Violence and Serenity: Late Buddhist Sculpture from Indonesia

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Like several of the previously discussed images, this statue has also been linked to a historical personage, in this case the Sumatran king Ādityawarman. The argument that the colossal bhairava image is a portrait of the king is based primarily on a Dutch scholar’s interpretation of one of the many inscriptions left by Ādityawarman.11 Although Ādityawarman is mostly likely the patron of the statue, it is unlikely that the image was intended to be a portrait. The sculpture itself functions in some of the same ways as the early Malay curse formulas, demarcating boundaries, repelling enemies, <strong>and</strong> promoting the interests of the king. introduction | 13
Page 1 and 2: Violence Late Buddhist Sculpture fr
Page 4 and 5: Violence and Serenity Late Buddhist
Page 6: contents vii Acknowledgments ix A N
Page 9 and 10: sians helped me find my way during
Page 12: ulers of the singasari and majapahi
Page 15 and 16: figure i.1. Bhairava, mid-fourteent
Page 17 and 18: most important issues faced by hist
Page 19 and 20: figure i.4. Central and East Java r
Page 21 and 22: major archaeological sites in Sumat
Page 23 and 24: in Java were probably not the objec
Page 25: with the attributes of the Aks ˙ o
Page 29 and 30: According to Yijing, the Buddhism o
Page 31 and 32: figure 1.1. Inscribed stone, sevent
Page 33 and 34: y hearing his name, an extraordinar
Page 35 and 36: during several periods of construct
Page 37 and 38: figure 2.1. Joko Dolok, 1289, Taman
Page 39 and 40: The Image The thirteenth-century Jo
Page 41 and 42: figure 2.5. Seated figure in bhūmi
Page 43 and 44: seem to play a significant role.16
Page 45 and 46: devotion and mentions Mahāks ˙ ob
Page 47 and 48: This is why he held fast to esoteri
Page 49 and 50: the building.)47 Chandra interprets
Page 51 and 52: dian subcontinent but also to where
Page 53 and 54: present, manifesting themselves, an
Page 55 and 56: On the west is Amitabha, (he is) Ma
Page 57 and 58: figure 2.6. Candi Jawi, early fourt
Page 59 and 60: figure 2.8. Standing figure, ca. th
Page 61 and 62: figure 2.10. Head of a male (Jayava
Page 64 and 65: Chapter Three Ideas of Portraiture
Page 66 and 67: pāramitā is uncertain. The Dutch
Page 68 and 69: onto the cushion. Behind her left k
Page 70 and 71: white lotus. Yellow in complexion,
Page 72 and 73: tenth century. Often she is paired
Page 74 and 75: slab are missing, and the base of t
Page 76 and 77:
figure 3.8. Prajñāpāramitā, mid
Page 78 and 79:
figure 3.9. Candi Gumpung, Muara Ja
Page 80 and 81:
The exquisitely carved statue is da
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termine where the statue was manufa
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long passage of the Nāgarakrtāgam
Page 86 and 87:
Although the text does not specific
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dead. Families bring food to grave
Page 90 and 91:
The information provided by the Nā
Page 92 and 93:
with specific people, just that the
Page 94 and 95:
As S. Supomo writes in “The Image
Page 96:
early nineteenth century it was tak
Page 99 and 100:
figure 4.1. Candi Jago, ca. thirtee
Page 101 and 102:
figure 4.2. Amoghapāśa, ca. 1268-
Page 103 and 104:
figure 4.3. Amoghapāśa, Candi Jag
Page 105 and 106:
in this world, and eight for those
Page 107 and 108:
figure 4.6. Śyāmatārā, ca. 1268
Page 109 and 110:
figure 4.10. Sudhanakumāra, detail
Page 111 and 112:
figure 4.14. Amoghapāśa, 1286, Ra
Page 113 and 114:
figure 4.16. Amoghapāśa plaque, b
Page 115 and 116:
figure 4.18. Māmakhī, ca. 1268-12
Page 117 and 118:
until returning to Kaśmīr in 1213
Page 119 and 120:
figure 4.20. Amoghapāśa and his a
Page 121 and 122:
may have been entering Java from No
Page 123 and 124:
during the Central Javanese period.
