Gunadharma, architect of Chandi Borobudur

Viewed from the stupa of the circular platform, it seems like the profile of a man lying on the slope of the mountain. The nose and the chin are clearly delineated. The story goes that the ridge depicts Gunadharma, the architect of Chandi Borobudur, according to tradition, the one who is believed to keep watch over his creation through the ages. 
Source: Guiding Technique Chandi Borobudur arisguide. 

Architecture

Chandi Borobudur differs from the general design of such structures. It's not a building in which erected on a flat, a horizontal base, having an inner space for the enthronement of a statue, but a stepped pyramid, consisting of nine superimposed terraces, and its crowned by a great bell – shaped stupa.

The archeological excavation into chandi Borobudur during the reconstruction suggests that the adherents of Hinduism or a pre-Indic faith had already begun to erect a large structure on chandi Borobudur’s hill before the site was appropriated by the Buddhists. The foundations are about unlike any Hindu or Buddhist shrine structures, and therefore, the initial structure is considered much more indigenous Javanese than the Hindu or the Buddhist.

Chandi Borobudur is built as a single big and large stupa, when it's viewed from above, it takes in the form of a giant Tantric Buddhist Mandala, simultaneously representing the Buddhist cosmology and the nature of mind. The design of chandi Borobudur took in the shape of a step pyramid. Previously, the prehistoric Austronesian megalithic culture in Indonesia that had constructed in several earth mounds and the stone step pyramid structures called punden berundak.

Chandi Borobudur the ground plan taking in the shape of a Mandala.
Source: Guiding Technique Chandi Borobudur arisguide. 

The original foundation is a square, its approximately 118 meters (387 ft.) on each side. It has nine platforms, of which the lower six are square and the upper three are circular. The upper platform features seventy - two small stupas surrounding one large central stupa. Each stupa is a bell - shaped and pierced by numerous decorative openings. Statues of the Buddha sit inside the pierced enclosures.

The monument's three divisions symbolize the three "realms" of the Buddhist cosmology, namely Kamadhatu (the world of desires), Rupadhatu (the world of forms), and finally Arupadhatu (the formless world). The ordinary sentient beings live out their lives on the lowest level, the realm of desire. Those who have burnt out all desire for continued existence leave the world of desire and live in the world on the level of form alone: they see forms but are not drawn to them. Finally, full Buddhas go beyond even form and experience reality at its purest, most fundamental level, the formless ocean of nirvana.

The liberation from the cycle of Samsāra where the enlightened soul had no longer attached to worldly form corresponds to the concept of Śūnyatā, the complete voidness or the nonexistence of the self. Kāmadhātu is represented by the base, Rupadhatu by the five square platforms (the body), and Arupadhatu by the three circular platforms and the large topmost stupa. The architectural features between the three stages have metaphorical differences. For instance, square and detailed decorations in the Rupadhatu disappear into plain circular platforms in the Arupadhatu to represent how the world of forms—where men are still attached with forms and names—changes into the world of the formless.

the three stages, the metaphorical differences, square and detailed decorations in the Rupadhatu disappear into plain circular platforms in the Arupadhatu.
Source: Guiding Technique Chandi Borobudur arisguide. 

The superstructure is clearly distinguished from the terraces. It consists of three re-entrant circular platforms, each of which supports a row of perforated stupas. Surmounting the rows of stupas, which are arranged in concentric circles, the central dome on top of the whole monument soars into the sky to a height of nearly 35 m above ground – level. Access a series of gates, a stair leads directly to the circular platforms, at the same time intersecting the corridors of the square terraces. Staircases are mounting from the lower - lying plain to the elevated plateau, and linking up with the stairways of the monument.

Statue of guardian lion
Source: Guiding Technique Chandi Borobudur arisguide. 

The entrances are guarded by stone lions; other lions watch at the different levels of the pyramid - a total of 32 lion statues. Spouts were provided at the corners of the mounting stages to drain off rain - water from the galleries. The 100 spouts are carved in the shape of makaras (gargoyles).

Narrow stairs of Kala Makara
Source: Guiding Technique Chandi Borobudur arisguide. 

Chandi Borobudur is built on a long natural hill, the ridge of which was levelled and converted into a plateau. The main part of the plateau forms the site of the monument. This walls on the top of the hill which had remained intact. The plain on the north - western spur of the hill provided the site for the monastery.

