sunshine
06-04-2016, 15:15
Sari temple is located in Bendan hamlet of Tirtamartani village, Kalasan, Sleman about 10 kilometers from Yogyakarta, and only around 3 kilometers from Kalasan temple. The temple is also named after the hamlet where it is situated.
It is estimated that the temple was built at the same time as Kalasan temple on the 8th century AD during the rule of King Panangkaran. The two temples indeed have many similarities either in its architecture or relief. That these temples are correlated is stated in Kalasan inscription (700 Saka/778 AD). The inscription mentions that the spiritual advisors of Syailendra dynasty suggested King Tejapurnama Panangkarana or Rakai Panangkaran to build a shrine and a monastery for Buddhist monks. Following the suggestion, the king built Kalasan temple to the worship of Dewi Tara Sari temple as a monastery for Buddhist monks. That Sari temple serves as a monastery is indicated in the temple’s structures, structural components, and interior. The bell-shaped stupa on top indicates that this is a Buddhist temple.
Sari temple was discovered in ruins in the early 20th century. The first restoration was conducted between 1929 and 1930. Kempers said that the first restoration was not satisfying, as it failed to restore the temple to its original form because parts of the temple could not be found. In addition, parts of the temple had crumbled when they were discovered.
In the 19th century, ruins of temple, probably a monastery, were found around 130 meters from Kalasan temple. Sari temple is only a part of a group of temples no longer in existence. It is estimated that the temple was surrounded by stonewalls. As that of Plaosan monastery, the entrance door of the Sari temple is guarded by a couple of Dwarapala statues holding a cudgel and snake.
Sari temple is laid out on a rectangular plan 17.30 x 10 m in dimension, although it is believed that the original dimension was wider because the temple’s original base projects around 1.60 meters. The temple stands around 18 meters from bottom to the top. The temple’s gate, which is around one-third of the temple’s face and half of the temple’s height, has already gone, leaving only traces connecting the gate and the front wall.
According to Kempers, Sari temple was originally a building with two or even three floors. The upper floors served as storage of religious objects, while the lower floor was to accommodate religious activities such as teaching and learning, discussion, and so on. The wall of the temple is coated with vajralepa (bajralepa), similar to the wall of Kalasan temple is. That the temple is divided into two floors is already visible from the outside with the presence of projecting part like a belt around the temple’s body. The division becomes more apparent with the pillar arrangement along the wall of the lower floor and with niches along the wall of the second floor.
Niches along the outside walls of the upper and lower floors, which had probably held Buddha statues, are empty. The temple’s outer walls are adorned with statues and other beautiful ornaments. Each of the door and window frames is flanked by statues of man and woman standing and holding lotus flowers. There are a total of 36 statues; 8 on the front wall (east), 8 on south wall, and the 12 on the west wall (back). The size of each statue is as big as human figure.
At the other parts of the wall, there are various designs of decoration, such as Kinara Kinari (man-headed bird), twining plants and kumuda (leaves and flowers creeping out of a spherical jar). There is a Kalamakara above the window frame and niches sculptured without its lower jaw. The Kalamakara looks very decorative and far from being frightening. As it is the case at Kalasan Temple, there is Vajralepa coating applied over the walls of Sari Temple. Vajralepa is an agent that preserves and brightens stones.
It is estimated that the temple was built at the same time as Kalasan temple on the 8th century AD during the rule of King Panangkaran. The two temples indeed have many similarities either in its architecture or relief. That these temples are correlated is stated in Kalasan inscription (700 Saka/778 AD). The inscription mentions that the spiritual advisors of Syailendra dynasty suggested King Tejapurnama Panangkarana or Rakai Panangkaran to build a shrine and a monastery for Buddhist monks. Following the suggestion, the king built Kalasan temple to the worship of Dewi Tara Sari temple as a monastery for Buddhist monks. That Sari temple serves as a monastery is indicated in the temple’s structures, structural components, and interior. The bell-shaped stupa on top indicates that this is a Buddhist temple.
Sari temple was discovered in ruins in the early 20th century. The first restoration was conducted between 1929 and 1930. Kempers said that the first restoration was not satisfying, as it failed to restore the temple to its original form because parts of the temple could not be found. In addition, parts of the temple had crumbled when they were discovered.
In the 19th century, ruins of temple, probably a monastery, were found around 130 meters from Kalasan temple. Sari temple is only a part of a group of temples no longer in existence. It is estimated that the temple was surrounded by stonewalls. As that of Plaosan monastery, the entrance door of the Sari temple is guarded by a couple of Dwarapala statues holding a cudgel and snake.
Sari temple is laid out on a rectangular plan 17.30 x 10 m in dimension, although it is believed that the original dimension was wider because the temple’s original base projects around 1.60 meters. The temple stands around 18 meters from bottom to the top. The temple’s gate, which is around one-third of the temple’s face and half of the temple’s height, has already gone, leaving only traces connecting the gate and the front wall.
According to Kempers, Sari temple was originally a building with two or even three floors. The upper floors served as storage of religious objects, while the lower floor was to accommodate religious activities such as teaching and learning, discussion, and so on. The wall of the temple is coated with vajralepa (bajralepa), similar to the wall of Kalasan temple is. That the temple is divided into two floors is already visible from the outside with the presence of projecting part like a belt around the temple’s body. The division becomes more apparent with the pillar arrangement along the wall of the lower floor and with niches along the wall of the second floor.
Niches along the outside walls of the upper and lower floors, which had probably held Buddha statues, are empty. The temple’s outer walls are adorned with statues and other beautiful ornaments. Each of the door and window frames is flanked by statues of man and woman standing and holding lotus flowers. There are a total of 36 statues; 8 on the front wall (east), 8 on south wall, and the 12 on the west wall (back). The size of each statue is as big as human figure.
At the other parts of the wall, there are various designs of decoration, such as Kinara Kinari (man-headed bird), twining plants and kumuda (leaves and flowers creeping out of a spherical jar). There is a Kalamakara above the window frame and niches sculptured without its lower jaw. The Kalamakara looks very decorative and far from being frightening. As it is the case at Kalasan Temple, there is Vajralepa coating applied over the walls of Sari Temple. Vajralepa is an agent that preserves and brightens stones.