Page 125 and 126:
with a portable divine image — li
Page 127 and 128:
itual deposit that would ensure the
Page 129 and 130:
This wonderfully evocative passage
Page 131 and 132:
The bronzes closely resemble the pr
Page 133 and 134:
It is true that, on one level, the
Page 135 and 136:
in 1284, he sent forces to subjugat
Page 137 and 138:
figure 4.25. Śyāmatārā and Sudh
Page 139 and 140:
And officials, priests and scholars
Page 141 and 142:
figure 4.29. Ādityavarman’s insc
Page 143 and 144:
Possessed by the goddess, she will
Page 145 and 146:
discussed images of Joko Dolok and
Page 147 and 148:
figure 5.1. Heruka, ca. eleventh-tw
Page 149 and 150:
figure 5.2. Padang Lawas skullcap i
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ful deities (krodha-vighnāntaka) w
Page 153 and 154:
figure 5.4. Heruka, ca. eleventh ce
Page 155 and 156:
The Builders of Padang Lawas The pr
Page 157 and 158:
inscription was found on a pillar t
Page 159 and 160:
figure 5.7. Biaro Bahal I, eleventh
Page 161 and 162:
All of these sculptures are at leas
Page 163 and 164:
figure 5.12. Relief of figure with
Page 165 and 166:
figure 5.17. Lion relief, Biaro Bah
Page 167 and 168:
figure 5.20. Bhairava and bhairavi,
Page 169 and 170:
found bearing images of the directi
Page 171 and 172:
They are idolaters; and I will tell
Page 173 and 174:
figure 5.23. (Left) Drawing of Heru
Page 175 and 176:
Batak Accounts of Padang Lawas Spec
Page 177 and 178:
figure 5.26. (Above) Fragments of H
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(a dusty warehouse) at Biaro Bahal
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figure 6.1. Gan ˙ eśa, eighth-nin
Page 183 and 184:
figure 6.2. Bhairava (same as i.1),
Page 185 and 186:
figure 6.4. Detail of figure 6.2 (a
Page 187 and 188:
cately carved bands of pearls, flow
Page 189 and 190:
figure 6.9. Dvārapāla, ninth cent
Page 191 and 192:
Gan ˙ eśa Images After the juxtap
Page 193 and 194:
figure 6.12. (Above) Gan ˙ eśa, c
Page 195 and 196:
figure 6.16. Gan ˙ eśa, fourteent
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ing on each statue. The sarong and
Page 199 and 200:
figure 6.19. Detail of figure 6.18
Page 201 and 202:
figure 6.21. (Above) Pārvatī and
Page 203 and 204:
figure 6.23. (Above) Camundī, deta
Page 205 and 206:
(fig. 6.25). In a 1939 article, F.
Page 207 and 208:
figure 6.26. Bhairava (same as figu
Page 209 and 210:
Jayawardhana, while the other, Dara
Page 211 and 212:
a title without a name or function,
Page 213 and 214:
figure 6.29. Bhairava, Candi Jago (
Page 215 and 216:
plex and fairly regular, the meanin
Page 217 and 218:
Where Kern interpreted hāçāno as
Page 219 and 220:
and its basis for his dominion over
Page 221 and 222:
possibly the vajra handle of a weap
Page 224 and 225:
Conclusion In Forgotten Kingdoms of
Page 226 and 227:
over Ken Dedes, the fact that the f
Page 228:
the other hand, much archaeology re
Page 231 and 232:
4. J. Kats, Sang Hyang Kamahāyāni
Page 233 and 234:
Jambi.” E. Edwards McKinnon, “E
Page 235 and 236:
43. The origins of the Śailendras
Page 237 and 238:
9. Nāg., canto 43:2c: “The name
Page 239 and 240:
46. Nāg., canto 57. 47. A. J. Bern
Page 241 and 242:
manors of the superintendents of th
Page 243 and 244:
17. Diana Y. Paul, Women in Buddhis
Page 245 and 246:
onze image is obviously different f
Page 247 and 248:
86. See J. G. de Casparis and I. W.
Page 249 and 250:
24. Māmakhī is at the British Mus
Page 251 and 252:
65. J. Filliozat, “Sur le Civaism
Page 253 and 254:
115. S. Huntington, Art of Ancient
Page 255 and 256:
9. While paintings of this deity ar
Page 257 and 258:
India; but of a permanent and conti
Page 259 and 260:
77. Bosch proposes that the identit
Page 261 and 262:
113. Mulia, Ancient Kingdom, 9. 114
Page 263 and 264:
Gan ˙ eśa Statuary of the Kad ˙
Page 265 and 266:
40. Schnitger, Forgotten Kingdoms,
Page 267 and 268:
64. Bosch notes that praudha means
Page 269 and 270:
Press, 1970), 58. In 1374 tribute w
Page 272 and 273:
Selected Bibliography Adam, T. “O
Page 274 and 275:
——— . “De Inscriptie van Ke
Page 276 and 277:
Crucq, K. C. “Een Portretbeeld de
Page 278 and 279:
Hasibuan, Jamaluddin S. Batak Art a
Page 280 and 281:
Krijger, Hugo E. “Kathmandu Valle
Page 282 and 283:
Miksic, John, ed. Art of Indonesia.
Page 284 and 285:
von Rosenberg, H. “Hindoe-bouwval
Page 286 and 287:
Speyer, J. S. “Eene Buddhistische
Page 288:
Zoetmulder, P. J. Kalangwan: A Surv
Page 291 and 292:
4.29: Ādityavarman’s inscription
Page 293 and 294:
asceticism: in portraiture, 45-47;
Page 295 and 296:
Candi Gumpung (Muara Jambi), 65, 65
Page 297 and 298:
242nn.9, 16; religious practices of
Page 299 and 300:
missionaries: and Batak, 158-159, 1
Page 301 and 302:
39, 227n.70; standing figure (Mt. P
Page 304 and 305:
about the author Natasha Reichle re
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Violence and Serenity: Late Buddhist Sculpture from Indonesia

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