ARTICLE 1

BOROBUDUR TEMPLE
by Robert E. Gordon

Borobudur and the concept of path in Buddhism

Paths have been pervasive in human civilization.The idea of path is an important concept in
Buddhism, and is essential in understanding the meaning and purpose of one of the most
remarkable and impressive monuments in the world: Borobudur.

Located on the island of Java in Indonesia, the rulers of the Ś ailendra Dynasty built the Temple
of Borobudur around 800 C.E. as a monument to the Buddha (exact dates vary among scholars).
The temple (or candi in Javanese, pronounced “chandi”) fell into disuse roughly one hundred
years after its completion when, for still unknown reasons, the rulers of Java relocated the
governing center to another part of the island. The British Lieutenant Governor on Java, Sir
Thomas Stamford Raffles, only rediscovered the site in 1814 upon hearing reports from
islanders of an incredible sanctuary deep within the island’s interior.

Candi Borobudur’s design was conceived of by the poet, thinker, and architect Gunadharma,
considered by many today to be a man of great vision and devotion. The temple has been

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described in a number of ways. Its basic structure resembles that of a pyramid, yet it has been
also referred to a caitya (shrine), a stupa (reliquary), and a sacred mountain. In fact, the name
Ś ailendra literally means “Lord of the Mountain.” While the temple exhibits characteristics of
all these architectural configurations, its overall plan is that of a three-dimensional mandala it
is a diagram of the cosmos used for meditation and it is in that sense where the richest
understanding of the monument occurs.

Borobudur consists of a series of open-air passageways that radiate around a central axis mundi
(cosmic axis). Devotees circumambulate clockwise along walkways that gradually ascend to
its uppermost level. At Borobudur, geometry, geomancy, and theology all instruct adherents
toward the ultimate goal of enlightenment. Meticulously carved relief sculptures mediate a
physical and spiritual journey that guides pilgrims progressively toward higher states of
consciousness. The entire site contains 504 statues of the Buddha. 1460 stone reliefs on the
walls and opposite balustrades decorate the first four galleries, with an additional 1212
decorative reliefs augmenting the path. The relief sculptures narrate the Buddha’s teachings
(the Dharma), depict various events related to his past lives (Jataka tales), and illustrate didactic
stories taken from important Buddhist scriptures (sutras). Interestingly, another 160 relief
sculptures adorn the base of the monument, but are concealed behind stone buttresses that were
added shortly after the building’s construction in order to further support the structure’s weight.
The hidden narrative reliefs were photographed when they were discovered in the late 19th
century before the stones were put back to help ensure the temple’s stability.

Moving past the base and through the four galleries, the devotee emerges onto the three upper
terraces, encountering 72 stupas each containing a three-dimensional sculpture of a seated
Buddha within a stone latticework. At the temple’s apex sits the large central stupa, a symbol
of the enlightened mind.

The experience of meaning

While the sheer size and scope of a mandala structure such as this makes the site worthy of
admiration, it is important to understand how the experience of Borobudur relates to the
philosophic and spiritual underpinnings of the Buddhist religion.

Since its inception, about 2500 years ago, Buddhism has directly engaged what it sees as the
paradoxical nature of human existence. The most essential tenet the religion promulgates is the
impermanent, transient nature of existence. Transcendental wisdom via the Dharma (the Noble
Eight-Fold Path) hinges on recognizing that attachment to the idea of a fixed, immutable “self”
is a delusion.

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Enlightenment entails embracing the concept of “no-self” (anattā), understood to be at the heart
of eliminating the suffering and dissatisfaction (dukkha) of sentient beings. This is the ultimate
message expressed in the sacred scriptures that are solidified in artistic magnificence along the
stone walls and railings of Borobudur. The physical movement of circumambulating the
structure symbolizes the non-physical or spiritual path of enlightenment. In a real sense, then,
the concept of path within Borobudur monumentalizes the impermanent. Like a river that is
never the same from moment to moment, to physically move along the path while meditating
on the spiritual message of the sutras is meant to help one fully embrace the Buddha’s
paradoxical message of impermanence.
The texts illustrated on the walls refer to pathways as well. For instance, the Gandavyuha Sutra
forms a major segment of the temple’s upper galleries. The last chapter of a larger text called
the Flower Garland Sutra, it relates the story of Suddhana, a youth who commences a journey
to meet fifty-three teachers while seeking the path to enlightenment. The concept of “path” is
a central theme in the text. He eventually meets an enlightened being (bodhisattva) named
Samantabadhra. Excerpts from the larger sutra illustrate the concepts under discussion:
“I will lead those who have lost their way to the right road. I will be a bright light for those in
the dark night, and cause the poor and destitute to uncover hidden treasures. The Bodhisattva
impartially benefits all living beings in this manner.
I vow to shut the door to evil destinies and open the right paths of humans, gods and that of
Nirvana.

Once any sentient beings see the Buddha, it will cause them to clear away habitual obstructions.
And forever abandon devilish actions: This is the path traveled by Illumination.

