Is there a Laxmi in the kedu plain ?

Goddess Laxmi in Indonesia

Dr UDAY DOKRAS

Lakshmi is one of the principal goddesses in Hinduism. She is the goddess of wealth,
fortune, power, beauty, fertility and prosperity, and associated with Maya ("Illusion"). Along
with Parvati and Saraswati, she forms the Tridevi of Hindu goddesses.
Within the goddess-oriented Shaktism, Lakshmi is venerated as the prosperity aspect of
the Mother goddess. Lakshmi is both the consort and the divine energy (shakti) of
the Hindu god Vishnu, the Supreme Being of Vaishnavism; she is also the Supreme Goddess
in the sect and assists Vishnu to create, protect, and transform the universe. She is an
especially prominent figure in Sri Vaishnavism, in which devotion to Lakshmi is deemed to
be crucial to reach Vishnu.[16] Whenever Vishnu descended on the earth as an avatar, Lakshmi
accompanied him as consort, for example, as Sita and Radha or Rukmini as consorts of
Vishnu's avatars Rama and Krishna, respectively.The eight prominent manifestations of
Lakshmi, the Ashtalakshmi symbolise the eight sources of wealth.
Lakshmi is depicted in the art of many countries as an elegantly dressed, prosperity-
showering golden-coloured woman standing or sitting in the padmasana position upon a lotus
throne, while holding a lotus in her hand, symbolising fortune, self-knowledge, and spiritual
liberation. Her iconography shows her with four hands, which represent the four aspects of
human life important to Hindu culture: dharma, kāma, artha, and moksha. Lakshmi
Sahasranama of Skanda Purana, Lakshmi Tantra, Markandeya Purana, Devi Mahatmya and
Vedic scriptures describes Lakshmi as having eight or eighteen hands, and as sitting
on Garuda, a lion or a tiger.
Archaeological discoveries and ancient coins suggest the recognition and reverence for
Lakshmi existing by the 1st millennium BCE. Lakshmi's iconography and statues have also
been found in Hindu temples throughout Southeast Asia, estimated to be from the second half
of the 1st millennium CE. The day of Lakshmi Puja during Navaratri, and the festivals
of Deepavali and Sharad Purnima (Kojagiri Purnima) are celebrated in her honour.
According To Lakshmi Tantra Goddess Lakshmi In Her ultimate form of Mahasri Has Four
Arms Complexion Like Gold, And Holds Matulanga, Club, Shield And Vessel containing
Amrita

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**In Skand Puran Venkatayam Mahamatyam Sri Or Lakshmi is Praised As Mother
Of Brahma.

Gaja Lakshmi, Cambodia, ca. 944-968// A painting of Lakshmi on the inner walls of the Tanjore Big temple.

Lakshmi in Sanskrit is derived from the root word lakṣ (लक्ष्) and lakṣa (लक्ष), meaning 'to
perceive, observe, know, understand' and 'goal, aim, objective', respectively. These roots give
Lakshmi the symbolism: know and understand your goal. A related term is lakṣaṇa, which
means 'sign, target, aim, symbol, attribute, quality, lucky mark, auspicious opportunity'.
Lakshmi has numerous epithets and numerous ancient Stotram and Sutras of Hinduism recite
her various names: such as Sri (Radiance, eminence, splendor, wealth), Padmā (she who is
mounted upon or dwelling in a lotus or She of the lotus), Kamalā or Kamalatmika (She of the
lotus), Padmapriyā (Lotus-lover), Padmamālādhāra Devī (Goddess bearing a garland of

lotuses), Padmamukhī (Lotus-faced-she whose face is as like as a lotus), Padmākṣī: (Lotus-

eyed - she whose eyes are as beautiful as a lotus), Padmahasta: (Lotus-hand - she whose
hand is holding [a] lotus[es]), Padmasundarī (She who is as beautiful as a
lotus), Padmavati (She who was born from a lotus), Śrījā (Jatika of
Sri), Narayani (belonging to Narayana or the wife of Narayana), Vaishnavi (worshipper of

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Vishnu or the power of Vishnu), Viṣṇupriyā (who is the beloved of Vishnu), Nandika (the
one who gives pleasure). Other than these Vaishnavas also consider Lalita, who is praised
with 1,000 names in Lalita Sahasranama as Lakshmi.
Lakshmi Sahasranama of Skanda Purana praises Lakshmi as Mahadevi (she who is the great
goddess), Mahamaya (she who is a great illusion), Karaveera Nivasini (The Goddess Who
lives in Karaveera/Kolhapur) and Maha Astha Dasa Pithagne (she who has 18 great Shakti
Peethas). She is also praised as Mahalakshmi (she who is great Lakshmi), Mahakali (she who
is great Kali) and Mahasaraswati (she who is great Saraswati) who are the primary deities
in Devi Mahatmya. The other prominent names included in this text are, Bhuvaneshvari (she
who is the Queen or ruler of the Universe), Katyayani (she who is the daughter of sage
Katyayana), Kaushiki (Shakti that came out of the sheath (or Kosha)
of Parvati), Brahmani (She who is the power of Brahma), Kamakshi (she who fulfils desires
by her eyes), Chandi (she who killed Mahishasura), Chamunda (She who killed Chanda and
Munda), Madhu Kaidabha Bhanjini (she who killed Madhu and Kaidabha), Durga (she who
killed Durgamasura), Maheshvari (she who is the power of Maheshvara), Varahi (she who
is the power of Varaha, a form of Vishnu), Narasimhi (she who is the power of Narasimha,
a form of Vishnu), Srividyaa (she who is Sri Vidya), Sri Manthra Raja Rajini (the queen
of Sri Vidya), Shadadharadhi devata (she who is the goddess of the six chakras).[39][40] Dutch
author Dirk van der Plas says, "In Lakshmi Tantra, a text of Visnuite signature, the
name Mahamaya is connected with third or destructive of Goddess' three partial functions,
while in supreme form she is identified with Lakshmi".

