2022_Avatara

AVATARA Two Incarnations of the Lord Relief Stories at Prambanan Dua Titisan Dewata Cerita Relief di Prambanan ĀNANDAJOTI BHIKKHU

AVATARA Two Incarnations of the Lord Relief Stories at Prambanan Dua Titisan Dewata Cerita Relief di Prambanan AVATĀRA Two Incarnations of the Lord, Relief Stories at Prambanan Dua Titisan Dewata, Cerita Relief di Prambanan Author & Photographer: Ānandajoti Bhikkhu Editor: Handaka Vijjānanda Translator: Desy Vīrajātī Layout by: Andreas Dīpaloka Publisher: Ehipassiko Foundation +6285888503388 [email protected] www.ehipassiko.or.id Creative Commons BY-SA License: English Text & Photographs: ©2021 Ānandajoti Bhikkhu Indonesian Text: ©2021 Ehipassiko Foundation Edition 1: Sep 2022 Front Cover | Rāma shoots Kabandha Back Cover | Prambanan Temple Page 1 | Lokapala at the Śiva Temple Page 2 | Makara at the Śiva Temple Page 3 | Rāma and Sītā return to Ayodhya Sampul depan | Rāma Memanah Kabandha Sampul belakang | Candi Prambanan Halaman 1 | Lokapala di Candi Śiva Halaman 2 | Makara di Candi Śiva Halaman 3 | Rāma dan Sītā Kembali ke Ayodhya

Table of Contents Senarai Isi Introduction 4 Pendahuluan 4 Diagram Prambanan 6 Diagram of Prambanan 6 Candi Trimurti 11 Cerita Rāma 51 Trimurti Temples 11 Cerita Kṛṣṇa 131 Penyusun 168 Rāma’s Story 51 Kṛṣṇa’s Story 131 Author 168 3

Introduction Pendahuluan The largest archaeologically significant area in Indonesia is found on the Kawasan penting arkeologis terbesar di Indonesia ditemukan di Dataran Prambanan Plain, north-west of Yogyakarta in Central Java. Here we find Prambanan, di barat laut Yogyakarta, Jawa Tengah. Di sini kita menemukan dozens of candis (monuments), some excavated and renovated, and a few still lusinan candi (monumen), beberapa digali dan dipugar, dan beberapa lagi underground, and some of the most important artifacts of the Buddhist and masih tertimbun, dan beberapa artefak terpenting dari kerajaan Buddhis dan Hindu kingdoms that prevailed during the classical period. Hindu yang berjaya selama Zaman Klasik (abad ke-5 SM sampai abad ke-5 M). Candi Sewu is located here, which is the second largest Buddhist temple in Candi Sewu terletak di sini, yang merupakan candi Buddhis terbesar kedua Java, after Borobudur; and the largest Hindu complex in Indonesia, Candi di Jawa, setelah Borobudur; dan kawasan Hindu terbesar di Indonesia, Candi Prambanan (aka Loro Jonggrang) is the centrepiece of the monuments that Prambanan (juga dikenal sebagai Loro Jonggrang) adalah pusat monumen have been found in this area. yang telah ditemukan di kawasan ini. 4

