APPLICATION OF MAHAYANA AND VAJRAYANA CONCEPT, AND MANASARA BOOK ON MATARAM SAILENDRA BUDDHIST TEMPLE IN TERMS OF FIGURE, ORNAMENT, MASS AND SPATIAL ORDER

Abstract- Classical Indian architectural principles and traditions has been collected and preserved in a vast body of literature collectively known as the Vāstuśāstra. This branch of classical Indian knowledge is a realization of Hindu ideals in terms of architectural ediﬁce, which signiﬁcantly inﬂuence the religious architecture of the Indian cultural sphere which extends to the medieval Island of Java. Indian influence can be seen in Hindu temples of Java during the Śailendra’s dynasty even though some of it’s architectural elements can’t be found in vāstuśāstra. However, in contrast of Hindu’s vāstuśāstra, Buddhism has no architecture guideline and free standing structure as of sources that are used as it’s guide are questioned, especially Buddhist Temples in Central Java during ancient Mataram’s Dynasty of Śailendra. Although Buddha’s teachings and some parts of vāstuśāstra are known to play a role in the construction of Buddhist Temples in Indonesia, how far they are applied is difficult to observe, giving the absence of special studies and free standing temple references to build Buddhist Temple, and it’s interviewees are gone. By finding information about architecture’s theory of Buddha’s teachings that entered Indonesia and identify as well as compare the relevant parts of vāstuśāstra, then the architectural elements that are part of the concept of Buddha’s teachings and vāstuśāstra can be seen.In this research, descriptive method and qualitative approach are used by the author. The author focused in terms of figure and ornament as well as mass and spatial order. This research collects and compares parts of vāstuśāstra that are relevant as well as Buddha’s teachings concept to compare them with datas from the twelve samples of Buddhist Temples in Central Java during ancient Mataram’s Dynasty of Śailendra. Comparison by the author shows a number of results. Firstly, the concept of mahāyāna, vajrayāna, and mānasāra book applied in terms of figure, ornament, mass, and spatial order are seen in Central Java’s Buddhist Temples. However, various architectural details of these elements have marked differences from what is instructed in the Vāstuśāstra. The distinctive Javanese Kala-Makara for example, does not conform the mānasāra book. Secondly, the application of mānasāra book concepts in Central Java’s Buddhist Temples prove the influence of Hinduism which was affected by the harmonious relationship between Buddhism and Hinduism during that time. Lastly, the first free-standing Buddhist Temples is 5th Batujaya Temple/Blandongan Temple (2-3 CE and 7-10 CE) because the Mahabodhi Temple in India was built as we see today during the 6th restoration phase (8 CE).

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STUDY ON ARCHITECTURAL RELATION OF ANCIENT MATARAM HINDU CANDI AND VĀSTUŚĀSTRA

Riset Arsitektur (RISA) ◽

10.26593/risa.v4i03.3930.234-251 ◽

2020 ◽

Vol 4 (03) ◽

pp. 234-251

Author(s):

Aditya Bayu Perdana ; Rahadhian P. Herwindo

Keyword(s):

