Lumbung Temple

Lumbung temple is situated several hundreds meter to the south of Sewu temple in the subdistrict of Klaten, Surakarta. It remains uncertain whether Lumbung is the temple’s real name or it is so called by the community around temple because its shape looks like a rice barn. The sacred Buddhist building is a cluster of temples consisting of 17 buildings, with the main temple placed in the center surrounded by 16 ancillary shrines. Blocks of andesite cover the temple’s court. 

The main temple, which is in ruined condition, is a polygon of 20 sides on a 350 m2 wide plan. The body of the temple stands about 2.5 m high on a stone base. The stair and entrance door are situated on the east side. The entrance door has a corbelled roof and tunnel to go into the temple’s interior. The outer side of the wall is adorned with finely carved sculptures of man and woman that resemble true human beings. The wall of the entrance door carries the sculptures of Kuwera and Hariti. 

There are three niches in which to place Dhyani Buddha statue on each of the north, west and south walls. But the nine niches are found empty. The main temple’s roof, which is in ruined condition and estimated to be in the form of stupa, resembles that of ancillary temple. The main temple’s court is surrounded by crumbled walls.
  

The 16 ancillary temples are placed around and facing the main temple. Each of them lies on a platform 1 m high and 3 m2 wide. The wall of the temple is plain without any decorations. On the east and right in front of the door, there is a stairway with stone railings. On top of the door’s frame, there is a sculpture of Kalamakara without lower jaw in high relief. 

The roof consists of layered cubes topped with a stupa. A small stupa is placed on each corner of the cubes. Inside the ancillary temple, there is a row of stone pedestals. 

West

West 2

West North

Inside

South

East

Kedulan Temple

Kedulan temple is situated in the village of Tirtomartani, the sub district of Kalasan, Sleman district, Yogyakarta, about 2.5 km from Sambisari temple. This temple is under excavation and reconstruction process, since when discovered, the ruins were covered with soils derived from Mount Merapi’s eruption lavas.

The main building of the temple was accidentally discovered on 24 November 1993 by sand miners who were mining the sands in “tanah bengkok” sites of Tirtomartani. Tanah bengkok is a piece of land belongs to the village that is cultivated by anyone and delivers some rewards to the ruler of the village when the man is still in his power. The mining was then stopped, and gradual excavation was run by the BP3 archeologists. When the excavation was continued, the temple was in ruin condition; its rocks were spreading all over the area drifted by the Merapi’s lava floods and buried into the ground about six meters down. After digging for seven meters down the ground at the area about 4,000 meters square, the whole form of the temple was seen. The temple has the square ground plan of 13.7 meters and the height of 8.009 meters.

The archeologists predict that in the complex of Kedulan temple, there is a main temple facing east, standing in front of three Perwara temples standing in line from north to south. The complex is seemed to be surrounded by walls as the border lines, as there is walls of two meters in height standing from east to west. The estimation is based on the similarity of Kedulan and Sambisari temples completely renovated in 1985. Both Kedulan and Sambisari temples belong to Hindu Temples. The styles and the measures of both main temples are nearly the same. In the center of the main building there is a lingga and a yoni. The two is different in facing position; Sambisari temple is facing west, while Kedulan temple is facing east. Both have outer walls as well. There are, at Kedulan temple, the statues of Durga Mahesasurahmahardini in the northern part, Ganesha at the western part, Agastya and Mahakala at the southern part, and Nandiswara on the right and left sides of the entrance gate.

Recently, that has been completely excavated is perwara temple standing at the end of the southern part. This Perwara is four meters under the ground. The location of this Perwara temple is exactly under the jalan Kampung ( path in the village).

Meanwhile, the rests of Perwara are still under excavation process and some rocks of the temple are discovered during the process. The northern perwara has not been excavated yet at all.

When the excavation was performed, two inscriptions were found near by the statue of Agastya, with 75 cm in length, 45 cm in width for each and the 23 cm in depth. Both inscriptions are written in Pallawa alphabetical system and in sanskrit language.

Observing their weight, it seems that since the beginning the two inscriptions, Pananggaran and Sumundul, have been at the places they are found presently. Both were written in 791 Saka or 869 AD. Learning form the date of these inscriptions, it can be assumed that Kedulan temple was built under the king of Rakai Kayuwangi who reigned the kingdom of Mataram Hindu at the same period.