All of this speaks to the area having been the centre of a large medieval Semua ini menunjukkan bahwa kawasan ini telah menjadi pusat besar civilisation, which had great resources and used them to produce enduring peradaban Abad Pertengahan, yang memiliki sumber daya hebat dan monuments, which still testify to the richness of the culture that fostered menggunakannya untuk menghasilkan bangunan-bangunan tahan lama, them. yang masih membuktikan kekayaan budaya yang membesarkannya. What is now known as Candi Prambanan is a complex of temples at the Apa yang saat ini dikenal sebagai Candi Prambanan adalah sebuah kawasan heart of the plain, which originally contained hundreds of buildings in three candi di tengah dataran, yang awalnya memiliki ratusan bangunan dalam courtyards. Most of these are lost now, but the main buildings in the central tiga pelataran. Sebagian besar bangunan ini sekarang hilang, tetapi courtyard have been painstakingly reconstructed in modern times. bangunan utama di pelataran tengah telah dibangun kembali dengan susah payah pada zaman modern. Candi Prambanan was first built by King Rakai Pikatan of the Sanjaya dynasty that ruled the Mataram Kingdom, and it was inaugurated by his Candi Prambanan dibangun pertama kali oleh Raja Rakai Pikatan dari successor King Lokapala. Wangsa Sanjaya yang menguasai Kerajaan Mataram, dan diresmikan oleh penerusnya, Raja Lokapala. The complex seems to have been built up in stages beginning from the mid- 9th century, with work continuing for a century or more after that, as new Kawasan ini sepertinya dibangun secara bertahap mulai dari pertengahan buildings were added, before being abandoned when the centre of power abad ke-9, yang berlanjut selama seabad atau lebih setelahnya, sementara moved from central to eastern Java in the 11th century. bangunan-bangunan baru ditambahkan, sebelum diabaikan ketika pusat kekuasaan pindah dari tengah ke timur Jawa pada abad kesebelas. It was after this abandonment that a group of legends grew up around the ruins amongst the local people, to explain how they got there. One of the Setelah pengabaian inilah sekumpulan legenda tumbuh di seputar statues found in the main Śiva temple, which we now know was of Śiva’s reruntuhan di antara masyarakat setempat, untuk menjelaskan bagaimana consort Durga, was identified with a vaguely remembered local princess, mereka ada di sana. Salah satu arca yang ditemukan di candi utama Śiva; Loro Jonggrang. yang sekarang kita ketahui adalah pasangan Śiva, Durga; dikaitkan dengan putri setempat yang samar diingat, Loro Jonggrang. She was asked for in marriage by a prince who had killed her father, the king. She was unable to refuse, but set a difficult condition: her suitor must Loro Jonggrang dipinang oleh seorang pangeran yang telah membunuh build 1,000 temples in one night. With help from the gods, he managed ayahnya, sang raja. Ia tak mampu menolak, namun menetapkan syarat to build 999, and these are now identified with Candi Sewu (Sewu means yang sulit: peminangnya harus membangun 1.000 candi dalam satu malam. Thousands in Old Javanese). Dengan bantuan dewa-dewa, pangeran itu berhasil membangun 999, dan ini kini dikenal dengan Candi Sewu (Sewu berarti Ribu dalam bahasa Jawa Kuno). Seeing him about to accomplish his task the reluctant princess ordered her maids to start pounding rice, which signalled daybreak to the gods. When Melihat pangeran akan menuntaskan tugasnya, putri yang enggan menikah they thought day was breaking, they retreated from their work. The prince itu memerintahkan pelayannya untuk mulai menumbuk beras, yang cursed the princess and she was turned into a stone statue. menandakan fajar bagi para dewa. Ketika mereka berpikir fajar telah tiba, 5

Diagram of Prambanan Diagram Prambanan North Apit (Lakṣmī?) Inner Zone Middle Zone Patok Gopura 6 Garuḍa Kelir Nandisvara Patok Gopura Viṣṇu Temple Kelir Durga Mahādeva Ganeṣa Chandra Kelir Surya Gopura Nandi Agastya Haṁsa Patok Śiva Temple South Apit (Sarasvatī?) Brahmā Temple Gopura Patok Kelir 224 Pervara Temples (mainly missing now)