Early Period ◽

Vertical Direction ◽

Spatial Arrangement ◽

Indian Culture ◽

Pronounced Difference ◽

Architectural Elements ◽

Religious Architecture ◽

Architectural Principles ◽

Cultural Sphere ◽

Local Materials

Abstract - Classical Indian architectural principles and tradition has been collected and preserved in a vast body of literature collectively known as the Vāstuśāstra. This branch of classical Indian knowledge is a realization of Hindu ideals in terms of architectural edifice, which significantly influence the religious architecture of the Indian cultural sphere which extends to the medieval Island of Java. Even though Indian influences are recognizable in the design of Javanese Hindu candis from the Ancient Mataram era, to what extend the Indian vāstuśāstra was followed is less obvious, for the Javanese candis contain some architectural elements that are not found in vāstuśāstra or Indian temples. By identifying and comparing vāstuśāstra and ancient Indian temples with Javanese candis, it should bring more clarity on which elements are part of the Indian culture continuity and which are part of the local genius. By doing so, the relation between Javanese candi and vāstuśāstra could be reasonably deduced. In this study, a comparative and qualitative method with with historical and textual approach is used. The author focuses on the overall form of the elevation as well as the mass and spatial arrangement. This study would collect and compare the relevant parts of vāstuśāstra as well as Indian examples obtained from literary studies with datas from six samples of Mataram era candis, three from the early period and three from the midclassic period.Comparison by the author shows several results. Firstly, the elevation of Mataram era Hindu candi fits into the basic mould of Indian temples as described in the vāstuśāstra, with seven distinct elements in the vertical direction termed Upapīṭha, Adhiṣṭhāna, Pada, Prastara, Gala, Śikhara, and Stūpi. However, various architectural details of these elements have marked differences from the norms of Indian temples and from what is instructed in the Vāstuśāstra. The distinctive Javanese Kala-Makara for example, does not conform to the Indian Toraṇa-Makara described in Mānasāra. Some Javanese elements has no Indian prototype at all. Secondly, the mass and spatial arrangement of Javanese candis have even more pronounced difference than Indian temples. The typical Javanese arrangement of main temple opposing three secondary temples in a row is not found in India. Conversely, Indian arrangement with an attaching Maṇḍapa in front of the main temple tower is not present in Java at all. In the case of orientation, Javanese candis may be oriented to west or east, while Indian temples overwhelmingly preferred east.The result of this study suggests that the relation between Javanese candi and the vāstuśāstra is a loose and flexible one; vāstuśāstra is used on some aspect such as the basic temple shape but disregarded in the details and ornaments. Javanese candi designers freely adopts and discards various parts of the vāstuśāstra according to prevailing conditions. Those conditions might be due to local materials and taste which form distinctive traits of local genius. Javanese designers never sought to replicate a perfect imitation of Indian temples in Java; rather, Javanese designers shows a creative and selective attitude in responding to foreign influence which yields the innovative and unique design of candi. In the oldest phases, Indian influences can be detected in such a way that candi can be considered an Indian export that has been localized. As time goes, especially since the time of Prambanan, Indian prototype becomes more difficult to discerned until candi becomes a thoroughly local architectural product.Key Words: Javanese candi, Indian temple, Vāstuśāstra, Ancient Mataram

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Perancangan Buku Ilustrasi Pop Up Candi Hindu-Budha Di Jawa Tengah Sebagai Media Edukasi Alternatif (Studi Kasus pada Anak Kelas V Sekolah Dasar Negeri 159 Sekejati Bandung)

ArtComm : Jurnal Komunikasi dan Desain ◽

10.37278/artcomm.v2i02.229 ◽

2019 ◽

Vol 2 (02) ◽

pp. 100-111

Author(s):

Ricki Natali Jaya ◽

Citra Kemala Putri ◽

Sophia Purbasari

Keyword(s):

Elementary School ◽

School Children ◽

Elementary School Children ◽

Past History ◽

Fifth Grade ◽

Learning Methods ◽

The Past ◽

Buddhist Temple ◽

Fifth Grade Students ◽

Central Java

The knowledge of history is the study of incidents in the past. Therefore, the knowledge of history has many benefits, including: history can create a better future by taking lessons and experiences from the past. History can be studied if there are forms of heritage, such as a temples. The center of the temple in Indonesia is located in Central Java, the center of the Hindu-Buddhist temple. This region has the Borobudur Temple, which is best known by the people of Indonesia and foreign tourists, because Borobudur Temple is the largest Buddhist temple in the world. But many other temples are interesting to be known by the community, especially by elementary school children who start studying history in fifth grade elementary school. Learning history in schools requires a variety of learning methods, so that students are enthusiastic and do not get bored while learning in class. In overcoming the history of learning methods that are less diverse in fifth grade elementary school children in Bandung, pop-up books were chosen as a solution to this problem because, the use of pop-up book media is a new experience for many students at school. Data collection techniques carried out by interview and observation using mixed methods. The main media is a pop up book entitled "Myths and Legends of Temples in Indonesia - Hindu-Buddhist Temple Edition in Central Java". Accompanied by supporting media, namely: stickers, carrying bags, tumblers, fans, and clothes. The design was made to increase insight and introduction of Hindu-Buddhist temples in Central Java to fifth grade students in Bandung.

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Dalmatinski šesterolisti - sličnosti i razlike

Ars Adriatica ◽

10.15291/ars.439 ◽

2012 ◽

pp. 41

Author(s):

Pavuša Vežić

Keyword(s):