Bas relief of GajaLakshmi at the Buddhist Sanchi Stupa, Stupa I, North gateway, Satavahana dynasty sculpture, 1st century CE

Lakshmi is a member of the Tridevi, the triad of great goddesses. She represents
the Rajas guna, and the Iccha-shakti. The image, icons, and sculptures of Lakshmi are
represented with symbolism. Her name is derived from Sanskrit root words for knowing the
goal and understanding the objective. Her four arms are symbolic of the four goals of
humanity that are considered good in Hinduism: dharma (pursuit of ethical, moral
life), artha (pursuit of wealth, means of life), kama (pursuit of love, emotional fulfillment),
and moksha (pursuit of self-knowledge, liberation).
In Lakshmi's iconography, she is either sitting or standing on a lotus and typically carrying a
lotus in one or two hands. The lotus carries symbolic meanings in Hinduism and other Indian
traditions. It symbolizes knowledge, self-realization, and liberation in the Vedic context, and
represents reality, consciousness, and karma ('work, deed') in the Tantra (Sahasrara) context.
[47]
The lotus, a flower that blooms in clean or dirty water, also symbolizes purity regardless
of the good or bad circumstances in which it grows. It is a reminder that good and prosperity
can bloom and not be affected by evil in one's surroundings.
Below, behind, or on the sides, Lakshmi is very often shown with one or two elephants,
known as Gajalakshmi, and occasionally with an owl. Elephants symbolize work, activity,

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and strength, as well as water, rain and fertility for abundant prosperity. The owl signifies the
patient striving to observe, see, and discover knowledge, particularly when surrounded by
darkness. As a bird reputedly blinded by daylight, the owl also serves as a symbolic reminder
to refrain from blindness and greed after knowledge and wealth have been acquired.
According to historian D. D. Kosambi, most of the Imperial Gupta kings
were Vaishnavas and held the goddess Lakshmi in the highest esteem. Goddess Lakshmi is
Simhavahini (mount as lion) on most of the coins during their rule. Coins during the rule of
Prakashadiya, a Gupta ruler, contain the Garudadhvaja on the obverse and Lakshmi on the
reverse. The Gupta period sculpture only used to associate lions with Lakshmi but was later
attributed to Durga or a combined form of both goddesses. Lions are also associated
with Veera Lakshmi, who is one of the Ashtalakshmi.Historian B. C. Bhattacharya says, "An
image of Gajalakshmi is found with two lions — one on either side of her. Two elephants are
also shown near her head and by this we can say that Lion is also the vahana of Lakshmi
along with Garuda".
In some representations, wealth either symbolically pours out from one of her hands or she
simply holds a jar of money. This symbolism has a dual meaning: wealth manifested through
Lakshmi means both materials as well as spiritual wealth. Her face and open hands are in a
mudra that signifies compassion, giving or dāna ('charity').
Lakshmi typically wears a red dress embroidered with golden threads, which symbolizes
fortune and wealth. She, goddess of wealth and prosperity, is often represented with her
husband Vishnu, the god who maintains human life filled with justice and peace. This
symbolism implies wealth and prosperity are coupled with the maintenance of life, justice,
and peace.[47]

Lord Vishnu with his head on the lap of the Goddess Andal
In Japan, where Lakshmi is known as Kisshōten, she is commonly depicted with
the Nyoihōju gem in her hand.

Vedas and Brahmanas

The meaning and significance of Lakshmi evolved in ancient Sanskrit texts.[61] Lakshmi is
mentioned once in Rigveda, in which the name is used to mean 'kindred mark, sign of
auspicious fortune'.

भद्रैषां लक्ष्मीर्निहिताधि वाचि "an auspicious fortune is attached to their words"

bhadraiṣāṁ lakṣmīrnihitādhi
vāci
—Rig Veda, x.71.2

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In Atharva Veda, transcribed about 1000 BCE, Lakshmi evolves into a complex concept with
plural manifestations. Book 7, Chapter 115 of Atharva Veda describes the plurality, asserting
that a hundred Lakshmis are born with the body of a mortal at birth, some
good, Punya ('virtuous') and auspicious, while others bad, paapi ('evil') and unfortunate. The
good are welcomed, while the bad urged to leave. The concept and spirit of Lakshmi and her
association with fortune and the good is significant enough that Atharva Veda mentions it in
multiple books: for example, in Book 12, Chapter 5 as Punya Lakshmi. In some chapters of
Atharva Veda, Lakshmi connotes the good, an auspicious sign, good luck, good fortune,
prosperity, success, and happiness.
Later, Lakshmi is referred to as the goddess of fortune, identified with Sri and regarded as the
wife of Viṣṇu (Nārāyaṇa). For example, in Shatapatha Brahmana, variously estimated to be
composed between 800 BCE and 300 BCE, Sri (Lakshmi) is part of one of many theories, in
ancient India, about the creation of the universe. In Book 9 of Shatapatha Brahmana, Sri
emerges from Prajapati, after his intense meditation on the creation of life and nature of the
universe. Sri is described as a resplendent and trembling woman at her birth with immense
energy and powers. The gods are bewitched, desire her, and immediately become covetous of
her. The gods approach Prajapati and request permission to kill her and then take her powers,
talents, and gifts. Prajapati refuses, tells the gods that men should not kill women and that
they can seek her gifts without violence. The gods then approach Lakshmi. Agni gets food,
Soma gets kingly authority, Varuna gets imperial authority, Mitra acquires martial energy,
Indra gets force, Brihaspati gets priestly authority, Savitri acquires dominion, Pushan gets
splendour, Saraswati takes nourishment and Tvashtri gets forms. The hymns of Shatapatha
Brahmana thus describe Sri as a goddess born with and personifying a diverse range of
talents and powers.
According to another legend, she emerges during the creation of universe, floating over the
water on the expanded petals of a lotus flower; she is also variously regarded as wife
of Dharma, mother of Kāma, sister or mother of Dhātṛ and Vidhātṛ, wife of Dattatreya, one
of the nine Shaktis of Viṣṇu, a manifestation of Prakṛti as identified with Dākshāyaṇī in
Bharatasrama and as Sita, wife of Rama.
Epics
In the Epics of Hinduism, such as in Mahabharata, Lakshmi personifies wealth, riches,
happiness, loveliness, grace, charm, and splendor.[2] In another Hindu legend about the
creation of the universe as described in Ramayana,[65] Lakshmi springs with other precious
things from the foam of the ocean of milk when it is churned by the gods and demons for the
recovery of Amṛta. She appeared with a lotus in her hand and so she is also called Padmā.
Sita, the female protagonist of the Ramayana and her husband, the god-king Rama are
considered as avatars of Lakshmi and Vishnu, respectively. In the Mahabharata, Draupadi is
described as a partial incarnation of Sri (Lakshmi).[66] However, other chapter of the epic
states that Lakshmi took the incarnation of Rukmini, the chief-wife of the Hindu god Krishna.