The complex came to the attention of colonialists in the early 19th century, mereka undur dari pekerjaan mereka. Pangeran mengutuk putri dan ia and some sporadic efforts were made to protect and restore the buildings, berubah menjadi arca batu. but it was only in the mid-20th century that really determined and sustained efforts made substantial progress and the buildings were brought back to Kawasan ini menarik perhatian penjajah pada awal abad ke-19 dan beberapa something like their ancient glory. upaya sesekali dilakukan untuk melindungi dan memugar bangunan, tetapi baru pada pertengahan abad ke-20 upaya yang benar-benar sungguh dan The outer court would probably have housed many wooden buildings sinambung menghasilkan kemajuan penting dan bangunan-bangunan ini housing the brahmins and workers needed to maintain the temple in its dibawa kembali pada sesuatu yang serupa kejayaan kuno mereka. day-to-day life. The middle court originally contained 224 guardian (pervara) temples, which are largely destroyed now. Pelataran luar dahulunya mungkin menampung banyak bangunan kayu yang menjadi tempat tinggal para brahmana dan pekerja yang dibutuhkan In the main central courtyard, we find eight temples, of varying size and untuk memelihara candi dalam kehidupan sehari-harinya. Pelataran tengah significance. The largest is the Śiva temple, and it appears that Śivagṛha mulanya memiliki 224 candi penjaga (pervara), yang sebagian besar telah (House of Śiva) may have been the original name of the complex—it hancur sekarang. is otherwise known as the Trimurti (Three Forms) temple. It has four entrances, but the main one is to the east, and it also has four shrines, to Di pelataran tengah utama kita menemukan delapan candi, dengan berbagai Mahādeva (at the centre); Agastya (south), Ganeṣa (west) and Durga (north). ukuran dan kepentingan. Yang terbesar adalah Candi Śiva, dan tampaknya Śivagṛha (Rumah Śiva) kemungkinan adalah nama asli kawasan ini—selain To the south is the Brahmā temple, and to the north is the Viṣṇu temple, itu dikenal sebagai Candi Trimurti (Tiga Wujud). Candi ini memiliki empat both of the same size as each other, but smaller than the main temple. These jalan masuk, tetapi yang utama adalah yang di timur, yang juga memiliki have only one entrance on the east, and they also have only one shrine to empat altar; untuk Mahādeva (di tengah), Agastya (selatan), Ganeṣa (barat), the main god worshipped there. dan Durga (utara). Opposite these are three temples, which some scholars believe may have Di selatan adalah Candi Brahmā, dan di utara adalah Candi Viṣṇu, keduanya been temples to their vehicles (vāhana), Nandi the bull, opposite Śiva; Haṁsa saling berukuran sama, tetapi lebih kecil daripada candi utama. Candi-candi the swan, opposite Brahmā; and Garuḍa, a mythical bird, opposite Viṣṇu. The ini hanya memiliki satu jalan masuk di timur, dan juga hanya memiliki satu Nandi temple is certainly identified, as there was a statue of the bull found altar untuk dewa utama yang dipuja di situ. in the temple, but the other two are inferences, rather than certainties. The entrances to these temples face west. Di seberang ini ada tiga candi, yang beberapa cendekiawan yakini kemungkinan adalah candi bagi tunggangan (vāhana) mereka; lembu Nandi The other two, and again, smaller temples, are the flanking (apit) temples on di seberang Śiva; angsa Haṁsa di seberang Brahmā; dan burung mitos the north and south of the inner courtyard. It is not clear who these were Garuḍa di seberang Viṣṇu. Candi Nandi dikenali secara pasti karena ada arca dedicated to, as the inner shrines are empty, but it has been suggested they lembu ditemukan di dalamnya, tetapi dua lainnya merupakan penyimpulan, may have been dedicated to Lakṣmī, the consort of Viṣṇu, and to Sarasvatī, alih-alih kepastian. Jalan masuk ke candi-candi ini menghadap barat. the consort of Brahmā. 7