Sentient Beings are blinded by ignorance, always confused; the light of Buddha illuminates the
path of safety. To rescue them and cause suffering to be removed.

All sentient beings are on false paths Buddha shows them the right path, inconceivable, causing
all worlds to be vessels of truth...”

From darkness into light

The idea of moving from the darkness into the light is the final element of the experience of
Borobudur. The temple’s pathway takes one from the earthly realm of desire (kamadhatu),
represented and documented on the hidden narratives of the structure’s earthbound base,
through the world of forms (rupadhatu) as expounded on the narratives carved along the four
galleries set at right angles, until one finally emerges into the realm of formlessness
(arupadhatu) as symbolized and manifested in the open circular terraces crowned with 72
stupas.

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However, the symbolization of enlightenment these stupas represent is not intended to be
merely aesthetic. Buddhist stupas and mandalas are understood as “spiritual technologies” that
harness spiritual “energies” in the creation of sacred space. The repetition of form and the
circumabulatory progress of the pilgrim mimic, and thereby access, the cosmological as a
microcosm. The clockwise movement around the cosmic center reproduces the macrocosmic
path of the sun. Thus, when one emerges from the dark galleries representing the realms of
desire and form into the light of the “formless” circular open air upper walkways, the material
effect of light on one’s physical form merges concomitantly with the spiritual enlightenment
generated by the metaphysical journey of the sacred path.

Light, in all its paradoxes, is the ultimate goal. The crowning stupa of this sacred mountain is
dedicated to the “Great Sun Buddha” Vairocana. The temple sits in cosmic proximity to the
nearby volcano Mt. Merapi. During certain times of the year the path of the rising sun in the
East seems to emerge out of the mountain to strike the temple’s peak in radiant synergy. Light
illuminates the stone in a way that is intended to be more than beautiful. The brilliance of the
site can be found in how the Borobudur mandala blends the metaphysical and physical, the
symbolic and the material, the cosmological and the earthly within the structure of its physical
setting and the framework of spiritual paradox.

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 ARTICLE 2

BOROBUDUR IS KING SOLOMON’S HERITAGE

By Fahmi Basya

Tamastil or Borobudur reliefs that are not carved by humans

the pictures on the Borobudur wall in the form of humans, animals, plants to illustrate
something that had happened during the time of the Prophet Solomon. You need to know, if
during the time of the Prophet Solomon, making a statue was not forbidden. There is some
evidence of tamastil or reliefs in Borobudur which were impossible to make and carve by
humans in the 8th century (which was already in the ceramics era). The tamatsil itself was
made by the jinn (as mentioned in the Koran) by softening the stone. There was at least the
Queen of Balqis tamatsil who raised his cloth when he entered the kingdom of Sulaiman,
people talked to birds, as well as a safe that was connected and had a key. The life of the people
of the time of the Prophet Solomon In addition to tamatsil which is impossible for human hands
to make because of the very difficult patterns, there are many other reliefs that seem to give a
story about the life of the Prophet Sulaiman, all of which are painted in Borobudur Temple. As
we know that the Prophet Solomon was awarded a miracle that could understand all the
languages of living things. This is listed in the relief of flowers and animals such as horses,

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dogs, elephants, pigs, and several other animals on the Borobudur wall. Besides that, as
mentioned in Surah Al-Baqarah: 248, that one of the proofs of the glory of the Prophet
Sulaiman is the Ark (box of coffins in the form of inheritance from the prophet David). In one
corner of Borobudur there was indeed a chest that was guarded by someone.

The Queen of Balqis and the palace moved In addition to the story of the life of the Prophet
Sulaiman. What is familiar to our ears must be about a palace moved by someone who has
strong knowledge. Well, the palace of the Queen is thought to be the Temple of Ratu Boko, or
in the Koran described as sidrin qaliil (the remaining buildings are few). This is certainly with
quite strong evidence, namely the discovery of a golden plate containing the sentence lafazd
Bismillah (allegedly a threatening letter as well as an invitation to worship God) in the pool of
Ratu Boko Temple. The distance of Borobudur-Ratu Boko as far as 36 KM is very possible if
the letter is delivered by a bird in one flight (Hud-hud bird). Regarding the palace that moved,
in Borobudur there is a stupa called the Balqis Palace, but not all of the buildings have moved,
because there are some that are still remaining in Ratu Boko until now, this is what is referred
to as the Sidrin Qaliil. Tall buildings and statues built by the Jinns During his reign as king,
Prophet Sulayman was said to have built many buildings with the help of the Jinns. In Surah
Saba ': 13-14, it is stated that Jin built tall buildings (presumably Prambanan Temples) and
statues, as can be seen at the Temple In addition, the death of Prophet Sulayman was also
unknown to anyone, including the Jinns. So when they found out that the Prophet had died,
they also stopped making the statue. This can be seen if in Borobudur there is a statue that does
not appear to have been completed.

