Borobudur and Angkor-Wat : How politics and power shaped temple art and architecture!
Society requires that architecture not only communicate the need of the building ( For example – a temple is needed for offering prayers) but also showcase the aspirations of its builders.
When architectural forms become the vehicles of content—in plan, elevation, and decoration; they are bound to become symbolic; their symbolism can be understood consciously or unconsciously by looking at the structure . Since both these structures wanted to show the strength and power of the King sanctioned by religion, it used pyramid shapes or mountain shapes to show strength and power or the circular pathways in Borbudur and Angor Wat !
Circumambulating the various layers of the massive step pyramid in Borbudur, Cambodia one is reminded of the large tantric Buddhist Mandala sculptures from the life of the Buddha. On the topmost platform, one can clearly notice 72 small stupas surrounding one large stupa. The stupas merge into the landscape, mimicking the mountains behind them. Borobudur or Candi Borobudur is a 9th century Mahayana Buddhist structure, comprising of nine layers, of which the first five are square shaped and three circular platforms sit atop those. A hidden layer exists below the first platform, commonly known as the hidden foot.
Rediscovered by accident, it had been enclosed in stone by the ancient builders before the completion of the monument. Although the exact reasoning behind it being hidden is unclear, some scholars speculate that the move is purely utilitarian, to prevent the edifice from sliding, before the completion of the monument.
The monument has three layers to its construction. The Kamadhatu- or the realm of desire, represents the phenomenal world we live in. The Rupadhatu - or the world of form, represents the world of forms of those materials that are of a higher nature than that of the phenomenal world. The Rupadhatu consists of four square galleries above the base, decorated by balustrades. Staircases are present in the middle and at both ends of every gallery. The third and final level is called the Arupadhatu- the realm of formlessness representing materials of the highest nature, beyond recognizable form or thought. The Arupadhatu consists of levels circular terraces that contains the central stupa.
The word “Stupa” originally referred to a mound that covered the ashes or relics of the Buddha, but later came to be associated with the monument built above relics of a religious person.
Although it is referred to as such, Borobudur is not a temple, because there is no idol to be worshipped. Borobudur represents the Buddha and his many teachings.
From a historic point of view Borobudur is connected to both Indian and ancient Indonesian structures that came before it. Although it is a stupa similar to the likes of those found in India, it is also in some ways comparable to a terrace pyramid structure, the likes of which have been found in ancient Indonesian terrace sanctuaries. Borobudur, a step pyramid stupa, is clearly a unique mixture of both cultures- global and local.
The series of reliefs on the lower levels tell the story of how the historic Buddha transformed, from his stay up in heaven, his previous lives and his first lecture at the Lumbini forest. The subtle differences in the reliefs indicate to us the different levels. The Borobudur terraces are a reward for the lessons taught in the galleries. And thus, the architecture of the time and place successfully capture the religious and cultural heritage of the Mahayana Buddhist practices and teachings in Indonesia at the time.
Angkor-Wat
Angkor-Wat is a 12th century Buddhist temple located in Angkor, Cambodia that was built by the Khmer king Suryavarman , in what is now known as Angkor, and was originally a temple dedicated to the Hindu God Vishnu. We know this because it largely differs from traditional Khmer architecture of the time in that it is an example of a west facing temple.
Containing three galleried temples, and an outer wall 3.6 km long, Angkor wat is a unique plan of the temple mountain and the concentric galleries common to Khmer architecture at the time.
Considered to be a representation of mount Meru, the divine mountain where the gods reside in traditional Hindu texts, the temple mountain is made to be an architectural depiction of the mountain. The mountain like shape of the temple was enhanced with its pyramid like elevated layers, while the elevated sanctuary at the center of the temple structure was supposed to represent the home of the gods.
Architecturally, this style can be characterized by its ogival, lotus bud shaped towers, broad passageways, cruciform terraces and axial galleries. Unlike traditional Khmer temples, however, Angkor Wat is oriented to the west rather than the east, leading some historian to believe that Suryavarman originally intended for it to be used as his funerary temple. Even the relief at the temple are in the reverse order of the usual, leading many to believe in its funerary intentions, as Brahminic funerary services involve rituals in reverse order too.
Apart from the more noticeable differences, Angkor wat also differs in the way that it uses measurements were used during its construction. In traditional Khmer temple architecture, measurements have several layers of meaning, both for utilitarian purposes and divine. The elongated corridor at the end of the north and south hallways have an uneven split, even though they are equally divided with 54 pillars on each side that add up to a total of 108 pillars, referencing the divine number that is often prayed to in ancient Hindu texts.
Temples were constructed to serve many purposes but perhaps the most important one was, to showcase the king’s connections with the divine and establish their legitimacy and power over the people. The temples became “testaments to royal legitimacy”. The Hindu King SuryaVarman ordained the Angor-wat temples and the Buddhist rulers of the Sailendra Dynasty got Borbudur made to show off their complete and total control and all pervasive powers over the masses , just like God they worshipped – an extension of the divine right theory and easy accept from the masses, both these aims were achieved by the building of these temples. Hence, they were more a political and religious statements than actual love for God!
Religio- political ideas that shaped the architecture
The study of ancient architecture not only in South East Asia but around the world shows that the most important and exalted buildings were always temples and churches or mosques as they stood for the universal appeal of religion in the State and an expressive and powerful icon of their rulers and their authority over the masses. It was and maybe is, the most permanent, and the most influential building in most communities and has a unique religio-political backing to its architecture, drawings and structure as a whole.
In Borbudur and Angor-Wat we see the same being portrayed, not so subtly. The Kings used their authority to make massive structures and reinforce their “divine right theory of kingship “which is a politico-religious theory of king being a representative of God on earth , just as powerful and divinely ordained and any attempt to restrict his powers or rebel against him is sacrilegious.
The typology of religious architecture is complex, because there is no basic requirements such as those needed in building a house or a school as the functions of any one religion involve many different kinds of activities, all of which change with the evolution of cultural patterns. Hence, there cannot be any one standard structure of temple architecture.
Even the place where the temple was erected shows power and privilege- both the structures are surrounded by a summit of pyramidal mounds and hillocks , only privileged members of the community were allowed to approach it from one side and no one else could enter from that side.
Massive lawns surrounding the temple at Angor wat
Both the temples had massive lawns and facades , symbolizing the power of the king and to make sure that the subjects never forgot to associate the King and the royal household with God and his omnipotent powers.
The temples were a statement of the kings power and complete control over his kingdom , sanctioned by God and hence these structures were built to showcase the same . As the main aim was to constantly remind the people of the complete and unconditional authority of the kings, the temple architecture and the hallways and the pyramidical structure was all designed to be imposing , powerful, vast and overwhelming .
The modern temple plans are determined by problems of space and need relationships, etc. but ancient temples had symbolic communication with the onlooker.
Decoration is the most easily recognised element of communicating an idea or content and both have been used well in Angor –Wat and Borbudur. Angor Wat has murals and stone etchings from the Ramayanas and of the Holy Trinity – Vishnu, Shiva and Brahma , while Borbudur is decorated with events from the life of Budhha, not only do they remind the visitor of God and his powers , but it also reminds him about the great kings that built them !
Bas relief from Angor Wat showing a scene from the Ramayana.
Hence, both these structures were not just mere places of worship but a crucible of the political and religious ideologies of their times. A perfect melange of the power of State as portrayed by the King and force of religion as portrayed through the temple structures, its domes, arches, pyramids and sculptures- to remind the general populace of the indomitable power of the monarchs.
