The traditional and conventional language of symbols, common in Buddhist and Hindu art, has been applied in profusion, especially in the scenes depicting religious or fabulous subjects. We recognize the traditional sitting poses, in the cases of the garuda and the naga kings, based on the majestic maharajalilasana posture of Indian iconography [ 1 ]. Also the conventional hand-poses, and other attitudes of deference, all belong to the common repertory of Buddhist/Hindu language of symbol. But we also notice an obvious relaxation of the rigid rules of Indian imagery for the sake of balance, and also to create a more suitable composition for the scenarios. The use of left hand for the gestures prescribed by the Indian rules to be performed by the right hand, has become permissible while the meanings of the hand-gestures have also become expanded in many instances. The varamudra with open palm turned downward for giving can mean either giving or receiving, or even asking for charity, and in many cases the one gesture can indicate both giving (to supplicants) and receiving (from servants and admirers) [ 2 ]. The use of the vitarkamudra for teaching, expounding the doctrine and instigating intellectual discussion, is also often extended to suggest friendly addressing, as well as a conversation in general [ 3 ]. The abhayamudra - with open palm turned upward, traditional gesture for protection and reassurance - has been used at times for the opposites, to mean rejection and forbidding [ 4 ]. In additional to these conventional attitudes taken over from the ancient Indian tradition, we also notice an extensive use of spontaneous and natural body language to achieve more meaningful and livelier expressions [ 5 ]. The sculptors appear to have had a wide range of freedom to apply their creative thinking and artistic ingenuity when it was not the matter of strictly religious principles [ 6 ].

Conventional items of dress and physical appearance, such as the sober attire and the matted locks of ascetics, as well as inanimate objects e.g. boxes and pots of treasure, bundles of fine cloths, and large vessels for food and drink, are also used to indicate the way of life as well as the material wealth and physical comfort of the persons. A kamandalu - spouted jar, typical water-container used by ascetics [ 7 ], and a parasol [ 8 ] - tell us of the users’ profession or way of life, which books represent knowledge and wisdom [ 9 ]. Proper kinds of offerings for respectful persons and institutions, including monks and ascetics, being, flowers, garlands, incense, fragrant powder, scented oil [ 10 ], are retained in scenes of reverence and worship, to remain part of the traditional culture of Indonesia for many long centuries to come.

Animated motifs, such as birds and animals, are also used as well as inanimate objects to suggest the atmosphere of the places [ 11 ]. Vases of lotus flowers often appear in scenes of auspicious gatherings, suggesting purity as well as the dynamics and successful outcome of the occasions [ 12 ].