Re-examining the Division of Candi Borobudur into Kāmadhātu, Rūpadhātu, and Arūpadhātu
The interpretation that Candi Borobudur is divided into kāmadhātu, rūpadhātu, and arūpadhātu is widely adopted in many writings about Borobudur, despite being questioned by some scholars. This paper analyses the narrative reliefs, the latticed stūpas of the three circular terraces, and the central...
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SEAMEO Regional Centre for Archaeology and Fine Arts
2025-01-01
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| author | So Tju Shinta LEE Agus Aris Munandar Lilawati Kurnia |
| author_facet | So Tju Shinta LEE Agus Aris Munandar Lilawati Kurnia |
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The interpretation that Candi Borobudur is divided into kāmadhātu, rūpadhātu, and arūpadhātu is widely adopted in many writings about Borobudur, despite being questioned by some scholars. This paper analyses the narrative reliefs, the latticed stūpas of the three circular terraces, and the central stūpa of Borobudur to examine if they correlate with the three dhātus (realms of existence). Thematic narrative analysis was conducted to inquire the narrative reliefs in relation to key themes and subjects they represent. Comparative analysis was employed by comparing the key themes depicted on each group of narrative reliefs with the characteristics of each realm of existence. The findings suggest that the association of Borobudur with kāmadhātu, rūpadhātu, and arūpadhātu is problematic. There is no correlation between the narrative reliefs, the latticed stūpas of the three circular terraces, or the central stūpa with the three groups of dhātus. In terms of goals, the Lalitavistara and Gaṇḍavyūha-Bhadracarī aim for the highest and complete awakening (anuttara-samyak-sambodhi) by means of bodhisattva practices. The Gaṇḍavyūha-Bhadracarī discusses the dharmadhātu (realm of reality), the reality experienced by those who are awakened, which is beyond the three dhātus. As evidenced by its carvings and the sūtras they reference, Borobudur can be viewed as a roadmap with a gradual framework, depicting the mārga (path) towards Buddhahood within the bodhisattvayāna (bodhisattva vehicle). The findings of this research are expected to enhance the understanding of the Buddhist notions that underpinned the construction of Borobudur around the mid-8th to the early 9th century CE.
Interpretasi Candi Borobudur dibagi menjadi kamadhatu, rupadhatu, dan arupadhatu diadopsi secara luas dalam tulisan-tulisan mengenai Candi Borobudur meskipun dipertanyakan oleh para sarjana. Tulisan ini menganalisis relief-relief naratif, stupa-stupa berterawang di tiga teras melingkar, dan stupa induk Candi Borobudur untuk memeriksa korelasinya dengan tiga kelompok alam keberadaan (tiga dhatu). Analisis naratif tematik dilakukan untuk menyelidiki relief-relief naratif terkait tema pokok dan subjek yang diwakilinya. Analisis komparatif diterapkan dengan membandingkan tema pokok dari relief-relief naratif dengan karakteristik dari masing-masing dhatu. Hasil penelitian menunjukkan bahwa mengasosiasikan Candi Borobudur dengan kamadhatu, rupadhatu, and arupadhatu adalah problematik. Tidak ada korelasi antara relief-relief naratif, stupa-stupa berterawang di tiga teras melingkar, dan stupa induk dengan tiga kelompok dhatu. Berdasarkan segi tujuan, Lalitawistara maupun Gandawyuha-Bhadracari membicarakan pencapaian Penggugahan Tertinggi yang Lengkap dan Sempurna (anuttara-samyak sambodhi) melalui praktik-praktik bodhisatwa. Gandawyuha-Bhadracari membicarakan alam realitas (dharmadhatu), yaitu realitas yang dialami oleh yang telah “tergugah”, realitas yang melampaui tiga dhatu. Sebagaimana ditunjukkan oleh pahatan-pahatan dan sutra-sutra yang menjadi acuannya, Candi Borobudur dapat dilihat sebagai peta dengan kerangka bertahap yang menggambarkan marga untuk merealisasi Kebuddhaan dalam wahana bodhisatwa (bodhisattvayana). Hasil penelitian ini diharapkan dapat menyumbang pemahaman mengenai gagasan Buddhadharma yang melatarbelakangi pembangunan Candi Borobudur pada pertengahan abad ke-8 hingga kuarter pertama atau kuarter kedua abad ke-9 Masehi.
