Temple architecture in Boro Budur [Borobudur]

The most acceptable intrepretation would be the shrine of the Many Buddhas:

“The fundamental formative idea of Borobudur [Boro Budur] monument is that of a dagoba with five procession paths. These, however, have become square in plan instead of circular and, instead of one great domical building in the centre, we have here seventy-two smaller ones, each containing the statue of a Buddha; and one large one in the centre, which was quite solid externally but had a cell in its centre, which might have contained a relic or some precious object. With the idea of dagoba, however, Boro Budur also combines that of a vihāra. The monument may be described either as a seven or a nine-storeyed vihāra, according as we reckon the platform on which the seventy-two small dagobas stand as one or three storeys. It is, however, either for its dimensions or the beauty of its architectural design that Boro Budur is so remarkable, as for the sculptures that line its galleries. These extend to nearly 5,000 feet, almost a mile, and as there are sculptures on both faces, we have nearly 10,000 lineal feet of bas-reliefs; or, if we like to add those which are in two storeys, we have a series of sculptures, which, if arranged consecutively in a row, would extend over nearly three miles of ground.”

“These galleries run continuously around the Tjandi, broken only by a stone stairway at the middle of each side. Their walls are adorned with over a thousand sculptured bas-reliefs depicting scenes from the life of Gautama Buddha in his various incarnations, groups of Buddhas, angels, and saints. Above these sculptures, on the parapets of the walls, are small recessed shrines, in all over 400, each containing a Buddha image a couple of feet high.”

“Above the four sculptured galleries rise three tiers of circular terraces, bearing, altogether, 72 bell-shaped, latticed dagobas, each about 5 feet in height and containing a lotus-enthroned Buddha, which may be seen through the lozenge-shaped openings in the sides. From the centre of the upper circular terraces rises what is left of the former apex of the shrine, a ruined dagoba about 30 feet high, containing in an interior chamber a large and apparently unfinished image though to represent the Buddha yet to come. The cone-or-parasol-shaped spire, which doubtless once covered this highest dagoba, has wholly disappeared. The stairways of Boro Budur formerly had gate-houses at each landing and their arches are ornamented with great heads with bulging eyes. At the sides are the heads of nagas with upper lips prolonged into short trunks. The shrine, however, owes its fame more to its artistic details than its purely architectural features. Its wall sculptures are remarkable. The subjects are almost beyond enumeration and include practically every phase of life arid action. The scenes portrayed may still be seen in the Java of today. Kings and nobles, dancing girls and palace women, peasants and fishermen, bearded strangers from foreign lands, elephants and monkeys, deer and horses, birds and fish, fruit-trees and shade-trees, native houses, ships, war chariots, ploughs, musical instruments, state umbrellas, and hundreds of other things typical of the country are depicted here in away that is wonderfully life-like and truthful. The representations of the scenes from the Jātakas (tales of Buddha’s life in his earlier incarnations) are particularly interesting, for each one has its own story, and some of these are very entertaining.”—Fergussion.

Percy Brown therefore rightly remarks:

“Regarded in all its aspects therefore the Borobudur represents not only the high water marks of Javanese creative genious, but stands forth as one of the world’s greatest constructional and artistic masterpieces. Here it may be noted that this immense stupa corresponds in its vast bulk and sculptured magnificence to the other stupendous building undertaking rising somewhat later also in Greater India, the temple Angkor Vat in Cambodia. Both these grand architectural productions were an expression in material form of Hindu-Buddhist ideals emanating from an Indian source.”