Both inscriptions described the assignments saying that the using of the dam at the village of Pananggaran provided for community and that no state’ tax was charged on the dam exploitation as it was used for the construction of the Kedulan temple.

 Central Perwara 1

Central Perwara 2

North Perwara

Kedulan 1

Kedulan 2

Kedulan 3

Kalasan Temple

Kalasan temple is located in Kalibening village, Tirtamani, Sleman Regency, Yogyakarta Special Province, around 16 km to the east of Yogyakarta city. Kalasan inscription mentions that this temple is also known as Kalibening temple, referring to the place where the temple is situated. Another temple called Sari temple is situated not far from Kalasan temple. Both of the temples have similarities in magnificence of the building and the smooth carvings. Other unique characteristics found only in the two temples are the presence of vajralepa (bajralepa) to coat the sculptures and reliefs on the outer side of the wall.

A temple was typically built by a king or person who has authority over a specific area with various purposes such as a worshipping place, a religious teaching center, monastery, and administration center. The description of Kalasan temple is stated in the Kalasan inscription, written in the Javanese year of 700 (778 AD). The Kalasan inscription is written in Sanskrit language and pranagari letter. The inscription describes that spiritual counselors of the Syailendra dynasty had advised King Tejapurnapana Panangkarana to build a scared building to the worship of Dewi Tara and a monastery for Buddhist monks. According to Raja Balitung inscription (907 AD), Tejapurna Panangkarana refers to Rakai Panangkaran, the son of Sanjaya King from Hindu Mataram kingdom.

Rakai Panangkaran was the second king of Hindu Mataram kingdom. The kings from Sanjaya dynasty, a follower of Hinduism and worship Shiva, was ruled the northern region of Central Java in year between 750 and 850 AD. It is proofed by the characteristics of the temple around the district. The Syailendra dynasty, a follower of Buddhism’s sect, Mahayana and Tantryan was ruled southern district. The separation of the kingdom was influenced to the characteristics of the temple which built in each district. Both of dynasties finally were unified by the marriage of Rakai Pikatan Pikatan (838 - 851 AD) to Pramodawardhani, son of King Samarattungga from Syailendra dynasty.

To build a scared building to the worship of Dewi Tara and a monastery for Buddhist monk, Rakai Panangkaran who is Hinduism was granted Kalasan village to Buddhism. It is estimated that the building is the Kalasan temple because of the presence of place inside the temple where a statue of Dewi Tara used to be placed. The monastery for Buddhist monk is Sari temple, located not far from Kalasan temple. Base on the year when the Kalasan inscription was written, it is estimated that Kalasan temple was built in year 778 AD.

According to the archeologist, Kalasan temple has been restored three times. It is proofed by the presence of 4 angles at the base of the temple in slightly forward position. A written sign is mention that Van Romondt, a Dutch archeologist already restored Kalasan temple between in years 1927 to 1929. Today the followers of Buddhism from Tantrayana sect and Dewi Tara still use Kalasan temple for a worshiping place.

The construction of the temple is placed around 20 meters on the ground with total height around 34 m. The temple’s foundation is stand on a rectangle base, 45x45 m in dimension and formed of veranda on around the temple’s body. A staircase, which has decoration of a pair of dragon head and carved on the bottom, is situated in each side of the wall. A floor made of stones arrange in accordingly is lies at the front of the bottom of the staircase.

The temple’s structure is a rectangle pattern with 34x 45 m in dimension, and consists of one main chamber and some cells in slightly outward. The wall around the base is decorated with reliefs in the patterns of creeping plants and kumuda (kalpataru leaves rambling out of a jar).

Kalasan temple has 4 doors located on each side of the temple’s body, but only the east and west doors that have stairs, and only the east door that serves as an entrance to the main chamber inside the temple. Based on the main entrance position, the temple can be said to be facing the east. Niches can be found along the wall of the temple, although some of them no longer have statues inside. A decoration of Kala is found above every frame of the doors and niches. Niches to the left and right side of the door are adorned with reliefs of god in standing position with hand holding lotus flower. The upper side of the wall is embellished with comb reliefs in various motifs such as a flower bud, leaves, and creeping plants (kumuda).

The upper part of temple body is cube-shaped, symbolizing the top of Meru Mountain, and surrounded by 52 stupas with height around 4.60 m. Divider between the roof and the body of the temple is adorned with dwarf figures called Gana.

