The Mataram Kingdom & Royal Palaces

The Mataram Kingdom &
Royal Palaces
In Yogyakarta and Surakarta

The center of Mataram Kingdom were Yogyakarta, Surakarta and Central Java.

THE MATARAM KINGDOM I

It was known as Hindu Mataram Kingdom which had ruled this region from 8th to 10th century AD. This kingdom has a very fertile land so it could support the constructions of several temples, like Prambanan, Borobudur, etc.

According to a Dutch archeologist, DR. Krom, prior to the arrival of Hindus, in the earlier centuries, the Javanese had known, among other :

1. Irrigation (wet-rice cultivation) or Agriculture.
2. Fishery
3. Astronomy
4. Weaving
5. Batik
6. Gamelan
7. Wayang

This kingdom were ruled by Javanese who had adopted the Hindu faith and culture. Before the arrival of the Hindus, Javanese already had a culture and beliefs of their own.

The Hindu-Javanese culture was a result of a meeting of the two civilizations, the indigenous and the Hindu. The influence of Islam, from the 15th century, into the Javanese civilization again produced a mix culture which does exist to present date.
The Mataram kingdom I, moved from Central Java to East Java, probably due to destructive eruption of MOUNT Merapi, which had ruined and covered with ash and debris several temples such as Borobudur, Sambisari, etc. Some scientist analyzed that removal of the power center eastward was due to internal wars between the rulers. Although the power center had shifted to East Java, but the rulers were the descendants or families from Mataram Rulers.
The first kingdom was established at Brantas river valley where agriculture was also flourishing due to its fertile soil. The king was Mpu Sindok, who had left many records on stone and the king Dharmawangsa. Under his rule, the epic Bharatayudha was translated into old Javanese language (996 AD). From 1019 to 1042, Airlangga was one of the biggest king in East Java.

The KEDIRI KINGDOM existed until 1222, followed by Singhasari Kingdom(1222-1292) with its territory on present day Malang.


MAJAPAHIT EMPIRE (1294-1400)

The founder was Wijaya. This was the most powerful Indonesian Kingdom, with its capital at Trowulan (nearby Surabaya). Majapahit reached its golden peak under the king Hayam Wuruk (1350) with his brilliant prime minister Gajah Mada. At that time Majapahit kingdom embraced almost the entire territory of what is now Indonesia.

Gajah Mada was famous with his Palapa Oath. He swore that he would never consume spices (palapa) before he could unite the whole Indonesia archipelago under the Majapahit's power umbrella (The first Indonesian satellite communication devices were named ' Palapa ' in honour of Gajah Mada).

DEMAK KINGDOM (Central Java)

After the collapse of Majapahit, the power center had shifted to Demak (30 km) east of Semarang - Central Java. It marked by the beginning of the rise of Islam in Java.
After the fall of Majapahit sometimes in 1478 AD, some of the people who did not agree with Demak Kingdom, fled to Bali and around the mountain Bromo (Tengger) and kept their faith to present date.
Demak with the famous and legendary Wali Songo (the nine Islamic leaders) went forward with Islamization. The last Hindu kingdom in Kediri was conquered at 1527, at the same year, Sunda Kelapa liberated and changed its name to be JAYAKARTA - Glorious City (now Jakarta).
The first king was Raden Patah, his father was a king of Majapahit who married his Je'ampa Moslem mother. The second king was Patiunus, the third was Trenggono.

The rice of Demak and Islam in Java were attributed by the Wali Songo -the nine religious leaders among other Sunan Kalijaga, Sunan Kudus, Sunan Gunung Jati (Falatehan), etc.

Islam became the official religion of the kingdom and provided new social and moral codes, at the same time Javanese philosophy and tradition continued.


THE PAJANG KINGDOM

The son in law, of Trenggono the last king of Demak, Joko Tingkir had moved the power center to Pajang (10 km west of Solo) sometimes around 1540 AD.
Joko Tingkir (the boy from the village of Tingkir), became the ruler as Sultan Hadiwijoyo

THE MATARAM KINGDOM II

Panembahan Senopati was the first ruler (1584-1601) of Mataram. His father, Pemanahan (Ki Ageng Mataram) was a chief-warrior in Pajang, his great grand father was the last king of Majapahit Empire. Panembahan comes from the word : SEMBAH - respectful greeting - made with palms together, fingertips upward and touching the top of the nose. This is the way the Javanese respect their elders, their superiors especially in the court family. So, Panembahan is the one who highly respected, adored or even worshipped. Panembahan Senopati with his child name Sutowijoyo was a legendary king of Mataram.
The stories of Panembahan Senopati are full with tales of mystical power and occult feats. Nowadays, the places where he made meditations or gained supernatural powers, his former palace (Kotagede) 5 km Southeast of Yogyakarta and his grave attract thousand of pilgrims, and considered by many believers as holy places of Mataram Dynasty.