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A painting depicting Samudra Manthan, with Lakshmi emerging with the lotus in her hands.
Devas (gods) and asuras (demons) were both mortal at one time in Hinduism. Amrita, the
divine nectar that grants immortality, could only be obtained by
churning Kshirasagar ('Ocean of Milk'). The devas and asuras both sought immortality and
decided to churn the Kshirasagar with Mount Mandhara. The samudra manthan commenced
with the devas on one side and the asuras on the other. Vishnu incarnated as Kurma, the
tortoise, and a mountain was placed on the tortoise as a churning pole. Vasuki, the great
venom-spewing serpent-god, was wrapped around the mountain and used to churn the ocean.
A host of divine celestial objects came up during the churning. Along with them emerged the
goddess Lakshmi. In some versions, she is said to be the daughter of the sea god since she
emerged from the sea.[94]
In Garuda Purana, Linga Purana and Padma Purana, Lakshmi is said to have been born as the
daughter of the divine sage Bhrigu and his wife Khyati and was named Bhargavi. According
to Vishnu Purana, the universe was created when the devas and asuras churned the cosmic
Kshirasagar. Lakshmi came out of the ocean bearing lotus, along with divine
cow Kamadhenu, Varuni, Parijat tree, Apsaras, Chandra (the moon),
and Dhanvantari with Amrita ('nectar of immortality'). When she appeared, she had a choice
to go to Devas or Asuras. She chose Devas' side and among thirty deities, she chose to be
with Vishnu. Thereafter, in all three worlds, the lotus-bearing goddess was celebrated.[72]

Buddhism

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The Japanese Kishijoten is adapted from Lakshmi.
In Buddhism, Lakshmi has been viewed as a goddess of abundance and fortune, and is
represented on the oldest surviving stupas and cave temples of Buddhism. In Buddhist sects
of Tibet, Nepal, and Southeast Asia, Vasudhara mirrors the characteristics and attributes of
the Hindu Goddess, with minor iconographic differences.
In Chinese Buddhism, Lakshmi is referred to as either Gōngdétiān (功德天, lit "Meritorious
god ) or Jíxiáng Tiānnǚ (吉祥天女, lit "Auspicious goddess") and is the goddess of fortune
and prosperity. She is regarded as the sister of Píshāméntiān (毗沙門天), or Vaiśravaṇa, one
of the Four Heavenly Kings. She is also regarded as one of the twenty-four protective deities,
and her image is frequently enshrined in the Mahavira Hall of most Chinese Buddhist
monasteries together with the other deities. Her mantra, the Sri Devi Dharani (Chinese: 大吉
祥 天 女 咒 ; pinyin: Dà Jíxiáng Tiānnǚ Zhòu) is classified as one of the Ten Small
Mantras (Chinese: 十小咒; pinyin: Shí xiǎo zhòu), which are a collection of dharanis that are
commonly recited in Chinese Buddhist temples during morning liturgical services.
In Japanese Buddhism, Lakshmi is known as Kishijoten (吉祥天, 'Auspicious Heavens') and
is also the goddess of fortune and prosperity. Like in China, Kishijoten is considered the
sister of Bishamon (毘沙門 , also known as Tamon or Bishamon-ten), who protects human
life, fights evil, and brings good fortune. In ancient and medieval Japan, Kishijoten was the
goddess worshiped for luck and prosperity, particularly on behalf of children. Kishijoten was
also the guardian goddess of Geishas.
In Tibetan Buddhism, Lakshmi is an important deity, especially in the Gelug School. She has
both peaceful and wrathful forms; the latter form is known as Palden Lhamo, Shri Devi
Dudsol Dokam, or Kamadhatvishvari, and is the principal female protector of (Gelug)
Tibetan Buddhism and of Lhasa, Tibet.
While Lakshmi and Vaiśravaṇa are found in ancient Chinese and Japanese Buddhist
literature, their roots have been traced to deities in Hinduism.
Lakshmi is closely linked to Dewi Sri, who is worshipped in Bali as the goddess of fertility
and agriculture.
Lakshmi is attributed with various incarnations, including the following:

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  Sita
 Radha
 Gopis
 Rukmini
 Jambvati
 Satyabhama
 Kalindi
 Nagnajiti
 Mitravinda
 Lakshmana
 Bhadra
 Junior wives of
Krishna
 Revati
 Padmavathi
 Vedavati
 Bhumi
 Nila Devi
 Tulasi
 Andal

Laxmi in Indonesia

The mythology of Dewi Sri is native to Java and Sunda and Hinduism in the archipelago since early as the
first century. She was equated with the Hindu goddess Shri Lakshmi, and often regarded as an incarnation
or one of her manifestations. The goddess is also associated with wealth and prosperity. Dewi
Sri or Shridevi, Nyai Pohaci Sanghyang Asri) is the Javanese, Sundanese,
and Balinese Hindu Goddess of rice and fertility, still widely worshiped on the islands
of Java, Bali and Lombok, Indonesia.
The cult of the rice goddess has its origin in the prehistoric domestication, development and propagation
of rice cultivation in Asia, possibly brought by Austroasiatic or Austronesian population that finally
migrated and settled in the archipelago. Similar but slightly different rice spirits mythologies are
widespread among Indonesian ethnicities and also neighboring countries.