In the Hindu pantheon the Trimurti of Brahmā, Viṣṇu and Śiva, play a Dua lainnya, dan sekali lagi, candi-candi yang lebih kecil, adalah candi leading role, and are sometimes referred to as the Hindu Trinity. They have pengapit (apit) di utara dan selatan pelataran dalam. Tak jelas kepada siapa the roles of creating (Brahmā), sustaining (Viṣṇu) and destroying (Śiva) the ini ditujukan karena altar di bagian dalamnya kosong, tetapi disiratkan cosmos as it evolves and dissolves. bahwa candi-candi ini mungkin dipersembahkan untuk Lakṣmī, pasangan Viṣṇu, dan untuk Sarasvatī, pasangan Brahmā. In his role as sustainer, one of Lord Viṣṇu’s main works is to incarnate when Dalam jajaran dewa Hindu, Trimurti Brahmā, Viṣṇu, dan Śiva memainkan righteousness is lost on earth, and bring it back to Dharma. In some texts he peran utama dan kadang dirujuk sebagai Trinitas Hindu. Mereka memiliki is said to have had nine incarnations, with one still to come. The 7th and 8th of peran menciptakan (Brahmā), memelihara (Viṣṇu), dan menghancurkan these are also the most famous, in his forms as Rāma and Kṛṣṇa. (Śiva) semesta yang muncul dan terurai. It is the story of these two incarnations that are illustrated in the reliefs Dalam perannya sebagai pemelihara, salah satu karya utama Dewa Viṣṇu that are found on the balustrades of the three main temples. Rāma’s story adalah menitis ketika kebajikan hilang di bumi, dan mengembalikannya is found on the Śiva and Brahmā temples; and Kṛṣṇa’s is found at the Viṣṇu pada Dharma. Dalam beberapa naskah, ia dikatakan sudah memiliki sembilan temple. The stories of these incarnations are related in place before the titisan, dengan satu yang masih akan datang. Titisan ketujuh dan kedelapan photographs and their descriptions below. juga yang paling terkenal, dalam wujudnya sebagai Rāma dan Kṛṣṇa. Ānandajoti Bhikkhu Select Bibliography Cerita dua titisan inilah yang dilukiskan dalam relief yang ditemukan di langkan ketiga candi utama. Cerita Rāma ditemukan di Candi Śiva dan Aadhar, Anand. 2019. Srimad Bhagavatam. Brahmā; dan cerita Kṛṣṇa ditemukan di Candi Viṣṇu. Cerita titisan-titisan ini Brockington, John, and Mary Brockington. 2006. Rāma the Steadfast. London: dituturkan sebelum foto dan penjelasan di bawahnya. Penguin Books. Ānandajoti Bhikkhu Debory, Bibek. 2016. Harivamsha. India: Penguin Books. Groneman, J. 1901. The Hindu Ruins in the Plain of Parambanan. Semerang- Pustaka Pilihan Soerabaia: G T C van Dorp. Aadhar, Anand. 2019. Srimad Bhagavatam. Jordaan, R E. 1989. ‘A Holy-Water Sanctuary at Prambanan’. Amerta 11. Brockington, John, and Mary Brockington. 2006. Rāma the Steadfast. London: ———. 1995. ‘Prambanan 1995. A Hypothesis Confirmed’. IIAS Newsletter 6. ———. 2011. ‘The Causeway Episode of the Prambanan Rāmāyaṇa Penguin Books. Debory, Bibek. 2016. Harivamsha. India: Penguin Books. Reexamined’. In From Laṅkā Eastwards : The Rāmāyaṇa in the Literature Groneman, J. 1901. The Hindu Ruins in the Plain of Parambanan. Semerang- and Visual Arts of Indonesia, 179–207. Verhandelingen van Het Koninklijk Instituut Voor Taal-, Land- EnVolkenkunde 247. KITLV Press. Soerabaia: G T C van Dorp. Jordaan, Roy (ed.). 1996. In Praise of Prambanan. Leiden: KITLV Press. Jordaan, R E. 1989. ‘A Holy-Water Sanctuary at Prambanan’. Amerta 11. Kats, J. 2013. The Rāmāyaṇa as Sculpted in Reliefs in Javanese Temples. Batavia, ———. 1995. ‘Prambanan 1995. A Hypothesis Confirmed’. IIAS Newsletter 6. Leiden. 8