Kanjeng Panembahan Senopati		Hingkang Sinuwun Sultan Agung Hanyokrokusumo

Those places among other are :

1. PARANG KUSUMO
In the southern beach of Parang Tritis (20 km south of Yogyakarta), where he received a divine revelation and made an agreement with Kanjeng Ratu Kidul (the supreme goddess of the south sea) that the queen should always protect the kings of Mataram and its people from evil deeds. Some considers, that every king of Mataram dynasty is married with the queen, it is more precisely a spiritual marriage or agreement.

2. BAMBANG LIPURO
Located 10 km south of Yogyakarta, where the young Sutowijoyo received the God's revelation, known as LINTANG JOHAR.

3. DLEPIH KAHYANGAN
Located 68 km southeast of Solo it was his retreat, where he conversed the jungle of Mentaok to be a powerful kingdom, it was also attributed to his wise advisors such as his own father Pemanahan, Ki Ageng Giring (his father in law), his uncles Juru Mertani and Penjawi. He also respected highly Sunan Kalijogo, who told Sultan of Pajang - Hadiwijoyo, his adopted father to transfer immediately the Mentaok Jungle as promised to Pemanahan and Suto Wijoyo.
Sultan Hadiwijoyo was reluctant to release Mentaok after listening the prediction of Sunan Kudus that one day Mataram should become a strong and glorious power.
Sunan Giri said that establishment of Mataram is a God's will. It was true Mataram expanded its territory due to the strong military power.
In 1588, Pajang's heirlooms, the symbols of king's power were taken to Mataram, followed by the conquered of Demak (1588), Madiun (1590), Kediri, Ponorogo and other places of southern part of East Java (1591).

The second Mataram's king was Panembahan Sedo ing Krapyak (1601-1613), in which the holy city of Kudus was under Mataram.

Sultan Agung Hanyokrokusumo was the third king (1613-1646), the greatest king warrior in Java. Under his rule Mataram reached its peak, dominating all parts of Java except Banten and Batavia.
The wars against the Dutch colonialism in Batavia contained a lot of historic lessons to Indonesia. Sultan Agung concentrated his power in hinterland, he did not appreciate the traders. He moved the capital to Kerta, South of Kotegede. His grave in the hill of Imogiri visited by a lot of pilgrims, who believe in his sacred supernatural power.
The Javanese lunar calendar which is functioning now, was created by Sultan Agung by combining the Javanese and Islam calendar.
His Successors :
Susuhunan Amangkurat I (1646-1677)
Susuhunan Amangkurat II (1677-1703)
Susuhunan Amangkurat III (1703-1708)
Susuhunan Pakubuwono I (1704-1719)
Susuhunan Amangkurat IV (1719-1726)
Susuhunan Pakubuwono II (1726-1749)

Continuously involved in a series of internal wars in Java and wars against the Dutch V.O.C. (East Indian Company) had weakened significantly the power of Mataram Kingdom. The capital of Mataram had been moved several times, in 1647 by Amangkurat I to Plered (nearby Kerta), in 1680 by Amangkurat II to Kartosuro (10 km) west of Solo,in 1743 by Pakubuwono II to the bank of river Solo.

Giyanti Treaty in February 13, 1755
Recognized Prince Mangkubumi or Hamengkubuwono I as the king of Yogyakarta Kingdom.

The division of Mataram Kingdom II.


In SURAKARTA :
The king : Susuhunan Pakubuwono III (1749-1788)
Adipati (Viceroy) : Sri Mangkunagoro I (1757-1795)
Recognized since March 1757 in SALATIGA.

In YOGYAKARTA :
The king : Sultan Hamengkubuwono I (1749-1792)
Adipati (Viceroy) : Sri Pakualam I (1813-1829)
Recognized by Raffles, the then British Lieutenant Governor of Java.

These royal and court families of Surakarta and Yogyakarta do exist up to now, and they stand in forefront to preserve Javanese culture and tradition.

Prambanan The Ancien Tample Of Java Island

Prambanan Temple (built 9th century)

Candi Prambanan is the grandest temple in Java apart from Borobudur. Located on the Prambanan plain, this sprawling temple complex sits majestically in an open area about twenty kilometers south of Mount Merapi, which dominates the horizon. The temple was constructed in the early ninth century by the Sanjaya dynasty, a flourishing Hindu kingdom that shared the island with the Buddhist Saliendra dynasty that built Borobudur. The relationship between the two dynasties is not clear, but one theory maintains that the Sanjayas constructed Candi Prambanan as a symbol of dynastic power in response to the construction of Borobudur. However, the Sanjayas do not seem to have been particularly antagonistic toward the Buddhist faith of the Saliendras—indeed, the temple complex is located just a few hundred meters south of Candi Sewu, a once awe-inspiring marvel of Buddhist art.

