued to be in the custody of the Anuradhapura rulers, until king Vijayabahu I shifted the capital to Polonnaruva in the 11th century.The present ruins of the Atadage at the Sacred Quadrangle (Dalada Maluva) in the ancient city of Polonnaruva, is identical with the Tooth Relic temple built by Vijayabahu. The Velaikkara stone inscription standing at the side of this edifice provides many details on the history of the Tooth Relic. It appears that the Tooth Relic, together with the Bowl Relic, was brought down from the Uttaramula -ayatana monastery of the Abhayagiri Vihara and installed in the Atadage shrine. This shrine, according to the Velaikkara inscription, was placed under the protection of the Velaikkara mercenaries who were in the service of the king.
The Atadage was well known for the ritual known as the Netra-Mangallaya. The eye-balls of the Buddha image located in the ground floor shrine room were washed annually with unguents, as recorded in the inscription. The architectural plan of the Atadage too, is significant in that this two-storied plan seems to have been the prototype followed in the later periods down to the present Dalada shrine at Kandy.
According to the text Sasanavamsa, king Vijayabahu I maintained friendly relations with his contemporary , king Anuruddha of Burma even to the extent of the latter requesting the Sri Lankan ruler to send him the sacred Tooth Relic. The wise king appeased the Burmese king's desire by sending him a replica of the Relic, which is said to be greatly venerated by the Burmese.
The years following king Vijayabahu's death appear to have been quite calamitous in the political field. The country came to be ruled under separate rulers who were weaklings. Consequently, many Buddhist shrines were destroyed. In this state of affairs, fearing the destruction of the sacred Tooth and the Bowl Relics, the monks secretly removed them to safer locations in the southern country, Rohana. With the accession of king Parakramabahu I in the year 1153 AD, Sri Lankan political scene assumed a firm basis again. While rebuilding the country's economy especially through vast agrarian schemes, he lost no time in bringing about a renaissance in the religious activities. Most of the existing religious edifices in Polonnaruva remain mementos to his immeasurable service to the cause of Buddhism.Parakramabahu I managed to secure the possession of the sacred Tooth Relic and the Bowl Relic and enshrined the sacred objects in a new edifice built in the center of the city. He was also said to have had the exposition of the Tooth Relic in a circular shrine built at the Jetavana monastery, which is possibly the ruined edifice in proximity to the Tivanka Patimaghara image house in the northern extremity of the ancient city.
The next great ruler to build a formidable Relic shrine for the accommodation of the sacred Tooth and Bowl Relics was Nissankamalla (1187-1196). As recorded in his inscriptions, he had the Relic Shrine Hatadage built and, having offered his son and daughter to the Relics, redeemed them with the completion of the shrine. This edifice lying almost adjoining the Atadage, represents a larger version of the Atadage.By the beginning of the second quarter of the 13th century, the glory of Polonnaruva waned, and with the invasion of Kalinga Magha, the capital was shifted to the south-western part of the country in the wet zone. Thus, began the Damabadeniya period, which period saw the blossoming of an era of classical literary works.By this time, the Tooth Relic and the Bowl Relic had again been taken away by the monks to a safer location in Kotmale in the central hills. Later, King Vijayabahu III was reported to have brought down the two Relics and enshrined them in a beautiful edifice built for the purpose on the hill top of Beligala. The king re-instituted the rituals connected with the Relics and handed over the custody of the Relics to his elder son, who succeeded to the throne under the name Parakramabahu II (1236-1270). Being an erudite scholar, he was well known for the compilation of classical literary texts, including the Kavusilumina.
Parakramabahu II brought down the Relics from Beligala in a procession with great veneration and placed them in a shrine built near the palace at the Damabadeniya rock According to the text Dalada Pujavaliya, Parakramabahu conducted the Relics to Srivardhanapura, the city of his birth, and held a great ritual worship. He was responsible for the building of the Tooth Relic shrine at the Vijayasundararama at Dambadeniya, where the Relic was deposited and festive rituals were conducted by the king.
The peaceful and prosperous time under Parakramabahu was disturbed by the invasion of Chandrabhanu of Java. However, the king was able to expel the enemy and bring back the country to a stable status again. It is recorded that during a severe drought, the sacred Tooth Relic was taken out of the shrine and a great procession held. He placed the Relic on the throne and having worshipped the Relic for seven days, offered the kingdom to the sacred Tooth Relic, which resulted in the termination of the drought. This incident indicates the esteem that the sacred Tooth Relic enjoyed as a symbol of kingship.Even during the lifetime of Parakramabahu II, his son Vijayabahu as sub-king, renovated and enlarged the Relic shrine and conducted great ritual services. As the chronicle records, he restored the ruined religious edifices at Polonnaruva, including the Tooth Relic shrine and having placed the Tooth Relic therein, conducted an abhiseka (coronation) ceremony.Yapahuva (ancient Subha-pabbata) comes into prominence around this time with the appointment of his brother Bhuvanekabahu as the sub-ruler of this province. This location, simulating the well known Sigiriya rock fortress, found itself to be a very secure place for the Relics. However, Chadrabhanu of Java invaded the country for the second time and after defeating the local sub-ruler at Yapahuva, demanded the Tooth Relic from Vijayabahu of Dambadeniya. Yet, the Sri Lankan ruler was able to defeat him and bring peace to the island again.
Bhuvanekabahu built a shrine for the sacred Tooth Relic at Yapahuva with a grandeur stairway the ruins of which still portray the aesthetic achievement of the 14th century. As the chronicle records, he continued the tradition of paying homage to the sacred Tooth Relic daily.
Almost after his reign, Sri Lanka again faced severe droughts and also an invasion from the Pandyan country in South India, under the great warrior Arya Cakravarti. He devastated the country and plundered much wealth and treasure, including the Tooth and Bowl Relics, which he handed over to the Pandyan king Kulasekera. The next king, Parakramabahu III visited the Pandyan capital and after friendly discussions, brought back the Relics and initiated the traditional rituals. It is interesting to note that even at this late age, Polonnaruva Tooth Relic shrine was in existence, for the king is said to have brought the sacred Relics from India to Polonnaruva and enshrined them at the old Tooth Relic shrine at the ancient capital, which was abandoned by this time. According to Marco Polo, the well known traveller, the Chinese Emperor, Kublai Khan, sent a messenger to obtain the Tooth, Hair and Bowl Relics from the king. However, the king was able to please the Chinese Emperor by dispatching two fake teeth, which were graciously received by the Emperor who established ritual worship for the objects.
Bhuvanekabahu II (1293-1312) is reported to have brought the Tooth Relic from Polonnaruva and placed it within a shrine built at his capital, Kurunagala.
Next ruler was Parakramabahu IV, during whose time, there was a religious revival. He reorganized the rituals connected with the sacred Tooth Relic in a systematic manner as recorded in the text Dalada Sirita. Yet another significant factor was the handing of the responsibility of the security and conduction of rituals in charge of the chief prelate of the Uttaramula monastery, which institution originated from the Abhayagiri Vihara of Anuradhapura.The next ruler of note connected with the story of the Tooth Relic was Bhuvanekabahu IV, who selected a new capital, Gampola, in the central hills. Yet ,no mention is made of his bringing the Tooth Relic to this new city. It was possibly Vikramabahu III who had the Relic shifted to this hill capital and held a festival in honor of the sacred Tooth Relic. He is credited with the building of the shrine at Niyangampaya at Gampola, which comes closer to the 14th century Gadaladeniya temple in the decorative elements.Thereafter, Bhuvanekabahu V (1372-1408) shifted the capital to Jayavardanapura Kotte closer to Colombo. Although he did not bring the Tooth Relic to the capital, he is reported to have conducted many ritual performances for the Relic. It was his successor, Virabahu, who brought down the Tooth Relic to Jayavardanapura Kotte from Gampola. China entered into Sri Lankan politics during his reign. The Chinese general, Chen Ho, invaded the island, captured the king and the family and took them before the Chinese emperor at the time, together with the Tooth Relic. However, conflicting and stronger reports conclude that the Chinese general did not take away the Relic and that he left the island after paying due homage and worship to the sacred Tooth Relic. This belief is corroborated by subsequent reports on the processions, festivals and rituals conducted by rulers like Parakramabahu VI, who was held in high esteem as the greatest ruler of the late medieval period. He is said to have built a three-storied shrine for the Tooth Relic, had four golden caskets enveloping the sacred Tooth Relic and promulgated several regulations in the service of the Tooth Relic.
The subsequent period, which saw the arrival of the first colonial power, the Portuguese, in 1505, brought about the deterioration of Buddhist activities. Further, the disturbances in the ruling power, missionary activities of the Colonial powers of the Portuguese and the Dutch and other calamitous situations resulted in the Tooth Relic being secretly carried away by the faithful monks to safer locations. Thus, the Relic was shifted to the next kingdom, Sitawaka ruled by Mayadunne. According to Dathadhatuvamsa, prior to the bringing of the Tooth Relic to Ratnapura, it was taken as far south as the Mulgirigala Vihara and then to the Ridivihara in the Kurunegala District. The Tooth Relic was finally hidden in a coirn located in the Delgamuva Vihara in Ratnapura, and it was from this temple that the Tooth Relic was brought to its final and present resting place in Kandy by Vimaladharmasuriya I (1592-1603)Sigiriya - Sri Lanka
Sigiriya may have been inhabited through prehistoric times. It was used as a rock-shelter mountain monastery from about the 5th century BC, with caves prepared and donated by devotees to the Buddhist Sangha. The garden and palace were built by Kashyapa. Following Kasyapa's death, it was again a monastery complex up to about the 14th century, after which it was abandoned. The ruins were discovered in 1907 by British explorer John Still. The Sigiri inscriptions were deciphered by the archeologist Senarath Paranavithana who published a renowned two volume work, published by Oxford, known as "Sigiri Graffiti". He also wrote the popular book "Story of Sigiriya". The Mahavansa, the ancient historical record of Sri Lanka, describes King Kasyapa as the son of King Dhatusena. Kasyapa murdered his father by walling him alive and then usurping the throne which rightfully belonged to his brother Mogallana, Dhatusena's son by the true queen. Mogallana fled to India to escape being assassinated by Kasyapa but vowed revenge. In India he raised an army with the intention of returning and retaking the throne of Sri Lanka which was rightfully his. Knowing the inevitable return of Mogallana, Kasyapa is said to have built his palace on the summit of Sigiriya as a fortress and pleasure palace. Mogallana finally arrived and declared war. During the battle Kasyapa's armies abandoned him and he committed suicide by falling on his sword. Chronicles and lore say that the battle-elephant on which Kasyapa was mounted changed the course just to get to a better fighting position/place but the army misinterpreted it as the King fleeing. Thereafter the army abandoned the king altogether. Moggallana returned the capital to Anuradapura and turned Sigiriya into a monastery complex.
