Ancient Indian Colonies in the Far East (Vol. I: Champa; Vol. II: Suvarnadvipa) v2.c21.s2.t3: § 3. Lara-Jongrang
Ancient Indian Colonies in the Far East (Vol. I: Champā; Vol. II: Suvarṇadvīpa) v2.c21.s2.t3
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§ 3. Lara-Jongrang
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¹ For illustrations, cf. Cohn—Ind, Pll. 161-164 in addition to the works cited in f. n. 3, p. 212.
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The general disposition of the sculptures in Lara-Jongrang and their subject-matter have been referred to in course of the description of the temple. It is necessary here only to refer to their artistic excellence.
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A highly developed aesthetic sense is noticeable in all the sculptures, both decorative ornaments and relief figures. The Kāla-Makara ornament, on the top of the niches in the balustrade, is a pleasant contrast to the usually hideous and distorted monster's face that we meet with elsewhere. But even this was excelled by the beautiful conventional design of the same which we notice above the niches of the basement. Here the face is almost unrecognisable in the graceful curves and the beautiful complex of intertwining spiral, the whole producing a linear design of infinite beauty.
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The same aesthetic sense has transformed the tree-and-vase motive into a floral bouquet whose charm holds in awe of admiration the two Kinnaras seated on its sides. The Kinnara figures, half-bird, half-human, are very appropriate. To appreciate the beauty of the tree you must have the eyes and heart of a human being but to enjoy it perpetually you must have the wings of a bird. Taken as a whole, the decorative reliefs are very charming and graceful and show a variety of designs.
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A high degree of aesthetic sense also pervades the delineation of human figures. The best seems to be the triple figures in the niches on the outer side of the balustrade. Characterised alike by the elegance of forms and the harmonious grouping, they may be regarded as the best jewels in the ornamentation of the temple.
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The figures in the neighbouring panels are less elegant, but full of life and movements, bringing into relief the still beauty of the principal figures. In these attendant figures the artist has shown in a remarkable degree his power of delineating movements of all kinds and infusing life and vivacity in them. The man, for instance, who is playing on the mṛdanga ( a kind of drum ) is depicted as if his whole body is dancing with the tune. The skill with which different postures of the human body are faithfully drawn is also worthy of notice.
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All these peculiarities appear again in a still more remarkable degree in the famous series of reliefs representing scenes from the Rāmāyaṇa.¹ There are altogether forty-two panels depicting the story of the Rāmāyaṇa up to the arrival of Rāma and his monkey-troops to Laṅkā. It will be beyond our scope to describe all of them, but a few typical scenes may be discussed.
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¹ For a complete illustration and interpretation of reliefs, cf. Kats—Het Rāmāyaṇa, Plates 1-42. For interpretations by Stutterheim, cf. B.K.I. Vol. 84 (1928) pp. 126 ff. Stutterheim believes that the panels are arranged with reference to the course of the sun with whom Rāma is identified. Thus the pictures about the prosperity of Rāma are in the east (rise of the sun) and those of adversity in the west (sun-set) etc, Ibid pp. 118-132.
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1. The very first panel (Pl. XX, Fig. 1) represents *anantaśayana* of Viṣṇu. The god is seated on serpent *Śeṣa* and the sea below it is indicated by waving lines and aquatic animals such as fishes and crabs. Viṣṇu has four hands. The upper right arm holds the discus and the upper left, the conchshell. The object in the lower right hand is indistinct, while the empty lower left hand is stretched, with palm outside, in the act of greeting the five figures on his left. These represent the gods who have come to request him to be incarnated on earth for killing Rāvaṇa. The foremost of these figures, distinguished from the rest by his peaked beard and peculiar headdress, probably represents Brahmā. He presents an offering (arghya) to Viṣṇu.
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Viṣṇu is seated in a peculiar manner. His left leg is doubled up and two ends of a girdle that pass round his body are tied a little below the knee. This method of keeping the body at ease is also noticeable in the sculptures at Sāñchi, and Barabuḍur. To the right of Viṣṇu, Garuḍa is seated in a reverential attitude, holding with two hands a lotus with long stalk towards his master.
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The theme is delineated with admirable force and simplicity. There is a beautiful harmony in the whole composition, and the artist has shown his sense of symmetery and balance. As in the body of the temple, the decorative ornaments are kept in due subordination. The most remarkable thing is, however, the variety of features and expressions which we notice in the five divine figures. Each of these is graceful in his own way, endowed with different features and imbued with different expressions. Taken separately each would have constituted a charming figure by itself, and this is a rare thing in a composition of this kind. The continuation of the scene, in panel II (Pl. XX, Fig. 2) depicts king Daśaratha with his queen and sons, and probably the sage Viśvāmitra.
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2. The panels X, XI, XII, (Pl. XX, Figs. 3-4) delineate the tragic scene of the banishment of Rāma. To the left is a long scene depicting the coronation of Bharata with its attendant joyous ceremonies such as music and dancing. To the right, Rāma and Sītā are being driven in a chariot towards the forest.