Whatever their motives, the Sanjayas certainly constructed Candi Prambanan on a grand scale comparable to Borobudur. In its original form, the temple complex contained over 250 large and small temples. From afar, the temple probably resembled a small city, with a towering core of central spires surrounded by hundreds of subsidiary structures. At the center of this "city" is a square-shaped terrace surrounded by a heavy wall. Gates in the wall are oriented to the four cardinal directions, leading into a middle courtyard surrounded by a much wider wall. Within this zone were once 224 nearly identical temples, each measuring 6 x 6 x 14 meters. Beyond the middle wall was an even larger outer wall that was skewed at an angle to the inner walls. No traces of this wall remain, though parts of it existed as late as the 19th century.

Loro Jonggrang

Candi Prambanan is often called Loro Jonggrang temple after the local name of the Durga statue enshrined in one side of the Shiva temple (Loro Jonggrang means "Slender Virgin"). The substitution of Durga for a more locally-derived god occurred through the fame of an ancient legend. According to legend, the statue of Durga is actually the petrified body of Loro Jonggrang, the daughter of King Ratu Boko. When prince Bandung Bandawasa asked for her hand in marriage, the king answered that he could have her only if he could kill him in battle. In the ensuing fight, the prince killed Ratu Boko. Loro Jonggrang did not wish to marry the murderer of her father, so she asked of him an impossible task: build 1,000 temples in one night. If he fulfilled the task, he could marry her.

Bandung nearly accomplished the job by securing an army of spirits through the help of his dead father. The supernatural laborers erected temples at lightning speed, and Loro Jonggrang realized that Bandung would finish before daybreak. To stop him, Loro Jonggrang pounded on a rice block, making the cocks in the neighborhood wake up early and call the arrival of dawn. Hearing this, Bandung's army of spirits feared the daylight and rushed away from their work, leaving just a single temple unfinished. In fury, Bandung cursed Loro Jonggrang and had her body turned to stone. Through the intervention of Shiva, the petrified body became the idol that now stands in the north cella of the Siva temple at Candi Prambanan.

In recent centuries, the fame of Loro Jonggrang spread far and wide, and the original purpose of the temple was forgotten as worshippers flocked to her small cella, leaving offerings of food, money, and gifts. Early foreigners who visited the temple often had trouble reaching the statue with all of the offerings clogging the narrow passage. Of the idol herself, the numerous hands of the worshippers had rubbed the breasts and stomach to a smooth sheen, giving the appearance of shining metal.

Layout of the Temple

The cella containing the statue of Loro Jonggrang, or Durga, is one of four in the massive Shiva temple (34 x 34 meters wide, 47 meters tall). The main image in the Shiva temple is the god himself, placed in a large, centrally placed cella facing east. Facing south, a small cella contains the statue of Agastya, an incarnation of Shiva. To the west, the remaining cella is occupied by Ganesh, the elephant-headed son of Shiva.

The Shiva temple is the central building in a row of three temples on the west side of the terrace. Dedicated to the trimurti--the trinity of Brahma, Siva, and Vishnu, the three temples honor each of these gods in turn. Facing them to the east are a row of smaller temples that are empty except for the one at the center, which contains a large statue of Nandi—Shiva's divine bull. It was once thought that the temples to the north and south of the Nandi temple contained the animals assocated with Vishnu and Brahma. If this were correct, the northeast temple might have held an image of Hamsa, Vishnu's swan, and the southeast temple might have held Garuda, Brahma's eagle. However, this theory has been discredited in recent years and nowadays the two temples are simply called Candi A and Candi B.

The remaining major temples on the terrace are two small, inward facing buildings called the Apit Temples. With one on the north side of the terrace, and the other on the south, they frame the space in between the two rows of major temples.

The eight minor temples on the terrace are called Candi Kelir. Shaped like small turrets, they mark the inside gateways to the four directions and the corners of the terrace. A ninth Candi Kelir is embedded in the Shiva temple, marking the center of the terrace.

Mayan Tample in Java??

The island of Java, the most populated in the vast archipelago of Indonesia, has many magnificent ancient structures. Borobudur is the biggest Buddhist structure in the world.

THE TEMPLE THAT DOESN’T BELONG

Prambanan is second only to Angkor Wat as far as Hindu temples are concerned. Countless others dot this fascinating island, which has been home to the indigenous Javanese animistic religion since antiquity, as well as Buddhist, Hindu, and Islamic empires for more than a thousand years.