. Still further interpretations have the site as the work of a Buddhist community, with no military function at all. This site may have been important in the competition between the Mahayana and Theravada Buddhist traditions in ancient Sri Lanka
The site located in Central Province, Matale District(N7 57 00)(E80 45 00) co-ordinates.
Sigiriya (Lion's rock) is an ancient rock fortress and ruins of a castle situated in central Matale District of Sri Lanka. It is a popular tourist destination and also popular for the ancient paintings (frescos) very similar to the paintings in Ajanta Caves of India. It was built during the reign of King Kasyapa (477 – 495 AD) and one of the seven World Heritage Sites of Sri Lanka.
Borobudur - Indonesia
Coordinates: 7°36′29″S 110°12′14″E / -7.608, 110.204
Borobudur
Borobudur northwest view
Borobudur (Java Topography)
Borobudur
Shown within Java Topography
Building
Architectural style stupa and candi
Town near Magelang, Central Java
Country Indonesia
Coordinates 7°36′29″S 110°12′14″E / -7.608, 110.204
Construction
Completed circa AD 800
Design team
Architect Gunadharma
Borobudur is a ninth-century Mahayana Buddhist monument in Magelang, Central Java, Indonesia. The monument comprises six square platforms topped by three circular platforms, and is decorated with 2,672 relief panels and 504 Buddha statues. A main dome, located at the center of the top platform, is surrounded by 72 Buddha statues seated inside perforated stupa.
The monument is both a shrine to the Lord Buddha and a place for Buddhist pilgrimage. The journey for pilgrims begins at the base of the monument and follows a path circumambulating the monument while ascending to the top through the three levels of Buddhist cosmology, namely Kamadhatu (the world of desire), Rupadhatu (the world of forms) and Arupadhatu (the world of formlessness). During the journey the monument guides the pilgrims through a system of stairways and corridors with 1,460 narrative relief panels on the wall and the balustrades.
Evidence suggests Borobudur was abandoned following the fourteenth century decline of Buddhist and Hindu kingdoms in Java, and the Javanese conversion to Islam. Worldwide knowledge of its existence was sparked in 1814 by Sir Thomas Stamford Raffles, the then British ruler of Java, who was advised of its location by native Indonesians. Borobudur has since been preserved through several restorations. The largest restoration project was undertaken between 1975 and 1982 by the Indonesian government and UNESCO, following which the monument was listed as a UNESCO World Heritage Site. Borobudur is still used for pilgrimage; once a year Buddhists in Indonesia celebrate Vesak at the monument, and Borobudur is Indonesia's single most visited tourist attraction.
Contents
* 1 Etymology
* 2 Location
* 3 History
o 3.1 Construction
o 3.2 Abandonment
o 3.3 Rediscovery
o 3.4 Contemporary events
* 4 Architecture
* 5 Reliefs
* 6 Buddha statues
* 7 Restoration
* 8 Gallery of reliefs
* 9 See also
* 10 References
o 10.1 General
o 10.2 Notes
* 11 Further reading
* 12 External links
Etymology
Borobudur formed a stepped pyramid.
In Indonesian, ancient temples are known as candi; thus "Borobudur Temple" is locally known as Candi Borobudur. The term candi is also used more loosely to describe any ancient structure, for example gates and bathing structures. The origins of the name Borobudur however are unclear, although the original names of most ancient Indonesian temples are no longer known. The name Borobudur was first written in Sir Thomas Raffles' book on Javan history. Raffles wrote about a monument called borobudur, but there are no older documents suggesting the same name. The only old Javanese manuscript that hints at the monument as a holy Buddhist sanctuary is Nagarakretagama, written by Mpu Prapanca in 1365.
The name 'Bore-Budur', and thus 'BoroBudur', is thought to have been written by Raffles in English grammar to mean the nearby village of Bore; most candi are named after a nearby village. If it followed Javanese language, the monument should have been named 'BudurBoro'. Raffles also suggested that 'Budur' might correspond to the modern Javanese word Buda ('ancient') – i.e., 'ancient Boro'. However, another archaeologist suggests the second component of the name ('Budur') comes from Javanese term bhudhara (or mountain).
Location
Location of Borobudur-Pawon-Mendut in one straight line.
Approximately 40 kilometers (25 mi) northwest of Yogyakarta, Borobudur is located in an elevated area between two twin volcanoes, Sundoro-Sumbing and Merbabu-Merapi, and two rivers, the Progo and the Elo. According to local myth, the area known as Kedu Plain is a Javanese 'sacred' place and has been dubbed 'the garden of Java' due to its high agricultural fertility. Besides Borobudur, there are other Buddhist and Hindu temples in the area, including the Prambanan temples compound. During the restoration in the early 1900s, it was discovered that three Buddhist temples in the region, Borobudur, Pawon and Mendut, are lined in one straight line position. It might be accidental, but the temples' alignment is in conjunction with a native folk tale that a long time ago, there was a brick-paved road from Borobudur to Mendut with walls on both sides. The three temples (Borobudur–Pawon–Mendut) have similar architecture and ornamentation derived from the same time period, which suggests that ritual relationship between the three temples, in order to have formed a sacred unity, must have existed, although exact ritual process is yet unknown.
Unlike other temples, which were built on a flat surface, Borobudur was built on a bedrock hill, 265 m (869 ft) above sea level and 15 m (49 ft) above the floor of the dried-out paleolake. The lake's existence was the subject of intense discussion among archaeologists in the twentieth century; Borobudur was thought to have been built on a lake shore or even floated on a lake. In 1931, a Dutch artist and a scholar of Hindu and Buddhist architecture, W.O.J. Nieuwenkamp, developed a theory that Kedu Plain was once a lake and Borobudur initially represented a lotus flower floating on the lake. Lotus flowers are found in almost every Buddhist work of art, often serving as a throne for buddhas and base for stupas. The architecture of Borobudur itself suggests a lotus depiction, in which Buddha postures in Borobudur symbolize the Lotus Sutra, mostly found in many Mahayana Buddhism (a school of Buddhism widely spread in the east Asia region) texts. Three circular platforms on the top are also thought to represent a lotus leaf. Nieuwenkamp's theory, however, was contested by many archaeologists because the natural environment surrounding the monument is a dry land.
Geologists, on the other hand, support Nieuwenkamp's view, pointing out clay sediments found near the site. A study of stratigraphy, sediment and pollen samples conducted in 2000 supports the existence of a paleolake environment near Borobudur, which tends to confirm Nieuwenkamp's theory. The lake area fluctuated with time and the study also proves that Borobudur was near the lake shore circa thirteenth and fourteenth century. River flows and volcanic activities shape the surrounding landscape, including the lake. One of the most active volcanoes in Indonesia, Mount Merapi, is in the direct vicinity of Borobudur and has been very active since the Pleistocene.
Construction
Buddhist pilgrims meditate on the top platform.
There is no written record of who built Borobudur or of its intended purpose. The construction time has been estimated by comparison between carved reliefs on the temple's hidden foot and the inscriptions commonly used in royal charters during the eight and ninth centuries. Borobudur was likely founded around 800 AD. This corresponds to the period between 760–830 AD, the peak of the Sailendra dynasty in central Java, when it was under the influence of the Srivijayan Empire. The construction has been estimated to have taken 75 years and been completed during the reign of Samaratungga in 825.
There is confusion between Hindu and Buddhist rulers in Java around that time. The Sailendras were known as ardent followers of Lord Buddha, though stone inscriptions found at Sojomerto suggest they may have been Hindus. It was during this time that many Hindu and Buddhist monuments were built on the plains and mountain around the Kedu Plain. The Buddhist monuments, including Borobudur, were erected around the same time as the Hindu Shiva Prambanan temple compound. In 732 AD, the Shivaite King Sanjaya commissioned a Shivalinga sanctuary to be built on the Ukir hill, only 10 km (6.2 miles) east of Borobudur.
Construction of Buddhist temples, including Borobudur, at that time was possible because Sanjaya's immediate successor, Rakai Panangkaran, granted his permission to the Buddhist followers to build such temples. In fact, to show his respect, Panangkaran gave the village of Kalasan to the Buddhist community, as is written in the Kalasan Charter dated 778 AD. This has led some archaeologists to believe that there was never serious conflict concerning religion in Java as it was possible for a Hindu king to patronize the establishment of a Buddhist monument; or for a Buddhist king to act likewise. However, it is likely that there were two rival royal dynasties in Java at the time—the Buddhist Sailendra and the Saivite Sanjaya—in which the latter triumphed over their rival in the 856 battle on the Ratubaka plateau. This confusion also exists regarding the Lara Jonggrang temple at the Prambanan complex, which was believed that it was erected by the victor Rakai Pikatan as the Sanjaya dynasty's reply to Borobudur, but others suggest that there was a climate of peaceful coexistence where Sailendra involvement exists in Lara Jonggrang.
Abandonment
Borobudur stupas overlooking a mountain. For centuries, it was deserted.
Borobudur lay hidden for centuries under layers of volcanic ash and jungle growth. The facts behind its abandonment remain a mystery. It is not known when active use of the monument and Buddhist pilgrimage to it ceased. Somewhere between 928 and 1006, the center of power moved to East Java region and a series of volcanic eruptions took place; it is not certain whether the latter influenced the former but several sources mention this as the most likely period of abandonment. Soekmono (1976) also mentions the popular belief that the temples were disbanded when the population converted to Islam in the fifteenth century.
