Ancient Indian Colonies in the Far East (Vol. I: Champa; Vol. II: Suvarnadvipa) v2.c21.s2.t2: § 2. Barabudur
Ancient Indian Colonies in the Far East (Vol. I: Champā; Vol. II: Suvarṇadvīpa) v2.c21.s2.t2
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§ 2. Barabudur
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² The two big volumes of Plates (cf. p. 193, f. n. 1) give the best and most comprehensive illustrations of the sculptures of Barabudur. Readers having no access to them might consult, with advantage, Verneuil—Java, Pll. III-LXV and Cohn-Ind., Pll 147-156. Some sculptures of Barabudur, along with a few from Lara Jongrang and Singhasari, were removed to Bangkok. For an account of these cf. B.K.I., Vol. 73 (285-310), 79 (491-518), 83 (503-13).
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The Javanese sculpture may be studied at its best in the Barabudur and the associated temples of Mendut and Pavon. Here we may easily distinguish three different classes of sculpture viz. (1) Decorative Relief; (2) Detached images; (3) Narrative relief.
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1. Purely ornamental designs, though they are mostly overshadowed by the two other elements, constitute a striking feature of the sculptures of Barabudur. A few good specimens are to be seen in the decoration of the gateways and of the posts or pilasters separating the narrative reliefs. A sense of elegance and refinement pervades them all, and we are reminded of the decorative arts of the Gupta period. The rosette and geometrical patterns on the gateways and the intricate floral scroll-work on the posts (dividing the reliefs), sometimes involving the most complex spirals, bear striking resemblance to those found on Dhāmekh Stūpa. The decorated pilasters of Barabuḍur also resemble those of the Gupta period. The floral scrolls, with or without birds and animals, more specially various forms of lotus, are of an exceedingly refined style.
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Some of the most favourite decorative motives, illustrated in Pl. XVI, XVIII and XIX, are (a) a series of semicircular garlands alternating with hanging garlands; (b) floral spirals; (c) floral scroll with animals and birds; (d) conventional vase with flowers.
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Some of the panels of Barabuḍur, as already observed in course of the description of the monument, have purely decorative reliefs.
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2. The detached images of Buddha in Barabuḍur (Pl. XIII), and of Bodhisatvas in Mendut (Pl. XIV) may be regarded as the finest products of Indo-Javanese sculpture. Fine modelling, as far as it is compatible with absence of muscular details, refined elegance of features, tasteful pose, close-fitting smooth robe and a divine spiritual expression of face are the chief characteristics of these figures. The art must have, therefore, been ultimately derived from the classical art of the Gupta period in India. This point, though recognised by some, has not yet been very forcefully brought out, but the more one studies the images of the Barabuḍur group the more is one impressed with the essential characteristics of the Gupta age which they display. The following observations on the Gupta images by a distinguished art critic may be applied, without any qualification, to the Indo-Javanese images of this period.
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"In the Gupta period the image has taken its place in architecture; becoming necessary, it loses its importance, and enters into the general decorative scheme, and in this integration acquires delicacy and repose. At the same time technique is perfected, and used as a language without conscious effort, it becomes the medium of conscious and explicit statement of spiritual conceptions. With a new beauty of definition it establishes the classical phase of Indian art, at once serene and energetic, spiritual and voluptuous.”¹ “Gupta sculpture, though less ponderous than the ancient types, is still distinguished by its volume; its energy proceeds from within the form, and is static rather than kinetic.”²
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¹ Coomaraswamy, p. 71.
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² Ibid, p. 72.
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Pl. XIII illustrates one of the long series of very pleasing and remarkable Buddha figures that adorn the niches and the small perforated stūpas of Barabuḍur. It has smooth, round, but not attenuated, limbs, and the presence of the robe is indicated by the ends above the wrist. The calm divine expression of the face is brought out in an easy graceful manner, and the whole body seems permeated with a radiant spiritual energy issuing from within. It may be compared with the seated Buddha image from Sāranāth.
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3. Narrative reliefs of Barabuḍur
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It is impossible to deal adequately with the extensive series of narrative reliefs in Barabuḍur in the short compass of this work. The subject-matter of these reliefs, so far as they have been identified, has been briefly explained in connection with the architectural description of the monument. In view of the very large number of reliefs it is not possible to give even a general idea of the different types of artistic work by means of copious illustrations and adequate explanation. All that can be attempted here is a sort of introduction to these wonderful series of sculptured reliefs by means of a few examples selected mainly from the life-story of Gautama Buddha represented by 120 panels on the top of the chief wall of the first gallery. As noted above, the relief-scenes follow very closely the text of Lalita Vistara and may be easily identified.