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Once upon a time in heaven, Batara Guru (who in ancient Javanese Hinduism was associated with Shiva),
the highest god commanded all the gods and goddesses to contribute their power in order to build a new
palace. Anybody who disobeyed this commandment would be considered lazy and would lose their arms
and legs. Upon hearing the Batara Guru's commandment, one of the gods, Antaboga (Ananta Boga),
a Nāga god, became very anxious. He didn't have arms or legs and he wasn't sure how he could possibly do
the job. Anta was shaped like a serpent and he could not work. He sought advice from Batara Narada, the
younger brother of Batara Guru. But unfortunately, Narada was also confused by Anta's bad luck. Anta
became very upset and cried.
As he was crying, three teardrops fell to the ground. Miraculously, after touching the ground the teardrops
became three beautiful shining eggs that looked like jewels or pearls. Batara Narada advised him to offer
these "jewels" to the Batara Guru, hoping that the gift would appease him and he would give a fair
judgment, taking into account Anta's disability.
With the three eggs in his mouth, Anta went to the Batara Guru's palace. On the way there he was
approached by an eagle who asked him a question. Anta kept silent and could not answer, as he was
holding the eggs in his mouth. Because of his perceived unwillingness to answer, the bird thought Anta
was being arrogant and it became furious, and began to attack Anta. As the result, one egg fell to earth and
shattered. Anta quickly tried to hide in the bushes, but the bird was waiting for him. The second attack left
Anta with only one egg to offer to the Batara Guru. The two eggs that had fallen to the earth became the
twin boars Kalabuat and Budug Basu.[3] Later, Kalabuat and Budug Basu were adopted by Sapi Gumarang
cow.
At last, he arrived at the palace and offered his teardrop in the shape of a shiny egg to the Batara Guru. The
offer was graciously accepted, and the Batara Guru asked him to nest the egg until it hatched.
Miraculously, the egg hatched into a very beautiful baby girl. He gave the baby girl to the Batara Guru and
his wife.

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Nyai Pohaci (sometimes spelled "Pwah Aci") Sanghyang Asri was her name, and she grew up into a
beautiful princess. Every god who saw her became attracted to her, even her foster father, Batara Guru
started to feel attracted to her. Seeing the Batara Guru's desire for his foster daughter, the gods grew
worried. They feared that this scandal might destroy the harmony in heaven, so finally, they conspired to
separate Nyi Pohaci and the Batara Guru.
To keep the peace in the heavens and to protect Nyi Pohaci's chastity, all the gods planned for her to die.
She was poisoned, and her body was buried somewhere on earth in a far and hidden place. However,
because of Sri Pohaci's innocence and divinity, her grave showed a miraculous sign; for at the time of her
burial, some plants grew from the ground that would forever benefit mankind. From her head
grew coconut; from her nose, lips, and ears grew various spices and vegetables, from her hair
grew grass and various flowering plants, from her breasts grew various fruit plants, from her arms and
hands grew teak and various wood trees, from her genitals grew Kawung (Aren or Enau: sugar palm), from
her thighs grew various types of bamboo, from her legs grew various tuber plants, and finally from her
belly button grew a very useful plant that is called padi (rice). In some versions, white rice grew from her
right eye, while red rice grew from her left eye. All of the useful plants, essential for human needs and
well-being, are thought to come from the remnant of Dewi Sri's body. From that time on, the people of the
Island of Java venerated and revered her as the benevolent "Goddess of Rice" and fertility. In the
ancient Sunda Kingdom, she was considered the highest goddess and the most important deity for
agricultural society.
Most Dewi Sri myths involve Dewi Sri (also known as Dewi Asri, Nyi Pohaci, among others) and her
brother Sedana (also known as Sedhana, Sadhana, Sadono, and others), set either in the kingdom
of Medang Kamulan (corresponding to the historical Medang Kingdom) or in Heaven (involving gods
such as Batara Guru) or both. In all versions where Sedana appears with Dewi Sri, they end up separated
from one another, through either death, wandering, or a refusal to be married. Some versions make a
correlation between Sri and the large Rice Paddy Snake (ular sawah) and Sadhana with the
paddy swallow (sriti). The nāga or snake, particularly the king cobra is a common fertility symbol
throughout Asia, in contrast to being considered representative of temptation, sin or wickedness as
in Judeo-Christian belief.

Depiction

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Ancient statue of Dewi Sri (Shiva)/ Balinese Dewi Sri

Dewi Sri is always depicted as a youthful, beautiful, slim yet curvaceous woman, with stylised facial
features idiosyncratic to the respective locale, essentially a woman at the height of her femininity and
fertility. In Javanese iconography, Dewi Sri is usually depicted wearing green, white or golden yellow
clothes with regal jewelry attire, similar to Hindu goddess Laxmi, and holding a rice plant with full rice
grains in one of her hands as her attribute (lakçana). High Javanese culture reflecting the wayang aesthetic
dictates she be depicted with a white face, thin-downward cast eyes and a serene expression. There is much
cross-pollination between the qualities, aesthetics and so forth between the deity Dewi Sri and
the wayang character Sinta in the Javanese version of the Ramayana and the same for Rama with Sedhana.
The loro blonyo (two "pedestals" or foundations) statue also have some overlap with Dewi
Sri and Sedhana. Balinese people have certain rituals to rever Dewi Sri by making an effigy as her
representation from janur (young coconut leaf), lontar leaf, or from cakes made of rice flour.

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 II
The DURGA Mahisasuramardini Temple of Sambisari

The Candi Sambisari compound

Durga Mahisasuramardini, one of the statues adorning the main temple’s outer walls

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Imagine an alternate world where ninth-century cathedrals across Europe and
mosques throughout the Middle East and North Africa were buried deep in the
ground for centuries until being rediscovered in the 20 th century. People only knew a
little about their existence, mostly from stories told over many generations, until the
fork-hoes and plows of modern-day farmers hit something hard – the long-gone
places of worship themselves – while preparing their land for the next planting
season. In the real world we live in, this is in fact what happened (and will always
happen) on Java, an elongated island near the equator that is peppered with more
than a dozen active volcanoes, rocked by powerful earthquakes from time to time,
and showered with abundant rainfall. All of this combined makes its soil one of the
most fertile on the planet, and where there is fertile land, civilization thrives.

Apart from the larger ancient temples like Borobudur and Prambanan which had
never been completely buried despite suffering from the brute forces of nature that
have shaped and reshaped the island, most structures built in the Hindu-Buddhist
period of Java had fallen into oblivion as they were hidden underneath the ground for
centuries. Some of them were accidentally rediscovered by local farmers, but many
are believed to remain covered by thick layers of soil and volcanic ash. One such
structure that has finally been kissed by the sun and drenched by the rain again after
slumbering in darkness for hundreds of years is Candi Sambisari, a ninth-century
Hindu temple dedicated to Shiva, one of the principal deities in Hinduism.

