Ancient Indian Colonies in the Far East (Vol. I: Champa; Vol. II: Suvarnadvipa) v2.c21.s3.t2.4

v2.c21.s3.t2.4

The basement proper consists of a plinth, the lower band, an ogee moulding, the broad central part, a second ogee, the upper band, and the cornice. An ogee moulding springing inward from above the cornice leads to a terrace on which the main body of the temple stands, leaving a small open passage all round it. There is no decoration in the basement except the central part. Here, between two projecting upper and lower bands, decorated with curling foliage-motive, the vertical part is divided by pilasters into a number of oblong sunken panels, on which we find sculptured medallions with foliage-motif sometimes with the addition of animal figures. The pilasters are decorated with vase-and-foliage motif. In the distribution of ornaments between panels and pilasters we find a radical difference from the art of Central Java, where the heavier decorations—like vase—are on the panels and the pilasters are either empty or carry only light vertical decorations. In the four corners of the basement, across the entire breadth of the central part, are four lions, in high relief, sitting on a cushion and looking in front. Similar lions adorn the two corners made by the projections and the staircase. In the middle of the central part (except on the front side) are also figures in high relief depicting a Garuḍa carrying, respectively, on the north, east and southern sides, a seated female figure, a nicely decorated vase with a cover, and a spout in the form of a nāga and three nāgas. These probably refer to the vase of Amṛta carried by Garuḍa, the female figure denoting Lakṣmī. The representation of the Garuḍa conforms remarkably well to that of Belahan and thus Caṇḍi Kidal may be regarded as belonging to the art of the older period.