The monument was not forgotten completely, though folk stories gradually shifted from its past glory into more superstitious beliefs associated with bad luck and misery. Two old Javanese chronicles (babad) from the eighteenth century mention cases of bad luck associated with the monument. According to the Babad Tanah Jawi (or the History of Java), the monument was a fatal factor for a rebel who revolted against the king of Mataram in 1709. The hill was besieged and the insurgents were defeated and sentenced to death by the king. In the Babad Mataram (or the History of the Mataram Kingdom), the monument was associated with the misfortune of the crown prince of the Yogyakarta Sultanate in 1757. In spite of a taboo against visiting the monument, "he took what is written as the knight who was captured in a cage (a statue in one of the perforated stupas)". Upon returning to his palace, he fell ill and died one day later.
Rediscovery
Borobudur's main stupa, which is empty and has created a mystery during the discovery period.
Following the Anglo-Dutch Java War, Java was under British administration from 1811 to 1816. The appointed governor was Lieutenant Governor-General Thomas Stamford Raffles, who took great interest in the history of Java. He collected Javanese antiques and made notes through contacts with local inhabitants during his tour throughout the island. On an inspection tour to Semarang in 1814, he was informed about a big monument deep in a jungle near the village of Bumisegoro. He was not able to make the discovery himself and sent H.C. Cornelius, a Dutch engineer, to investigate.
In two months, Cornelius and his 200 men cut down trees, burned down vegetation and dug away the earth to reveal the monument. Due to the danger of collapse, he could not unearth all galleries. He reported his findings to Raffles including various drawings. Although the discovery is only mentioned by a few sentences, Raffles has been credited with the monument's recovery, as one who had brought it to the world's attention.
Hartmann, a Dutch administrator of the Kedu region, continued Cornelius' work and in 1835 the whole complex was finally unearthed. His interest in Borobudur was more personal than official. Hartmann did not write any reports of his activities; in particular, the alleged story that he discovered the large statue of Buddha in the main stupa. In 1842, Hartmann investigated the main dome although what he discovered remains unknown as the main stupa remains empty.
The first photograph of Borobudur by Isidore van Kinsbergen (1873) after the monument was cleared up.
The Dutch East Indies government then commissioned F.C. Wilsen, a Dutch engineering official, who studied the monument and drew hundreds of relief sketches. J.F.G. Brumund was also appointed to make a detailed study of the monument, which was completed in 1859. The government intended to publish an article based on Brumund study supplemented by Wilsen's drawings, but Brumund refused to cooperate. The government then commissioned another scholar, C. Leemans, who compiled a monograph based on Brumund's and Wilsen's sources. In 1873, the first monograph of the detailed study of Borobudur was published, followed by its French translation a year later. The first photograph of the monument was taken in 1873 by a Dutch-Flemish engraver, Isidore van Kinsbergen.
Appreciation of the site developed slowly, and it served for some time largely as a source of souvenirs and income for "souvenir hunters" and thieves. In 1882, the chief inspector of cultural artifacts recommended that Borobudur be entirely disassembled with the relocation of reliefs into museums due to the unstable condition of the monument. As a result, the government appointed Groenveldt, an archeologist, to undertake a thorough investigation of the site and to assess the actual condition of the complex; his report found that these fears were unjustified and recommended it be left intact.
Contemporary events
Tourists in Borobudur.
Following the major 1973 renovation funded by UNESCO, Borobudur is once again used as a place of worship and pilgrimage. Once a year, during the full moon in May or June, Buddhists in Indonesia observe Vesak (Indonesian: Waisak) day commemorating the birth, death, and the time when Siddhārtha Gautama attained the highest wisdom to become the Buddha Shakyamuni. Vesak is an official national holiday in Indonesia and the ceremony is centered at the three Buddhist temples by walking from Mendut to Pawon and ending at Borobudur.
The monument is the single most visited tourist attraction in Indonesia. In 1974, 260,000 tourists of whom 36,000 were foreigners visited the monument.The figure hiked into 2.5 million visitors annually (80% were domestic tourists) in the mid 1990s, before the country's economy crisis. Tourism development, however, has been criticized for not including the local community on which occasional local conflict has arisen. In 2003, residents and small businesses around Borobudur organized several meetings and poetry protests, objecting to a provincial government plan to build a three-story mall complex, dubbed the 'Java World'.
On 21 January 1985, nine stupas were badly damaged by nine bombs. In 1991, a blind Muslim evangelist, Husein Ali Al Habsyie, was sentenced to life imprisonment for masterminding a series of bombings in the mid 1980s including the temple attack. Two other members of a right-wing extremist group that carried out the bombings were each sentenced to 20 years in 1986 and another man received a 13-year prison term. On 27 May 2006, an earthquake of 6.2 magnitude on the Richter scale struck the south coast of Central Java. The event had caused severe damage around the region and casualties to the nearby city of Yogyakarta, but Borobudur remained intact.
Architecture
Borobudur ground plan
Borobudur is built as a single large stupa, and when viewed from above takes the form of a giant tantric Buddhist mandala, simultaneously representing the Buddhist cosmology and the nature of mind. The foundation is a square, approximately 118 meters (387 ft) on each side. It has nine platforms, of which the lower six are square and the upper three are circular. The upper platform features seventy-two small stupas surrounding one large central stupa. Each stupa is bell-shaped and pierced by numerous decorative openings. Statues of the Buddha sit inside the pierced enclosures.
Approximately 55,000 cubic metres (72,000 cu yd) of stones were taken from neighbouring rivers to build the monument. The stone was cut to size, transported to the site and laid without mortar. Knobs, indentations and dovetails were used to form joints between stones. Reliefs were created in-situ after the building had been completed. The monument is equipped with a good drainage system to cater for the area's high stormwater run-off. To avoid inundation, 100 spouts are provided at each corner with a unique carved gargoyles in the shape of giants or makaras.
Half cross-section with 4:6:9 height ratio for foot, body and head, respectively.
Borobudur differs markedly with the general design of other structures built for this purpose. Instead of building on a flat surface, Borobudur is built on a natural hill. The building technique is, however, similar to other temples in Java. With no inner space as in other temples and its general design similar to the shape of pyramid, Borobudur was first thought more likely to have served as a stupa, instead of a temple. A stupa is intended as a shrine for the Lord Buddha. Sometimes stupas were built only as devotional symbols of Buddhism. A temple, on the other hand, is used as a house of deity and has inner spaces for worship. The complexity of the monument's meticulous design suggests Borobudur is in fact a temple. Congregational worship in Borobudur is performed by means of pilgrimage. Pilgrims were guided by the system of staircases and corridors ascending to the top platform. Each platform represents one stage of enlightenment. The path that guides pilgrims was designed with the symbolism of sacred knowledge according to the Buddhist cosmology.
A narrow corridor with reliefs on the wall.
A carved gargoyle-shaped water spout for water drainage.
Little is known about the architect Gunadharma. His name is actually recounted from Javanese legendary folk tales rather than written in old inscriptions. He was said to be one who "... bears the measuring rod, knows division and thinks himself composed of parts." The basic unit measurement he used during the construction was called tala, defined as the length of a human face from the forehead's hairline to the tip of the chin or the distance from the tip of the thumb to the tip of the middle finger when both fingers are stretched at their maximum distance. The unit metrics is then obviously relative between persons, but the monument has exact measurements. A survey conducted in 1977 revealed frequent findings of a ratio of 4:6:9 around the monument. The architect had used the formula to lay out the precise dimensions of Borobudur. The identical ratio formula was further found in the nearby Buddhist temples of Pawon and Mendhut. Archeologists conjectured the purpose of the ratio formula and the tala dimension has calendrical, astronomical and cosmological themes, as of the case in other Hindu and Buddhist temple of Angkor Wat in Cambodia.
The main vertical structure can be divided into three groups: base (or foot), body, and top, which resembles the three major division of a human body. The base is a 123x123 m (403.5x403.5 ft) square in size and 4 meters (13 ft) high of walls. The body is composed of five square platforms each with diminishing heights. The first terrace is set back 7 meters (23 ft) from the edge of the base. The other terraces are set back by 2 meters (7 ft), leaving a narrow corridor at each stage. The top consists of 3 circular platforms, with each stage supporting a row of perforated stupas, arranged in concentric circles. There is one main dome at the center; the top of which is the highest point of the monument (35 meters (115 ft) above ground level). Access to the upper part is through stairways at the centre of each side with a number of gates, watched by a total of 32 lion statues. The main entrance is at the eastern side, the location of the first narrative reliefs. On the slopes of the hill, there are also stairways linking the monument to the low-lying plain.
The monument's three divisions symbolize three stages of mental preparation towards the ultimate goal according to the Buddhist cosmology, namely Kamadhatu (the world of desires), Rupadhatu (the world of forms), and finally Arupadhatu (the formless world). Kamadhatu is represented by the base, Rupadhatu by the five square platforms (the body), and Arupadhatu by the three circular platforms and the large topmost stupa. The architectural features between three stages have metaphorical differences. For instance, square and detailed decorations in the Rupadhatu disappear into plain circular platforms in the Arupadhatu to represent how the world of forms – where men are still attached with forms and names – changes into the world of the formless.
In 1885, a hidden structure under the base was accidentally discovered. The "hidden foot" contains reliefs, 160 of which are narrative describing the real Kamadhatu. The remaining reliefs are panels with short inscriptions that apparently describe instruction for the sculptors, illustrating the scene to be carved. The real base is hidden by an encasement base, the purpose of which remains a mystery. It was first thought that the real base had to be covered to prevent a disastrous subsidence of the monument through the hill. There is another theory that the encasement base was added because the original hidden foot was incorrectly designed, according to Vastu Shastra, the Indian ancient book about architecture and town planning. Regardless of its intention, the encasement base was built with detailed and meticulous design with aesthetics and religious compensation.
Reliefs
Narrative Panels Distribution
section location story #panels
hidden foot wall Karmavibhangga 160
first gallery main wall Lalitavistara 120
Jataka/Avadana 120
balustrade Jataka/Avadana 372
Jataka/Avadana 128
second gallery balustrade Jataka/Avadana 100
main wall Gandavyuha 128
third gallery main wall Gandavyuha 88
balustrade Gandavyuha 88
fourth gallery main wall Gandavyuha 84
balustrade Gandavyuha 72
Total 1,460
Borobudur contains approximately 2,670 individual bas reliefs (1,460 narrative and 1,212 decorative panels), which cover the façades and balustrades. The total relief surface is 2,500 square meters (26,909.8 sq ft) and they are distributed at the hidden foot (Kamadhatu) and the five square platforms (Rupadhatu).