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| format | Article |
| id | doaj-art-4d7a6419525a48f7b6e70346f3bcf5ba |
| institution | Kabale University |
| issn | 0858-1975 2586-8721 |
| language | English |
| publishDate | 2025-01-01 |
| publisher | SEAMEO Regional Centre for Archaeology and Fine Arts |
| record_format | Article |
| series | SPAFA Journal |
| spelling | doaj-art-4d7a6419525a48f7b6e70346f3bcf5ba2025-02-10T02:41:17ZengSEAMEO Regional Centre for Archaeology and Fine ArtsSPAFA Journal0858-19752586-87212025-01-019Re-examining the Division of Candi Borobudur into Kāmadhātu, Rūpadhātu, and ArūpadhātuSo Tju Shinta LEE0Agus Aris MunandarLilawati KurniaUniversitas Indonesia The interpretation that Candi Borobudur is divided into kāmadhātu, rūpadhātu, and arūpadhātu is widely adopted in many writings about Borobudur, despite being questioned by some scholars. This paper analyses the narrative reliefs, the latticed stūpas of the three circular terraces, and the central stūpa of Borobudur to examine if they correlate with the three dhātus (realms of existence). Thematic narrative analysis was conducted to inquire the narrative reliefs in relation to key themes and subjects they represent. Comparative analysis was employed by comparing the key themes depicted on each group of narrative reliefs with the characteristics of each realm of existence. The findings suggest that the association of Borobudur with kāmadhātu, rūpadhātu, and arūpadhātu is problematic. There is no correlation between the narrative reliefs, the latticed stūpas of the three circular terraces, or the central stūpa with the three groups of dhātus. In terms of goals, the Lalitavistara and Gaṇḍavyūha-Bhadracarī aim for the highest and complete awakening (anuttara-samyak-sambodhi) by means of bodhisattva practices. The Gaṇḍavyūha-Bhadracarī discusses the dharmadhātu (realm of reality), the reality experienced by those who are awakened, which is beyond the three dhātus. As evidenced by its carvings and the sūtras they reference, Borobudur can be viewed as a roadmap with a gradual framework, depicting the mārga (path) towards Buddhahood within the bodhisattvayāna (bodhisattva vehicle). The findings of this research are expected to enhance the understanding of the Buddhist notions that underpinned the construction of Borobudur around the mid-8th to the early 9th century CE. Interpretasi Candi Borobudur dibagi menjadi kamadhatu, rupadhatu, dan arupadhatu diadopsi secara luas dalam tulisan-tulisan mengenai Candi Borobudur meskipun dipertanyakan oleh para sarjana. Tulisan ini menganalisis relief-relief naratif, stupa-stupa berterawang di tiga teras melingkar, dan stupa induk Candi Borobudur untuk memeriksa korelasinya dengan tiga kelompok alam keberadaan (tiga dhatu). Analisis naratif tematik dilakukan untuk menyelidiki relief-relief naratif terkait tema pokok dan subjek yang diwakilinya. Analisis komparatif diterapkan dengan membandingkan tema pokok dari relief-relief naratif dengan karakteristik dari masing-masing dhatu. Hasil penelitian menunjukkan bahwa mengasosiasikan Candi Borobudur dengan kamadhatu, rupadhatu, and arupadhatu adalah problematik. Tidak ada korelasi antara relief-relief naratif, stupa-stupa berterawang di tiga teras melingkar, dan stupa induk dengan tiga kelompok dhatu. Berdasarkan segi tujuan, Lalitawistara maupun Gandawyuha-Bhadracari membicarakan pencapaian Penggugahan Tertinggi yang Lengkap dan Sempurna (anuttara-samyak sambodhi) melalui praktik-praktik bodhisatwa. Gandawyuha-Bhadracari membicarakan alam realitas (dharmadhatu), yaitu realitas yang dialami oleh yang telah “tergugah”, realitas yang melampaui tiga dhatu. Sebagaimana ditunjukkan oleh pahatan-pahatan dan sutra-sutra yang menjadi acuannya, Candi Borobudur dapat dilihat sebagai peta dengan kerangka bertahap yang menggambarkan marga untuk merealisasi Kebuddhaan dalam wahana bodhisatwa (bodhisattvayana). Hasil penelitian ini diharapkan dapat menyumbang pemahaman mengenai gagasan Buddhadharma yang melatarbelakangi pembangunan Candi Borobudur pada pertengahan abad ke-8 hingga kuarter pertama atau kuarter kedua abad ke-9 Masehi. https://spafajournal.org/index.php/spafajournal/article/view/853BorobudurBuddhadharma in JavadharmadhātuDharmākayakāmadhātu-rūpadhātu-arūpadhātuBuddhadharma di Jawa |
| spellingShingle | So Tju Shinta LEE Agus Aris Munandar Lilawati Kurnia Re-examining the Division of Candi Borobudur into Kāmadhātu, Rūpadhātu, and Arūpadhātu SPAFA Journal Borobudur Buddhadharma in Java dharmadhātu Dharmākaya kāmadhātu-rūpadhātu-arūpadhātu Buddhadharma di Jawa |
| title | Re-examining the Division of Candi Borobudur into Kāmadhātu, Rūpadhātu, and Arūpadhātu |
| title_full | Re-examining the Division of Candi Borobudur into Kāmadhātu, Rūpadhātu, and Arūpadhātu |
| title_fullStr | Re-examining the Division of Candi Borobudur into Kāmadhātu, Rūpadhātu, and Arūpadhātu |
| title_full_unstemmed | Re-examining the Division of Candi Borobudur into Kāmadhātu, Rūpadhātu, and Arūpadhātu |
| title_short | Re-examining the Division of Candi Borobudur into Kāmadhātu, Rūpadhātu, and Arūpadhātu |
| title_sort | re examining the division of candi borobudur into kamadhatu rupadhatu and arupadhatu |
| topic | Borobudur Buddhadharma in Java dharmadhātu Dharmākaya kāmadhātu-rūpadhātu-arūpadhātu Buddhadharma di Jawa |
| url | https://spafajournal.org/index.php/spafajournal/article/view/853 |
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