The plateau of chandi Borobudur is in 15 m higher than the surrounding plain, the top of the hill rises about 19 m above the plateau. It is over the top of the hill constructed. A considerable as the hill top was not sufficient to serve as the core of the structure. The building technique is used in the construction of chandi Borobudur in stone. The material was not collected from quarries, but taken from neighboring rivers. The stones were fashioned and cut to size, transported to the site, and laid without mortar.

The stones are made to grip by means of dove tails in the horizontal connections, and indentations in the vertical joints. The use of a knob on one side of a stone fits into a corresponding hole in the next is frequent. These arrangements allow a certain flexibility, so the monument stands with light movements without under going any immediate danger of collapse. When building was completed, the carvings and other embellishments were added. Normally they started from the top, but could also be added simultaneously at several parts.

Stupa and Buddha statue
Source: Guiding Technique Chandi Borobudur arisguide. 

The structural design

Chandi Borobudur represents many layers of Buddhist theory. From a bird’s eye view, it is in the shape of a traditional Buddhist mandala. A mandala is central to a great deal of Buddhist and Hindu art, the basic form of most Hindu and Buddhist mandalas is a square with four entry points, and a circular center point.

The wall of relief
Source: Guiding Technique Chandi Borobudur arisguide. 

Working from the exterior to the interior, three zones of consciousness are represented, with the central sphere representing unconsciousness or Nirvana. Chandi Borobudur takes a quite different view of its structural composition.

The big stupa is to be erected on a multiple base, but hardly in such a way that it is wholly dwarfed in size and importance by that base. In the center of the base there is a pit, at the bottom of which a ritual deposit box was placed. The box contained the Pripih which consisted of several pieces of  metal, precious stones and various seeds, symbolizing the earthly elements. A balustrade levels which also have a great deal of purely ornate reliefs. Over the pit, in the temple-chamber, he image of the God was enthroned. In the superstructure of solid stone, a small space was reserved for another Pripih which represented the divine elements. Buddhism lays particular stress on the stages of mental preparation to be undergone before attaining the ultimate goal, the definitive liberation from all earthly bonds and the absolute exclusion from being reborn.

The path that guides pilgrims was designed to symbolize Buddhist cosmology;

The hidden base
Source: Guiding Technique Chandi Borobudur arisguide. 

Kamadhatu

Illustrating the human behavior of desire.

Borobudur’s hidden base, the Kamadhatu level consists of 160 reliefs, they are depicting scenes of Karmawibhangga Sutra, the law of cause and effect. Illustrating the human behavior of desire, the reliefs depict robbing, killing, rape, torture and defamation.

This base level has been covered by a supporting foundation, hidden from view. During an investigation by Yzerman in 1885 the original foot was discovered. The additional base was added during the original construction of the temple. The reason for adding the base is not a certain, but likely to be either for stability of the structure, to prevent the base from moving, or for religious reasons – to cover up the more salacious content. The added base is 3.6 m in height and 6.5 m wide. A corner of the covering base has been permanently removed to allow visitors to see the hidden foot, and some of the reliefs. Several photograps, the collection of 160 reliefs is displayed at the Borobudur Museum.

Rupadhatu
Source: Guiding Technique Chandi Borobudur arisguide. 

Rupadhatu

The transitional sphere, humans are released from worldly matters.

The four square levels of Rupadhatu contain galleries of carved stone reliefs, as well as a chain of niches containing statues of Buddha. In total there are 328 Buddha on these balustrade levels which also have a great deal of purely ornate reliefs. The Sanskrit manuscripts that are depicted on this level over 1,300 reliefs are Gandhawyuha, Lalitawistara, Jataka and Awadana. They stretch for 2.5 km. In addition there are 1,212 decorative panels.

The upper part of the walls consists of niches with decorative reliefs. There are 432 niches around the five terraces, each containing a seated Buddha statue. And since the walls behind the niches constitute the inner facade, the row of 1472 stupas form in the balustrades its counterpart in the narrative reliefs. In the square terraces of the Rupadhatu, the circular platforms representing the Sphere of Formlessness are plain: no carvings, no ornaments, no embellishments. The only break in the monotonous plainness is offered by the row of stupas that encircle the big central dome.

Stupa terraces
Source: Guiding Technique Chandi Borobudur arisguide. 

Arupadhatu

The highest sphere the abode of the gods.