The architectural features are completely unlike any of the other structures found across Java

One of these temple structures is called Candi Sukuh, and is located on a mountainside roughly four hours from the cultural capital of Java, Yogyakarta. Candi Sukuh is very different from any of the other temples in Java, however, because it looks astoundingly like a Mayan temple. Anyone familiar with Mayan temples, such as Chichen Itza or Tikal, would immediately assume Candi Sukuh was built by the Mayans. The odd thing is that it’s in Java, halfway around the world. How did this happen?

HISTORY OF MYSTERY

Few solid facts are known about who built this four-sided step pyramid with a central staircase in front leading to the top. The date 1437 C.E. has been attributed to an enigmatic chronograph found at the site, however it is disputed whether this date is correct, or if it even has anything to do with when the structure was built. The architectural features are completely unlike any of the other structures found across Java, and the religious features in the artwork are quite different as well. There are a large number of phallic symbols at Sukuh, but none of them are like the common phallic symbolism found at temples dedicated to Shiva on the island. They are much more, shall we say, anatomic.

I spoke with a man who has lived near the temple for decades, and he told me that the common belief among local people was that the builders of Candi Sukuh were an ancient group who came from Mexico and worshipped the sun in the same way that Mayans did. After arriving and building this mysterious temple, he said, it was not long before they converted to Islam and were through with their phallus and sun-worshipping ways.

But whoever built it, whether the unlikely Maya or Javanese sun worshippers, the temple still begs the question of why it is completely out of place in Java, architecturally speaking. It will take a serious archaeological study to decipher just when and how Candi Sukuh came to exist.

Representation of Javanese Culture on Indonesian Television

This study aims to reveal how national, regional, public and private television stations in Indonesia – each in their own ways and for their own aims - represent aspects of Javaneseness.

Already from its start, Indonesian television has broadcast traditional Javanese drama. The dramatic genres were adapted to and appropriated by the television industry, as well as inspired the medium to create new genres, all of which had an impact on live performances. The study will reveal how national, regional, public and private television stations in Indonesia – each in their own ways and for their own aims - represent aspects of Javaneseness.

The way traditional drama has been used by the Indonesian television industry for several purposes – the representation of the ‘local’/’the regional’, the preserving and nurturing of ‘national culture’, culture as commerce or propaganda, diversification as a counter voice to global or ‘Jakartan’ influences, and multiculturalism – will be put into the framework of discursive practices concerning local and national culture in the electronic media as well as into the framework of meta discourse about these themes in the disseminated dramatic genres themselves.

The analysis will focus on the changes in the contents, form and status of Javanese drama because of and on television from the nineteen nineties to the first decade of the twenty first century. The approach will be both chronological and thematic
.

Arts and Culture of Java

Arts and Culture of Java

Characteristics of Javanese culture is very complex. The island has a wide range of cultures, from the primitive, traditional, to modern. Like we said at overview of Java Indonesia, The majority ethnic population of Java island is Javanese and Sundanese. In general, the Javanese inhabiting the center and eastern part of Java while the Sundanese in the the western area. Every single area has its own culture and traditional art.

Jakarta has its own culture, namely “Betawi”. Which the influences reached this Special Capital District for centuries. This Betawi culture is uniquely blending Arab, Portuguese, Chinese, and Dutch elements with native ingenuity such as Malay and Sundanese has produces the colorful. The word “Betawi” is came from “Batavia”, the old name of Jakarta during the Dutch administration.

In Banten province, there are Baduy tribe. Baduy tribe in a native Banten peoples still maintain the anti-modernity, both in garments and others. Baduy tribes living in the area Kendeng Mountains. Baduy dwellings are generally located in river basins in the mountains Kendeng. Banten is also famous for its Debus art. Debus is martial art associated. This traditional and mystical arts combined with dance, voice, and magic.

In West Java province is Sundanese. Sundanese live in west area of Java island with Javanese people. Although Sundanese live in the same island with Javanese, they consider themselves a distinct cultural area called Sunda, you can read about general culture of West Java province in the past articles.

The majority of the population of Central Java are Javanese. Central Java is known as the central cultural of Javanese, where in the city of Surakarta (Solo)and Yogyakarta, there is Javanese royal palaces in this two cities that still stand today. One of the famous musical instruments of these regions is the gamelan orchestra.

A gamelan is a musical orchestra, featuring a variety of instruments such as xylophones, drums, gongs, metallophones, bamboo flutes, bowed and plucked strings. Vocalists may also be included. Javanese gamelan orchestra has a unique scales, which differ from international music, namely “Slendro” and “Pelog”. In Javanese mythology, the gamelan was created by Sang Hyang Guru in Saka Era, the god who controls all the land of Java, with palaces on the Mahendra hill in Medangkamulan (now Mount Lawu).