The narrative panels, which tell the story of Sudhana and Manohara, are grouped into 11 series encircled the monument with the total length of 3,000 meters (9,843 ft). The hidden foot contains the first series with 160 narrative panels and the remaining 10 series are distributed throughout walls and balustrades in four galleries starting from the eastern entrance stairway to the left. Narrative panels on the wall read from right to left, while on the balustrade read from left to right. This conforms with pradaksina, the ritual of circumambulation performed by pilgrims who move in a clockwise direction while keeping the sanctuary to their right.
The hidden foot depicts the workings of karmic law. The walls of the first gallery have two superimposed series of reliefs; each consists of 120 panels. The upper part depicts the biography of the Buddha, while the lower part of the wall and also balustrades in the first and the second galleries tell the story of the Buddha's former lives. The remaining panels are devoted to Sudhana's further wandering about his search, terminated by his attainment of the Perfect Wisdom.
The law of karma (Karmavibhangga)
The 160 hidden panels do not form a continuous story, but each panel provides one complete illustration of cause and effect. There are depictions of blameworthy activities, from gossip to murder, with their corresponding punishments. There are also praiseworthy activities, that include charity and pilgrimage to sanctuaries, and their subsequent rewards. The pains of hell and the pleasure of heaven are also illustrated. There are scenes of daily life, complete with the full panorama of samsara (the endless cycle of birth and death).
The birth of Buddha (Lalitavistara)
Queen Maya riding horse carriage retreating to Lumbini to give birth to Prince Siddhartha Gautama.
Main article: The birth of Buddha (Lalitavistara)
The story starts from the glorious descent of the Lord Buddha from the Tushita heaven, and ends with his first sermon in the Deer Park near Benares. The relief shows the birth of the Buddha as Prince Siddhartha, son of King Suddhodana and Queen Maya of Kapilavastu (in present-day Nepal).
The story is preceded by 27 panels showing various preparations, in heavens and on earth, to welcome the final incarnation of the Bodhisattva. Before descending from Tushita heaven, the Bodhisattva entrusted his crown to his successor, the future Buddha Maitreya. He descended on earth in the shape of white elephants with six tusks, penetrated to Queen Maya's right womb. Queen Maya had a dream of this event, which was interpreted that his son would become either a sovereign or a Buddha.
While Queen Maya felt that it was the time to give birth, she went to the Lumbini park outside the Kapilavastu city. She stood under a plaksa tree, holding one branch with her right hand and she gave birth to a son, Prince Siddhartha. The story on the panels continues until the prince becomes the Buddha.
Prince Siddhartha Gautama become an ascetic hermit.
Prince Siddhartha story (Jataka) and other legendary persons (Avadana)
Jatakas are stories about the Buddha before he was born as Prince Siddhartha. Avadanas are similar to jatakas, but the main figure is not the Bodhisattva himself. The saintly deeds in avadanas are attributed to other legendary persons. Jatakas and avadanas are treated in one and the same series in the reliefs of Borobudur.
The first 20 lower panels in the first gallery on the wall depict the Sudhanakumaravadana or the saintly deeds of Sudhana. The first 135 upper panels in the same gallery on the balustrades are devoted to the 34 legends of the Jatakamala. The remaining 237 panels depict stories from other sources, as do for the lower series and panels in the second gallery. Some jatakas stories are depicted twice, for example the story of King Sibhi (Rama's forefather).
Sudhana's search for the Ultimate Truth (Gandavyuha)
Gandavyuha is the story told in the final chapter of the Avatamsaka Sutra about Sudhana's tireless wandering in search of the Highest Perfect Wisdom. It covers two galleries (third and fourth) and also half of the second gallery; comprising in total of 460 panels. The principal figure of the story, the youth Sudhana, son of an extremely rich merchant, appears on the 16th panel. The preceding 15 panels form a prologue to the story of the miracles during Buddha's samadhi in the Garden of Jeta at Sravasti.
During his search, Sudhana visited no less than 30 teachers but none of them had satisfied him completely. He was then instructed by Manjusri to meet the monk Megasri, where he was given the first doctrine. As his journey continues, Sudhana meets (in the following order) Supratisthita, the physician Megha (Spirit of Knowledge), the banker Muktaka, the monk Saradhvaja, the upasika Asa (Spirit of Supreme Enlightenment), Bhismottaranirghosa, the Brahmin Jayosmayatna, Princess Maitrayani, the monk Sudarsana, a boy called Indriyesvara, the upasika Prabhuta, the banker Ratnachuda, King Anala, the god Siva Mahadeva, Queen Maya, Bodhisattva Maitreya and then back to Manjusri. Each meeting has given Sudhana a specific doctrine, knowledge and wisdom. These meetings are shown in the third gallery.
After the last meeting with Manjusri, Sudhana went to the residence of Bodhisattva Samantabhadra; depicted in the fourth gallery. The entire series of the fourth gallery is devoted to the teaching of Samantabhadra. The narrative panels finally end with Sudhana's achievement of the Supreme Knowledge and the Ultimate Truth.
Buddha statues
A Buddha statue with the hand position of dharmachakra mudra (turning the Wheels of the Law).
Apart from the story of Buddhist cosmology carved in stone, Borobudur has many statues of various Buddhas. The cross-legged statues are seated in a lotus position and distributed on the five square platforms (the Rupadhatu level) as well as on the top platform (the Arupadhatu level).
The Buddha statues are in niches at the Rupadhatu level, arranged in rows on the outer sides of the balustrades, the number of statues decreasing as platforms progressively diminish to the upper level. The first balustrades have 104 niches, the second 104, the third 88, the fourth 72 and the fifth 64. In total, there are 432 Buddha statues at the Rupadhatu level. At the Arupadhatu level (or the three circular platforms), Buddha statues are placed inside perforated stupas. The first circular platform has 32 stupas, the second 24 and the third 16, that add up to 72 stupas. Of the original 504 Buddha statues, over 300 are damaged (mostly headless) and 43 are missing (since the monument's discovery, heads have been stolen as collector's items, mostly by Western museums).
A headless Buddha statue inside a stupa.
At glance, all the Buddha statues appear similar, but there is a subtle difference between them in the mudras or the position of the hands. There are five groups of mudra: North, East, South, West and Zenith, which represent the five cardinal compass points according to Mahayana. The first four balustrades have the first four mudras: North, East, South and West, of which the Buddha statues that face one compass direction have the corresponding mudra. Buddha statues at the fifth balustrades and inside the 72 stupas on the top platform have the same mudra: Zenith. Each mudra represents one of the Five Dhyani Buddhas; each has its own symbolism. They are Abhaya mudra for Amoghasiddhi (north), Vara mudra for Ratnasambhava (south), Dhyana mudra for Amitabha (west), Bhumisparsa mudra for Aksobhya (east) and Dharmachakra mudra for Vairochana (zenith).
Restoration
Embedding concrete and pvc pipe to improve Borobudur's drainage system during the 1973 restoration.
Borobudur attracted attention in 1885, when Yzerman, the Chairman of the Archaeological Society in Yogyakarta, made a discovery about the hidden foot. Photographs that reveal reliefs on the hidden foot were made in 1890–1891. The discovery led the Dutch East Indies government to take steps to safeguard the monument. In 1900, the government set up a commission consisting of three officials to assess the monument: Brandes, an art historian, Theodoor van Erp, a Dutch army engineer officer, and Van de Kamer, a construction engineer from the Department of Public Works.
In 1902, the commission submitted a threefold plan of proposal to the government. First, the immediate dangers should be avoided by resetting the corners, removing stones that endangered the adjacent parts, strengthening the first balustrades and restoring several niches, archways, stupas and the main dome. Second, fencing off the courtyards, providing proper maintenance and improving drainage by restoring floors and spouts. Third, all loose stones should be removed, the monument cleared up to the first balustrades, disfigured stones removed and the main dome restored. The total cost was estimated at that time around 48,800 Dutch guilders.
The restoration then was carried out between 1907 and 1911, using the principles of anastylosis and led by Theodor van Erp. The first seven months of his restoration was occupied with excavating the grounds around the monument to find missing Buddha heads and panel stones. Van Erp dismantled and rebuilt the upper three circular platforms and stupas. Along the way, Van Erp discovered more things he could do to improve the monument; he submitted another proposal that was approved with the additional cost of 34,600 guilders. At first glance Borobudur had been restored to its old glory.
Due to the limited budget, the restoration had been primarily focused on cleaning the sculptures, and Van Erp did not solve the drainage problem. Within fifteen years, the gallery walls were sagging and the reliefs showed signs of new cracks and deterioration. Van Erp used concrete from which alkali salts and calcium hydroxide leached and were transported into the rest of the construction. This caused some problems, so that a further thorough renovation was urgently needed.
Small restorations have been performed since then, but not sufficient for complete protection. In the late 1960s, the Indonesian government had requested from the international community a major renovation to protect the monument. In 1973, a master plan to restore Borobudur was created. The Indonesian government and UNESCO then undertook the complete overhaul of the monument in a big restoration project between 1975–1982. The foundation was stabilized and all 1,460 panels were cleaned. The restoration involved the dismantling of the five square platforms and improved the drainage by embedding water channels into the monument. Both impermeable and filter layers were added. This colossal project involved around 600 people to restore the monument and cost a total of US$ 6,901,243. After the renovation was finished, UNESCO listed Borobudur as a World Heritage Site in 1991.
Eiffel Tower - France
Named after its designer, engineer Gustave Eiffel, the Eiffel Tower is the tallest building in Paris. More than 200,000,000 have visited the tower since its construction in 1889, including 6,719,200 in 2006, making it the most visited paid monument in the world. Including the 24 m (79 ft) antenna, the structure is 325 m (1,063 ft) high (since 2000), which is equivalent to about 81 levels in a conventional building.When the tower was completed in 1889 it was the world's tallest tower — a title it retained until 1930 when New York City's Chrysler Building (319 m — 1,047 ft tall) was completed. The tower is now the fifth-tallest structure in France and the tallest structure in Paris, with the second-tallest being the Tour Montparnasse (210 m — 689 ft), although that will soon be surpassed by Tour AXA (225.11 m — 738.36 ft).