The three circular terraces leading to a central dome or stupa represent the rising above the world, and the terraces are a great deal less ornate, the purity of form is paramount. The terraces contain circles of perforated stupas, an inverted bell shape, containing sculptures of Buddha, who face outward from the temple.

There are 72 stupas in total. The impressive central stupa is currently not as high as the original version, which rose 42 m above ground level, the base is 9.9 m in diameter. Unlike the stupas surrounding it, the central stupa is empty and conflicting reports suggest that the central void contained relics, and other reports suggest it has always been empty. The upper part of the walls consists of niches with decorative reliefs. There are 432 niches around the five terraces, each containing a seated Buddha statue. And since the walls behind the niches constitute the inner facade, the row of 1472 stupas form in the balustrades its counterpart in the narrative reliefs.

In the square terraces of the Rupadhatu, the circular platforms representing the Sphere of Formlessness are plain: no carvings, no ornaments, no embellishments. The only break in the monotonous plainness is offered by the row of stupas that encircle the big central dome. Supported by lotus cushions, the stupas are arranged in three concentric circles, corresponding to the three circular platforms. In all there are 72 stupas: 32 on the lowest or first platform, 24 on the second and 16 on the third. Each of the 72 stupas has a kind of lattice - work surface, composed of stones and diamond - shaped empty spaces which partly disclose the seated Buddha statue inside.

The Sanskrit manuscripts that are depicted on this level over 1,300 reliefs are Gandhawyuha, Lalitavistara, Jataka and Awadana. They stretch for 2.5 km. In addition there are 1,212 decorative panels. The three circular terraces leading to a central dome or stupa represent the rising above the world, and the terraces are a great deal less ornate, the purity of form is paramount. The terraces contain circles of perforated stupas, an inverted bell shape, containing sculptures of Buddha, who face outward from the temple.

There are 72 stupas in total. The impressive central stupa is currently not as high as the original version, which rose 42 m above ground level, the base is 9.9 m in diameter. Unlike the stupas surrounding it, the central stupa is empty and conflicting reports suggest that the central void contained relics, and other reports suggest it has always been empty.

the circular platforms representing the Sphere of Formlessness
Source: Guiding Technique Chandi Borobudur arisguide. 

In the square terraces of the Rupadhatu, the circular platforms representing the Sphere of Formlessness are plain: no carvings, no ornaments, no embellishments. The only break in the monotonous plainness is offered by the row of stupas that encircle the big central dome.

Building structure

Borobudur differs markedly from the general design of other structures built for this purpose. Instead of being built on a flat surface, Borobudur is built on a natural hill.

Approximately 55,000 cubic meters (72,000 cu yd.) of andesite stones were taken from neighboring stone quarries to build the monument. The stone was cut to size, transported to the site and laid without mortar. Knobs, indentations and dove tails were used to form joints between stones. Reliefs were created in "situ" after the building had been completed.

The basic unit of measurement used during construction was the "tala", defined as the length of a human face from the forehead’s hairline to the tip of the chin or the distance from the tip of the thumb to the tip of the middle finger when both fingers are stretched at their maximum distance. The unit is thus relative from one individual to the next, but the monument has exact measurements.

A survey conducted in 1977 revealed frequent findings of a ratio of 4:6:9 around the monument. The architect had used the formula to lay out the precise dimensions of the fractal and self - similar geometry in Borobudur’s design. This ratio is also found in the designs of chandi Pawon and chandi Mendut, nearby Buddhist temples. Archeologists have conjectured that the 4:6:9 ratio and the tala have calendrical, astronomical and cosmological significance, as is the case with the temple of Angkor Wat in Cambodia.

The main structure can be divided into three components: base, body, and top. The base is 123 m x 123 m (404 ft x 404 ft.) in size with 4 meters (13 ft.) walls. The body is composed of five square platforms, each of diminishing height. The first terrace is setback 7 meters (23 ft.) from the edge of the base. Each subsequent terrace is set back 2 metres (6.6 ft.), leaving a narrow corridor attach stage. The top consists of three circular platforms, with each stage supporting a row of perforated stupas, arranged in concentric circles.

Barabudur atau Borobudur, Candi Buddha Pusaka Budaya Indonesia, Keajaiban Dunia
Source: Guiding Technique Chandi Borobudur arisguide. 

Source: Guiding Technique Chandi Borobudur arisguide.