Violence and Serenity: Late Buddhist Sculpture from Indonesia

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Chapter Two Joko Dolok and the Politics of Royal Asceticism The statue known as Joko Dolok sits today under a banyan tree in a small municipal park in central Surabaya (fig. 2.1).1 Other assorted antiquities line the paths of the park, but this statue, placed upon a painted platform, is clearly the center of attention. The image is still worshipped: incense is placed before it, a beaded choker is tied around its neck, and flower petals are strewn on its lap.2 At first glance the statue appears to be an image of a Buddha. The thickset figure sits in padmāsana, his left hand upturned in his lap and the right in the earth-touching gesture (bhūmisparśa mudrā), the mudrā associated with Śakyamuni’s moment of enlightenment, as well as with the cosmic Buddha Aksobhya. Upon closer inspection it becomes evident that the statue has nei- ˙ ther ūrnā, usnīsa, nor curved ringlets — the laksana generally associated with ˙ ˙˙ ˙ ˙ Buddha images. Although the head has suffered from damage and from poor attempts at restoration, it is clear that it is closely shaven, like that of a monk. The statue’s monastic status is also reflected in the fact that he sits on a plain cushion instead of a lotus throne. Many of the Buddhist statues of Singasari and Majapahit dynasties are distinguished by their fine craftsmanship. They are exquisitely carved, wellproportioned, idealized images. The Joko Dolok statue is quite the opposite. The image is remarkable for its awkwardness rather than its grace. The paunchy figure sits, his slightly stooped posture emphasizing the thickness of his thighs and waist (fig. 2.2). The impression of ungainliness is no doubt exacerbated by the damage to the head of the statue, which sits atop a short, thick neck. The remnants of cement, or perhaps paint, on the eye sockets and nose give the image an eerie countenance. The statue’s unconventional appearance is irreverently reflected in the name by which it is known today, Joko Dolok, meaning “fat boy” or “Brother Fatso.”
figure 2.1. Joko Dolok, 1289, Taman Apsara, Surabaya, East Java, h 1.80 m The statue’s plain appearance belies the fact that it is one of the most interesting late Buddhist images in Java. It is the only sculpture that most scholars agree is a “portrait-statue,” and is associated with King Krtanagara, the last ˙ ruler of the Singasari dynasty, who was considered responsible for the florescence of tantric Buddhism in Java at the end of the thirteenth century. This identification is based on a long inscription on the base of the statue itself, as well as information from the Nāgarakrtāgama, a court chronicle written by a ˙ Buddhist poet for the Majapahit king Rājasanagara (Hayam Wuruk) (1350– 24 | chapter two
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 and 26: with the attributes of the Aks ˙ o
Page 28 and 29: Chapter One The Development of Budd
Page 30 and 31: curement of magic powers. Several o
Page 32 and 33: king with a bodhisattva, a practice
Page 34 and 35: originated from Anurādhapura in Sr
Page 38 and 39: figure 2.2. Joko Dolok, rear of fig
Page 40 and 41: figure 2.3. Meditating monk, mid-ni
Page 42 and 43: two realms, Janggala (later known a
Page 44 and 45: initiation into that cult.24 It is
Page 46 and 47: the eighth and tenth centuries, hav
Page 48 and 49: The divinities Wairocana and Locan
Page 50 and 51: which some scholars contend contain
Page 52 and 53: Whether the mantras got their power
Page 54 and 55: Aks ˙ obhya is an embodiment of th
Page 56 and 57: in the Nāgarakr ˙ tāgama, was pr
Page 58 and 59: other than chronological were used.
Page 60 and 61: figure 2.9. Seated male (Jayavarman
Page 62: epresents Kr ˙ tanagara, it would
Page 65 and 66: figure 3.1. Prajñāpāramitā (sam
Page 67 and 68: and two thicker plain bands. At the
Page 69 and 70: Diana Paul writes that certain deit
Page 71 and 72: figure 3.2. Prajñāpāramitā, ca.