Source Model ◽

Early Medieval ◽

Original Matrix ◽

Free Standing ◽

Interior Space ◽

Early Christian ◽

Holy Trinity ◽

Religious Architecture ◽

Short Period ◽

The Individual

The discussion emphasizes the peculiarity and individuality of both the shape and style of Dalmatian hexaconchs. Together with the rotunda of Holy Trinity at Zadar, they surely represent the most original architectural creation of early medieval Dalmatia and its specific cultural milieu which grew from a twofold tradition in a true symbiosis of the European East and West in the Adriatic area. Their mutual interdependence in Dalmatia was articulated through the individual shapes of religious architecture. These hexaconchs are a form specific to only the innermost part of Dalmatia, centred on the area between Zadar and Split, and deep into the hinterland of these towns, which corresponded to the Croatian principality.Certainly, buildings as special as this had their own original matrix - an individual spatial composition and a specific structure which formed their body. Without this, the hexaconchs would not have possessed the originality which has been observed by all the scholars who have written about them. Indeed, they have their own shape and style. By analyzing and interpreting the legacy of Dalmatian religious architecture, it seems plausible to assume that the early Christian baptistery of Zadar Cathedral may have served as a model not only for their hexaconchal shape and spatial structure but also for their dimensions and proportions. In the regional architecture prior to the period when the hexaconchs were built, no other building, aside from the Zadar baptistery, had such a shape and such a compositional compatibility with the hexaconchs; the very structure and measurements of their interior space. However, the architectural style of the hexaconchs, which display pilaster strips on their exteriors, and their vocabulary of pre-Romanesque language find their parallels on the monumental rotunda of Holy Trinity - a chapel adjacent to the baptistery itself, located nearby in the same episcopal complex - more than on any other late Antique or early medieval building both in the immediate region and in the whole Adriatic basin. For this reason, the search for the origin of the shape and style of Dalmatian hexaconchs leads us to Zadar and it is no wonder that almost every scholar who has studied this group of buildings has pointed to this fact. Their geographical distribution also witnesses this influence in its own way: two hexaconchs can be found at Zadar, while four or even five more are located in the wider Zadar area, adding up to seven out of the ten Dalmatian hexaconchs in total.This number implies that this group of rotundas, being characteristic for a specific period in Dalmatia, was created in a relatively short period of time. Moreover, it points to the building and carving workshops which, drawing upon the same source model, constructed the hexaconchs and provided them with stone liturgical furnnishings. In particular, further indications can be found in the production of the socalled Benedictine carving workshop, probably located at Zadar, a workshop from the time of Prince Trpimir which produced the furnishings for the hexaconchs at Pridraga and Kašić, and the carving workshop from Trogir which was responsible for the carvings at Trogir and Brnaze. All of these, with regard to the hexaconchs, testify to predominantly early ninth-century production, and represent the main argument for the dating of these interesting Dalmatian rotundas to the same time. Apart from their original pre-Romanesque shape, the majority of the free-standing hexaconchal rotundas were provided with early Romanesque additions during the course of time, and these additions turned these hexaconchs into small complexes of sorts. Vestibules created in this period suggest two possiblities: according to one, the vestibules added in this manner were actually a kind of exterior crypt, spaces where sarcophagi could be housed, and according to the other, some of these vestibules were also provided with bell-towers built on top of them. The latter possibility is implied by the dispositions of the suggested bell-towers and the strength of the supporting substructions (e.g. the Stomorica church at Zadar or the hexaconch at Kašić), but also by the stylistic elements which point to the early Romanesque, and architectural details, the function of which indicates a bell-tower (e.g. impost capitals of the Stomorica church or St Chrysogonus at Zadar, and an octogonal colonette from Kašić).

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Buddhist Monuments Across the Bay of Bengal: Cultural Routes and Maritime Networks

TRaNS Trans -Regional and -National Studies of Southeast Asia ◽

10.1017/trn.2018.17 ◽

2019 ◽

Vol 7 (2) ◽

pp. 159-180

Author(s):

Himanshu Prabha Ray

Keyword(s):

Southeast Asia ◽

Bay Of Bengal ◽

North India ◽

World Heritage Sites ◽

Religious Texts ◽

Heritage Sites ◽

Textual Production ◽

Religious Architecture ◽

Central Java ◽

South And Southeast Asia

AbstractReligious architecture, often called ‘monuments’ within the current understanding of ancient shrines, are prominent features of the landscape in South and Southeast Asia. Many of these sites are admired for their artistic and aesthetic appeal and are centres of tourism and travel. This paper traces the historical trajectory of three contemporary monuments of Buddhist affiliation across the Bay of Bengal, namely Nalanda in north India, Borobudur in Central Java, and Nakhon Pathom in Central Thailand to address both their distinctiveness and their interconnectedness. The paper also focuses on the extent to which these shrines reflect the religious theories that prevailed between the sixth and the thirteenth centuries AD and are currently known to us through religious texts. It is not often appreciated that ‘collections’ of religious texts, as well as the ‘discovery’ of monuments were mediated through the priorities and practices of European and Western scholars from the eighteenth and nineteenth centuries. The history of the study of Buddhism shows that it centred on religious texts and philosophical doctrines produced by a small group of monastic elites, with little attention paid to the more difficult questions of the contexts underlying textual production and circulation. This paper suggests that it is important to factor in the colonization of South and Southeast Asia into any discussion on the understanding of religions and monuments, as well as current interest in these monuments, which are also World Heritage Sites and associated with present interests in maritime heritage.

