Surya and Nairrta on the Siva temple of Prambanan

Jordaan, Roy E.

doi:10.1163/22134379-90003167

Cited by 4 publications

(3 citation statements)

References 1 publication

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“…A more appropriate place for StJrya. in my view, is in the relief located above the lintel of the chamber of Agastya, where SOrya would occupy a position among the higherlevel gods (see Jordaan and Sedyawati 1990). However that may be, the problem of identifying the deities on the intervening panels remains unsolved.…”

Section: H /Conic Reliefsmentioning

confidence: 88%

In Praise of Prambanan: Dutch Essays on the Loro Jonggrang Temple Complex

Roskies¹,

Jordaan²

2000

Journal of the American Oriental Society

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Section: H /Conic Reliefsmentioning

confidence: 88%

In Praise of Prambanan: Dutch Essays on the Loro Jonggrang Temple Complex

Roskies¹,

Jordaan²

2000

Journal of the American Oriental Society

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“…Noting that in Bali Sūrya is equated with the demonic form of Śiva known as Kāla, she adds that 'as Sūrya as well as Nairr� ta occupy the inauspicious region of the Southwest, they would naturally show a krodha appearance' (Van Lohuizen-de Leeuw 1955:380). Jordaan (1992), however, disagrees with Van Lohuizen-de Leeuw's identification of the South-facing panel as Sūrya. Along with Tonnet, who calls it the most mysterious of all the iconic reliefs, he discerns a number of notable differences between the West-and South-facing reliefs, for example in body shape and posture, crown, ear ornament, direction of glance, and waist band.…”

Section: Series I (Lokapālas) and Ii (śAiva Digbandhas/navasanmentioning

confidence: 90%

“…She noted that her corrections 'improved the group as a whole for we have now a regular system in which each of the eight cardinal [and intermediate] points is represented by two panels depicting the same god ' (1955:80). Even so, the ostensibly minor modification of substituting Sūrya for Nairr� ta was disputed by Jordaan (1992), who argued that the As� t� adikpālas depicted on the temple are likely to comply with the standard list of the Purān� as, in which Nairr� ta (not Sūrya) is the guardian of the Southwest. 2 Be that as it may, provided we accept the identification of the first series of reliefs as representing the As� t� adikpālas (henceforth referred to by the synonym 'Lokapālas'), the problem remaining is the identity of the eight gods on the panels flanking that first series, and the figures on the panels interposed between them.…”

Section: Art-historical Research Thus Farmentioning

confidence: 99%

The Dikpālas of ancient Java revisited: A new identification for the 24 directional deities on the Śiva temple of the Loro Jonggrang complex

Acri¹,

Jordaan²

2012

Bijdr taal land volkenkd

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Caṇḍi Śiva, sacred centre of the famous ninth-century Loro Jonggrang temple complex at Prambanan, Central Java, is decorated with numerous iconic and narrative reliefs. Starting from the eastern staircase and traversing the perambulatory in a clockwise direction, we find the narrative reliefs of the Rāmāyaṇa on the balustrade wall on our left, and the iconic reliefs of twenty-four seated male deities, each flanked by several attendants – collectively referred to in the accompanying iconographic plan as ‘Lokapālas with attendants’– on our right, that is, on the temple body proper. The prime objective of the present inquiry is propose a new identification of this set of twenty-four deities forming Śiva’s entourage, which remains an unresolved issue in the art history of Central Java. Our findings will have implications for our understanding of the iconographical master plan of Loro Jonggrang, and, in a wider sense, of certain developments in Indo-Javanese and Balinese iconography.

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Interpretasi Pemaknaan Relief Tokoh Gaja-Lakșmī Koleksi Museum Sonobudoyo, Yogyakarta

Murdihastomo

Tanzaq²,

Kirana³

et al. 2020

AMT

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Abstract, The existence of Gaja-Lakșmī sculpture at Sonobudoyo Museum is interesting because it is rarely found in Indonesia. The figure of Gaja-Lakșmī is depicted in a sitting position. There are two elephants that carved on the right and left side of goddess. The elephants lift their trunks and showed that they are pouring water on the goddess. Certainly, the sculpture has a specific purpose, especially, because it was carved on media that indicated as the upper (dorpal) entrance of a temple building. The aim of disclosure of the sculpture is to find out the purpose and function of the depiction of the Gaja-Lakșmī character in the past. Through the process of identifying iconography and literature studies, the purpose and function of the depiction of the Gaja-Lakșmī figure is as a protector of people's welfare. Abstrak, Keberadaan relief tokoh Gaja-Lakșmī di Museum Sonobudoyo merupakan salah satu hal menarik mengingat gambaran ini sangat jarang ditemukan di Indonesia. Tokoh Gaja-Lakșmī tersebut digambarkan dalam posisi duduk yang pada sisi kanan dan kirinya terdapat dua ekor gajah yang mengangkat belalai seolah-olah menuangkan air kepada sang dewi. Tentunya penggambaran tokoh dewi ini memiliki maksud tertentu, terlebih, karena tokoh ini diletakkan di tempat yang diindikasikan sebagai bagian atas (dorpal) pintu masuk suatu bangunan candi. Pengungkapan makna penggambaran ini adalah untuk mengetahui tujuan dan fungsi tokoh Gaja-Lakșmī pada masa Matarām Kuno. Melalui proses identifikasi ikonografi dan kajian pustaka, diperoleh informasi bahwa tujuan dan fungsi penggambaran tokoh Gaja-Lakșmī adalah sebagai pelindung kesejahteraan masyarakat.

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Surya and Nairrta on the Siva temple of Prambanan

Cited by 4 publications

References 1 publication

In Praise of Prambanan: Dutch Essays on the Loro Jonggrang Temple Complex

In Praise of Prambanan: Dutch Essays on the Loro Jonggrang Temple Complex

The Dikpālas of ancient Java revisited: A new identification for the 24 directional deities on the Śiva temple of the Loro Jonggrang complex

Interpretasi Pemaknaan Relief Tokoh Gaja-Lakșmī Koleksi Museum Sonobudoyo, Yogyakarta

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