In 1966, a farmer was working on a plot of land to the northeast of the city of
Yogyakarta when suddenly his hoe hit a piece of stone made of andesite, a type of
volcanic rock that was used in ancient Java to build Hindu and Buddhist temples.
Upon closer inspection, the stone bore some carvings, and this marked the
beginning of the unearthing of Candi Sambisari – candi is a term Indonesians use to
call any ancient Hindu and Buddhist temples. Following strict guidelines, it took 21
years to fully excavate the site and reconstruct the temple as close as possible to its
original appearance, and it was seven or eight years later when I first learned about
the existence of this cultural heritage. However, it was only last year, in the middle of
Java’s dry season, that I finally paid this temple a visit.

The upper structure beckons from a distance but the ancient temple is difficult to see
because that the Candi Sambisari compound lies lower than the ground surface of
its immediate surroundings.

ARCHITECTURE

Three perwara (ancillary) temples stand to the west of the largest structure, but none
of the former have been restored to their original appearance. What remains in two
of them are only the lower half of the walls, while the other one has been reduced
merely to its base. The main temple, however, is in a much better condition; most of
its original stones were still intact during the excavation which allowed for a more
complete reconstruction. At the base of the staircase that leads up to the temple’s
sanctum are two Makara heads, each of them supported by a gana (a dwarf
character often depicted in an almost squatting position with his two hands raised
above his head). Meanwhile, the temple’s walls are adorned with floral patterns with
conch shells carved at the center of some of the bas-relief panels.

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On the north, east and south sides of the temple’s walls are niches in which statues
associated with the worship of Shiva stand, including one of Durga
Mahisasuramardini (Durga slaying the buffalo demon) that is in relatively good
shape. We climb up the stairs to reach the dark sanctum. Inside, a lingga/lingam sits
atop a yoni, both acting as symbolic representations of Shiva and Shakti (the
embodiment of Shiva’s feminine energy).

The western approach of the temple compound. These structures were once buried
in the ground for centuries

Walking toward the main temple

Candi Sambisari’s most important structure where the sanctum is located/ Makara
heads at the base of the staircase of the main temple

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Floral patterns carved more than 1,000 years ago

A bas-relief panel with a conch shell at its center//Going up to reach the sanctum

A Naga head carved on a yoni inside the sanctum

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It’s fascinating to think that for a long time generations of people who once lived in
the village where Candi Sambisari is located were unaware of the existence of this
beauty in their own backyard. Its location a little over 24 kilometers to the south of
Mount Merapi – Java’s most active and unpredictable volcano – was the reason why
this temple compound was eventually buried deep underground. The risk is still
present, though, although the direction of Merapi’s lahars change from time to time.
We walk inside and around the main temple before deciding to return to the stairs
that take us back to ground level, more than 6 meters above the base of the temple.
Prior to this trip, James, who had heard about another ancient temple called Candi
Kedulan, proposed a visit this lesser-known ruin right after Candi Sambisari due to
their relative proximity to each other.

Nur, who apparently lives not far from Candi Sambisari, takes us through small roads
that connect villages as opposed to backtracking to the main artery. He claims it’s
faster to take this route, and because he’s a local we trust him. Of course he’s right;
it only takes us ten minutes to reach Candi Kedulan. However, no other visitors are
in sight. In fact, the entire temple compound, which was also buried by lahars in the
past, is still undergoing reconstruction work with its main entrance closed and a
perimeter fenced off by barbed wire, probably to discourage looters. Its peaceful
ambiance, however, makes up for our slight disappointment for not being able to
come closer to the structures within the Candi Kedulan complex. In many ways, it
reminds me of Candi Sambisari for both temples were built around the ninth century
and now sit below the ground surface, thanks to multiple eruptions of Mount Merapi
over the centuries. But there is one significant difference: while Candi Sambisari’s
main temple faces west, Candi Kedulan’s largest structure faces east.

Everywhere I look there are signs of ongoing restoration work in this place. Semi-
transparent netting usually used at plant nurseries cover the perwara temples, most
likely to provide workers with protection from the sun while they meticulously arrange
the stones back in their original place; a small excavator sits idly at the eastern fringe
of the temple’s perimeter; and a small truck rests at the far end of the compound,
probably used to transport layers of soil from the site. Candi Kedulan was discovered
by local sand diggers in 1993, but it took more than 25 years for reconstruction work
to begin in earnest. This makes me think of Candi Losari, a smaller Hindu temple
outside Jogja which was also buried in the ground for centuries but only
rediscovered in 2004. Currently no one, apart from ancient heritage enthusiasts,
visits this intriguing place. But that may one day change if larger-scale reconstruction
work is carried out on this site.
Both Candi Sambisari and Candi Kedulan have shed more light on the cultural scene
in Java when Hinduism and Buddhism were the dominant religions on this island. I
believe there are still a lot of other temples hidden deep in the ground beneath our
feet. Some of them may still be intact, but some others may not be as fortunate since
Java is after all the most developed part of Indonesia – houses and factories may
stand right on top of some of these ‘lost temples’. However, in our next exploration of
Jogja’s ancient temples, instead of going down below the Earth’s surface, we go up
to a hill where a majestic 10 th– or 11th-century temple compound stands gracefully on
top, overlooking the city’s old airport and some of the bigger structures that were
built during Java’s classical period.

16
The west side of the main temple

The ongoing restoration work at Candi Kedulan/ The east-facing main temple and
the ancillary structures (beneath the netting)

17
 Iii
The Temple of CHANDIKA in Planggatan Java
Architecture of Java: Throughout their long history, the Javanese have produced many
important buildings, ranging from Hindu monuments, Buddhist stupa , mortuary temples,
palace complexes, and mosques . The paragon of religious monuments are the Hindu temple
of Prambanan and the Buddhist temple of Borobudur, both were built in the 9th century near
the city of Yogyakarta.

An example of secular architecture can be seen in ruins of the former capital city of the
Majapahit Kingdom (which ruled from the 14th to 16th century CE) in Trowulan, East Java.
The complex consists of various brick buildings, purification pools, temples, and iconic split
gates.