Wayang or Javanese puppet also the famous traditional art in the central part of Java. This traditional puppet show has been recognized by UNESCO on November 7, 2003, as a Masterpiece of Oral and Intangible Heritage of Humanity. Puppet has several versions. Wayang Kulit (Shadow puppet) pretty well known in Central Java and Yogyakarta, while the Wayang Golek is more popular in West Java. There is also a puppet version played by men, known as Wayang Orang. Ketoprak also popular in this area.

Culture and customs of the East Java received a lot of influence from the Central Java, so the area is known as Mataraman; indicates that the area was once the domain of the Sultanate of Mataram in Central Java (Now at Yogyakarta and Surakarta). The area includes Madiun, Kediri, and partially Bojonegoro. Just as in Central Java, Wayang Kulit are quite popular in this region.

East Java has a number of distinctive artistry. Ludruk is one of East Java art is quite well known, namely the opera art show that all players are male. Unlike ketoprak in Central Java which tells the life of the ancient palace, ludruk told the daily life of common people, who are often spiced with humor and social criticism, and generally opened with Dance Remo and Parikan. Currently, traditional ludruk groups can be found in the area of Surabaya, Mojokerto, and Jombang, although its presence increasingly defeated by modernization. There is also a famous dance In Eastern side of Java, namely Gandrung dance.

Is a typical artistic Reog Ponorogo which has been patented since 2001, reog now also become icons of East Javanese art. Reog show accompanied by equestrians (kuda lumping) and supernatural elements. Other well-known art of East Java among others ara East Javanese style shadow puppets, Topeng Dalang in Madura, and besutan. In areas Mataraman, Middle Javanese arts such as wayang kulit and ketoprak quite popular. Famous legend from East Java, among others namely Damarwulan and Angling Darma.

Later, in the next articles we will explain more detail about each of these Java Indonesia culture

Exploring the Temples of Java

SPECIAL FEATURE

Exploring the Temples of Java, Indonesia

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Among the world’s largest Hindu and Buddhist temples, they have survived earthquakes, volcanoes and changes in religious loyalty

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WITH ABUNDANT FERTILE LAND YIELDING THREE RICE CROPS a year, Indonesia has historically been an agriculturally prosperous region—as it continues to be. We can get a sense of the great investment in religion the kingdoms of centuries ago made from the Prambanan temple and the Buddhist Borobudur monument, two lavish complexes located just a few kilometers apart in central Java, possibly built by the same king. We omitted these historical sites from last issue’s accounts of the Hindus of Java because as they unfortunately no long figure much in the lives of the island’s Hindus. They are today popular tourist destinations and remain a remarkable testament to a past era.

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Tourists explore the central temples of the Prambanan complex dedicated to Lord Siva; (above) Prambanan complex from a distance

BY RAJIV MALIK,
JAVA, INDONESIA

WE FIND REFERENCES TO JAVA IN HINDU literature as early as 200 bce; the oldest Hindu relic discovered there to date is a first-century-ce statue of Ganesha found on Panaitan Island, off the northwest coast of Java near Jakarta. Throughout the first millennium of our current era, successive Indian kingdoms—the Palavas, Guptas, Palas, Cholas and others—spread Indian culture across Southeast Asia, including what is modern Indonesia. Hinduism was brought here first by Hindu traders. Buddhism, still strong in India at that time, was brought by pilgrims passing through on their way to and from India, and by Chinese missionaries.

The two religions harmoniously coexisted to the extent that both Hindu and Buddhist temples, including some of the most magnificent on the island, were built by the same Javanese kings. But Java is a seismically active region with numerous volcanoes, with eruptions and frequent earthquakes through the centuries, some of devastating magnitude. Even immense stone structures do not hold up under such conditions.

By the mid-19th century, shaken apart by earthquakes, the temples were in unfortunate condition. Stones and other materials have also been looted from the structures. And the seismic unrest continues: as recently as 2006, an earthquake caused substantial damage to Prambanan Temple.

Reconstruction programs have been conducted at the most prominent temples, first under the Dutch in the 1930s and then under the government of Indonesia, continuing to this day. This is no easy task. Essentially the original structures were largely collapsed, with hundreds of stones scattered around the area, some buried beneath the soil. Parts of monuments were below the current ground level, particularly at Borobudor. The government specified that before any shrine could be rebuilt, at least 75 percent of the masonry must be found and identified and their position in the temple schematic determined. Of most smaller shrines, only the foundations are visible.

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Tourists today strolling through the expansive grounds

The results of the restorers’ valiant efforts are mixed. They neither possessed the skills of the original builders nor did they try to recreate each temple exactly as it had been. Aware of their own limitations, they simply tried to piece structures back together as best they could and fill in what was missing.