The roof is octagonal and consists of two layers. The first layer has niches containing Manusi Buddha statues, while niches on the second layer hold Dhayani Buddha statues. The top of the temple was originally a stupa, but reconstruction has not been successful because many of the original stones cannot be found.

The main chamber is a square and has an entrance door on the east side. The interior contains a layered-stone structure on which Dewi Tara statue used to be placed. It is estimated that the statue was made of bronze and about six meter high. An altar is attached to the west-side wall behind the stone structure.

 Buddhist Statue South

 

 Overhang of the Temple

 SULUR Garnish

Makara Kalasan

 Enter The Complex

Giant Face

 Entrance

 Offerings in the south

 Stupa from inside

Stairs to the entrance

Intact from south

Intact from north

VRAJALEPA

Images and Words about Ijo Temple

White Board

Simetris

Foundation

Foundation 2

Statue

Ruins

 Yonni and Nandi

Turtle and Snake

 ???

 Dewi Sri

Ijo Temple

Ijo temple is located in the sub-village of Groyokan, Sambirejo village, Prambanan sub-district, Sleman district, Yogyakarta. This temple is standing on the west slope of a hill far from the busy residence, on the southern part of Ratu Baka Temple.

The plain where the temple is located is about 0.8 hectares. Nevertheless, it is assumed that the complex is actually wider than area the government compensates. The assumption is based on the facts that when the north and east slopes of the temple was excavated by the local people, there were many ruins having connection with the temple.

This temple with the background of Hindu is built at about the tenth or eleventh centuries. The temple complex comprises the main temple, Apit and Perwara temples. The main temple that has been completely renovated yet, is facing west. There are standing in line three smaller temples in front of it and assumed to do worships for Brahma, Wishnu and Siva.

On the western part of the temple, spreading toward the hill, there are ruins of some temples that are still under excavation and renovation works. In fact, to build the temples, ancestors not only exploited the andesite rocks from Mount Merapi, but also any rocks from various places as well.

The main Temple is standing on the square base. The main entrance into the temple are in the central part of the west side flanked by two falsified windows. There are the stacked sculptures of Kala on the niche of the entrance. As seen at the other temples in the Central of Java and Yogyakarta, both heads of Kala had no necks with them. The upper part of the falsified windows are also decorated with the sculptures of the stacked heads of Kala.

The doorstep is framed by a pair of dragons sticking out their heads downward opposing the gate, widely opened mouth. There is a cockatoo in each of the dragon’s mouth.

There are three falsified windows at the out side of north, east and south walls for each side. The falsified windowsills are also framed by the sculptures of a pair of dragons for each and the heads of Kala as those on the falsified ones flanking the gate.

To get to the entrance gate, about 120 centimetres from the surface of the land, ladders were constructed with the decorations of a pair of makaras. The heads of makaras are sticking out down with opened mouths.

There is also a cockatoo in individual makaras’ mouth carrying grain of rice at its beak. The upper part of the makaras’heads are decorated with sculptures resembling the hair, and the upper part of the ladder is decorated with the sculpture of Kala’s motive as well.

Outer walls of north, east and south have three falsified windows for each. The windowsills are also framed by the sculptures of a pair of dragons and the heads of kala such as those on the windowsills flanking the entrance gate.

Inside part of the main temple there is a room. There are niches in the central part of north, east and south walls for each. The forms of the niches are similar to falsified windows at the outer walls. Each niche is flanked by the sculptures on the walls describing a pair of god and goddess flying toward the niche.

There is a linggam in the center of the room hold by the creature in the form of a snake with its head like turtle. The creature coming from the Hindu’s myth is symbolizing the holder of the earth. Therefore, the main temple becomes the line axe of the earth. The unity of Linggam and Yoni symbolizes the integrated unity of Brahma, Wishnu and Siva. Lingga, that should firmly sticks into the Yoni has gone.

The roofs of the Temple are multistoried, constructed firstly on square form pointing up smaller and smaller. There are three stupas (dome) at every side for each layer. The biggest one is on the top of the roof.

A long the border line between the roof the body of the Temple there are sculptures combining the styles of sticking out and the dwarf demon.

The edge of the layer is decorated by the range of frames with kala style. In every frame there are the half body statues figuring Brahma, Wishnu and Sivawith various positions of their hands.