Traditional Javanese buildings can be identified by their trapezoidal roofs that are supported
by wooden pillars. Another common feature in Javanese buildings is the pendopo, a pavilion
with open sides and four large pillars. The pillars and other parts of the buildings are often
richly carved.

Traditional mosques in Java maintain a distinctive Javanese style with both the pendopo and
a trapezoidal roof, rather than the more typical dome and minarets . The roofs are often
multitiered and tiled. The split gate from an earlier Hindu-Buddhist period is still used in
many mosques and public buildings in Java. Some notable examples of mosques that use
traditional Javanese architecture include the mosques at Agung Demak, Menara Kudus, and
Banten. One such temple is unique because it reflects the Goddess of Death and Destruction
in Hinduism Chandika.

Chandi (Sanskrit: चण्डी ) is a Hindu deity. Chandika is another form of Mahadevi, similar
to Durga. Chandika is a powerful form of Mahadevi who manifested to destroy evil. She is
also known as Kaushiki, Katyayani, Asthadasabuja Mahalakshmi, Mahishasuramardini.
Caṇḍī or Caṇḍikā is the name by which the Supremely divine is referred to in Devī
Māhātmya. Chandi represents the shakti or power of Brahman. The word Chanda hints at
extraordinary traits and thus refers to the Brahman, who is extraordinary due to its complete
independence with respect to time and space. The word Chandi also refers to the fiery power
of anger of the Brahman.[2] Bhaskararaya, a leading authority on matters concerning Devi
worship, defines Chandi as 'the angry, terrible or passionate one. While scholars debate
whether an old Goddess was Sanskritized or a suppressed Goddess was reclaimed, the fact
remains that since the very early days, the Devi was worshiped in the subcontinent regardless
of whether she appears as a supreme deity in Brahminic texts. Scholars who trace her tracks
show that she was very much a part of an early theistic impulse as it was being crystallised in
the Indic mind. "Hymns to goddesses in the late portions of the great Mahabharata epic and in
the Harivamsa (AD 100-300) reveal the increasing importance of female deities in
Brahminical devotional life.… The re-emergence of the divine feminine in the Devi-
Mahatmya was thus both the culmination of centuries-long trends and the inspirational
starting point for new investigations into the nature of feminine transcendence."

18
 When she does appear in Markandeya
Purana, in the section known as Caṇḍī
Pāṭha or Devī Māhātmya, she proclaims her
preeminence:

I resemble in form Brahman

From me emanates the world
Which has the Spirit of Prakriti and
Purusha
I am empty and not empty
I am delight and non-delight
I am knowledge and ignorance
I am Brahman and not Brahman Chandika Devi temple at Kothi, Himachal
Pradesh.

This text recounts the tale of male demons and their destruction by the Great Goddess and
traces its lineage through the Devīsūkta in the Rigveda and also connects with the Samkhya
Prakriti to establish itself as a canonical text for the Shaktas. Chandi, the fiercest form of the
Goddess, is the main deity of the famous Devi Mahatmya, a great poem of seven hundred
verses (also called Durga Saptashati or Chandi Patha) which celebrates how she fights and
destroys the greatest demons. As Chandi, the destroyer of opposition, she can be invoked for
removing obstacles, to allow us to attain Puruṣārtha, the four goals of human life. The
designation of Chandi or Chandika is used twenty-nine times in the Devi Mahatmya, which is
agreed by many scholars to have had originated in Bengal, the primary seat of the Shakta or
Goddess tradition and tantric sadhana since ancient times. It is the most common epithet used
for the Goddess. In Devi Mahatmya, Chandi, Chandika, Ambika and Durga have been used
synonymously.The basis for Chandi worship is found in the Devi Bhagavata as well as in
the Markandeya Purana containing the well-known Saptashati. This narrates the three tales of
Chandika fighting and destroying the evil forces in the forms of Madhu & Kaitabha,
Dhumralochana, Chanda and Munda, Raktabeeja, Shumbha & Nishumbha, and Mahishasura.
These stories are narrated in thirteen chapters in the form of seven hundred stanzas or half
stanzas. Each of these is considered as an independent mantra, by repeating which one attains
profound benefits.
Goddess Chandi is associated with the nine-lettered Navakshari mantra that has its basis in
the Devi Upanishad, one of the five Atharva Shirsha Upanishads. It is also called Navarna
Mantra or Navavarna Mantra. Besides the Sri Vidhya mantras, it is one of the principal
mantras in Shakti worship. It is customary to chant this mantra when chanting the Devi
Mahatmya. She is supposed to live in a place called Mahakal, which is close to Kailasa.
Named after the goddess is the city of Chandigarh (literally: 'fort of Chandi'), the joint capital
of the Indian states of Punjab and Haryana.
LEGENDS
Chandika is an avatar of Durga. The three principal forms of Durga worshipped are
Mahagauri, Chandika and Aparajita. Of these, Chandika has two forms called Chandi
and Chamunda who is created by the goddess Kaushiki for killing demons Chanda and
Munda.

19
She is known as the supreme goddess Mahishasuramardini or Durga who slayed the
demon Mahishasura. She has been affiliated with and also considered
as Katyayini, Kaushiki or Ambika who killed Shumbha, Nishumbha and their fellow
demons. "The great Goddess was born from the energies of the male divinities when the
devas became impotent in the long-drawn-out battle with the asuras. All the energies of the
Gods became united and became supernova, throwing out flames in all directions. Then that
unique light, pervading the Three Worlds with its lustre, combined into one, and became a
female form."
"Devi projected overwhelming omnipotence. The three-eyed goddess was adorned with the
crescent moon. Her multiple arms held auspicious weapons and emblems, jewels and
ornaments, garments and utensils, garlands and rosaries of beads, all offered by the gods.
With her golden body blazing with the splendour of a thousand suns, seated on her lion
vehicle, Chandi is one of the most spectacular of all personifications of Cosmic energy."
In other scriptures, Chandi is portrayed as "assisting" Kali in her battle with the
demon Raktabīja. Chandi wounded him, but a new demon sprang up from every drop of his
blood that fell on the ground. By drinking Raktabīja's blood before it could reach the ground,
Kali enabled Chandi to first destroy the armies of demons and finally kill Raktabīja
himself. In Skanda Purana, this story is retold and another story of Mahakali killing
demons Chanda and Munda is added. Authors Chitralekha Singh and Prem Nath says,
"Narada Purana describes the powerful forms of Lakshmi as Durga, Kali , Bhadrakali,
Chandi, Maheshwari, Lakshmi, Vaishnavi and Andreye".
Chandi Homa is one of the most popular Homas in Hindu religion. It is performed across
India during various festivals, especially during the Navaratri. Chandi Homa is performed by
reciting verses from the Durga Sapthasathi and offering oblations into the sacrificial fire. It
could also be accompanied by the Navakshari Mantra. Kumari Puja, Suvasini Puja also form
a part of the ritual.