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Pl. XV, Fig. 1 illustrates the descent of the Bodhisatva to earth. The pavilion in the centre on which he sits is being carried down by the gods who hold it on either side. On both sides are escorting gods and *apsaras* with umbrellas, flags, flowers, fly-whisks, and incense-burners. The cloud beneath the pavilion, the hovering attitude of the gods and the backward waving of the flags and fly-whisks are the artistic devices employed to indicate the swift motion through the air.
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Pl. XV, Fig. 2 illustrates the selection of Gopā as wife by the Bodhisatva out of a number of Śākya maidens. The servants are seated on the right and the rejected maidens under a pavilion on the left. In the centre Gopā sits kneeling before the Bodhisattva. The scene is thus described in Lalitavistara :
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"All the young maidens gathered in the Assembly Hall. One after another they came to the prince and received valuable ornaments, till these were all exhausted. Lastly came Gopā and said : "Prince, what have I done that you despise me ?" The prince replied : "I despise thee not, but thou comest last of all". So saying he took the ring from his finger and gave it to her."
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Pl. XVI, Fig. 1 illustrates the famous scene in which the Prince riding out on a chariot meets a sick person. Mark the very realistic picture of the sick and the richly ornamented borders on the three sides.
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Pl. XVI, Fig. 2 illustrates another famous scene. After the amusements and festivities prince Gautama finds himself in the apartment where the dancing girls were sleeping—"some with their garments torn away, and others with naked limbs, and mouths awry and squinting eyes......". While gazing at these indecorous women he heard the divine voice : "How canst thou find pleasure herein ? Thou dwellest in the midst of a graveyard". His mind is filled with loathing and he decides upon an ascetic life.
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The scene is portrayed with vivid reality, but it is to be noted that there is no obscenity or vulgarity into which an artist describing a scene like this might easily have degenerated, Pl. XVII, Fig. 1 illustrates the visit of king Bimbisāra to Bodhisatva. On the left is a rocky landscape with trees, animals, and birds. The Bodhisatva is in a cave. King Bimbisāra with one attendant is seated on a rock while his other attendants sit under the trees.
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Pl. XVII, Fig. 2 represents Buddha seated with his five ascetic disciples on the Gayā mountain. Mark the rocky landscape with the Nairanjanā river on the right.
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Pl. XVIII, Fig. 1 represents Buddha and the gods who request him to take food. Apart from the landscape and the ornamental borders, the individual figures of the gods deserve special notice.
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Pl. XVIII, Fig. 2 is a representation of a famous episode in Lalitavistara which may be summed up as follows.
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‘The Bodhisatva picked up a rag from graveyard and wanted to wash it. Thereupon the gods made to appear first a pond and also a stone on which to wash it. Śakra, the chief of the gods, offered to wash it himself, but the Bodhisatva refused, and after himself washing it got into the pond. Māra caused the sides of the tank to rise high so that the Bodhisatva, weak and exhausted as he was, could not come out. He thereupon requested the goddess of a tree standing near by to bend its branch and with its help came out of the pond.’
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The relief shows a beautiful lotus pond with birds. The tree-goddess is kneeling on the left. Śakra is indicated by his chief attendant’s headdress, which has the shape of the trunk of an elephant, and the goad in his hand. The naturalistic representation of the lotus bud and leaves is noteworthy.
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Pl. XIX, Fig. 1 represents an episode in the story of Sudhanakumāra in Divyāvadāna. The prince Sudhanakumāra, after wandering long in search of his beloved consort Manoharā, arrives at the city where she lives. He sits near a tank and sees a number of girls fetching water. Learning that the water was meant for the bath of his beloved, he calls one of the maids aside and throws his ring into her jug, by which his presence is at last indicated to Manoharā.
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The relief shows a lotus pond in the centre with a swan. Altogether there are nine maids with water-jugs. Some of them have already filled their jugs and are going back to the palace depicted on the left. One is shown in the act of filling the jug and others are waiting their turn. To the right the prince sits on a raised seat under a tree, evidently narrating something which a maid in front of him is listening to with rapt attention. The jug is placed on the ground before her. Presumably the prince throws the ring into the jug. According to the text the prince did it without being seen. This is possible in the relief only on the presumption that the maid was too engrossed with the recital to notice the ring being thrown in.
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The relief is a fine piece of sculpture. The division of the charming and graceful maidens into two groups on two sides of the pond, the delicate carving of the lotus leaves, buds and the small plants on the edge of the pond, the varying and graceful poses of the maidens, and the prince,—all testify to a high degree of artistic skill. The relief recalls the very familiar and poetic image of village maidens gathered round a pond in the dusk, and this lovely scene serves as a beautiful contrast to the love-sick forlorn prince in the background. The composition must be regarded as a beautiful poetic conception nicely executed, and, taken as a whole, may be regarded as one of the finest reliefs in Barabuḍur.