ANALYSIS

 Summary of Article 1
Located on the island of Java in Indonesia, the rulers of the Ś ailendra Dynasty built
the Temple of Borobudur around 800 C.E. as a monument to the Buddha (exact dates
vary among scholars). Candi Borobudur’s design was conceived of by the poet,
thinker, and architect Gunadharma, considered by many today to be a man of great
vision and devotion.
 Summary of Article 2
You need to know, if during the time of the Prophet Solomon, making a statue was not
forbidden. There is some evidence of tamastil or reliefs in Borobudur which were
impossible to make and carve by humans in the 8th century (which was already in the
ceramics era). The tamatsil itself was made by the jinn (as mentioned in the Koran) by

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 softening the stone. There was at least the Queen of Balqis tamatsil who raised his cloth
when he entered the kingdom of Sulaiman, people talked to birds, as well as a safe that
was connected and had a key. The life of the people of the time of the Prophet Solomon
In addition to tamatsil which is impossible for human hands to make because of the
very difficult patterns, there are many other reliefs that seem to give a story about the
life of the Prophet Sulaiman, all of which are painted in Borobudur Temple. As we
know that the Prophet Solomon was awarded a miracle that could understand all the
languages of living things.
 Questions
1. Who built Borobudur Tample?
Answer : The rulers of the Ś ailendra Dynasty built the Temple of Borobudur
around 800 C.E.
2. What is the temple’s pathway from earthly realm of desire called ?
Answer : It’s called Kamadatu
3. Who is the crowning stupa of the sacred mountain dedicated to?
Answer : The crowning stupa of this sacred mountain is dedicated to the “Great
Sun Buddha” Vairocana.

 Pattern of The Text

 Example
The texts illustrated on the walls refer to pathways as well. For instance, the
Gandavyuha Sutra forms a major segment of the temple’s upper galleries.

 Explanation
Candi Borobudur’s design was conceived of by the poet, thinker, and architect
Gunadharma, considered by many today to be a man of great vision and devotion.
The temple has been described in a number of ways. Its basic structure resembles
that of a pyramid, yet it has been also referred to a caitya (shrine), a stupa (reliquary),
and a sacred mountain. In fact, the name Ś ailendra literally means “Lord of the
Mountain.” While the temple exhibits characteristics of all these architectural
configurations, its overall plan is that of a three-dimensional mandala it is a diagram
of the cosmos used for meditation and it is in that sense where the richest
understanding of the monument occurs.

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  Enumeration
The physical movement of circumambulating the structure symbolizes the non-
physical or spiritual path of enlightenment. In a real sense, then the concept of path
within Borobudur monumentalizes the impermanent. Like a river that is never the
same from moment to moment, to physically move along the path while meditating
on the spiritual message of the sutras is meant to help one fully embrace the Buddha’s
paradoxical message of impermanence.
 The Purpose of The Author
- To show the reader about the concept of paths in Budhism
- To tell people about The ideas of moving from the darkness into the light.They are
called kamadhatu,rupadhatu and arupadhatu.
 The Purpose of Us as a Reader
- To find out the temple from the spiritual side.
 Facts and Opinions
 Facts :
- Located on the island of Java in Indonesia
- The entire site contains 504 statues of the Buddha
- 1460 stone reliefs on the walls and opposite balustrades decorate the first four
galleries, with an additional 1212 decorative reliefs augmenting the path.
- Candi Borobudur’s design was conceived of by the poet, thinker, and architect
Gunadharma.
 Opinions:
- Borobudur reliefs that are not carved by humans.
- the pictures on the Borobudur wall in the form of humans, animals, plants to illustrate
something that had happened during the time of the Prophet Solomon.
- The tamatsil itself was made by the jinn (as mentioned in the Koran) by softening the
stone.

 The Best Information

- Candi Borobudur’s design was conceived of by the poet, thinker, and architect
Gunadharma,.
- While the sheer size and scope of a mandala structure such as this makes the site
worthy of admiration, it is important to understand how the experience of Borobudur
relates to the philosophic and spiritual underpinnings of the Buddhist religion.

 The Background of the Author

 Fahmi Basya was born on February 3rd ,1952. A math lecturer in UIN Syarif
Hidayatullah. He is also a writer. The books that have been written are Matematika
Islam 1,2,3 and Borobudur & Peninggalan Nabi Sulaiman
We think the author is qualified to write the article for he is a lecturer and a
preacher.

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 Is the article useful?
 We think the article is useful for those who want to see Borobudur from the
other side.

 Conclusion
- we accept the first article for it contains a lot of facts of Borobudur based on its
history and the use of it.
- We reject the second article just because it isn’t appropirate with the fact.

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 REFERENCES

https://www.ancient.eu/Borobudur/
https://m.tribunnews.com/amp/regional/2017/11/18/fahmi-basya-sebut-candi-borobudur-
peninggalan-nabi-sulaiman-begini-tanggapan-akademisi

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