Moertjipto, and Bambang Prasetya. 1997. The Kresnayana Reliefs of the Vishnu ———. 2011. ‘The Causeway Episode of the Prambanan Rāmāyaṇa Temple. Yogyakarta: Penerbit Kanisius. Reexamined’. In From Laṅkā Eastwards : The Rāmāyaṇa in the Literature and Visual Arts of Indonesia, 179–207. Verhandelingen van Het Koninklijk Santoso, Soewito. 1980a. Indonesian Rāmāyaṇa (Rāmāyaṇa Kakawin). 3 vols. Instituut Voor Taal-, Land- EnVolkenkunde 247. KITLV Press. Śata-Piṭaka Series 281. New Delhi: The Institute of Southeast Asian Studies. Jordaan, Roy (ed.). 1996. In Praise of Prambanan. Leiden: KITLV Press. ———. 1980b. Indonesian Rāmāyaṇa, Vol II. Vol. 1. 3 vols. Śata-Piṭaka Series 281. Kats, J. 2013. The Ramayana as Sculpted in Reliefs in Javanese Temples. Batavia, New Delhi: The Institute of Southeast Asian Studies. Leiden. ———. 1985. Kresnayana. Surabaya: Citra Jaya Murti. Moertjipto, and Bambang Prasetya. 1997. The Kresnayana Reliefs of the Vishnu ———. 1986. Kresnayana, The Kresna Legend in Indonesia. Sata Pitaka Series. New Temple. Yogyakarta: Penerbit Kanisius. Delhi: International Academy of Indian Culture. Santoso, Soewito. 1980a. Indonesian Rāmāyaṇa (Rāmāyaṇa Kakawin). 3 vols. Shastri, Hari Prasad. 1952. The Rāmāyaṇa of Valmiki. 3 vols. London: Shanti Śata-Piṭaka Series 281. New Delhi: The Institute of Southeast Asian Studies. Sadan. ———. 1980b. Indonesian Rāmāyaṇa, Vol II. Vol. 1. 3 vols. Śata-Piṭaka Series 281. Stutterheim, W F. 1956. Studies in Indonesian Archeology. Koninklijk Instituut New Delhi: The Institute of Southeast Asian Studies. Voor Taal-, Land- En Volkenkunde Translation Series 1. The Hague: ———. 1985. Kresnayana. Surabaya: Citra Jaya Murti. Springer-Science+Business Media. ———. 1986. Kresnayana, The Kresna Legend in Indonesia. Sata Pitaka Series. New Stutterheim, Willem. 1989. Rāma-Legends and Rāma-Reliefs in Indonesia. 2 volumes in 1. New Delhi: Indira Gandhi National Centre for the Arts. Delhi: International Academy of Indian Culture. Vanamali. 2012. The Complete Life of Krishna. Vermont & Toronto: Inner Shastri, Hari Prasad. 1952. The Ramayana of Valmiki. 3 vols. London: Shanti Traditions Bear & Company. Sadan. Stutterheim, W F. 1956. Studies in Indonesian Archeology. Koninklijk Instituut Voor Taal-, Land- En Volkenkunde Translation Series 1. The Hague: Springer-Science+Business Media. Stutterheim, Willem. 1989. Rāma-Legends and Rāma-Reliefs in Indonesia. 2 volumes in 1. New Delhi: Indira Gandhi National Centre for the Arts. Vanamali. 2012. The Complete Life of Krishna. Vermont & Toronto: Inner Traditions Bear & Company. 9

View from approach road Pemandangan dari jalan masuk 10

Trimurti Temples Candi Trimurti

Śiva Temple Stairway and arch Tangga dan gerbang The Śiva temple is the tallest and largest structure in the Prambanan complex, it measures 47 metres tall and 34 metres wide. The Śiva temple is encircled with galleries adorned with bas-reliefs telling the Rāmāyaṇa story which are carved on the inner walls of the balustrades. The bas-reliefs of Rāmāyaṇa continue on the Brahmā temple galleries. The entrance archways, makara statues, and on the inside walls, the Lokapala statues are all worthy of note. Around the outside of the temple at the base are variations of kalpataru (Lucky Tree) symbols, together with various mythological creatures like kinnara and kinnari, and also lions, geese and peacocks. Candi Śiva Candi Śiva adalah bangunan tertinggi dan terbesar di kawasan Prambanan, berukuran tinggi 47 meter dan lebar 34 meter. Candi Śiva dikelilingi galeri berhias relief yang mengisahkan cerita Rāmāyaṇa yang dipahat di dinding langkan bagian dalam. Relief Rāmāyaṇa berlanjut di galeri Candi Brahmā. Gapura jalan masuk, patung makara, dan patung Lokapala di dinding bagian dalam, semuanya patut diperhatikan. Di sekeliling bagian dasar di luar candi ada beragam lambang kalpataru, bersama dengan berbagai makhluk mitologi seperti kinnara dan kinnari, dan juga singa, angsa, dan merak. 12

Makara and statues at the Śiva Temple Makara dan patung di Candi Śiva 13

View of Śiva Temple Silhouette Pemandangan Candi Śiva Siluet 14

Silhouette of stonework Siluet tatahan batu Stonework View from Śiva Temple Tatahan batu Pemandangan dari Candi Śiva 15

Makara Makara Three princes Brahmin Tiga pangeran Brahmana 16

Brahmin Brahmins Brahmana Para brahmana 17

Three princes Tiga pangeran Checking horse’s teeth Memeriksa gigi kuda 18

Three faces Imprisoned Tiga wajah Ditahan Holding a mirror Membawa cermin 19

Monkey and others Women Kera dan lainnya Perempuan 20

Lokapala and women Lokapala Lokapala dan perempuan Lokapala 21

Lokapala Lokapala and others Lokapala Lokapala dan lainnya 22

Lion Lion and kalpataru Singa Singa dan kalpataru 23

Kalpataru and kinnara Kalpataru and peacock Kalpataru dan kinnara Kalpataru dan merak 24