A Burmese portrayal of Chandi (Sandi Dewi). |NEPALI to the right

https://www.academia.edu/70426908/
THE_TEMPLE_OF_Mahishasuramardini_in_JAVA_Indonesia_book

20
 IV
Temple of Maheshasurmardini in Badhut -East Java
This is the second temple of Maheshasurmardini
the first being the Prambanan Temple
Compounds between Yogyakarta and Central
Java, Indonesia.comprising of
Prambanan, Lumbung, Bubrah and Sewu temple
compounds, all are located within Prambanan
Archaeological Park.
The temple compounds are located along Opak
River valley within Prambanan Plain or Kewu
Plain, an archaeologically rich area dotted with
numerous Hindu temples dated from the 8th and
9th centuries CE, historically linked with
the Mataram kingdom. The diversity and
sophistication of the temple compounds and
archaeological sites in this area are comparable
to Angkor archaeological site in Cambodia.

Badhut Temple was discovered by archeologists in 1923. Also known as Liswa Temple, this
ancient structure is situated in Karangbesuki Village, Dau Subdistrict, Malang Regency, East
Java. It is about five kilometers away from Malang municipality. It is believed that Badhut
Temple was built long before Airlangga came to reign, an era in which other temples started to be
constructed in East Java.

Thus, Badhut Temple is believed to be the oldest temple in the area.

Some archeologists argued that the construction of Badhut Temple was started as ordered by
King Gajayana of Kanjuruhan Kingdom. As recorded in an inscription on Dinoyo stone sculpture
(dated 682 Javanese year or AD 760), which was found in Merjosari village, Malang, the
epicenter of Kanjuruhan Kingdom was at Dinoyo area.

21
Presently, Dinoyo stone sculpture is preserved at Jakarta National Museum. The inscription states
that during the rule of King Dewasimba and his son, Sang Liswa, Kanjuruhan Kingdom enjoyed
its golden age. The people loved their fair and wise kings. Legend has it that Sang Liswa, later
addressed as King Gajayana, enjoyed making jokes (Javanese language: mbadhut), and when he
wanted a temple to be built, it was called Badhut Temple. However, no solid evidence that relates
Badhut Temple to Gajayana King has known to exist.

Badhut Temple is unique not only because it is much older than other temples in East Java. The
Kalamakara, a decorative giant head carving on the entrance, makes this Kanjuruhan Kingdom

22
temple anything but ordinary. Contrary to the common practice at other temples in East Java, the
decorative giant head carvings at Badhut Temple were made without a lower jaw, typical of
temples in Central Java. The shape of the temple, which is tubbier than other temples in the area,
is similar to temples in Central Java. Its shape and its symmetrical relief sculptures resemble
Temple Dieng (in Central Java). It is believed that Badhut Temple is a Shiva Temple, although no
Agastya statue is found inside it yet.

This andesite stone structure sits on a shelf, two meters high from the ground. The shelf is very
simple in design. It has no relief sculpture and the leftover space makes an open veranda 1 meter
in width from the temple building. On the front side of the shelf, to the right, there is a Javanese
script (hanacaraka). When the script was made is unknown.

The stairs leading to the open veranda are placed at the base of the temple, at the west side, right
in front of the main entrance. The carvings on the walls flanking the stairs are corrupted, making
an incomplete image of vines spiraling around a man playing a flute. The passageway to the
garba grha (the inner space of the temple) is adorned with a display 1.5 meters long. At the front
of the passageway, there is a wide entrance decorated with a Kalamakara carving.

Through the entrance, there is a room with dimension of 5.53 meters x 3.67 meters. In the middle
of the room lie two fertility relics, a lingga and a yoni. On the walls around the room, there are
niches that used to hold statues. The walls of the temple are adorned with relief sculptures of
man-headed birds and flute players.

23
On the four sides of the shrine, there are niches decorated with flowery patterns and man-headed
birds. Outside the walls of the temple, in the the niche at the north side, lies a damaged Durga
Mahisasuramardini statue. There used to be a statue of Shiva the Guru in the niche at the south
side, and a Ganesha statue at the east side. Both statues exist no more.

The temple was renovated from 1925 until 1926. Yet, it takes more efforts to restore the temple to
its original design since lots of fragments of the temple are either missing or unmatched. For
instance, the roof of the main building has disappeared, leaving only a flap along the top of the
remaining walls. At the west sides of the front yard, lies other untouched foundations. Also, there
are stones and debris scattering around temple yard, waiting to be restored.

Brahu Temple

Trowulan Subdistrict, Mojokerto Regency. It lies in front of the office of government agency
for Preservation of Historical and Ancient Heritages, along a highway connecting Mojokerto
and Jombang, East Java. To reach the temple, visitors must drive away from the traffic and
follow a small, paved lane heading north. Brahu Temple is on the left, 1.8 kilometers away

24
from the highway. Some people argue that Brahu Temple is older than any other temple in
Trowulan. The name Brahu is said to derive from the word 'Wanaru' or 'Warahu', a shrine
mentioned in an inscription on ‘Alasantan’ copper sculpture. The sculpture was found 45
meters to the west of Brahu Temple. The copper sculpture was made in 861 Javanese year, or
to be precise, on September 9, 939 AD by the order of King Mpu Sindok of Kahuripan.
According to local folklore, the temple served a crematory function, as a place where
Brawijayan kings were incinerated. A research was conducted and the results turned to
contradict the folklore as researches failed to find ashes or remains inside the temple.