GebangTemple

  

Gebang temple is situated in a village called Gebang, belongs to the region of Condong Catur, Ngemplak sub-district, Sleman district, about 11 kilometres from the the centre of Yogyakarta.The discovering of this Temple as the result of the discovering Ganesha, the Hindu statue by the local people on November 1936. Starting from this discovering, the archeologists began to do the excavation for finding out possible temple at the site where the statue was found. It was assumed that the statue was the part of any construction nearby. Having come to definitive assumption concerning the existing of a temple at that location, the excavation was then run, continued by the reconstruction and renovation carried out in 1937 to 1939 under the responsibility of Van Romondt.

Unfortunately, there is no information about the historical background of this Temple. However, the existence of Yoni and the statue of Ganesha give a definite inspiration that this temple belongs to Hindu. The high proportion of temple’s base indicates that the temple was built in 730 – 800 AD.

The complex of this temple is 5.25 x 5.25 meter squares with 7.75 m of its height. The main materials of the building were andesite rocks. The body of the temple is standing on its foot at 2 meters in height. There is no sculpture at the foot of the Temple.

The entrance gate into the temple is situated on the east. There are niches for the statues at right and left sides of the gate. There is the statue of Nandiswara at the north niche, while the south niche has no statue. It is assumed that the statue of Mahakala should posit this niche. At the western part (the back side), there is a niche with the statue of Ganesha sitting on a Yoni with its horn facing north.

 

There is no ladder to step onto the open veranda of the temples’s foot. Anyhow there is some assumption that there should be ladders made of any easily brittle materials, such as wood, but there has no further information concerning the missing ladder.

There is a room inside the temple. There is a Yoni and a Lingga in the middle of the room, but recently the lingga has gone. The roof the temple is orderly piled with the linggam style top standing on a lotus.

Answering Scarcity Mystery Temples in West java

Recently, the National Archaeological Research Center (Arkenas) through the Provincial Archaeology're getting a great job of Bandung in West Java, namely the excavation of the temple in Karawang district who allegedly represents remnants of the Kingdom Tarumanagara and excavating the newly discovered temples in the area Bojongmenje Rancaekek, District Bandung. The second meaning of these findings for West Java community is something that is very meaningful to clarify the existence of the Sundanese people in the stage of history on the island of Java in the classical period, the period prior to entry and growing influence of Islam.

     Findings Temples in the area that appears to be Batujaya Donegal is the largest site in West Java do have a close relationship with the inscription of monument, the inscription contained in Tugu village, near Tanjung Priok now. The Tugu Inscription is stated that King Purnawarman ordered to dig two channels, namely Candrabaga and Gomati, where both channels the flow is deflected into the first of his palace and then flowed back into the estuary.

     The length of the canal after 6122 tumbak excavated so far, by prof. Dr. Poerbatjaraka estimated length of 11 km. If that estimate is used as a benchmark Purbatjaraka in tracing former palace ruins Tarumanegara, then Batujaya site is the most appropriate location for the assumed location of the former palace of King Purnawarman because the distance between the location of the site with the Estuary Flag (where the Citarum river splitting into two, namely the Estuary towards Pakistan and that led to the Estuary Gembong) is about ± 11 kilometers. The township which lies between the two fractional flow to the lips of Citarum River and Estuary Gembong Pakis Coast is experiencing a continuous delta sedimentation due to activities of fluvial sedimentation / erosion brought by the Citarum River.

     Allegation that an ancient beach where bermuaranya canal / river Gomati Candrabaga and dug by King Purnawarman located in Muara Flag, based on sedimentation of fluvial (river) that occurred in the Citarum River. From upstream, the flow of the river carrying sediment sources such as waste and mud that later formed the delta of the Estuary Flag. Due to sedimentation of fluvial (river) which is continuous, has zoom and split the delta area of the Citarum River flow into two, namely that led to Pakistan and that led to the Estuary Estuary Gembong now.

     The distance between the Estuary to Estuary fern flag is now about 12 km and that led to the Estuary Gembong approximately 15 km away. Geological research in the area around the estuary Flag will probably give more accurate answers about the alleged location of the estuary as it is written in an ancient monument inscription.