The metal structure of the Eiffel Tower weighs 7,300 tonnes while the entire structure including non-metal components is approximately 10,000 tonnes. Depending on the ambient temperature, the top of the tower may shift away from the sun by up to 18 cm (7 in) because of thermal expansion of the metal on the side facing the sun. The tower also sways 6–7 cm (2–3 in) in the wind. As demonstration of the economy of design, if the 7300 tonnes of the metal structure were melted down it would fill the 125 meter square base to a depth of only 6 cm (2.36 in), assuming a density of the metal to be 7.8 tonnes per cubic meter. The tower has a mass less than the mass of the air contained in a cylinder of the same dimensions, that is 324 meters high and 88.3 meters in radius. The weight of the tower is 10,100 tonnes compared to 10,265 tonnes of air.
The first and second levels are accessible by stairways and lifts. A ticket booth at the south tower base sells tickets to access the stairs which begin at that location. At the first platform the stairs continue up from the east tower and the third level summit is only accessible by lift. From the first or second platform the stairs are open for anyone to ascend or descend regardless of whether they have purchased a lift ticket or stair ticket. The actual count of stairs includes 9 steps to the ticket booth at the base, 328 steps to the first level, 340 steps to the second level and 18 steps to the lift platform on the second level. When exiting the lift at the third level there are 15 more steps to ascend to the upper observation platform. The step count is printed periodically on the side of the stairs to give an indication of progress of ascent. The majority of the ascent allows for an unhindered view of the area directly beneath and around the tower although some short stretches of the stairway are enclosed.
Maintenance of the tower includes applying 50 to 60 tonnes of paint every seven years to protect it from rust. In order to maintain a uniform appearance to an observer on the ground, three separate colors of paint are used on the tower, with the darkest on the bottom and the lightest at the top. On occasion the colour of the paint is changed; the tower is currently painted a shade of brownish-grey. On the first floor there are interactive consoles hosting a poll for the colour to use for a future session of painting. The co-architects of the Eiffel Tower are Emile Nouguier, Maurice Koechlin and Stephen Sauvestre.
Great Wall - China
The Great Wall of China (simplified Chinese: 长城; traditional Chinese: 長城; pinyin: Chángchéng; literally "Long City/fortress") or (simplified Chinese: 万里长城; traditional Chinese: 萬里長城; pinyin: Wànlǐ Chángchéng; literally "The long wall of 10,000 Li is a series of stone and earthen fortifications in China, built, rebuilt, and maintained between the 6th century BC and the 16th century to protect the northern borders of the Chinese Empire from Xiongnu attacks during the rule of successive dynasties. Several walls, referred to as the Great Wall of China, were built since the 5th century BC. The most famous is the wall built between 220–200 BC by the first Emperor of China, Qin Shi Huang; little of it remains; it was much farther north than the current wall, which was built during the Ming Dynasty.
The Great Wall stretches over approximately 6,400 km (4,000 miles) from Shanhaiguan in the east to Lop Nur in the west, along an arc that roughly delineates the southern edge of Inner Mongolia, but stretches to over 6,700 km (4,160 miles) in total. At its peak, the Ming Wall was guarded by more than one million men. It has been estimated that somewhere in the range of 2 to 3 million Chinese died as part of the centuries-long project of building the wall.
Visibility from the moon
A Ripley's Believe It or Not! cartoon from May 1932 claimed that the wall is "the mightiest work of man, the only one that would be visible to the human eye from the moon," and Richard Halliburton's 1938 book Second Book of Marvels makes a similar claim, but it is not true. This belief has persisted, assuming urban legend status, and sometimes even appeared in school textbooks. Arthur Waldron, author of The Great Wall of China: From History to Myth, has speculated that the belief might go back to the fascination with the "canals" once believed to exist on Mars.
The earliest known reference to this myth appears in a letter written in 1754 by the English antiquary William Stukeley. Stukeley wrote about Hadrian's Wall that, "This mighty wall of four score miles in length is only exceeded by the Chinese wall, which makes a considerable figure upon the terrestrial globe, and may be discerned at the moon.
The Great Wall is a maximum 9.1m (30 ft) wide and is about the same color as the soil surrounding it. Based on the optics of resolving power (distance versus the width of the iris: a few millimetres for the human eye, metres for large telescopes) an object of reasonable contrast to its surroundings some 70 miles in diameter (1 arc-minute) would be visible to the unaided eye from the moon, whose average distance from Earth is 384,393 km (238,857 miles). The Great Wall is of course not a disc but more like a thread—it can be seen from much further than would be possible if it were simply a 30 foot disc. Still, the apparent width of the Great Wall from the moon is the same as that of a human hair viewed from 2 miles away. To see the wall from the moon would require spatial resolution 17,000 times better than normal (20/20) vision. Not surprisingly, no lunar astronaut has ever claimed seeing the Great Wall from the moon.
Incidentially, if one could have seen the Great Wall from the moon, one ought to be able to see most of the roads in the world as well, given that they in total length far surpasses that of the great wall, and commonly are even wider. This is again not the case.
The Leaning Tower of Pisa - Italy
The Leaning Tower of Pisa (Italian: Torre pendente di Pisa) or simply The Tower of Pisa (La Torre di Pisa) is the campanile, or freestanding bell tower, of the cathedral of the Italian city of Pisa. It is situated behind the cathedral and is the third oldest structure in Pisa's Piazza del Duomo (Cathedral Square) after the cathedral and the baptistry.Although intended to stand vertically, the tower began leaning to the southeast soon after the onset of construction in 1173 due to a poorly laid foundation and loose substrate that has allowed the foundation to shift direction. The tower presently leans to the southwest.
The height of the tower is 55.86 m (183.27 ft) from the ground on the lowest side and 56.70 m (186.02 ft) on the highest side. The width of the walls at the base is 4.09 m (13.42 ft) and at the top 2.48 m (8.14 ft). Its weight is estimated at 14,500 metric tons (16,000 short tons). The tower has 296 or 294 steps; the seventh floor has two fewer steps on the north-facing staircase. The tower leans at an angle of 3.97 degrees. This means that the top of the tower is 3.9 metres (12 ft 10 in) from where it would stand if the tower were perfectly vertical.
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Borobudur - Indonesia
Coordinates: 7°36′29″S 110°12′14″E / -7.608, 110.204
Borobudur
Borobudur northwest view
Borobudur (Java Topography)
Borobudur
Shown within Java Topography
Building
Architectural style stupa and candi
Town near Magelang, Central Java
Country Indonesia
Coordinates 7°36′29″S 110°12′14″E / -7.608, 110.204
Construction
Completed circa AD 800
Design team
Architect Gunadharma
Borobudur is a ninth-century Mahayana Buddhist monument in Magelang, Central Java, Indonesia. The monument comprises six square platforms topped by three circular platforms, and is decorated with 2,672 relief panels and 504 Buddha statues. A main dome, located at the center of the top platform, is surrounded by 72 Buddha statues seated inside perforated stupa.
The monument is both a shrine to the Lord Buddha and a place for Buddhist pilgrimage. The journey for pilgrims begins at the base of the monument and follows a path circumambulating the monument while ascending to the top through the three levels of Buddhist cosmology, namely Kamadhatu (the world of desire), Rupadhatu (the world of forms) and Arupadhatu (the world of formlessness). During the journey the monument guides the pilgrims through a system of stairways and corridors with 1,460 narrative relief panels on the wall and the balustrades.
Evidence suggests Borobudur was abandoned following the fourteenth century decline of Buddhist and Hindu kingdoms in Java, and the Javanese conversion to Islam. Worldwide knowledge of its existence was sparked in 1814 by Sir Thomas Stamford Raffles, the then British ruler of Java, who was advised of its location by native Indonesians. Borobudur has since been preserved through several restorations. The largest restoration project was undertaken between 1975 and 1982 by the Indonesian government and UNESCO, following which the monument was listed as a UNESCO World Heritage Site. Borobudur is still used for pilgrimage; once a year Buddhists in Indonesia celebrate Vesak at the monument, and Borobudur is Indonesia's single most visited tourist attraction.
Contents
* 1 Etymology
* 2 Location
* 3 History
o 3.1 Construction
o 3.2 Abandonment
o 3.3 Rediscovery
o 3.4 Contemporary events
* 4 Architecture
* 5 Reliefs
* 6 Buddha statues
* 7 Restoration
* 8 Gallery of reliefs
* 9 See also
* 10 References
o 10.1 General
o 10.2 Notes
* 11 Further reading
* 12 External links
Etymology
Borobudur formed a stepped pyramid.
In Indonesian, ancient temples are known as candi; thus "Borobudur Temple" is locally known as Candi Borobudur. The term candi is also used more loosely to describe any ancient structure, for example gates and bathing structures. The origins of the name Borobudur however are unclear, although the original names of most ancient Indonesian temples are no longer known. The name Borobudur was first written in Sir Thomas Raffles' book on Javan history. Raffles wrote about a monument called borobudur, but there are no older documents suggesting the same name. The only old Javanese manuscript that hints at the monument as a holy Buddhist sanctuary is Nagarakretagama, written by Mpu Prapanca in 1365.
The name 'Bore-Budur', and thus 'BoroBudur', is thought to have been written by Raffles in English grammar to mean the nearby village of Bore; most candi are named after a nearby village. If it followed Javanese language, the monument should have been named 'BudurBoro'. Raffles also suggested that 'Budur' might correspond to the modern Javanese word Buda ('ancient') – i.e., 'ancient Boro'. However, another archaeologist suggests the second component of the name ('Budur') comes from Javanese term bhudhara (or mountain).
Location
Location of Borobudur-Pawon-Mendut in one straight line.
Approximately 40 kilometers (25 mi) northwest of Yogyakarta, Borobudur is located in an elevated area between two twin volcanoes, Sundoro-Sumbing and Merbabu-Merapi, and two rivers, the Progo and the Elo. According to local myth, the area known as Kedu Plain is a Javanese 'sacred' place and has been dubbed 'the garden of Java' due to its high agricultural fertility. Besides Borobudur, there are other Buddhist and Hindu temples in the area, including the Prambanan temples compound. During the restoration in the early 1900s, it was discovered that three Buddhist temples in the region, Borobudur, Pawon and Mendut, are lined in one straight line position. It might be accidental, but the temples' alignment is in conjunction with a native folk tale that a long time ago, there was a brick-paved road from Borobudur to Mendut with walls on both sides. The three temples (Borobudur–Pawon–Mendut) have similar architecture and ornamentation derived from the same time period, which suggests that ritual relationship between the three temples, in order to have formed a sacred unity, must have existed, although exact ritual process is yet unknown.