It is understandable, therefore, that most of these structures are no longer active places of worship. In fact, Indonesians refer to them as “dead monuments”—as opposed to the “living monuments” of Bali, the ancient temples there where worship has never ceased. Although puja is performed from time to time in the dead monuments, their primary use is by the tourist trade. Indeed, they are very popular with Indonesians and international travelers alike.

Our April, 2014, tour of Java had two objectives: to meet the local Hindu community, as reported in the October/November/December, 2014, issue and to explore these old temples, the subject of this report. In particular, we visited several in Central Java, including the largest and best known, Prambanan, a UNESCO World Heritage Site. From there we went to the site called Ratu Boko’s Palace—the residence of a king that commands a stunning view of Prambanan Temple. We then visited Ceto, built in the 15th century and quite different from Prambanan. Finally we explored the Dieng Plateau temples, the island’s oldest Hindu temple complex, dedicated to the principal figures in the Mahabharata. Our report concludes with the 9th-century Borobudur temple, Indonesia’s most popular tourist attraction and the largest Buddhist temple in the world.

GOOGLE EARTH

Map of Java island showing the four temples covered in this report

The Great Temple of Prambanan

WIKIMEDIA.ORG

Diagram of the main Siva temple; repairs underway shortly after the 2006 earthquake; (inset) the partially collapsed central Siva temple around 1895, after its rediscovery by the British

ONNY CARR

Aerial shot of Prambanan Temple

Approaching the 15th-century Candi Ceto, likely the last Hindu temple built before the local rulers adopted Islam

Prambanan

“Prambanan,” explains archeologist Manggar Sarl Ayuati, “is one of the largest Hindu temple complexes in Asia with an enclosed area 390 meters on a side. It was built in 856 by King Rakai Pikatan of the Sanjaya dynasty, which ruled the Mataram Kingdom, and was expanded by later kings. It is dedicated to Siva.”

Prambanan has three concentric courtyards. The innermost contains 16 temples, including the 156-foot-high main temple to Siva and 108-foot temples to Vishnu and Brahma. Each is faced by a smaller temple for the God’s vahana (mount): Nandi the bull for Siva, Hamsa the swan for Brahma and Garuda the eagle (Indonesia’s national symbol) for Vishnu. Scenes from the Ramayana and the life of Krishna are carved on the outer walls of the temples. The Siva temple has multiple chambers —Siva in the center, Durga in the north, Rishi Agastya in the south and Ganesha in the west.

The second courtyard originally contained 240 small temples; only 129 have undergone any degree of restoration. The rest are just piles of rocks. No structures remain in the third courtyard, and the historical use of that area is unknown. The complex also contains four Buddhist temples, built by a Hindu king for his Buddhist wife.

Prambanan was abandoned in the 10th century, likely when the Mataram kingdom moved to East Java following a huge eruption of nearby Mount Merapi that covered the entire area in volcanic ash. A major earthquake in the 16th century collapsed the upper parts of the main structures. The temple sustained additional damage in the 6.5-magnitude earthquake of 2006. Repairs were still underway during our 2014 visit.

I was saddened to hear this spectacular place referred to as a dead monument and to see it reduced to a picnic spot for tourists. Puja is performed here only once a year, but that brings thousands of people from all over Indonesia to worship Siva, Brahma and Vishnu. With some difficulty, puja can be arranged at other times of the year. Our guide, Pak Dewa Suratnaya, a journalist with Media Hindu magazine, said strongly that these great temples should be brought to life again through regular worship. I agreed with him wholeheartedly.

Ratu Boko

Grand entrance to the 40-acre palace of Ratu Boko overlooking Prambanan temple complex.

Ratu Boko

Two miles away, commanding a spectacular view of Prambanan, lies Ratu Boko’s Palace. This forty-acre complex of buildings and fortifications was likely built by the same kings who built Prambanan. An inscription found in the ruins during restoration has been dated to 792 ce.

One enters Ratu Boko through a grand staircase (photo below), beyond which are pavilions, audience halls, three miniature temples, what is believed to be a crematorium, a terrace with multiple pools of water and at least two major artificial caves, apparently built for meditation. A gold plate found here carries the inscription “Om Rudraya namah swaha,” a prayer to Siva in His Rudra form. There is also evidence here of Buddhist worship. A good three-part video on Ratu Boko can be viewed at bit.ly/RatuBoku.

Ceto Temple

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At the foot of the temple’s 13 terraces; looking back through the split gates (though a common feature of present-day Balinese temples, their “reconstruction” here has been challenged as without scientific basis)

Candi Ceto

This 15th-century Siva temple is located on the western slope of Mount Lawu at an elevation of about 3,000 feet, on the border between central and east Java. The 62-mile drive from our hotel in Klaten took us over three hours.