Ancient ritual objects, jewelries, golden ornaments, and metal statues were reported to be
found within the temple compound. Those items, which bear the marks of Buddhist
teachings, lead to the conclusion that Brahu Temple was a Buddhist Temple, although no
Buddha statue was ever found. The design of the temple and the remaining of a stupa-
pedestal profile located to the southeast of the roof, however, support the claim. It is believed
that the temple was constructed in 15th century.

The temple, facing west, is rectangular in shape with dimension of 18 meters x 22.5 meters,
and it stands 20 meters high, measured from the base to the remaining roof. Similar to other
temples around Trowulan, Brahu Temple was also made of bricks. However, unlike other
temples in the vicinity, the temple body is unique in design, with multiple obtuse angles and
folds. The design is curved in the middle, which makes the hip of the temple. At the western
side, the front part of the temple, the pattern with which bricks were arranged provides more
exposure to the hip. Adding to its uniqueness, the roof, instead of rectangular in shape or
prismatic with multiple layers, is flat at the top with multiple angles.

The temple base is twofold, one on another. The lower base is 2 meters high, with stairs at
the west side leading to the lower open veranda that outlines the temple, 1 meter in width. On
the lower open veranda, there are stairs, 2 meters high, to the upper open veranda. The
temple stands on the upper open veranda. There is an opening at the west side that resembles
an entrance, two meters above the veranda. Experts believe that there were stairs linking the
upper open veranda to the opening. As the stairs no longer exist, visitors will likely to have
problems when entering the temple. It is said that the space inside the temple is wide enough
to accommodate 30 people. Although no carving or relief is found either on the base, body,
or roof of the temple, the beautiful curves and the geometrical patterns in the arrangement of
the bricks provide the decorative element.

25
The restoration of Brahu Temple started in 1990 and finished in 1995. According to the local
people, there used to be several other temples in the vicinity. They were Muteran Temple,
Gedong Temple, Tengah Temple and Gentong Temple.

Vi
The Bathing “Ghat “ Tikus Temple of East Java

Bathing Ghats or descending steps to river or lake or Pond water fromt is a ubiquitious sight
in almost all towns and large villages of India. Some of these ghats are considered HOLY
because they lead to the waters of holy rivers.
Hindus believe that bathing here purifies them of sin. It is known as a tirtha or 'crossing place'
where devotees can gain access to the divine and where gods and goddesses can come down
to earth. Varanasi or Banaras has been a centre of pilgrimage among Buddhists, Hindus and
Jains for more than 2500 years. Ghats in Varanasi are riverfront steps leading to the banks of
the River Ganges. The city has 88 ghats. Most of the ghats are bathing and puja ceremonial
ghats, while two ghats, Manikarnika and Harishchandra, are used exclusively
as cremation sites.
Most Varanasi ghats were rebuilt in the 18th century under the maratha patronage. The
patrons of current ghats are Marathas, Shindes (Scindias), Holkars, Bhonsles, Peshwes

26
(Peshwas), and Maharajas of Benares. Many ghats are associated with legends or
mythologies while other ghats have private histories and users. A morning boat ride on the
Ganges along the ghats is a popular visitor attraction.

Tikus Temple which resembles a GHAT is a unique temple design probably only one in the
world is located in Dinuk hamlet, Temon village, Trowulan Subdistrict, Mojokerto Regency,
East Java, 13 kilometers to the southeast of Mojokerto. To reach the temple site, visitors,
when taking the highway connecting Mojokerto and Jombang, turn left through Segaran Pool
and Bajangratu Temple which are located on the left. Tikus temple is also on the left of the
street, around 600 m from Bajangratu temple.

Previously buried under the ground, Tikus Temple was rediscovered in 1914. Site excavation
was conducted based on report by Mojokerto Regent R.A.A. Kromojoyo Adinegoro,
informing the discovery of miniature temple at a public cemetery. Complete restoration was
implemented between 1984 and 1985. The name 'Tikus' (rat) is used by the local community.
They say that the site was the den for a colony of rats. No written information is available
that clearly describe the time, purpose, and the builder of the temple. However, the discovery
of a miniature tower indicates that the temple was built between 13th to 14th century AD,
because miniature tower was a characteristic of architecture of that period.

The structure of Tikus Temple that resembles a pool has invited arguments among historians
and archaeologists with respects to its function. Some scholars believe that the temple was a
pool, a bathing place for imperial family, but some others think that the building was a water
reservoir and distribution channel for Trowulan people. However, the pyramidal tower
suggests that the temple also functions as a worship shrine.

The design of Tikus Temple resembles that of a bathing place, as it has a pool and several

27
buildings inside the temple precinct. Most of the buildings are made of bricks, square with
the dimension of 29.5 meters x 28.25 meters. It is interesting to note that the whole structure
stands in a pit, 3.5 meters below the ground. Above the temple, there is a 75 cm wide
walkway encircling the brink of the pit. Just one meter below it, there is a wider walkway
surrounding the pool. A descending entranceway to the temple is found at the north side. The
entranceway is a stairway, 3.5 meters in width that leads to the bottom of the pool.

There are other two pools; each is situated by each side of the stairway. Each of the
rectangular pool is 3.5 meters x 2 meters in width and 1.5 meters in depth. Near the outside
walls of each pool, there are three lotus flower-shaped fountains made of andesite stone.

Facing towards the stairs, located a bit to the south, there is a square structure with the
dimension of 7.65 meters x 7.65 meters. On this building is a 2-meter tall ‘tower’ capped
with a leveled mountain-shaped roof. The biggest tower in the middle is surrounded by eight
ancillary towers. Meanwhile, the building is encircled with a row of fountains taking the
shape of a lotus flower and a makara.

It is important to note that the temple was built using bricks of two different sizes. The base
of the temple consists of bigger bricks layered with smaller bricks. Also, the temple has two
different types of fountains. There are fountains made of bricks and there are ones made of
andesite rock.

The fact that there are two different sizes of bricks used in the temple leads to the opinion
that there are two stages in the construction of Tikus Temple. It is concluded that the bigger
bricks were used at an earlier stage, indicating that this type of bricks is older, while the

smaller ones

28
 were used later. It is also argued that the
fountain made of bricks were created during the earlier stage of temple construction. The
claim is based on the fact that in comparison to andesite rock fountains, the design of brick
fountains is less fine and smooth. Still, the exact date of temple construction remains
unknown.

29
30