Unlike other temples, which were built on a flat surface, Borobudur was built on a bedrock hill, 265 m (869 ft) above sea level and 15 m (49 ft) above the floor of the dried-out paleolake. The lake's existence was the subject of intense discussion among archaeologists in the twentieth century; Borobudur was thought to have been built on a lake shore or even floated on a lake. In 1931, a Dutch artist and a scholar of Hindu and Buddhist architecture, W.O.J. Nieuwenkamp, developed a theory that Kedu Plain was once a lake and Borobudur initially represented a lotus flower floating on the lake. Lotus flowers are found in almost every Buddhist work of art, often serving as a throne for buddhas and base for stupas. The architecture of Borobudur itself suggests a lotus depiction, in which Buddha postures in Borobudur symbolize the Lotus Sutra, mostly found in many Mahayana Buddhism (a school of Buddhism widely spread in the east Asia region) texts. Three circular platforms on the top are also thought to represent a lotus leaf. Nieuwenkamp's theory, however, was contested by many archaeologists because the natural environment surrounding the monument is a dry land.
Geologists, on the other hand, support Nieuwenkamp's view, pointing out clay sediments found near the site. A study of stratigraphy, sediment and pollen samples conducted in 2000 supports the existence of a paleolake environment near Borobudur, which tends to confirm Nieuwenkamp's theory. The lake area fluctuated with time and the study also proves that Borobudur was near the lake shore circa thirteenth and fourteenth century. River flows and volcanic activities shape the surrounding landscape, including the lake. One of the most active volcanoes in Indonesia, Mount Merapi, is in the direct vicinity of Borobudur and has been very active since the Pleistocene.
History
Construction
Buddhist pilgrims meditate on the top platform.
There is no written record of who built Borobudur or of its intended purpose. The construction time has been estimated by comparison between carved reliefs on the temple's hidden foot and the inscriptions commonly used in royal charters during the eight and ninth centuries. Borobudur was likely founded around 800 AD. This corresponds to the period between 760–830 AD, the peak of the Sailendra dynasty in central Java, when it was under the influence of the Srivijayan Empire. The construction has been estimated to have taken 75 years and been completed during the reign of Samaratungga in 825.
There is confusion between Hindu and Buddhist rulers in Java around that time. The Sailendras were known as ardent followers of Lord Buddha, though stone inscriptions found at Sojomerto suggest they may have been Hindus. It was during this time that many Hindu and Buddhist monuments were built on the plains and mountain around the Kedu Plain. The Buddhist monuments, including Borobudur, were erected around the same time as the Hindu Shiva Prambanan temple compound. In 732 AD, the Shivaite King Sanjaya commissioned a Shivalinga sanctuary to be built on the Ukir hill, only 10 km (6.2 miles) east of Borobudur.
Construction of Buddhist temples, including Borobudur, at that time was possible because Sanjaya's immediate successor, Rakai Panangkaran, granted his permission to the Buddhist followers to build such temples. In fact, to show his respect, Panangkaran gave the village of Kalasan to the Buddhist community, as is written in the Kalasan Charter dated 778 AD. This has led some archaeologists to believe that there was never serious conflict concerning religion in Java as it was possible for a Hindu king to patronize the establishment of a Buddhist monument; or for a Buddhist king to act likewise. However, it is likely that there were two rival royal dynasties in Java at the time—the Buddhist Sailendra and the Saivite Sanjaya—in which the latter triumphed over their rival in the 856 battle on the Ratubaka plateau. This confusion also exists regarding the Lara Jonggrang temple at the Prambanan complex, which was believed that it was erected by the victor Rakai Pikatan as the Sanjaya dynasty's reply to Borobudur, but others suggest that there was a climate of peaceful coexistence where Sailendra involvement exists in Lara Jonggrang.
Abandonment
Borobudur stupas overlooking a mountain. For centuries, it was deserted.
Borobudur lay hidden for centuries under layers of volcanic ash and jungle growth. The facts behind its abandonment remain a mystery. It is not known when active use of the monument and Buddhist pilgrimage to it ceased. Somewhere between 928 and 1006, the center of power moved to East Java region and a series of volcanic eruptions took place; it is not certain whether the latter influenced the former but several sources mention this as the most likely period of abandonment. Soekmono (1976) also mentions the popular belief that the temples were disbanded when the population converted to Islam in the fifteenth century.
The monument was not forgotten completely, though folk stories gradually shifted from its past glory into more superstitious beliefs associated with bad luck and misery. Two old Javanese chronicles (babad) from the eighteenth century mention cases of bad luck associated with the monument. According to the Babad Tanah Jawi (or the History of Java), the monument was a fatal factor for a rebel who revolted against the king of Mataram in 1709. The hill was besieged and the insurgents were defeated and sentenced to death by the king. In the Babad Mataram (or the History of the Mataram Kingdom), the monument was associated with the misfortune of the crown prince of the Yogyakarta Sultanate in 1757. In spite of a taboo against visiting the monument, "he took what is written as the knight who was captured in a cage (a statue in one of the perforated stupas)". Upon returning to his palace, he fell ill and died one day later.
Rediscovery
Borobudur's main stupa, which is empty and has created a mystery during the discovery period.
Following the Anglo-Dutch Java War, Java was under British administration from 1811 to 1816. The appointed governor was Lieutenant Governor-General Thomas Stamford Raffles, who took great interest in the history of Java. He collected Javanese antiques and made notes through contacts with local inhabitants during his tour throughout the island. On an inspection tour to Semarang in 1814, he was informed about a big monument deep in a jungle near the village of Bumisegoro. He was not able to make the discovery himself and sent H.C. Cornelius, a Dutch engineer, to investigate.
In two months, Cornelius and his 200 men cut down trees, burned down vegetation and dug away the earth to reveal the monument. Due to the danger of collapse, he could not unearth all galleries. He reported his findings to Raffles including various drawings. Although the discovery is only mentioned by a few sentences, Raffles has been credited with the monument's recovery, as one who had brought it to the world's attention.
Hartmann, a Dutch administrator of the Kedu region, continued Cornelius' work and in 1835 the whole complex was finally unearthed. His interest in Borobudur was more personal than official. Hartmann did not write any reports of his activities; in particular, the alleged story that he discovered the large statue of Buddha in the main stupa. In 1842, Hartmann investigated the main dome although what he discovered remains unknown as the main stupa remains empty.
The first photograph of Borobudur by Isidore van Kinsbergen (1873) after the monument was cleared up.
The Dutch East Indies government then commissioned F.C. Wilsen, a Dutch engineering official, who studied the monument and drew hundreds of relief sketches. J.F.G. Brumund was also appointed to make a detailed study of the monument, which was completed in 1859. The government intended to publish an article based on Brumund study supplemented by Wilsen's drawings, but Brumund refused to cooperate. The government then commissioned another scholar, C. Leemans, who compiled a monograph based on Brumund's and Wilsen's sources. In 1873, the first monograph of the detailed study of Borobudur was published, followed by its French translation a year later. The first photograph of the monument was taken in 1873 by a Dutch-Flemish engraver, Isidore van Kinsbergen.
Appreciation of the site developed slowly, and it served for some time largely as a source of souvenirs and income for "souvenir hunters" and thieves. In 1882, the chief inspector of cultural artifacts recommended that Borobudur be entirely disassembled with the relocation of reliefs into museums due to the unstable condition of the monument. As a result, the government appointed Groenveldt, an archeologist, to undertake a thorough investigation of the site and to assess the actual condition of the complex; his report found that these fears were unjustified and recommended it be left intact.
Contemporary events
Tourists in Borobudur.
Following the major 1973 renovation funded by UNESCO, Borobudur is once again used as a place of worship and pilgrimage. Once a year, during the full moon in May or June, Buddhists in Indonesia observe Vesak (Indonesian: Waisak) day commemorating the birth, death, and the time when Siddhārtha Gautama attained the highest wisdom to become the Buddha Shakyamuni. Vesak is an official national holiday in Indonesia and the ceremony is centered at the three Buddhist temples by walking from Mendut to Pawon and ending at Borobudur.
The monument is the single most visited tourist attraction in Indonesia. In 1974, 260,000 tourists of whom 36,000 were foreigners visited the monument.The figure hiked into 2.5 million visitors annually (80% were domestic tourists) in the mid 1990s, before the country's economy crisis. Tourism development, however, has been criticized for not including the local community on which occasional local conflict has arisen. In 2003, residents and small businesses around Borobudur organized several meetings and poetry protests, objecting to a provincial government plan to build a three-story mall complex, dubbed the 'Java World'.
On 21 January 1985, nine stupas were badly damaged by nine bombs. In 1991, a blind Muslim evangelist, Husein Ali Al Habsyie, was sentenced to life imprisonment for masterminding a series of bombings in the mid 1980s including the temple attack. Two other members of a right-wing extremist group that carried out the bombings were each sentenced to 20 years in 1986 and another man received a 13-year prison term. On 27 May 2006, an earthquake of 6.2 magnitude on the Richter scale struck the south coast of Central Java. The event had caused severe damage around the region and casualties to the nearby city of Yogyakarta, but Borobudur remained intact.
Architecture
Borobudur ground plan
Borobudur is built as a single large stupa, and when viewed from above takes the form of a giant tantric Buddhist mandala, simultaneously representing the Buddhist cosmology and the nature of mind. The foundation is a square, approximately 118 meters (387 ft) on each side. It has nine platforms, of which the lower six are square and the upper three are circular. The upper platform features seventy-two small stupas surrounding one large central stupa. Each stupa is bell-shaped and pierced by numerous decorative openings. Statues of the Buddha sit inside the pierced enclosures.
Approximately 55,000 cubic metres (72,000 cu yd) of stones were taken from neighbouring rivers to build the monument. The stone was cut to size, transported to the site and laid without mortar. Knobs, indentations and dovetails were used to form joints between stones. Reliefs were created in-situ after the building had been completed. The monument is equipped with a good drainage system to cater for the area's high stormwater run-off. To avoid inundation, 100 spouts are provided at each corner with a unique carved gargoyles in the shape of giants or makaras.
