Himalayan Art Resources

Indonesia: Tantric Sculpture Introduction

Indonesia: Sculpture

Indonesian Tantric Buddhist Sculpture

Indonesian sculptural art belonging to the tantric Buddhist or Hindu traditions is known for its intricate and skillful craftsmanship along with the well acknowledged rich symbolism. It clearly reflects a blend of influences from Indian Buddhism, local Javanese culture, and likely some indigenous beliefs. There is even an early connection between Indonesian Buddhism and the Shingon Tradition of Japan.

Its main source of influence came from India from the 1st century onward, and the earliest Buddhist structure to survive to the present are 4th century Batujaya plastered brick stupas in West Java. That said, popularity for tantric Buddhist sculpture reached its golden era in the Sailendra dynasty of the Srivijaya empire, between the 7th-11th centuries.

Vajrabodhi, one of the eight patriarchs of Shingon Buddhism, is also known for bringing Vajrayana Buddhism to Indonesia during the Srivijaya empire which subsequently became Indonesian tantric Buddhism. Atisha Dipamkara is also believed to have spent 12 years in Srivijaya to study under the guidance of Dharmakirti, a 10th century master of Buddhist philosophy and logic. Early tantric source texts for many Charya and Yoga tantras such as the Mahavairochana Abisambhodhi and Tattvasaṃgraha Tantras were popular among practitioners of the time and sculptures of figures from the texts were commissioned in Borobudur, Sewu, Mendut and Plaosan.

The typical tantric Buddhist iconographic subjects generally depict deities and enlightened beings, such as Buddhas, Bodhisattvas, wealth deities and wrathful figures. Each figure can have distinct hand attributes along with symbolic gestures (mudras), representing in an abbreviated way specific teachings or aspects of enlightenment. Common subjects based on the number of known sculptural examples in modern museums are Vairochana, Shakyamuni, Akshobhya and Amitabha Buddha, along with the figures of Tara, Avalokiteshvara, Manjushri, Prajnaparamita, Jambhala and Hevajra.

The majority of these sculptures serve as objects of veneration and sometimes meditation, encouraging devotees to remember the Dharma path. They are believed by some to possess spiritual power and function as an aid on the path to enlightenment. Although, the majority of religious followers are likely content with obtaining worldly happiness and comfort.

Indonesian sculpture are renowned for their intricate details and skilled craftsmanship. The artists typically carve delicate facial expressions, ornate jewelry, flowing robes where appropriate, rotund bodies for the wealth deities and muscular bulky features for the wrathful and protector deities.

Sculptures are typically made from various materials, including stone, metal, and wood. Stone sculptures are prevalent in ancient sites like Borobudur and Prambanan, while metal statues of various alloys are more common in later periods. Lava stone, being porous and dense, was often preferred by artists in Borobudur to create Shakyamuni Buddha images.

Syncretism is a word commonly used to describe Indonesian tantric art as it often reflects the merging of local beliefs and Hindu-Buddhist traditions. It can also incorporate some elements from indigenous myths and possibly some early animistic practices, blending them with Buddhist symbolism and iconography.

Similar to other South Asian and East Asian cultures, Indonesian tantric Buddhist art showcases an early yet significant fusion of cultural influences, spiritual symbolism, and artistic excellence, making it an important part of Buddhist tantric cultural heritage.

Shinzo Shiratori, 7-2023


Resources:

Worshiping Siva and Buddha: The Temple Art of East Java. Ann R. Kinney, Marijke J. Klokke, Lydia Kieven. University of Hawaii Press, 2003. [Video Review]

Stone Sculpture from the Eighth to the Fifteenth Century. Leslley S. Pullen.

The Sculpture of Indonesia. Jan Fontain. Abrams, 1990.

Entering the Dharmadhātu: A Study of the Gandavyūha Reliefs of Borobudur. Jan Fontain. Brill, 2012.

(The images below are only a selection of examples from the links above).