     The most recent thing in the world of archaeological discoveries in West Java is a temple located in the area Rancaekek, Bandung regency. In the area of this site is being carried out further excavations are planned for restoration and reconstruction efforts of the temple by a special team of restoration experts from GMU temple. As presented by Prof. Dr. Ayatrohaedi and Dr. Tony Djubianto in a roundtable discussion organized by People's Daily Thoughts General on 9 September 2002, it is possible that the temple is derived from the VII century, based on a seam and some other aspects contained in the carved stone temples. Or maybe of the century before that, because of the yoni (symbol of Shiva), it was not found, which means that the temple was founded during the pre-Hindu. If indeed this assumption is correct, it is possible that the temple is able to provide answers to the history of the Sunda post Tarumanagara disjuncture. News post Tarumanagara oldest inscription is an inscription found in Bogor are numbered from the year 932 AD or the 10th century known as the Kebon Inscription Coffee.

     Nevertheless, the discovery of these temples still have not answered any questions during this mystery, namely "Why in Tatar Sunda very rare found in the temples legacy of the past empires as well as in Central Java and East Java?" All this raised a few answers try to explain these questions but not supported by historical evidence is strong. The first is agricultural and sociological answer to the second, the answer to the process of Islamization. Answer-agricultural sociological example is found in the book Nina Herlina (1998:26):

   "The main livelihood of the farming population in the first Priangan or ngahuma; only then bersawah. Since the days of the kingdom of Sunda, Sundanese people known livelihood as a farmer. Prominent features on the tiller of society is the habit of always moving place to find a fertile land. This farming habits affect the place of residence. They do not require a sturdy permanent building, which is simple enough. Most likely that's one reason why in Priangan not many relics in the form of temple or palace as in Central Java. "

     While the answer to the latter explained that the process of Islamisation in the Sunda tend to be more intensive than in Central Java and East Java. Islamisation process in a more intensive effect on religious militancy Sundanese. Because of the strong Islamic, Sundanese people who had converted to Islam allegedly "destroyed" the building temples as a relic of Buddha and Hindu place of worship contrary to the beliefs of Islam are taught. Until now the two assumptions mentioned above are not supported by historical evidence of new allegations of an alias. This paper raised another perspective that has so far not revealed by lifting the three arguments, namely monotheism, the Sundanese, the egalitarian tradition of the society, and the reality of power in pre-Islamic Sundanese.

Monotheism Sundanese
     From existing and historical news from the latest archaeological research, West Java or Sunda region is an area that gets the first Hindu and Buddhist influence from India. Political activities of government with a series of bureaucratic activity has been running since the early centuries AD. This indicates that the Sundanese people in Indonesia was the first person who has to understand and use bureaucratic mechanisms to regulate the ruler-people relations and in social relationships between people.

     Effect of Hindus and Buddhists who came from India after experiencing sinkretisasi process with local religions (animism and dynamism) starting accepted by the political elite of the kingdom. Kastaistis social stratification has its own advantages for royal nobles, while the outer layer of the royal society still uses the old belief that worship hyang by Fa-Hien who is called as "bad faith" as stipulated in the Chinese news reports. The phrase "bad faith" by Fa-Hien was a common phrase uttered by people who adhere to a religion of people of other faiths.

     In a theological conception of pre Sundanese Hindus, Hyang (Sanghyang, Sangiang) is the Creator (Sanghyang Keresa) and the One (Single Batara) that controls all kinds of power, the power for good or evil forces that can also affect the delicate spirits who are often settled in the woods, on rivers, in trees, on rocks, or in places and other objects. Hyang mengusai all these spirits and control all the forces of nature. At the time of the entry of Hindu influence, the concept of oneness of Hyang maintained because all the Hindu gods and subject to surrender on this hyang; strength is considered beyond the Hindu gods who came later. In other words, pre Sundanese people have embraced the Hindu-Buddhist monotheistic ideology where Hyang internalized as a great creator and sole ruler in nature. This conception is similar to what is taught by Islam, Allah, when it appeared the process of Islamisation in the archipelago. The term "prayer" was born from the tradition of ritual worship Hyang (The Single) is equal to pray Almighty God to worship in Islam.