Half cross-section with 4:6:9 height ratio for foot, body and head, respectively.
Borobudur differs markedly with the general design of other structures built for this purpose. Instead of building on a flat surface, Borobudur is built on a natural hill. The building technique is, however, similar to other temples in Java. With no inner space as in other temples and its general design similar to the shape of pyramid, Borobudur was first thought more likely to have served as a stupa, instead of a temple. A stupa is intended as a shrine for the Lord Buddha. Sometimes stupas were built only as devotional symbols of Buddhism. A temple, on the other hand, is used as a house of deity and has inner spaces for worship. The complexity of the monument's meticulous design suggests Borobudur is in fact a temple. Congregational worship in Borobudur is performed by means of pilgrimage. Pilgrims were guided by the system of staircases and corridors ascending to the top platform. Each platform represents one stage of enlightenment. The path that guides pilgrims was designed with the symbolism of sacred knowledge according to the Buddhist cosmology.
A narrow corridor with reliefs on the wall.
A carved gargoyle-shaped water spout for water drainage.
Little is known about the architect Gunadharma. His name is actually recounted from Javanese legendary folk tales rather than written in old inscriptions. He was said to be one who "... bears the measuring rod, knows division and thinks himself composed of parts." The basic unit measurement he used during the construction was called tala, defined as the length of a human face from the forehead's hairline to the tip of the chin or the distance from the tip of the thumb to the tip of the middle finger when both fingers are stretched at their maximum distance. The unit metrics is then obviously relative between persons, but the monument has exact measurements. A survey conducted in 1977 revealed frequent findings of a ratio of 4:6:9 around the monument. The architect had used the formula to lay out the precise dimensions of Borobudur. The identical ratio formula was further found in the nearby Buddhist temples of Pawon and Mendhut. Archeologists conjectured the purpose of the ratio formula and the tala dimension has calendrical, astronomical and cosmological themes, as of the case in other Hindu and Buddhist temple of Angkor Wat in Cambodia.The main vertical structure can be divided into three groups: base (or foot), body, and top, which resembles the three major division of a human body. The base is a 123x123 m (403.5x403.5 ft) square in size and 4 meters (13 ft) high of walls. The body is composed of five square platforms each with diminishing heights. The first terrace is set back 7 meters (23 ft) from the edge of the base. The other terraces are set back by 2 meters (7 ft), leaving a narrow corridor at each stage. The top consists of 3 circular platforms, with each stage supporting a row of perforated stupas, arranged in concentric circles. There is one main dome at the center; the top of which is the highest point of the monument (35 meters (115 ft) above ground level). Access to the upper part is through stairways at the centre of each side with a number of gates, watched by a total of 32 lion statues. The main entrance is at the eastern side, the location of the first narrative reliefs. On the slopes of the hill, there are also stairways linking the monument to the low-lying plain.
The monument's three divisions symbolize three stages of mental preparation towards the ultimate goal according to the Buddhist cosmology, namely Kamadhatu (the world of desires), Rupadhatu (the world of forms), and finally Arupadhatu (the formless world). Kamadhatu is represented by the base, Rupadhatu by the five square platforms (the body), and Arupadhatu by the three circular platforms and the large topmost stupa. The architectural features between three stages have metaphorical differences. For instance, square and detailed decorations in the Rupadhatu disappear into plain circular platforms in the Arupadhatu to represent how the world of forms – where men are still attached with forms and names – changes into the world of the formless.
In 1885, a hidden structure under the base was accidentally discovered. The "hidden foot" contains reliefs, 160 of which are narrative describing the real Kamadhatu. The remaining reliefs are panels with short inscriptions that apparently describe instruction for the sculptors, illustrating the scene to be carved. The real base is hidden by an encasement base, the purpose of which remains a mystery. It was first thought that the real base had to be covered to prevent a disastrous subsidence of the monument through the hill. There is another theory that the encasement base was added because the original hidden foot was incorrectly designed, according to Vastu Shastra, the Indian ancient book about architecture and town planning. Regardless of its intention, the encasement base was built with detailed and meticulous design with aesthetics and religious compensation.
Reliefs
Narrative Panels Distribution
section location story #panels
hidden foot wall Karmavibhangga 160
first gallery main wall Lalitavistara 120
Jataka/Avadana 120
balustrade Jataka/Avadana 372
Jataka/Avadana 128
second gallery balustrade Jataka/Avadana 100
main wall Gandavyuha 128
third gallery main wall Gandavyuha 88
balustrade Gandavyuha 88
fourth gallery main wall Gandavyuha 84
balustrade Gandavyuha 72
Total 1,460
Borobudur contains approximately 2,670 individual bas reliefs (1,460 narrative and 1,212 decorative panels), which cover the façades and balustrades. The total relief surface is 2,500 square meters (26,909.8 sq ft) and they are distributed at the hidden foot (Kamadhatu) and the five square platforms (Rupadhatu).
The narrative panels, which tell the story of Sudhana and Manohara, are grouped into 11 series encircled the monument with the total length of 3,000 meters (9,843 ft). The hidden foot contains the first series with 160 narrative panels and the remaining 10 series are distributed throughout walls and balustrades in four galleries starting from the eastern entrance stairway to the left. Narrative panels on the wall read from right to left, while on the balustrade read from left to right. This conforms with pradaksina, the ritual of circumambulation performed by pilgrims who move in a clockwise direction while keeping the sanctuary to their right.
The hidden foot depicts the workings of karmic law. The walls of the first gallery have two superimposed series of reliefs; each consists of 120 panels. The upper part depicts the biography of the Buddha, while the lower part of the wall and also balustrades in the first and the second galleries tell the story of the Buddha's former lives. The remaining panels are devoted to Sudhana's further wandering about his search, terminated by his attainment of the Perfect Wisdom.
The law of karma (Karmavibhangga)
The 160 hidden panels do not form a continuous story, but each panel provides one complete illustration of cause and effect. There are depictions of blameworthy activities, from gossip to murder, with their corresponding punishments. There are also praiseworthy activities, that include charity and pilgrimage to sanctuaries, and their subsequent rewards. The pains of hell and the pleasure of heaven are also illustrated. There are scenes of daily life, complete with the full panorama of samsara (the endless cycle of birth and death).
The birth of Buddha (Lalitavistara)
Queen Maya riding horse carriage retreating to Lumbini to give birth to Prince Siddhartha Gautama.Main article: The birth of Buddha (Lalitavistara)
The story starts from the glorious descent of the Lord Buddha from the Tushita heaven, and ends with his first sermon in the Deer Park near Benares. The relief shows the birth of the Buddha as Prince Siddhartha, son of King Suddhodana and Queen Maya of Kapilavastu (in present-day Nepal).
The story is preceded by 27 panels showing various preparations, in heavens and on earth, to welcome the final incarnation of the Bodhisattva. Before descending from Tushita heaven, the Bodhisattva entrusted his crown to his successor, the future Buddha Maitreya. He descended on earth in the shape of white elephants with six tusks, penetrated to Queen Maya's right womb. Queen Maya had a dream of this event, which was interpreted that his son would become either a sovereign or a Buddha.
While Queen Maya felt that it was the time to give birth, she went to the Lumbini park outside the Kapilavastu city. She stood under a plaksa tree, holding one branch with her right hand and she gave birth to a son, Prince Siddhartha. The story on the panels continues until the prince becomes the Buddha.
Prince Siddhartha Gautama become an ascetic hermit.
Prince Siddhartha story (Jataka) and other legendary persons (Avadana)
Jatakas are stories about the Buddha before he was born as Prince Siddhartha. Avadanas are similar to jatakas, but the main figure is not the Bodhisattva himself. The saintly deeds in avadanas are attributed to other legendary persons. Jatakas and avadanas are treated in one and the same series in the reliefs of Borobudur.The first 20 lower panels in the first gallery on the wall depict the Sudhanakumaravadana or the saintly deeds of Sudhana. The first 135 upper panels in the same gallery on the balustrades are devoted to the 34 legends of the Jatakamala. The remaining 237 panels depict stories from other sources, as do for the lower series and panels in the second gallery. Some jatakas stories are depicted twice, for example the story of King Sibhi (Rama's forefather).
Sudhana's search for the Ultimate Truth (Gandavyuha)
Gandavyuha is the story told in the final chapter of the Avatamsaka Sutra about Sudhana's tireless wandering in search of the Highest Perfect Wisdom. It covers two galleries (third and fourth) and also half of the second gallery; comprising in total of 460 panels. The principal figure of the story, the youth Sudhana, son of an extremely rich merchant, appears on the 16th panel. The preceding 15 panels form a prologue to the story of the miracles during Buddha's samadhi in the Garden of Jeta at Sravasti.
During his search, Sudhana visited no less than 30 teachers but none of them had satisfied him completely. He was then instructed by Manjusri to meet the monk Megasri, where he was given the first doctrine. As his journey continues, Sudhana meets (in the following order) Supratisthita, the physician Megha (Spirit of Knowledge), the banker Muktaka, the monk Saradhvaja, the upasika Asa (Spirit of Supreme Enlightenment), Bhismottaranirghosa, the Brahmin Jayosmayatna, Princess Maitrayani, the monk Sudarsana, a boy called Indriyesvara, the upasika Prabhuta, the banker Ratnachuda, King Anala, the god Siva Mahadeva, Queen Maya, Bodhisattva Maitreya and then back to Manjusri. Each meeting has given Sudhana a specific doctrine, knowledge and wisdom. These meetings are shown in the third gallery.After the last meeting with Manjusri, Sudhana went to the residence of Bodhisattva Samantabhadra; depicted in the fourth gallery. The entire series of the fourth gallery is devoted to the teaching of Samantabhadra. The narrative panels finally end with Sudhana's achievement of the Supreme Knowledge and the Ultimate Truth.
Buddha statues
A Buddha statue with the hand position of dharmachakra mudra (turning the Wheels of the Law).
Apart from the story of Buddhist cosmology carved in stone, Borobudur has many statues of various Buddhas. The cross-legged statues are seated in a lotus position and distributed on the five square platforms (the Rupadhatu level) as well as on the top platform (the Arupadhatu level).
