Prompt: Pick ONE building to analyze for this assignment, basing your analysis on some of the themes/topicswe have studied this semester (i.e.,Architecture and power, modernism, critiques of modernism, symbolism,etc).This building you select should no tbe one that we have discussed in lecture/section this semester. The essay should be more than mere description-you should be analyzing elements of architecture like the use of material, technology, spatial layout in relation to the theme/topic you have selected. You should include images (plans, sections, elevations, detail drawings, photographs,etc.) strategically and the images should serve to support your analysis of architectural concepts. You may also choose to annotate your images where appropriate or sketch out diagrams to highlight certain things stressed in your text. Citations should also be included. I have attached the essay with revision comments from my Professor, please fix them according to the comments given

Building Analysis

The Borobudur Temple in Java, Indonesia, is one of the largest temples in the world. According to Chemburkar, the temple has a significant history, which is presented with symbolism in the Sumatra and Java era (173). Besides, the temple stands as a cultural center with flourishing that incorporates both Hindu and Buddhist traditions. Borobudur was first discovered by Western civilization in 1814, by General Thomas Stanford Raffles, who was a British Lieutenant and a governor of Java. There are several architectural symbolisms that are depicted by the Borobudur Temple. They have played a significant role in the design of contemporary designs that seek to impress the cultural practices of different regions across the world. Architects and building engineers have visited the temple to define the ancient skills that were employed to on the location, size, shape, and design is a representation of the Hindu and Buddhist cultures.

The structure has several symbols that define the meanings of Buddhist culture. First, there is a plan of the cosmos which represents various architectural features. The cosmos plan has different configurations which depict the general three-dimensional mandala. According to Kowal, the three dimensions reveal the reflection of the Buddhists to then stages and enlightenment to be achieved in life aspects (8). The dimensional mandala is designed to offer a place for meditation during worship, hence a religious structure that reshaped the elements of the people to believe in a supreme being (Chemburkar, 195). The strategic location of the mandala has other depictions to the Buddhist cultures, which serve as replicates to the overall cosmos mandala for the available smaller temples (Sudalai and Sasikala, 279). Further, the cosmos plan for the temple reveals the considerations of sacred features that are intimations of the modern and post-modern architectural designs. The harmonious combination of the Borobudur Temple reveals the principles of architecture in the contemporary society to proportion, size, location, and hierarchy, hence a structure that stands significant to the culture of Buddhists and Hindus.

Moreover, the Borobudur Temple consists of the Kamadhatu, which is the base, in an open platform. Further, the structure elevates from the bottom to the body, that is, the Rupadhatu, which has five galleries. The composition reveals the power of Buddha and his authority over the other beings with directives in life aspects. Further, the structure depicts a four terrace crossed flight stair, which is the symbolism for the Buddha and the Jatakas (Kowal, 9). The temple represents the cardinal points, which are viewed by the Buddhist culture as directives towards life aspects. Besides, the internal and external structures were symmetrical, revealing the unique shape for religious appreciation. The temple proceeds to five four-sided lower terraces in a relief. The representation of the sided lower terraces in relief explains the importance of incorporating the life scenes of the Buddha and their Jatakas, which sheltered inside the temple. Generally, the temple reflects the incarnation of the Buddha in the society with its symmetry and hilltop location.

There are hidden parts as well in the Borobudur temple, which reveal the social dynamics of the temple. The visitors to the temple acknowledge that there is a significant hidden part, that is, the Karmawibhangga cravings that were kept below the base of the temple (Kowal 11). The cravings are an essential representation of the Buddhist cosmology. Besides, the cravings were fundamental representations of hierarchy in society (Sudalai and Sasikala, 280). Further, there were Rupadhatu cravings, which represented the sphere of the desires which individuals reject in the world. The representation of the cravings at the bottom of the base in Borobudur Temple constitutes the entire human sphere, from the emphasis of the living life, hierarchy, the wanted desires in life, and unwanted desires in life. Generally, the temple offers a statue that influences the lives of individuals in a superstructure with all-round platforms, hence the colossal crowning craving at the top of the base.

Further, there are other representations in the temple, which define the hidden beliefs of society. Kamadhatu is a feature that represents the hidden concepts in society. Kamadhatu is located at the foot of the temple. Besides, the feature has several images that define the probability of instructions that are contained in the society. Further, the element represents very critical and essential carved scenes that base the belief of the people over hundreds of years before the law that brought the effect of Buddhism to believe in the world (Chemburkar, 213). The panels of Kamadhatu at the base of the temple show examples of good and bad actions that are vital to the Karma results in the world. Further, the cravings and images at the foot of the temple offer reliefs that represent history, religious ceremonies, fashion, tools, and social structures of the people in the society. However, the symbolism does not end with the representations in the first phase. In the second phase, some panels reveal the law and the seed effect. The law and the seed effect used to represent the cause of an event and the results to be encountered. Further, the impression in the last phase represents compassion, loving-kindness, and wisdom that brings the excellent will of Karma.

The relief of Borobudur Temple reveals more symbolism on the culture and beliefs of the people. According to Kowal, Buddhist teachings are represented by an adaption of the Javanese cultural context (13). The writings on the walls of the temple start from the eastern side of the staircase on the south to the stairs on the north. The graphics represent inspirations that should be imbued in the life of individuals. The way of reading Karmawibhangga has a basic-belief which reveals that the readers have to walk around the temple, pledging their allegiance to the Buddha. The general orientation of the temple shows that the people are religious. Besides, the direction reveals that Buddha illuminates the relative reality of the world and the significance of his teachings. The orientation of the temple as well shows that the gate is located on the south, which symbolizes the birth of Buddha (Buddha-jati) (Kowal, 13). However, the enlightenment and knowledge of Buddha are represented with a western orientation (Sambodhi), which as well reveals the mode of teaching his doctrines (Dharmacapravarttana). Generally, the orientation of the Borobudur Temple symbolizes the attributes of Buddha, which give directives on how people should engage the building.

Borobudur Temple reveals several masterpieces of architectural symbols with intercultural sculptures from the local Buddhist religion. The building presents a complex structure that can, however, be built by modern architects and engineers (Chemburkar, 173). The temple uses open beacons on its entrance to represent the leading pilgrims throughout the world. The unique blend of ideas from the temple reveals that the earth revolves, hence a unique historical context to the contemporary society. Besides, the structure is magnificent as it stands on a top hill, which is a general representation of heights that Buddha aspired to attain (Chemburkar, 201). The upward look while climbing up the hill to the temple is also a symbol that represents the difficulty that people have to endure as they seek enlightenment from the Buddha. Further, apart from the mandala, there are bell-shaped stupas which appear on top of the terraces representing the meditation state of the Buddha. The architecture of the temple expresses very complex ideas through the tripartite structural form on its cosmos. Generally, Borobudur Temple has significant architectural symbols that represent the religion, culture, and the social life of the Sumatrans.

Works Cited

Chemburkar, Swati. “Stūpa to Maṇḍala: Tracing a Buddhist Architectural Development from Kesariya to Borobudur to Tabo.” Pacific World, vol.3, no.20, 2018, pp. 169-221.

Kowal, Katarzyna. “The Borobudur temple: the Buddhist architecture in Indonesia. History, structure, symbolism, and conservation. Influence on contemporary Indonesian culture.” Budownictwo I Architektura, vol.18, no.2, 2019, pp. 5-19.

Sudalai, M. Arumuga Masana, and K. Sasikala. “Buddhist architecture.” Pramana Research Journal, vol.9, no.8, 2019, pp. 276-281.