     When the influence of Hindu society entered the Sunda, Hinduism beliefs affect local communities already established. Both these theological convictions and then undergo a process sinkretisasi / theological assimilation. This is reflected in the hierarchy of compliance contained in the manuscript that contains Pasaprebakti Siksakandang Karesian (Loyalty Level Ten), whose contents are as follows:“Anak satia babakti ka bapak; pamajikan satia babakti ka salaki; kawala satia babakti ka dunungan; somah satia babakti ka wado; wado satia babakti ka mantri; mantri satia babakti kanu nanganan (komandan); nu nanganan satia babakti ka mangkubumi; mangkubumi satia babakti ka raja; raja satia babakti ka dewata; dewata satia babakti ka hyang”.Hyang concept is a concept that is already living on the Sunda people long before the influence of Hinduism and Buddhism are coming.

Sundanese tradition pre worshiped the Hindu-Buddhist temples are not centered in worship but in kahiyangan Hyang. Aka kahiyangan very abstract concept does not mention a physical place and buildings. Kahiyangan is where the gods reside, from the Gods Lokapala (Patron of World) until Pwah Sanghyang Sri (Rice Goddess), Dragon Pwah Nagini (Goddess Earth), and Pwah Adi Soma (Moon Goddess) who inhabit jungjunan Bwana (top of the world). Sundanese people worship traditions can Hyang mentioned as one of the reasons that explains the scarcity of other temples in Tatar Priangan. The strong belief in the old Sunda against the monotheistic Hyang, do not encourage people to build temples Sunda as a center of worship as where in the Central and East Java.

     One of two small temples found in West Java, rather than showing the strong influence of Hindu-Buddhist religion, it seems built more as a symbol of power that there ever existed a small ruler, a descendant of the Kingdom of Sunda.

Egalitarian traditions Sundanese
     Influence of Hinduism and Buddhism come to the island of Java in the early centuries AD, and the first area in contact with it is the seat of government of West Java are thought to be in the vicinity of Karawang and Bekasi now. The effects of both religion seems less so strong glue on the Sunda Sundanese society because society is very strong in the belief that the character of the original monotheistic, that is devoted to Hyang Tunggal.

     Strong evidence of this statement is that until recently the evidence that supports the strong influence of archaic Hindu-Buddhist very little was found in West Java. If in Central Java and East Java, there are many remains of buildings and monuments sacred character of Hinduism and Buddhism, is due to the socialization of Hinduism and Buddhism are very intensively, both by the palace as well as by the Brahmins and pedanda.

     Rapid spread of Hinduism and Buddhism in the community of East Java and Central Java due to the concepts and teachings of god-Kings (god-king) who according to the nature of Java when it thinks the community. For the Javanese, the king lived as an absolute role model who should get a conviction because the king was regarded as representatives of God on earth. Title of the kings is the union of the two authorities, namely the political authority (the king) and religious authority (god) who are members of such terms as rajaresi, khalifatullah fil 'Ardhi Sayidin Panatagama, and others.

     Adherence to the king by militants, in addition to the core comes from the Hindu-Buddhist doctrine itself, also comes from a very strict social classification. This is reflected in the stratification that appears in the Java community that makes social dichotomy between classes as expressly nobles or aristocracy and the "grassroots. Appreciation king as a reincarnation of the god and the existence of the sharp social reffering This results in difficulty or lack of differences of opinion between the king with his subjects, including in matters of religion.

     Kraton in Javanese culture is the holder of the authority of truth. Therefore, the nature of Javanese culture is the culture palace where the royal palace serves as a central point of religion, politics, and culture.

     In the Sundanese people, this pattern was not found. Cultural pattern that develops is the people's culture palace where the position is not too decisive in the formation of a variety of cultures. Type of culture that developed in Sundanese society dominated by an agrarian culture with a variety of uniqueness. In other words, Javanese culture can be defined as a hierarchical feudal culture, while the Sundanese culture can be regarded as an egalitarian popular culture which reflects the degree of similarity between humans. One proof is that a democratic Sundanese Buhun pre-Mataram where there is no hierarchy of language as seen in railroad-usuk now. The term feudal and counting are also found in Sundanese society as a form of power and influence of Javanese culture in the Tatar Priangan since the reign of Mataram.

     Another example that can be posed in this opinion is confirmed in the art of puppets or puppetry. In Javanese society, play is the story of wayang is a source of inspiration in understanding their social functions in the life of nation and culture. Epics Mahabharata and Ramayana became the source of ethical education which produce kastaistis behaviors such as the emergence of the slogan of "grassroots" noble and earlier.

