The general story-line as known from the different versions of the Karmavibhanga has been condensed, restructured and recast by the priestly designer of Borobudur, not only to comply [ 1 ] with the available space at the monument. The Karmavibhanga, probably written in ancient India during the early centuries CE, outlines the fundamental principles of Buddhism that can be applied in their global and timeless contexts to all humanity. Besides conventional themes modelled on Indian conventions and styles of depictions, the stories unfolded themselves in the local surroundings of Java around the 9th century. Images of human happiness and heavenly enjoyment were actually modelled on what were traditionally conceived of as the best and the most desirable to man, embellished by descriptions drawn from religious literature of the Buddhists and the Hindus. Besides the stereotypical fairy landscape and fabulous details conventional of man’s conception of heaven, and the gory revelations of punishments in hell, the makers of this set of reliefs absorbed much of the actual environments they encountered and observed around them.
There are 160 panels in all to be filled with scenes that must be properly distributed, and their contents specified, to produce the most effective scenarios to visually bring out the underlying messages, through the co-operation and artistic talents of the working team.
There are 160 panels in all to be filled with scenes that must be properly distributed, and their contents specified, to produce the most effective scenarios to visually bring out the underlying messages, through the co-operation and artistic talents of the working team.
The first and the last panels duly follow the first and the last stanzas of the Karmavibhanga text, but selections and emphases have been made of the verses in between. The architect-designer strictly maintained the general story-line of the Karmavibhanga, based on a parallelism of cause and result.
Nevertheless, the architect-designer must have had access to other literary sources. All researchers have agreed on this. Many scenes, such as those revealing the other worlds of existence in the universe, find parallel descriptions in the Abhidharmakosa of Vasubandhu, as stated by Hikata and Fontein. A depiction of the world of the garudas [ 2 ] among those of other semi-divine beings, appears to have been inspired by yet some other sources, such as those favoured by the early Theravada traditions, which remain current in Myanmar and Thailand to-day. In such systems, the world of the garudas is located in the fabulous Simbalivana Wood of the Red Cotton-Trees, standing at the foot of the world mountain Meru, bordering on the subterranean world of the nagas. It is conceived of as one of the good worlds (sugati), which, according to the priestly designer of this set of reliefs, can be attained by such good deeds as revering and worshipping persons of true knowledge and purity.
Nevertheless, the architect-designer must have had access to other literary sources. All researchers have agreed on this. Many scenes, such as those revealing the other worlds of existence in the universe, find parallel descriptions in the Abhidharmakosa of Vasubandhu, as stated by Hikata and Fontein. A depiction of the world of the garudas [ 2 ] among those of other semi-divine beings, appears to have been inspired by yet some other sources, such as those favoured by the early Theravada traditions, which remain current in Myanmar and Thailand to-day. In such systems, the world of the garudas is located in the fabulous Simbalivana Wood of the Red Cotton-Trees, standing at the foot of the world mountain Meru, bordering on the subterranean world of the nagas. It is conceived of as one of the good worlds (sugati), which, according to the priestly designer of this set of reliefs, can be attained by such good deeds as revering and worshipping persons of true knowledge and purity.
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