Borobudur

Walking up to Borobudur, the world’s largest Buddhist temple, one could be forgiven for confusing the man-made wonder for a small mountain. Built in the 9th century, abandoned in the 14th, and long forgotten afterwards under layers of ash and a thick growth of jungle, Borobudur could very well have looked even more like a mountain than it had to us before Dutch colonialists, intrigued by superstitious tales of ill-omened ruins deep in the wilds of the Indonesian island of Java, dug the temple out of its bushy overgrowth and revealed it once more to the world as the awe-inspiring structure that it was.

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Having visited Prambanan, a nearby Hindu temple complex, the day before, we worried that our appreciation of Borobudur would be somehow diminished as a result. From afar, the temple, a dark gray blotch crowding the horizon, was impressive in size only, its shadowed figure standing in stark contrast to the vibrant greens of the grass and trees surrounding it. Up close though, it became a work of art with a myriad of details covering its different levels, which, like terraces, corralled up and out of sight towards its apex. The more we took it in, the more our worries of Borobudur being somehow dulled because of our time at Prambanan became laughable.

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The temple was not at a lack of buddha statues, boasting over 500 of them

Unlike Prambanan, choosing how to experience Borobudur proved rather easy. While the former had a multitude of temples scattered about its grounds with no discernible way to view them apart from wandering around aimlessly, Borobudur consisted of just one temple, however massive, and just one suggested route for viewing it. The five-kilometer route, as old as the temple itself and just as important to its spirituality as the many carvings and statues covering its walls, consisted of circumscribing each level in a clockwise fashion until reaching the top; a journey meant to symbolize one’s worldly pursuit and ascent towards nirvana. Each level, we would discover later, represented a different stage in that pursuit: the lower levels representing the world of desires where one’s identity is tied to the things they want in life, which is, namely, life itself; the middle levels the world of forms where one no longer pursues desire but whose identity is still linked to their face and name; and the topmost level the formless world or nirvana where identity melts away into eternal nothingness.

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Apart from the three sections mentioned above, other reliefs were discovered buried under the foot of the temple during renovations. The reliefs in this section either depicted humanity’s bad habits or scenes from Buddhist hell. In this relief, as described by the original description etched above it, people are gossiping to one another, looking not too unlike how people might look while gossiping today.

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While there was plenty to take in at eye level, looking up always yielded a reward

As we ascended the temple level by level, we found ourselves unconsciously adhering to what each section represented. In the lower levels, the world of desires, we were greedy in our want to take in every detail. This turned out to be quite the pursuit as every inch of each level’s corridor was covered with reliefs depicting various scenes from the Buddha’s life as well as the glories of the kingdom that constructed Borobudur; to say nothing of the countless other statues and carvings that seemed humbly content with being one of the many minor and overlooked details of the temple, which, when taken as a whole, contributed flawlessly to its grandiosity.

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Archeologists believe that Borobudur’s, reliefs, which number in the thousands, used to be covered with vibrant paint

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Moving further up into the world of forms, we found ourselves resigned to fact that there were simply too many details to take in and became content instead with appreciating the temple as a whole, our attention often drifting from the reliefs and carvings that still ran alongside our path to the natural scenery outside the temple, whose beauty and expanse seemed to grow with each level.

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Looking over the shoulders of a headless buddha statue

To pass from section to section, it was necessary to walk through a doorway atop which sat a deity called Kala, who is said to represent time. As one ascends further towards the formless world, they must continuously grapple with the concept of time and their relationship with it. As you willingly give up desires and identity, you resign yourself to the impermanence of all things, an essential step in moving closer to nirvana. 

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Heading through one last doorway before finally reaching the top of the temple

Passing under our last Kala-capped doorway, our journey took us outside the boundaries of time altogether to the formless world, where the multitude of carvings fittingly gave way to vast open spaces void of detail save the stupa encased Buddha’s dotting the platform. The experience was transcendent. We knew nothing of the stories that the reliefs depicted and were oblivious to the meanings behind the other carvings and imagery of the temple until the writing of this blog, yet when standing atop the temple and looking out at the vast valley it sat in, we experienced an overwhelming state of calm and appreciation toward the greater world, a mindset that was fiercely challenged by the hordes of tourists surrounding us who had also achieved metaphorical nirvana.

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Nirvana means “extinguished,” which is how the temple’s uppermost level felt in comparison to the other, more detailed sections

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Our blissful crash course in nirvana attainment came to an abrupt end as security guards ushered us out of the upper tier of Borobudur and back to the world of desires where, for the rest of the night, our only desire would be to return to the temple and experience it once more.

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The descent from nirvana proved to be considerably easier than the climb towards it
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The source of our dinner that night, a street side warung
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…that we enjoyed on the street. An enjoyable (and delicious) way to end the day!