     In the Sundanese people, arts puppets or puppetry that plays two great epics were just an entertainment medium agrarisnya relieving fatigue in daily activities. The Sundanese wayang stories do not make the play as a sacred word that must imitate. They already have a very strong agrarian ethic that can not be replaced by a Hindu-Buddhist ethics is very complicated with philosophical values.

     Egalitarian nature of the agricultural community and the Sundanese monotheistic beliefs that have strong roots in this long, it becomes armed Sundanese acceptance of new religious teaching in accordance with their culture and beliefs, which is Islam. When Islam came to the Tatar Sunda and start interacting with people, spontaneous, receives a very unusual, especially from among the common people. Although there is no doubt that the Sundanese are the most recent group accepted Islam around Java, this does not mean the nature konfrontatifnya against Islam, but because of the socialization of Islam that's a little late to this area.

     Combined the above phenomena, ie egalitarianism Sundanese society parallel communication (democratic) between the king and his subjects as well as strengthened by the influence of Islam is widely thereafter, be social reasons for not finding a lot of temples in Tatar Sunda. Values of egalitarianism and democratic society the people of the ruler of communication patterns affect the way the king and his subjects looked at the power and the way each sees himself. King did not need to separate themselves in a building that is exclusive and rigid distance from his subjects.

      As the palace serves as a symbol of a clear separation between the complex power of the king with his people, the temple was also built as a symbol of affirmation of a clear distinction between the king and his subjects and more are the means exclusive of the kings perform rites and cults worshiped. In Tatar Sunda the egalitarian and proximity to nature as an agrarian society, led to focus more directly worshiped and respect to nature and to Sanghyang rather than to the king.

Only One Kingdom
    In the archipelago, the temple functions not only as a place to worship the king only, but also serves as a monument to a ruling dynasty. Political infighting and fighting power prestige antarkerajaan has produced a magnificent temples in the vicinity of Central Java and East Java, such as the House of Sailendra with Borobudurnya Temple and the Temple Prambanannya Wangsa Sanjaya. Substitution of royal power, either through formal succession or through the struggle for power, always accompanied with the construction of magnificent temples as monuments of his power. When today we witnessed a large number of temples in Central Java and East Java, we can expect rapid advancement than as a symbol of a kingdom, how many also conflicts and political rivalries that occurred in Java in that era.

     The function of the temple as a monument to the power of an empire like this, do not occur in Tatar Sunda kingdom's ruling because Tatar Sunda only one, namely the Kingdom of Sunda; only the central government are moving from the Galuh (Ciamis), moved to Pakuan Pajajaran (Bogor ), moving back to Kawali (Ciamis) and then moved to another Pakuan (Sartono Kartodirdjo, 1977). In other words, the powers of the king in the Sundanese keratonnya centralized and even then only one possibility. But - at least until recently - have not found any keratonnya is the city where the place was moving. The temple was already found one, like the temples Cangkuang in Garut, in addition to the process of reconstruction is still controversial, yet also represent a legacy of the Kingdom of Sunda. Single power, namely the Kingdom of Sunda, is a strong reason to support the other reasons already mentioned about not many temples in Tatar Priangan.

     Thus, the scarcity of the temple in an area not always reflect the level of civilization. The temple is just one of the monumental building that was built by a dynasty of royal prestige to the needs of the royal family worshiped, as well as a symbol of power. Kingdom of Sunda is a proven powerful kingdom when the Kingdom Madjapahit are top of his reign, the Kingdom of Sunda was never subdued under the influence. Thus, the establishment of the temple in a territory more directly related to patterns of authority, theological concepts, and developing political tradition. Apparently, according to the strong tendency of the monotheistic theological concepts, the democratic traditions of communication patterns between the ruler with his people and the power of the centralized and single-Sunda, scarcity and even temples in Tatar Sunda absence was granted.

     This is the local distinctiveness and rich tradition of power in futility. Sundanese people need to get rid of such "historical grief" scarcity temples in West Java as an indication of low level of civilization and conversely the number of temples as an indication of achievement of civilization. This perception is in fact an attitude of "inferior culture" (cultural inferiority complex) in the presence of other cultures, while the Sundanese culture has a social system of their own culture more oriented to actual values, religiosity, and other things that are abstract.

Images and Words about Cibuaya Temple

Cibuaya beach

Nice place for fishing