Prambanan Temple, majestically positioned along the banks of
the Opak River, has long captivated historians and archaeologists with its
intricate design and enigmatic background. Established during the 9th century,
Prambanan is often linked to the Śiwagrha Inscription of 856 AD. Scholars M.D.
Poesponegoro and N. Notosusanto, in Sejarah Nasional Indonesia: Zaman Kuna
(2010), mention that this inscription describes a temple dedicated to the deity
Śiva, built by Rakai Pikatan. In Javanese cultural history, Rakai Pikatan
stands as a unifying figure of the Mataram Kingdom, marrying a Buddhist
princess of the Śailendra dynasty, Pramodhawardhani, a union that may have led
to Prambanan being constructed amidst a cluster of Buddhist temples, including
Kalasan, Sewu, and Plaosan, as a gesture of tolerance and harmony.
Despite this narrative, Prambanan remains an archaeological
puzzle, with new findings and interpretations challenging earlier theories.
This “anomalous” quality, highlighted by researchers, sheds light on elements
that defy conventional understanding of Prambanan’s origins and purpose. Some
of the more perplexing aspects of Prambanan include the human and animal
skeletons discovered within its complex, an unusual find that has sparked
scholarly debate. Interestingly, human remains were also uncovered in nearby Buddhist
temples such as Sojiwan and Sambisari, though in smaller quantities. Initially,
these discoveries led some to theorize that the temples were used as burial
sites. This idea, however, was debunked by R. Soekmono in his dissertation, Candi:
Fungsi dan Pengertiannya (1977), which firmly established that temples
served as religious structures, not burial grounds.
If Prambanan was indeed a sacred site, what purpose did
these remains serve? Roy Jordaan, in Memuji Prambanan (2009), suggests
that these findings hint at the strong Tantric influence within both Hinduism
and Buddhism in ancient Java. He proposes that these skeletons might be
evidence of human sacrifices, a ritual commonly associated with Tantric
practices. Additional evidence supporting this interpretation comes from the
Kelurak Inscription of 782 AD, which reads:
“He, the bearer of the Vajra, the Venerable One, is Brahmā,
Viṣṇu, and Maheśvara
(Śiva). He, who is the Lord, encompassing all deities, is honored as Mañjuvāc.”
This inscription, believed to have been issued by Rakai
Panangkaran, references a Mañjuśrī statue consecrated by a teacher from
Gaudidvipa (now Bangladesh), further supporting a blending of Hindu and
Buddhist iconography in Java. Scholar F.D.K. Bosch, in De Inscriptie van
Keloerak (1928), speculated that Prambanan may have been constructed with
more Buddhist Vajrayana elements than previously thought. The Vajrayana
pantheon, like the Trimurti (Brahma, Vishnu, and Śiva), blends seamlessly with
Javanese interpretations of the Buddhist Triratna, or “Three Jewels.” Thus,
Prambanan embodies an intricate synthesis of religious themes, with Mañjuśrī
manifesting within both the Triratna and the Trimurti.
Prambanan’s religious fusion extends beyond inscriptions to
the architecture and layout of its temples. Archaeological findings reveal that
statues from both Hindu and Buddhist traditions were sometimes intermingled.
This blending is also seen in the perwara (guardian) temples that
encircle Prambanan’s central temple, a design that mirrors Buddhist symbolism,
where the Buddha is depicted surrounded by disciples, known as upanishad.
Additionally, reliefs of Rakshasas from Lanka, depicted in Tantric yoga
postures, adorn the Ramayana story panels on the central Śiva temple. Close to
Prambanan, the Jragung Inscription was also uncovered, containing mantras
dedicated to Trailokyavijaya, a Vajrayana deity associated with the triumph
over Śiva and subsequent dominion within his own maṇḍala.
Scholars have also noted the unique adaptations of the
Ramayana and Kresnayana reliefs on Prambanan’s walls. These depictions of the
Ramayana likely originated from a pre-kakawin Javanese version,
influenced by the Bhatti-kavya or Ravanavadha, a South Indian
Ramayana adaptation by Bhatti. While the Prambanan version retains one-third of
the original story, unique Javanese interpretations remain evident.
Additionally, the Vishnu Temple in Prambanan includes reliefs of the Kresnayana,
a tale from Krishna’s childhood. This later addition narrates the upbringing of
Krishna and his brother Balarama under Yashoda’s care, culminating in their
triumph over the tyrant King Kamsa.
These reliefs are significant not only for their narrative
but also for their symbolic implications. According to Andi Restiyadi’s work, The
Reliefs of Rāmāyana and Kṛeṣṇa Story at Lara Jonggrang Temple and Reign
Shift of The Ancient Mataram in 9th Century AD, the Ramayana relief was
created by Rakai Pikatan/Jatiningrat to commemorate his victory over Pu
Kumbhayoni, a powerful adversary. In contrast, the Kresnayana relief,
crafted by Pikatan’s successor Rakai Kayuwangi/Dyah Lokapala, symbolizes the
peace of his rule, representing a transition from the Treta-yuga to the
Dvapara-yuga, a period of prosperity and enlightenment.
Prambanan Temple thus stands as a remarkable example of
cultural synthesis, where Hindu and Buddhist iconography, Tantric influences,
and Javanese adaptations converge in a unique architectural and spiritual
expression. Its enigmatic reliefs, inscriptions, and ritualistic artifacts
continue to captivate researchers, offering glimpses into the complex religious
landscape of ancient Java and its powerful legacy of tolerance and unity.
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