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In the centre the old King Daśaratha and queen Kauśalyā are seated overwhelmed with grief, the king's head drooping over his left shoulder, and the queen closing her eyes with left hand. The sorrow of the royal couple is reflected in the dejected and somewhat startled faces of the two attendants sitting on the right. The placing of this scene between the other two at once brings into prominence the great tragedy of the whole.
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Apart from the masterly setting of the whole scene, the details are worthy of a great artist. The sorrow of the king and queen is shown in a simple but very effective manner. Both of them have their faces turned towards the right but not looking at the departing chariot, a sight too painful for them. The face of Rāma is sad, that of Lakṣmaṇa sadder still, but not so the face of Sītā, in whom the joy of her husband's company seems to outweigh all other considerations.
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Remarkable is also the attitude of Bharata and his queen. They look morose and sit apart, in strong contrast to the posture in which loving couples are usually represented. Compare, for example, that of Rāma and Sītā in panel XVI., and of Daśaratha and his queen in panels II and IX. Amid the joyous surroundings of their coronation Bharata and his queen alone are sad and unhappy.
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³ The panels XVII—XX. (Pl. XXI, Figs. 1-2) represent the episodes of Sūrpanakhā and Mārici. Beginning from the left, the first scene represents Rāma seated in his hut, while Sūrpanakhā, with her maid, kneels down before him, offering some presents. The forest is indicated by two trees, under one of which Sītā stands, at a distance, looking at the scene with a jealous eye.
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The next scene shows the same two figures—Sūrpaṇakhā and her attendant—before Lakṣmaṇa. His outstretched left hand with a pointed finger is a warning to them to retire, while an arrow (or a club or some other weapon) in his right hand completes the threat. Poor Sūrpaṇakhā, frightened and disappointed, bursts into tears. The difference in the attitude of the two brothers is worthy of note.
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The next scene represents Sītā seated in her hut, while Lakṣmaṇa, left to guard her, sits below her.
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Next we find Rāma in the thick forest just letting oft the arrow which has pierced the golden deer. Above the deer is portrayed the hideous figure of Rākṣasa Mārichi, uttering the fatal cry. The forest is indicated by trees, plants and shrubs, while the figure of Rāma in the act of throwing the arrow is faithfully drawn, his left hand holding the centre of the bow, with right hand stretched back behind his body. The running deer with his head turned back towards his pursuer is also admirably carved.
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4. Lastly we may refer to panel XXXIX, (Pl. XXI, Fig. 3) in which Hanumān, on his return from Laṅkā, narrates the story of Sītā to Rāma. The artist has very cleverly depicted the different effects of the story on the different persons present. Rāma is overpowered with emotions, but is evidently fully absorbed with the mental vision of Sītā which the narrator's story has conjured up before him. Lakṣmaṇa, too, is deeply moved, but less absorbed than Rāma. Sugrīva and the seated human figure behind him are visibly affected by the pathos of the story which they are listening to with rapt attention. The two monkeys on the extreme right pay no attention to the story and are making merriments, in strong contrast to the rest.
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If we compare the attitude of Rāma with that of Sītā in panel XXXVI, (pl. XXI, Fig. 4) when she hears the news of Rāma from the same Hanumān, we can easily mark the difference in the two characters. Sītā is visibly affected, her whole body leaning forward towards the speaker. But while her emotion is only too visible, Rāma presents, outwardly, a calm placid figure, with a slight twist of the left hand (in common with Sītā) as the only external indication of the deep emotion which is agitating his body and mind. Whereas Sītā is looking eagerly towards Hanumān, Rāma is turning away from him. In Sītā the emotional element reigns supreme, while it is subordinated in Rāma to a strong will-power and intellectual force.
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In conclusion we may refer to the detached images of the gods, specially those of Brahmā, Viṣṇu and Śiva in the temples. They are beautifully modelled, but the expression lacks the ideal abstraction which is the dominant keynote of Barabuḍur Buddha. The features, though somewhat stiff, are, however, characterised by an elegance and refinement of high order. The image of Mahādeva (Pl. XXII) will serve as an example.
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The above review makes it clear that the art of Lara-Jongrang is more naturalistic than that of Barabuḍur and is characterised by a greater feeling for movements and human passions. It is more informed by human life and activity, though not devoid of the graceful charm of idealism. It has brought the divinity of idealism to the earth below, but with less abstraction and more animation than is the case with Barabuḍur. It is dramatic and dynamic while the latter is passive and static. In short, Barabuḍur and Lara-Jongrang represent respectively the Classic and Romantic phases of Indo-Javanese art.
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From a strictly technical point of view, the figures of these reliefs perhaps suffer in comparison with the finished products of Barabuḍur. But the artist has shown a very high degree of skill in delineating not only human figures but also apes, aquatic animals, and plants.
Cites (3)
- Vālmīkirāmāyaṇa — Vālmīki, Sanskrit
- Sāñcī
- Lanka