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ArchitecturePhra Borommathat Chaiya
Phra Borommathat Chaiya is a prasat-type chedi with a round stupa as a spire, its building materials were bricks and mortar. The chedi stands on a square base decorated with pilasters. On the eastern side, there is a staircase leading to the cella of the chedi. The central prasat-type chedi is surrounded by six round stupas with a hexagonal base.The prasat-type chedi is evidently the most significant feature, it comprises the base, the body and the roof.The lotus base serves as a foundation of the chedi which features projections echoing those of the body of the chedi. The body which is also square-shape possesses one offset in the middle of each side and projections at the four corners. The middle projections are in the porch-like shape, of all the four projections, only the east one is an entrance to the cella. Whereas the smaller projections at the corners are similar to pilaster. Above the body is the stepped roof sections; composes of two levels with each level surrounded by miniature round stupas. The uppermost part is in an octagonal plan also decorated with miniature round stupa. This section supports an octagonal-shape stupa on a circular lotus base topped with a set of spire, namely a square plinth, a conical shape and a spire, similar to that of a round stupa.
ArchitectureCandi Bhima
This temple is the only North-Indian affiliated temple in Javanese art as the superstructure of this temple is in Nāgara Śikhara. The superstructure is dividable into three offsets, each offset is beautified with the horseshoed arches “Gvākṣa” and the face of human. The corner offsets are decorated with Amalaka, typical to North Indian art. The contour of the superstructure is in trapezoid shape, different from the stepped contour of Candi Arjun and Candi Puntadeva. After the early phase of Central Javanese art, the North-Indian superstructure would be out of fashion and the South-Indian superstructure would be the only popular convention in the middle and the late Central Javanese Art.
ArchitectureCandi Mendut
The temple rests on the huge platform providing the space for circumambulation. The wall of the body is divided into three portions. The central portion depicts the sitting figure of Bodhisattva while the corner portions depict the standing statues of the Eight Great Bodhisattvas (Aṣṭamahābodhisattva). This allows Candi Mendut to be comparable to the Mahayanist Iconographic diagram. The superstructure of this temple follows the South Indian fashion, the stepped multi-tiered roof. However, the roof of this temple is ornamented with miniature Stupas (Stūpika), typical to the Central Javanese art. The decoration of miniature stupas on the top of the roof is associated with Buddhism.
ArchitectureCandi Pawon
Despite being small, Candi Pawon is one of the most beautiful temple of the Mid Central Javanese period. The temple rests on the high circumambulatory platform, which is similar to Candi Mendut. The body is divided into three parts. The central projection is beautified by the Kalpavriksha or the wish-fulfilling mythical tree symbolizing the fertility. The side parts of the body are decorated with the standing figures of Bodhisattvas. The superstructure is decorated with the series of Stupikas (miniature stupas which is the identity of the period. Stupikas suggest that the temple belongs to Buddhism. The staircase’s balustrades are also decorated by the the wish-fulfilling mythical tree blessing the fertility to the devotees.
ArchitectureCandi Bedang Dalam
The architecture of this candi includes sanctum and front hall. The sanctum is the small square room with an entrance and brick wall. Around the structure shows the trace of circumbulatory path with the pillar hole for the wooden beam supporting the tile roof. In front of the sanctum is the open front hall with the pillar hole for the wooden beam supporting the tile roof, too. Compared to other candi in Java art, this candi is not complicated but it still shows the good evidence of the Indian and Java architecture in the ancient Malay peninsula.
ArchitectureCandi Puntadeva
These temples closely resemble to those in South Indian art. The plan of the temple is characterized by the sanctum attached by the short porch. The body is divided by four pilasters into three parts, i.e. the central and the side projections. The superstructure comprises the superimposing miniature tiers (Tala) and the corner miniature temple (Hara). The step-like contour of the superstructure is similar to those in South Indian art. The central projection of Candi Puntadeva is decorated by the square frame whereas the corner projections are decorated by the pilasters and niches. These features indicate the further artistic development of this temple, being more complex than that at Candi Arjun
ArchitectureLowest base at Borobudur
Borobudur is conceived as Maṇḍala or the Mahayanist iconographic diagram. Therefore, the lowest base is conceived as Kāmabhūmi or the lowest realm of the universe in which the common people occupy. The story of defilements of common people in Kāmabhūmi has been narrated in the scripture named “Karmavibhanga” and these stories have been depicted in the narratives at the lowest base of Borobudur. The narratives, however, were hidden by the stone later added for strengthening the structure.
ArchitectureCandi Kalasan
Candi Kalasan is one of the first examples of the temple with five sanctum s during the Late Central Javanese Art. This kind of plan would be again repeated at Candi Sewu and Candi Parambanan. The five-sanctum plan had been popularized before in Pala of eastern India. The body of the temple is divided into three parts as before. However, the central offset becomes the projecting porch. The side offsets are decorated by the most beautiful Prasada niches. Though the superstructure is of south Indian fashion, the octagonal miniature tiers are of special character. The miniature towers that decorate the superstructure of the temple are topped by the Stupika, the miniature Stupa which becomes the typical character of this period.