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The reliefs of Barabuḍur are specially designed for illustrating some definite texts. Wherever we have been able to discover this text we find the sculptor making a faithful reproduction of it as far as his limited space permits. In reproducing the story he seldom tries to pick up the crucial event or episode as of special importance, nor does he emphasise in any way the leading movement or action in a theme, relegating accessory details into a subordinate position. But he deals with the whole story in a uniform manner, treating the essential point very much in the same way as its minor detail. In other words, the Barabuḍur reliefs are descriptive and not dramatic. The sculptor avoids excitement or sensationalism of any kind and is content in narrating the story in a colourless form.
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In the composition of reliefs we therefore almost always find quite a large number of figures, many of whom play only a very subordinate rôle, and whose absence would very often not only not matter in the least, but would rather help to direct our attention to the main actors and main incidents in the story. There are, of course, exceptions to the rule, but there is no doubt about the general tendency.
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In spite of these obvious defects the reliefs have several characteristic merits. In the first place the artist always displays a fine sense of symmetry, harmony and rhythm in grouping his figures. They are skilfully arranged in small groups balancing each other, while the different poses, varying attitudes, and distinct appearances and dresses of figures in the same group serve to remove the aspect of monotony and dullness which would otherwise be inevitable in a scene depicting quite a large number of persons. For example, of the gods and apsaras in Pl. XV, Fig. 1, and the women in Pl. XVI, Fig. 2, no two figures have the same attitude or exactly the same dress and appearance.
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The artist has further freely made use of trees, plants, animals, and birds to break the dull monotony of his scene. True to Indian traditions, he shows a keen appreciation of the beauties of nature, and delights to depict human beings in surroundings of natural beauty, as far, of course, as his texts would permit. The landscape, specially trees, rocks and rivers, is conventional but finely executed, and the lotus ponds in Pl. XVIII, Fig. 2, and Pl. XIX, Fig. 1 are lovely examples of naturalistic designs. The figures of the trees, birds and animals, and sometimes of pavilions and palaces, and the skilful way in which they are added to a scene to enrich and enliven it, are worthy of the highest praise.
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The artist has attained a high degree of success in the representation of human figures. Considering the large area filled by thousands of them, we could hardly expect great beauty of form in individual figures. But if few of them may be regarded as of surpassing beauty, there are fewer still among the thousands of figures, which have fallen below a fairly high average standard, and this, by itself, calls forth our highest admiration and reflects the greatest credit upon the genius and resourcefulness of the artists of Barabuḍur.
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In designing the human figures the artist, true to Indian tradition, has aimed at reproducing a type rather than an individual. But he has been very successful in delineating and distinguishing these types. For example, the royal attendants (Pl. XVII, Fig. 1), ascetics (Pl. XVII, Fig. 2), and the gods, (Pl. XVIII, Fig. 1) are clearly marked types distinguished from one another. Yet no two figures of even the same type are exactly the replica of each other, and there are always some shades of difference in their features. Once our eyes are accustomed to a little heaviness and roundness of the figures, which are, no doubt, due to racial physiognomy, we find them possessed of a fair degree of grace and charm. As our eyes wander over the hundreds and thousands of figures, we note with admiration how each of them has been chiselled with great care and skill, so as to bring out the lovely form of the body. The scanty dress, both of the men and the women, made the task infinitely greater, as the artist had to pay attention to all the parts of the body. The figures are seldom made to stand or sit in an erect or rigid attitude, but infinite variety of poses and bends are introduced, giving the artist an opportunity to display his masterly technique and sense of rhythm by delineating them in fine graceful curved lines.
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The figures of women are almost always carved with a special care. The round bosom, full thigh and hip, slender waist and the pliant limbs endow many of them with an unspeakable grace and charm. Sometimes we meet with new types of novel beauty; for example the Kinnaris depicted in Pl. XIX, Fig. 1. The artist has deliberately created a new type to distinguish them from ordinary human beings. The tall slender forms, and the graceful poses of these figures, radiant with life and beauty, mark them as the creation of a master artist with striking ideals of originality of design.
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The artist has shown equal powers of carving deformed or ugly creatures. Although generally naturalistic he sometimes grows realistic, as for example in representing the sick man in Pl. XVI, Fig. 1 and some of the courtiers in Pl. XIX, Fig. 3.
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The artist has also succeeded well in delineating difficult movements of the body. The dancing scene in Pl. XIX, Fig. 2 is a fair specimen. The posture of the dancing girl in the centre and the position of the arms of the musicians with two parts of the cymbals (or similar instruments), just on the point of striking one another, are particularly noteworthy.
Cites (3)
- Divyāvadāna — Sanskrit
- Lalitavistarā — Haribhadra Sūri, Sanskrit
- Sārnāth