Indian Architecture (Buddhist and Hindu Periods) c46.28

c46.28

Following the ascendancy of the Majapahit dynasty (1294-1478), the third and final phase of the East-Java development comes into view ; it also signifies the close of the Hindu-Javanese architectural productions on the island. More prolific builders than their immediate predecessors, and dominating most of the country, the important capital city of Majapahit was one of the undertakings of this regime, near what is now Majakista. Completely ruined, mainly from volcanic eruptions, what remains indicates that the style of the previous phase was continued, but carried even further away from its original derivative. Still maintaining much of its solid square and cubical character, with finely moulded members both on its spreading platform and overhanging cornice, the general outlines of the structure tend to become more pronounced, as may be seen in the temples of Panataram (1370), and of Sawentar (c 1400). Although there is an appearance of strained elegance in the shape of these buildings of this last effort, the high standard of the masonry is remarkable, and in the manipulation of the stonework combined with the precision of the finely chiselled mouldings the craftsmen of this period were unequalled. That a sense of originality still survived is shown in the Buddhist shrine of Jaboeng (1354) near Kraksaan, executed when the Majapahit rule was at the height of its power. Less formal in its composition than most of the Javanese buildings, as, although the typical terraced basement is retained, somewhat higher than usual in this instance, the superstructure, instead of being cubical in its treatment takes the form of a circular tower as its basis with its entrance and side alcoves imposed on its curved surfaces in a strikingly able manner. Above is the richly moulded expanded cornice, with probably a tapering pyramidal sikhara, all however, in such a ruined condition that this part is unrecognizable. But the "phase of transition" from the square basement to the circular plan of the body of the shrine, and the attachment of the openings, both difficult problems, have been most artistically solved, and the whole structure shows that even at this late stage the art was still a living movement. An example of the final development may be studied in the small shrine of Papoh, a diminutive monument of a somewhat "precious" order, in a manner recalling the small scale productions signifying the last stage of the classical period in the Indo-Buddhist architecture of a slightly earlier date in the distant country of Kashmir.