One of several temples in this area, Candi Ceto is among the last built by the Hindu kings. In appearance it is much different from Prambanan. By this time, six centuries after the construction of Prambanan, the Javanese Hindus had developed an architectural style that diverged from the traditional Indian design and motifs found in the earlier temples. Furthermore, when Ceto was renovated in 1975-76, some “reconstructions” were made that were not justified archeologically and were not part of the original structures. An example is the several tall split or winged gates. Although these are a defining element of Balinese temples today, there is no evidence that they were a part of the original architecture of Candi Ceto. But even if not historically authentic, the gates provide a soul-stirring impact.

A signboard posted at the site tells us that the temple has 13 terraces from its base to its peak, reminiscent of the prehistoric Javanese structures. At the entrance is a large stylized stone turtle; other animals are depicted throughout the area. The various statues found here appear to represent humans rather than Gods.

Candi Ceto has its own worship schedule. Puja is performed every fifth day by 50 devotees and priests. A special ceremony is held every seventh five-day cycle, called Angora Kasi on the Javanese calendar. Because of the active worship, this remains a spiritually charged place; but it is also a popular tourist destination. Many people were here simply to enjoy the cool, pleasant weather and beautiful scenery.

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The ancient Arjuna temple complex contains shrines not only to the Pandavas and their wives, but to other figures in the epic Mahabharata

Dieng Complex

We stopped to explore the Dieng Plateau of north central Java on our way to the Semarang airport, but one of the island’s frequent rainstorms descended upon us and we quickly resumed our journey. This is the oldest set of temples in Java, dating to the seventh century and likely among the first built with Indian design and technology. Today the temples are named after principal characters in the Mahabharata, but little is known about their original purpose nor the king who built them.

Archeologists believe the designs to be in the Dravidian and Pallava style of South India. They are grouped in irregular clusters, named today as Arjuna, Gatotkaca and Dwarawati. The original site may have included as many as 400 temples, of which only eight remain standing. When they first came to the attention of a British soldier in 1814, they were in the middle of a lake. The Dutch East Indies government undertook their restoration in the mid-nineteenth century.

Compared to Prambanan, built just a short time later, everything here is relatively small, lacking in ornamentation and neither uniform in design nor organized in the elaborate, concentric mandalas of later temples. It is believed that increased volcanic activity led to their abandonment in the 10th century, around the same time as Prambanan.

Lontar

One other form of ancient monument, if you will, is found here in Java: the palm-leaf manuscripts known as lontar. Written in Sanskrit and Old Javanese, these are clearly sourced in South India’s and Nepal’s Saiva Agamas, among other scriptures. While hundreds of lontar are known to scholars—many in the library of Leiden University in Holland, as well as in libraries in Bali and Jakarta—readers may recall from the previous article that priests I met refused to even show me the lontar in their possession, considering them sacred and secret. Many other lontar are believed to have been lost when the Majapahit kingdom fell in the 15th century and Hindus fled to Bali.

According to scholar Andrea Acri, “These are practical manuals, intended as guides for initiates. They deal with the Saiva concepts of salvation, cosmology, micro/macrocosmic classifications, yoga, mantras, Absolute Reality and the various aspects of Siva.” One known source of the lontar is the Kirana Agama.

A heretofore unknown commentary on Patajali’s Yoga Sutras called Dharma Patanjala has also been discovered in Java. This is different than the well-known Yogabhasya attributed to Vyaasa.

The first and second shloka of Dharma Patanjala, as translated by Acri, reads, “The Lord—unfathomable, formless, appeased, constant, immutable—that is Siva, subtle, supreme, appeased, with form as well as formless. What is called the cessation of the functions of the mind is the yoga, extremely difficult to achieve. Having undertaken that yoga, the soul itself alone shines forth.”

This rare esoteric work shows that not only our faith and ways of worship came to Java, but the deepest and most mystical of Hindu teachings as well.

Conclusion

As an Indian, I was startled to find all these distinctly Indian-style temples built so long ago in this far-off land. These Hindu kingdoms were not established by conquest and did not involve one racial group ruling over another; these were ethnic Javanese kings, ancestors of the people who still reside here. Through the kings’ interchanges with India, Hinduism and Buddhism were imported wholesale, complete with their mysticism, yoga, scriptures, rituals and architecture. Only now, in the 21st century, are we again seeing a similar exportation of Hinduism from Mother India, with huge and elaborate temples being established in distant lands.

