Ancient Indian Colonies in the Far East (Vol. I: Champa; Vol. II: Suvarnadvipa) v2.c21.s2.t4: § 4. Other localities

Ancient Indian Colonies in the Far East (Vol. I: Champā; Vol. II: Suvarṇadvīpa) v2.c21.s2.t4

Language: English

§ 4. Other localities

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From the point of view of art in general and sculpture in particular, Dieng, Barabuḍur and Lara-Jongrang constitute three important landmarks in the gradual stages of its development. The period of interval that separates these three is not very long, and all of them were constructed, at the outside limits, between 750 and 950 A.D. Yet we notice distinct characteristic features in them which may be conveniently, if not very accurately, expressed by designing them as primitive, classic, and romantic.

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Even at the risk of slight inaccuracies we may very appropriately classify the sculptures in other localities under one or other of these heads. It will be beyond the scope of the present work to undertake a detailed study of these sculptures. After having broadly indicated the nature of the three different schools we shall content ourselves with a brief review of the sculptures of other localities in relation to them.

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The sculptures of Pringapus belong to the Dieng school. So far as purely decorative sculptures are concerned those of Pringapus constitute a great advance upon Dieng. Here the sculptures consist mainly of scrolls and spirals interspersed with figures of men, birds and semi-divine beings, a very familiar Indian design which was carried to its highest excellence during the Gupta period. Brandes has given a spiritual interpretation of these sculptures. In his opinion they convey a sense of repose and dignity and inspire the visitors with devotion and spiritualism which it was the manifest object of the temple to invoke. Without going so far, it is easy to recognise that the theme of these sculptures is in full harmony with, and calculated to emphasise the repose, serenity, and natural beauty of the environs of a temple. The Pringapus temple also illustrates the growing importance of decorative sculpture in a temple, but as yet it has not overshadowed the architecture.

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The decorative reliefs of Kalasan, Sari, Sevu, Merak, Pavon and Ngawen belong essentially to the Barabuḍur school, and possess the same degree of excellence. But they appear to possess greater attraction simply because they are not subordinated to the narrative reliefs and possess a richer content and variety. A few specimens from Caṇḍi Merak are illustrated in Plates XXIV—XXV.

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The decorative reliefs of Caṇḍi Plaosan are more exuberant but less pleasing. They consist mainly of floral spirals and show technical skill of a high order. But they seem to overshadow the architectural designs and there is a sort of monotony unrelieved by human or animal figures such as we find in the cases of Mendut and Pavon.

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The fine images of Buddha and Avalokiteśvara in Caṇḍi Mendut (Pl. XIV) are very beautifully modelled and belong to the classical style of Central Java such as we find in Barabuḍur They show the same characteristic features with perhaps a greater degree of refinement and delicacy. Attention may be drawn to the fact that the back frame of the throne on which Avalokiteśvara is seated possesses the same Siṃha-Makara motive as we find in the case of the famous Buddha image of Sārnāth. The halo is, however, different. The Buddha figure may be compared with that in cave no IX at Ajaṇṭā.¹

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¹ V.A. Smith—Fine Arts, p. 178, fig. 123

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The images of Caṇḍi Banon (Pl. XXIII), though Brāhmanical, belong to the school of Barabuḍur rather than that of Lara-Jongrang. Figure (b) is a fine example of elegant modelling. Even the legs and feet which are usually executed in a rough way, are beautifully modelled, and the ornaments of the body are disposed of in such a way as not to obstruct a full view of the whole figure. There is an indescribable charm in every detail, and although the figure is shown as standing erect, its graceful posture offers a striking contrast to the somewhat stiff attitude of the Mahādeva of Lara-Jongrang. The Śiva image of Semarang² also shows some of the fine qualities which we notice in those of Banon.

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² T.B.G., Vol, 71 (1931), p. 666, pl. 3.

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The Caṇḍi Vurung has also yielded a number of fine images of gods. The relief figures as well as images in the round at Merak also show a graceful charm and freedom of pose (Pll. XXIV-V).

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The images of Caṇḍi Plaosan show a definite break from the glorious traditions of Barabuḍur. The images of Bodhisattvas (Pl. XXVI) show a richer decoration, both of the body as well as of the halo, but the modelling is less refined, and the expression and features, less elegant. In this respect they rather resemble the images of Lara-Jongrang.