Kalpataru and kinnara Kalpataru and geese Kalpataru dan kinnara Kalpataru dan angsa 25

Stairway design work Karya rancang tangga 26

Kalpataru and geese Kalpataru and kinnara Kalpataru dan angsa Kalpataru dan kinnara 27

Lion and moss Singa dan lumut 28

Brahmā Temple The Brahmā temple, which measures 20 metres wide and 33 metres tall, stands to the south of the Śiva Temple, and continues with the bas-reliefs telling the Rāmāyaṇa story which are carved on the inner walls of the balustrades. In the main shrine room there is a large statue of Lord Brahmā with his four heads facing the cardinal directions. As with the Śiva Temple, around the base of the Temple are variations of the kalpataru (lucky tree) symbols. Candi Brahmā Candi Brahmā, yang berukuran lebar 20 meter dan tinggi 33 meter berdiri di sebelah selatan Candi Śiva, dan melanjutkan relief yang mengisahkan cerita Rāmāyaṇa yang dipahat di dinding langkan bagian dalam. Di ruang altar utama terdapat patung besar Dewa Brahmā dengan empat kepalanya menghadap penjuru utama. Sama halnya dengan Candi Śiva, di sekeliling bagian dasar Candi terdapat beragam lambang kalpataru. Four headed Brahmā Brahmā empat kepala 29

Brahmā statue Brahmā’s feet Patung Brahmā Kaki Brahmā 30

Brahmins Para brahmana 31

Brahmin from side Brahmin Brahmana dari samping Brahmana 32

Brahmins Para brahmana Offerings Kinnara Mempersembahkan Kinnara 33

Kalpataru and kinnara Kalpataru and kinnara Kalpataru dan kinnara Kalpataru dan kinnara 34

Kinnara Kinnara 35

Kalpataru and kinnara Kalpataru and kinnara Kalpataru dan kinnara Kalpataru dan kinnara 36

Kalpataru and deer Kalpataru dan rusa Kalpataru and deer Kalpataru and monkeys Kalpataru dan rusa Kalpataru dan kera 37

Kalpataru and monkeys Kalpataru and monkeys Kalpataru dan kera Kalpataru dan kera 38

Lion Singa 39

Kalpataru and goose Kalpataru and geese Kalpataru dan angsa Kalpataru dan angsa 40

Viṣṇu Temple Candi Viṣṇu The Viṣṇu Temple, also measures 20 metres wide and 33 metres tall, Candi Viṣṇu, juga berukuran lebar 20 meter dan tinggi 33 meter, berdiri and stands to the north of the Śiva Temple. The bas-reliefs here tell the di utara Candi Śiva. Relief di sini mengisahkan cerita Krĕṣṇāyana (Kṛṣṇa). Krĕṣṇāyana (Kṛṣṇa) story. As with the others, around the base of the Temple Seperti yang lain, di sekeliling bagian dasar Candi ada beragam lambang are variations of the kalpataru symbols. kalpataru. Kalpataru and kinnara Kalpataru and kinnara Kalpataru dan kinnara Kalpataru dan kinnara 41

Kalpataru and kinnara Kinnara Kalpataru dan kinnara Kinnara 42

Kalpataru and deer Kalpataru and monkeys Kalpataru and monkeys Kalpataru dan rusa Kalpataru dan kera Kalpataru dan kera 43

Lion Kalpataru and peacock Singa Kalpataru and peacock 44

Nandi Temple Candi Nandi In front of the Trimurti Temples are temples to their respective vehicles Di depan Candi Trimurti terdapat candi-candi untuk tunggangan (vahana) (vahana): Śiva has a Nandi Bull Temple in front of it; Brahmā has his Haṁsa mereka masing-masing: Śiva memiliki Candi Lembu Nandi di depannya; (Goose) Temple, and Viṣṇu has the Garuda (Mythological Bird-Man) Temple. Brahmā memiliki Candi Haṁsa (Angsa); dan Viṣṇu memiliki Candi Garuḍa Here example sculptures from the Nandi Temple are shown. (Manusia-Burung Mitologi). Di sini ditunjukkan contoh patung dari Candi Nandi. Statues Patung 45

Statues Patung 46

Statues Statues Patung Patung Kalpataru and lions Kalpataru dan singa 47

Kalpataru and egrets Kalpataru and peacock Kalpataru dan kuntul Kalpataru dan merak 48