Page 73 and 74: figure 3.5. Headless Prajñāpāram
Page 75 and 76: figure 3.6. Prajñāpāramitā, hea
Page 77 and 78: oots. On either side, one stem of t
Page 79 and 80: figure 3.11. Prajñāpāramitā, ch
Page 81 and 82: figure 3.12. Prajñāpāramitā, ha
Page 83 and 84: saw her and was captivated.51 This
Page 85 and 86: We do not know what is meant by the
Page 87 and 88:
elief in a transitional period afte
Page 89 and 90:
figure 3.14. Vis ˙ n ˙ u on Garud
Page 91 and 92:
figure 3.15. Standing female deity,
Page 93 and 94:
artist to depict an individual? Or
Page 95 and 96:
figure 3.16. Prajñāpāramitā, la
Page 98 and 99:
Chapter Four The Many Roles of the
Page 100 and 101:
are convincing. Other temples with
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sculpture; images from the Majapahi
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figure 4.4. Head of Amoghapāśa, C
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with a short and stout body. He has
Page 108 and 109:
figure 4.8. Sudhanakumāra, ca. 126
Page 110 and 111:
figure 4.12. Hayagrīva, detail of
Page 112 and 113:
figure 4.15. Amoghapāśa, inscript
Page 114 and 115:
figure 4.17. Aks ˙ obhya, Ratnasam
Page 116 and 117:
figure 4.19. Narrative relief from
Page 118 and 119:
armed forms date no later than the
Page 120 and 121:
generally posed in a stiffer stance
Page 122 and 123:
figure 4.21. Amoghapāśa, second h
Page 124 and 125:
figure 4.22. Amoghapāśa, Pura Pus
Page 126 and 127:
scholars had posited that candi wer
Page 128 and 129:
Pigeaud, pratisthā, a word meaning
Page 130 and 131:
seems that the daughter does not se
Page 132 and 133:
figure 4.23. Amoghapāśa plaque, i
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figure 4.24. Amoghapāśa (same as
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the base of the stele. Amoghapāśa
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figure 4.27. Saptaratna, proper rig
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date through a series of complex as
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Marie Thérèse de Mallmann also no
Page 144 and 145:
In mainland Southeast Asia, especia
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Chapter Five A Charnel House of Ima
Page 148 and 149:
ituals of esoteric Buddhism and tha
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the statue was made locally.13 The
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Blood flowed down, smelling badly,
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figure 5.5. Heruka, ca. eleventh ce
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figure 5.6. Lokanātha and Tārā,
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Batak language to argue that the ki
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figure 5.8. (Above) Statuary at Pad
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figure 5.10. Head of a dvārapāla,
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figure 5.14. Relief of figure with
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figure 5.18. (Above) Reliefs, Biaro
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pose) and carrying a khat ˙ vān˙
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While other evidence suggests that
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conquest, but that violence was the
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following uses: “To make the rain
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dense (if rapidly vanishing) forest
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Buddha (as lord teacher) and his di
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Chapter Six The National Museum’s
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of the statue, I will show the uniq
Page 184 and 185:
figure 6.3. Side view of figure 6.2
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figure 6.6. (Left) Mahākāla, ca.
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of the back slab is missing; presum
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slightly splayed, and with one arm
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figure 6.11. The door guardians Nan
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figure 6.14. (Above) Gan ˙ eśa, c
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figure 6.17. Gan ˙ eśa, fourteent
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figure 6.18. Bhairava, ca. 1300, fr
Page 200 and 201:
figure 6.20. Pārvatī and retinue,
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peacock, evidently representing Kā
Page 204 and 205:
dence for this supposition. A few e
Page 206 and 207:
figure 6.25. West Sumatra ing a twe
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the base of the Amoghapāśa sculpt
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ents and family from this world to
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Sumatran cousin and displays a slig
Page 214 and 215:
The Sumatran bhairava has both a mu
Page 216 and 217:
The first part of the inscription g
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spread throughout much of Sumatra,
Page 220 and 221:
figure 6.31. Minang dagger figure 6
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Puluah Kota region. There are hundr
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figure c.1. Ken Dedes, 1975, by Jim
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ava from Sungai Langsat have no dou
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Notes Abbreviations BEFEO Bulletin
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ut also compiled the biographies of
Page 234 and 235:
of the Asiatic Society (Calcutta),
Page 236 and 237:
Mandala?” East and West 46.3-4 (1
Page 238 and 239:
26. Ibid. Chandra associates Mahāk
Page 240 and 241:
66. Ibid. 67. W. H. Rassers, “Śi
Page 242 and 243:
98. J. E. van Lohuizen-de Leeuw,
Page 244 and 245:
pointing upward, led Rouffaer to co
Page 246 and 247:
67. Robert F. Hefner, Hindu Javanes
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Candi (Leiden: KITLV Press, 1990);
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use of lotus plants, the fillet and
Page 252 and 253:
92. Pigeaud, Java in the 14th Centu
Page 254 and 255:
135. Marie Therese de Mallmann, Int
Page 256 and 257:
22. Canto 125 of Santoso, Sutasoma,
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simply that Śrīvijaya was an irri
Page 260 and 261:
For more criticism of Marco Polo, s
Page 262 and 263:
fourteenth centuries. C. M. Pleyte,
Page 264 and 265:
locally. Stanley J. O’Connor, “
Page 266 and 267:
awarman is mentioned in the Kubu Ra
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Java. Java is never mentioned, and
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out to carry off a head, for instan
Page 273 and 274:
Benda, Harry Jindrich, and John A.
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1500.” In The Cambridge History o
Page 277 and 278:
travels in India and Ceylon (A.D. 3
Page 279 and 280:
——— . “Het Sanskrit-inschri
Page 281 and 282:
——— . “Ganesha van de Berg
Page 283 and 284:
Oey, Eric M., ed. Sumatra: Island o
Page 285 and 286:
Lembah Sungai Batanghari.” In Sem
Page 287 and 288:
Tambiah, Stanley J. The Buddhist Co
Page 290 and 291:
Illustration Credits Any photograph
Page 292 and 293:
index Page numbers in bold indicate
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also Heruka statue (Biaro Bahal II)
Page 296 and 297:
Dīpam˙ kara Buddha: footprints, 2
Page 298 and 299:
Klokke, Marijke, 45, 77-78 Korawasr
Page 300 and 301:
20, 105; of rulers to ancestor temp
Page 302:
Jago, 92-94, 94, 97; Mongol-Tibetan
Page 305:
Production Notes for Reichle | viol
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