The Buddha statues are in niches at the Rupadhatu level, arranged in rows on the outer sides of the balustrades, the number of statues decreasing as platforms progressively diminish to the upper level. The first balustrades have 104 niches, the second 104, the third 88, the fourth 72 and the fifth 64. In total, there are 432 Buddha statues at the Rupadhatu level. At the Arupadhatu level (or the three circular platforms), Buddha statues are placed inside perforated stupas. The first circular platform has 32 stupas, the second 24 and the third 16, that add up to 72 stupas. Of the original 504 Buddha statues, over 300 are damaged (mostly headless) and 43 are missing (since the monument's discovery, heads have been stolen as collector's items, mostly by Western museums).
A headless Buddha statue inside a stupa.
At glance, all the Buddha statues appear similar, but there is a subtle difference between them in the mudras or the position of the hands. There are five groups of mudra: North, East, South, West and Zenith, which represent the five cardinal compass points according to Mahayana. The first four balustrades have the first four mudras: North, East, South and West, of which the Buddha statues that face one compass direction have the corresponding mudra. Buddha statues at the fifth balustrades and inside the 72 stupas on the top platform have the same mudra: Zenith. Each mudra represents one of the Five Dhyani Buddhas; each has its own symbolism. They are Abhaya mudra for Amoghasiddhi (north), Vara mudra for Ratnasambhava (south), Dhyana mudra for Amitabha (west), Bhumisparsa mudra for Aksobhya (east) and Dharmachakra mudra for Vairochana (zenith).
Restoration
Embedding concrete and pvc pipe to improve Borobudur's drainage system during the 1973 restoration.
Borobudur attracted attention in 1885, when Yzerman, the Chairman of the Archaeological Society in Yogyakarta, made a discovery about the hidden foot. Photographs that reveal reliefs on the hidden foot were made in 1890–1891. The discovery led the Dutch East Indies government to take steps to safeguard the monument. In 1900, the government set up a commission consisting of three officials to assess the monument: Brandes, an art historian, Theodoor van Erp, a Dutch army engineer officer, and Van de Kamer, a construction engineer from the Department of Public Works.In 1902, the commission submitted a threefold plan of proposal to the government. First, the immediate dangers should be avoided by resetting the corners, removing stones that endangered the adjacent parts, strengthening the first balustrades and restoring several niches, archways, stupas and the main dome. Second, fencing off the courtyards, providing proper maintenance and improving drainage by restoring floors and spouts. Third, all loose stones should be removed, the monument cleared up to the first balustrades, disfigured stones removed and the main dome restored. The total cost was estimated at that time around 48,800 Dutch guilders.
The restoration then was carried out between 1907 and 1911, using the principles of anastylosis and led by Theodor van Erp. The first seven months of his restoration was occupied with excavating the grounds around the monument to find missing Buddha heads and panel stones. Van Erp dismantled and rebuilt the upper three circular platforms and stupas. Along the way, Van Erp discovered more things he could do to improve the monument; he submitted another proposal that was approved with the additional cost of 34,600 guilders. At first glance Borobudur had been restored to its old glory.
Due to the limited budget, the restoration had been primarily focused on cleaning the sculptures, and Van Erp did not solve the drainage problem. Within fifteen years, the gallery walls were sagging and the reliefs showed signs of new cracks and deterioration. Van Erp used concrete from which alkali salts and calcium hydroxide leached and were transported into the rest of the construction. This caused some problems, so that a further thorough renovation was urgently needed.
Small restorations have been performed since then, but not sufficient for complete protection. In the late 1960s, the Indonesian government had requested from the international community a major renovation to protect the monument. In 1973, a master plan to restore Borobudur was created. The Indonesian government and UNESCO then undertook the complete overhaul of the monument in a big restoration project between 1975–1982. The foundation was stabilized and all 1,460 panels were cleaned. The restoration involved the dismantling of the five square platforms and improved the drainage by embedding water channels into the monument. Both impermeable and filter layers were added. This colossal project involved around 600 people to restore the monument and cost a total of US$ 6,901,243. After the renovation was finished, UNESCO listed Borobudur as a World Heritage Site in 1991.
Eiffel Tower - France
The metal structure of the Eiffel Tower weighs 7,300 tonnes while the entire structure including non-metal components is approximately 10,000 tonnes. Depending on the ambient temperature, the top of the tower may shift away from the sun by up to 18 cm (7 in) because of thermal expansion of the metal on the side facing the sun. The tower also sways 6–7 cm (2–3 in) in the wind. As demonstration of the economy of design, if the 7300 tonnes of the metal structure were melted down it would fill the 125 meter square base to a depth of only 6 cm (2.36 in), assuming a density of the metal to be 7.8 tonnes per cubic meter. The tower has a mass less than the mass of the air contained in a cylinder of the same dimensions, that is 324 meters high and 88.3 meters in radius. The weight of the tower is 10,100 tonnes compared to 10,265 tonnes of air.The first and second levels are accessible by stairways and lifts. A ticket booth at the south tower base sells tickets to access the stairs which begin at that location. At the first platform the stairs continue up from the east tower and the third level summit is only accessible by lift. From the first or second platform the stairs are open for anyone to ascend or descend regardless of whether they have purchased a lift ticket or stair ticket. The actual count of stairs includes 9 steps to the ticket booth at the base, 328 steps to the first level, 340 steps to the second level and 18 steps to the lift platform on the second level. When exiting the lift at the third level there are 15 more steps to ascend to the upper observation platform. The step count is printed periodically on the side of the stairs to give an indication of progress of ascent. The majority of the ascent allows for an unhindered view of the area directly beneath and around the tower although some short stretches of the stairway are enclosed.
Maintenance of the tower includes applying 50 to 60 tonnes of paint every seven years to protect it from rust. In order to maintain a uniform appearance to an observer on the ground, three separate colors of paint are used on the tower, with the darkest on the bottom and the lightest at the top. On occasion the colour of the paint is changed; the tower is currently painted a shade of brownish-grey. On the first floor there are interactive consoles hosting a poll for the colour to use for a future session of painting. The co-architects of the Eiffel Tower are Emile Nouguier, Maurice Koechlin and Stephen Sauvestre.
Great Wall - China
The Great Wall of China (simplified Chinese: 长城; traditional Chinese: 長城; pinyin: Chángchéng; literally "Long City/fortress") or (simplified Chinese: 万里长城; traditional Chinese: 萬里長城; pinyin: Wànlǐ Chángchéng; literally "The long wall of 10,000 Li is a series of stone and earthen fortifications in China, built, rebuilt, and maintained between the 6th century BC and the 16th century to protect the northern borders of the Chinese Empire from Xiongnu attacks during the rule of successive dynasties. Several walls, referred to as the Great Wall of China, were built since the 5th century BC. The most famous is the wall built between 220–200 BC by the first Emperor of China, Qin Shi Huang; little of it remains; it was much farther north than the current wall, which was built during the Ming Dynasty.
The Great Wall stretches over approximately 6,400 km (4,000 miles) from Shanhaiguan in the east to Lop Nur in the west, along an arc that roughly delineates the southern edge of Inner Mongolia, but stretches to over 6,700 km (4,160 miles) in total. At its peak, the Ming Wall was guarded by more than one million men. It has been estimated that somewhere in the range of 2 to 3 million Chinese died as part of the centuries-long project of building the wall.
Visibility from the moon
A Ripley's Believe It or Not! cartoon from May 1932 claimed that the wall is "the mightiest work of man, the only one that would be visible to the human eye from the moon," and Richard Halliburton's 1938 book Second Book of Marvels makes a similar claim, but it is not true. This belief has persisted, assuming urban legend status, and sometimes even appeared in school textbooks. Arthur Waldron, author of The Great Wall of China: From History to Myth, has speculated that the belief might go back to the fascination with the "canals" once believed to exist on Mars.The earliest known reference to this myth appears in a letter written in 1754 by the English antiquary William Stukeley. Stukeley wrote about Hadrian's Wall that, "This mighty wall of four score miles in length is only exceeded by the Chinese wall, which makes a considerable figure upon the terrestrial globe, and may be discerned at the moon.
The Great Wall is a maximum 9.1m (30 ft) wide and is about the same color as the soil surrounding it. Based on the optics of resolving power (distance versus the width of the iris: a few millimetres for the human eye, metres for large telescopes) an object of reasonable contrast to its surroundings some 70 miles in diameter (1 arc-minute) would be visible to the unaided eye from the moon, whose average distance from Earth is 384,393 km (238,857 miles). The Great Wall is of course not a disc but more like a thread—it can be seen from much further than would be possible if it were simply a 30 foot disc. Still, the apparent width of the Great Wall from the moon is the same as that of a human hair viewed from 2 miles away. To see the wall from the moon would require spatial resolution 17,000 times better than normal (20/20) vision. Not surprisingly, no lunar astronaut has ever claimed seeing the Great Wall from the moon.
Incidentially, if one could have seen the Great Wall from the moon, one ought to be able to see most of the roads in the world as well, given that they in total length far surpasses that of the great wall, and commonly are even wider. This is again not the case.
The Leaning Tower of Pisa - Italy
The Leaning Tower of Pisa (Italian: Torre pendente di Pisa) or simply The Tower of Pisa (La Torre di Pisa) is the campanile, or freestanding bell tower, of the cathedral of the Italian city of Pisa. It is situated behind the cathedral and is the third oldest structure in Pisa's Piazza del Duomo (Cathedral Square) after the cathedral and the baptistry.Although intended to stand vertically, the tower began leaning to the southeast soon after the onset of construction in 1173 due to a poorly laid foundation and loose substrate that has allowed the foundation to shift direction. The tower presently leans to the southwest.
The height of the tower is 55.86 m (183.27 ft) from the ground on the lowest side and 56.70 m (186.02 ft) on the highest side. The width of the walls at the base is 4.09 m (13.42 ft) and at the top 2.48 m (8.14 ft). Its weight is estimated at 14,500 metric tons (16,000 short tons). The tower has 296 or 294 steps; the seventh floor has two fewer steps on the north-facing staircase. The tower leans at an angle of 3.97 degrees. This means that the top of the tower is 3.9 metres (12 ft 10 in) from where it would stand if the tower were perfectly vertical.
SOURCE- Wikipedia,
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