Indian Architecture (Buddhist and Hindu Periods) c46.8

c46.8

Beginning in Mid-Java with the emergence of the group of stone temples on the Djeng Plateau, these represent the first phase of three developments which form the Golden Era as this flourished from the seventh to the tenth centuries. The initial movement in the architectural history of Java, as this originated on Djeng in the seventh century, is exemplified by some eight relatively small temples, recorded however to be the sole existing remains of a temple-city of considerable proportions of much the same character as similar concentrations of religious buildings exist in India, for instance at Sonagarh near Datia in Central India, and elsewhere. Some of these temples that have survived on the Djeng Plateau have been designated colloquially in more recent times by the names of the heroes of the Ramayana, such as Bhima and Arjuna, but they were all originally dedicated to Vishnu. Comparatively limited in size, averaging in plan not more than fifty feet side, they consist of a single cell contained within an architectural exterior based on a cubical system of design and construction. This is emphasised by marked horizontal and vertical projections, a massive portico with stairway, the whole rising up into a solidly built double storied building of agreeable proportions. What makes these Djeng examples of special significance is that in their character they prefigure the architectural style of the Javanese development as a whole. It is possible to see for instance in the temples of Arjuna and Srikandi of this group a certain structural procedure which marks the beginning of the movement, a feeling for simplicity and mass, a broad and robust treatment comparable with the first efforts of the Gupta builders in India (A.D. 350). Not that there are any signs of a definite relationship with this Indian mode but the same textural temper is observable in both forms of structure. Yet there is one example of the Djeng series, which differs from the generalization outlined above, and may be the earliest of its kind. This is the Bhima, which has a resemblance in some respects to that "key" temple of brick at Bhitagaon near Cawnpore although it must be admitted that the likeness to the Indian type is more in intention than in substance. There is however the tall tower or sikhara in receding chases, tapering as it rises, while the cella is entered by a projecting portico Then the surfaces are freely decorated with reproductions of the chaitya-arch motif, alternating with panels and string-courses, all of which features, both architectural and ornamental, are combined with much the same effect in each instance. Moreover on the quoins are *amalakas*, those ribbed elements so distinctively of Indian origin that the conception of the Bhima as a whole has evoked the opinion that "in all probability Indian architects were at work here"¹ (Plate CLXII). No account of the temples on the Djeng Plateau would be complete without a reference to one of these known as the Punta Deva, built presumably about A.D. 750. This is a lovely little building exquisitely designed and wrought, a gem of its kind, and presenting an architectural scheme in miniature treated in a notably classical manner. From such a beginning, and denoting a keen sense of refinement allied with a certain quality of vigour the style was launched upon its course. (Plate CLXII)