Candi Dieng: Java’s Oldest Temples

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The Bhima temple, located outside the Arjuna complex, is the best preserved of all the Dieng temples; Lord Vishnu with His chakra is on the north outside wall of the Srikandi temples, Siva is on the east and Brahma on the south; Gatotkaca temple during restoration and protection work—Gatotkaca, son of Bhima and Hidimbi is known in Java by a nickname which translates to “muscle wire; bones iron

THE MAJAPAHIT EMPIRE

The Majapahit Empire: The Short Life of an Empire that Once Defeated the Mongols

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The Mongols are perhaps best known as one of history’s greatest conquerors. As they extended their borders, numerous empires were destroyed and dynasties replaced. Perhaps less well-known is the Mongol (under Kublai Khan’s Yuan Dynasty of China) expedition to Java. This expedition ended in a Mongol defeat, and gave rise to one of the last major powers in the Southeast Asian region, the Majapahit Empire.

Usurpation and a Mixed Story

The story of the Majapahit Empire begins at the end of the 13th century AD in the Singhasari Kingdom with Raden Wijaya (the founder of the Majapahit Empire), and Jayakatwang (the last ruler of the Singhasari Kingdom). Raden Wijaya’s father-in-law was Kertanegara, whose throne was usurped by Jayakatwang. Raden Wijaya, however, was pardoned, and was given Trowulan in East Java. This site would later serve as the capital of the Majapahit Empire.

The Bajang Ratu Gate and Wringin Lawang, two examples of Majapahit Architecture, Trowulan, East Java, Indonesia ( Wikimedia Commons )

According to the Chinese sources, prior to Jayakatwang’s treachery, Kertanegara had incurred the anger of Kublai Khan. Kertanegara had refused to pay tribute to the Yuan Dynasty, mistreated the Yuan envoy, and even challenged Kublai Khan. As a result, the Emperor decided to punish Kertanegara by dispatching 1000 ships to subdue his kingdom.

The Javanese sources, however, paint an alternate picture. Instead of depicting Kertanegara as refusing to pay tribute to the Mongols, the king is said to have been a friendly vassal. The expedition sent by Kublai Khan to Java was not meant to punish Kertanegara, but to aid Raden Wijaya. This is because Raden Wijaya had sent an urgent envoy to the Emperor requesting for aid against Jayakatwang. Furthermore, Raden Wijaya also promised to offer Kublai Khan the pick of the most beautiful princesses in the Singhasari Kingdom.

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Raden Wijaya Tricks and Defeats the Mongols

Regardless of the different versions of events, a Mongol expedition led by Shi-bi, Ike Mese and Gaoxing was sent to Java in 1293. Raden Wijaya allied himself with the Mongol forces, and defeated Jayakatwang. After this victory, Raden Wijaya was allowed to return to his capital for the alleged purpose of preparing the tribute due to the Yuan Dynasty. Raden Wijaya had no intention of becoming a vassal of the Mongols and decided to drive the expedition force out of Java. He succeeded in doing so by launching a surprise attack on the army’s camp. The demoralized Mongols withdrew to their ships and sailed back to China, after losing over 3000 men.

Deified portrayal of Raden Wijaya as Harihara (the half Shiva, half Krishna god). Jakarta, Indonesia. ( Wikimedia Commons )

The Rise of the Wealthy and Powerful Majapahit Empire

Raden Wijaya was crowned as the Majapahit Emperor, and the Empire began to expand slowly. Additionally, due to its strategic position on the spice trade route, the Majapahit Empire grew immensely wealthy by levying duties on goods shipped through its area of control. The golden age of the Majapahit Empire, however, is said to have been during the reign of Hayam Wuruk, the fourth ruler of the empire. Hayam Wuruk, who ruled from 1350 to 1389, was assisted by an equally formidable prime minister, Gajah Mada.

Terracotta head believed to be a representation of Gajah Mada, Trowulan, East  Java, Indonesia (Wikimedia Commons )

During his premiership, Gajah Mada had successfully added Bali, Java and Sumatra to the Majapahit Empire. Although Gajah Mada died around 1364, the expansion of the empire continued. By 1365, the entire Malay Archipelago, with the exception of Sri-Vijaya and two of its colonies, were conquered by the Majapahit Empire. In 1377, Palembang, the capital of Sri-Vijaya, fell to Hayam Wuruk’s troops. The Kingdom of Singapura, an offshoot of Sri-Vijaya, was also later conquered. Nevertheless, this rival was not entirely destroyed, and its descendants would later return to cause trouble to the Majapahit Empire.

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Pura Maospahit "Majapahit Temple." Denpasar, Bali. ( Wikimedia Commons )

The Short-Lived Majapahit Empire Falls

The Majapahit Empire was short-lived, as its power began to shortly after Hayam Wuruk’s death. At the beginning of the 15th century AD, a war of succession that lasted for four years broke out. At the same time, Islam was spreading in the region, and many kingdoms were converting to this faith. Amongst these was the rising Sultanate of Malacca, founded by the last Raja of Singapura.