Iconography of the Late East Javanese temple reliefs

Abstract

This publication provides a new understanding of the religious function of the East Javanese temples. The study of the cap-figures and their symbolism yields an outstanding contribution to the uniqueness of Majapahit culture. I. Introduction -- II. Narrative reliefs and Panji stories -- III. Iconography of the late East Javanese temple reliefs -- IV. Temples in context of religion and politics -- V. Table of depictions of cap-figures in Majapahit art in chronological order -- VI. Candi Jago: the cap, a new fashion of headgear -- VII. Candi Panataran: Panji -- VIII. Candi Surowono: Sidapaksa, a nobleman with a cap -- IX. Candi Mirigambar: Panji, the ideal lover and warrior -- X. Sanctuaries on Mount Penanggungan: Candi Kendalisodo, Candi Yudha, and the Panji statue from Candi Selokelir -- XI.conclusion: Panji and the cap-figure as intermediary characters on the path to tantric rituals. Following The Cap-Figure In Majapahit Temple Reliefs; Copyright; Contents; Acknowledgements; Technical notes; List of figures, tables, and plates; I. Introduction; Introducing the subject; previous research; methodology; outline; II. Narrative reliefs and panji stories; narrative reliefs and literary traditions; panji stories; the literary genre; previous research; symbolism of the panji stories; narratives, panji stories, and performing arts; III. Iconography of the late east javanese temple reliefs; iconographical conventions in the late east javanese temple reliefs; types of characters. Types of posturestypes of place; the cap-figures; the term 'cap'; iconography and classification; the kadeyan: gambyok relief and grogol statues; the gambyok relief; the grogol statues; further kertolo statues; IV. Temples in context of religion and politics; architecture of the majapahit period; the religious belief systems: saiwism and buddhism; tantrism; religious practices in majapahit temples; the politics of majapahit; temples in the 'unity of the realm'; the decline of majapahit -- mountain sanctuaries; water and mountain in ancient javanese mythology and art. v. Table of depictions of cap-figures in majapahit art in chronological orderselection of case studies; VI. Candi jago: the cap, a new fashion of headgear; layout and architecture; history and function; reliefs with cap-figures; tantri stories; angling dharma story; kunjarakarna story; sudhanakumara-awadana story; conclusion; VII. Candi panataran: panji, introducing the pilgrim into the tantric doctrine; layout and architecture; history and function; iconography and interpretation of the reliefs with cap-figures; the outer bathing place; the pendopo terrace (C). Analysis of the symbolic meaning of the reliefs on the pendopo terracethe naga temple (E); the small pendopo terrace (F); the dwarapala in front of the main temple; the main temple (G)/(H); the inner bathing place (I); conclusion; VIII. Candi surowono: sidapaksa, a nobleman with a cap; layout and architecture; history and function; iconography and interpretation of the narrative reliefs; the sri tanjung reliefs; the arjunawiwaha reliefs and the bubukshah reliefs; cross-references between the three narrative relief series; conclusion; addendum: further cap-figures. IX. Candi mirigambar: panji, the ideal lover and warriorlayout and architecture; history and function; iconography and interpretation of the narrative reliefs; conclusion; X. Sanctuaries on mount penanggungan: candi kendalisodo, candi yudha, and the panji statue from candi selokelir -- the climax; geographical situation and layout of the sanctuaries; history and function of the sites; candi kendalisodo; candi yudha; the panji statue from candi selokelir; conclusion; xi.conclusion: Panji and the cap-figure as intermediary characters on the path to tantric rituals.