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Mitigation of Sliding Motion of a Cask-Canister by Fluid-Structure Interaction in an Annular Region

ASME 2011 14th International Conference on Environmental Remediation and Radioactive Waste Management, Parts A and B ◽

10.1115/icem2011-59208 ◽

2011 ◽

Author(s):

Tomohiro Ito ◽

Yoshihiro Fujiwara ◽

Atsuhiko Shintani ◽

Chihiro Nakagawa ◽

Kazuhisa Furuta

Keyword(s):

Equations Of Motion ◽

Fluid Structure Interaction ◽

Shaking Table ◽

Annular Region ◽

Test Model ◽

Free Standing ◽

Fluid Structure ◽

Structure Interaction ◽

Sliding Motion ◽

Standing Structure

The cask-canister system is a coaxial circular cylindrical structure in which several spent fuels are installed. This system is a free-standing structure thus, it is very important to reduce sliding motion for very large seismic excitations. In this study, we propose a mitigation method for sliding motion. Water is installed in an annular region between a cask and a canister. The equations of motion are derived taking fluid-structure interaction into consideration for nonlinear sliding motion analyses. Based on these equations, mitigation effects of sliding motions are studied analytically. Furthermore, a fundamental test model of a cask-canister system is fabricated and shaking table tests are conducted. From the analytical and test results, sliding motion mitigation effects are investigated.

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Highly sensitive pressure sensors employing 3C-SiC nanowires fabricated on a free standing structure

Materials & Design ◽

10.1016/j.matdes.2018.06.031 ◽

2018 ◽

Vol 156 ◽

pp. 16-21 ◽

Cited By ~ 18

Author(s):

Hoang-Phuong Phan ◽

Karen M. Dowling ◽

Tuan Khoa Nguyen ◽

Toan Dinh ◽

Debbie G. Senesky ◽

...

Keyword(s):

Pressure Sensors ◽

Free Standing ◽

Sic Nanowires ◽

Highly Sensitive ◽

Standing Structure ◽

Sensitive Pressure

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Mitigation of Rocking and Sliding Motion of a Free-Standing Structure Subjected to Base Excitation Using Coaxial Circular Cylinders Containing Highly Viscous Liquid in Annular Spaces

Volume 8: Seismic Engineering ◽

10.1115/pvp2019-93205 ◽

2019 ◽

Author(s):

Atsuhiko Shintani ◽

Tomohiro Ito ◽

Chihiro Nakagawa

Keyword(s):

Rigid Body ◽

Viscous Liquid ◽

Analytical Model ◽

Circular Cylinders ◽

Base Excitation ◽

Free Standing ◽

Seismic Input ◽

Sliding Motion ◽

Standing Structure ◽

Rocking Motion

Abstract In this study, the effectiveness of coaxial circular cylinders containing a highly viscous liquid in annular spaces for reduction of rocking motion of a free-standing structure is investigated both analytically and experimentally. First, an analytical model of coupled rocking and sliding motions of a free-standing structure, including the coaxial circular cylinders, subjected to seismic input was derived. The free-standing structure was modeled as a free-standing rigid body. The cylinders were attached to the bottom of the rigid body as a damping device. We then experimentally derived the friction coefficients, inertia moments, and a damping coefficient in the rotating direction. Furthermore, using these parameters, the effectiveness of this system in suppressing the rocking motion is investigated analytically. The proposed method was determined to be very effective in suppressing the rocking motion of a rigid body subjected to a seismic input by the experiment.

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Adaptation and Assimilation of Buddhism in China as reflected in Monastic Architecture

10.1093/acprof:oso/9780190278359.003.0014 ◽

2017 ◽

Author(s):

Yin Zhou

Keyword(s):

Transformation Process ◽

Early Medieval ◽

Residential Design ◽

Buddhist Temple ◽

Chinese Architecture ◽

Religious Architecture ◽

Central Asian ◽

Monastic Architecture ◽

East And West

This chapter takes Buddhist architecture as an example of the dynamic interchange between East and West and the compromise between the original Indian style and native Chinese architecture so as to help demonstrate the transformation process of Buddhism in China during the first through sixth centuries CE. This chapter tries to point out that early medieval Buddhist monasteries, particularly the official ones, were constructed following Indian and Central Asian designs. These foreign types of monasteries brought in a new kind of religious architecture to China, which was later fused into the preexisting architectural culture and evolved into the distinct layout of Buddhist temple adopting the traditional Chinese residential design. This is a concrete and material way to contribute to the understanding of the interaction between a new faith and an old society.

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