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ArchitectureBaray in front of Prasat Banteay Kdei
The stepped pier in front of the complex of Banteay Kdei was constructed during the reign of Jayavarman VII in order to be themain pier of the complex. This pier is in cruciform plan which has been popular from the period of Angkor Wat up to that of Bayon. The balustrade is decorated with Garuda holding Naga which is the character oif Bayon style.
ArchitectureDong Duong
The wall of Dong Duong tower comprises 4 pilasters similar to Hua Lai. However, this is the first time that the narrow flute in the middle of the pilaster is introduced. The floral motif bands are at the side of the pilasters instead of being at the center. The miniature temple decorated the pilaster base is comparable to the pre-Angkorian temple. This temple is unfinished and the motif at the pilaster is half-finished carved.
ArchitectureBorobudur
The Stupa comprises the series of five multi-angled square bases. Each base provides the circumambulatory passage beautified by the narratives of Mahayana concepts. The Dhyani Buddha statues are enshrined at every side of these square bases. These Dhyani Buddha’s gesture is in accordance with the Mahayanist iconography. For example, Akshobhaya must be enshrined in the east and gesture Bhumisparsha; Ratnasambhava must be enshrined in the south and gestureVarada. On the upper circular platforms exist the series of perforated Stupa enshrining Vairochana in Dharmacakra gesture. The topmost central Stupa is the solid Stupa symbolizing the supreme Adi Buddha.
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.
ArchitectureCircumambulatory path and narratives at Borobudur
The stupa comprises five multi-angled terraces, each of them provides the circumambulatory path and the narratives of Mahāyāna Buddhism. The themes of the narratives derive from several scriptures. The narratives at the lower terrace depict the stories from Lalitavistara, Jātaka and Avadāna while the upper 2nd-4th terraces depict the story form Gandhavyuhasūtra. Devotees who circumambulated the stupa would be able to be educated from these narratives. Moreover, these narratives are also the iconographic symbol of the cosmological program conceived at Borobudur.
ArchitectureCircular base with Stupas at Borobudur
The circular upper plain bases, devoid of any narrative, indicate the realm of formless, Arupabhumi. On these bases there exist the perforated Stupas inside which the statues of Vairochana in Dhamacakra gesture are enshrined. The perforated Stupas indicate the transition between the form and formlessness. The topmost solid Stupa represents the supreme Adi Buddha, the first Buddha of the cosmos, the immortal one, the timeless and the formless one, the original source of the whole Buddha in the universe as well as the world.
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.
ArchitectureNiche: Candi Kalasan
The corner portion of the body at Candi Kalansan is decorated with the strip of scrollwork and the exquisite bas-relief temple. The bas-relief temple comprises the South-Indian styled of superstructure capped by the North-Indian Amalaka-liked element at the top. Kāla-Makara pediment and the niche are also provided here. The niche is meant for the statue of Bodhisattva, which is already lost.
