Candi Bima: The Temple of the Kudu Heads

For the third and final post in a series of the lesser-known temples of the Dieng Plateau, I am going to focus on Candi Bima, which is certainly the most unorthodox of the district’s temples. Both in terms of its design and decoration, it varies sharply from the other temples in the vicinity, raising some interesting questions about the early history of Hinduism in Java.

The form of Candi Bima is very different from the temples of the nearby Arjuna Complex. Rather than the tiered, pyramidal roofs of Candi Arjuna and Candi Srikandi, we have a curvilinear form which seems to shoot upwards from the temple body. It brings to mind the temples or Odisha (formerly Orissa) in Eastern India rather than those from Southern India. In other words, Candi Bima references an architectural tradition which was quite distinct from that of the other candis on the plateau. It seems probable that cultural or trading links existed between the peoples of ancient Orissa and Java but this remains speculative. What can be more safely said is that Candi Bima represents a style of architecture which found an early toehold in Java but ultimately lost out in popularity to the pyramidal style of Candi Arjuna. This makes it something of a cul-de-sac in the development of the Javanese temple.

Candi Bima has a towering superstructure with rich ornamentation

Its separateness from other Dieng temples is reflected not only in the curvilinear form of the roof but also in its rich and varied decoration. Like other temples on the Dieng Plateau, it sports kala heads over its niches, but in other aspects it diverges quite markedly. Above the kala niches there are two bands of decorative detail- the lowermost one shows draped cloth and the uppermost one shows a row of dentils. Both of these features are most unusual in the Javanese architectural tradition. However, it is the decoration on the roof which its the temple’s remarkable feature.

The first thing you are likely to notice in looking at the roof is the heads which peer down from the roof, each of them contained in horseshoe arches. These heads represent the Hindu divinity Shiva and are known as kudu heads. For the traveler who is accustomed to Shiva being represented only in the form of linga, this can come as a surprise. While kudu heads are also present on some temples in the Yogyakarta such as Candi Ijo and Candi Merak, Candi Bima is the sole repository of them at Dieng. Yet there are a number of other unusual details on the roof.

The roof of Candi Bima features rich and varied decorative details

One of the more striking is the presence of amalakas on the roof. These are a kind of ribbed capital, two fine examples of which survive on the western side of the temple. Just below them can be seen a couple of pots known as kalasa. These pots symbolize the abundance of the universe. They are worth comparing with the khumba pots which adorn boundary stones from North-Eastern Thailand during the same period. A final detail worth noting here is the preponderance of lotus petal motifs which can be found both in bands and around the edges of kudu arches. While the lotus blossom is more typically associated with Buddhism, in Southeast Asia the use of hybrid imagery is quite common.

The main entrance features a kala head and floral motifs

In conclusion, Candi Bima is one of the most unique and idiosyncratic of early Javanese temples. Its elongated silhouette calls to mind the temples of Odissa rather than the pyramidal rooflines of early South India. Furthermore, it boasts a wealth of unusual decorative details- most notably a collection of kudu heads- which sets it apart from neighbouring temples. It represents a distinct chapter in early Javanese temple art which hints at the varied cultural links which informed its Hindu architecture.

Candi Gatotkaca: One of Java’s Oldest Temples

Candi Gatotkaca is not one of the better-known temples of the Dieng Plateau, let alone Java. At the time of writing, it had not even been added as an attraction on the ‘Sights’ section of Tripadvisor. In some ways, this seems odd. After all, it is positioned right at the entrance gate to the well-known Arjuna Complex. Furthermore, it is set right across the road from the Museum Kailasa, which is the main museum on the Dieng Plateau. Yet somehow the tourists walking between these two attractions seem to give Candi Gatotkaca short shrift, almost as if it wasn’t there. However, due to its great age and its membership of a second, ‘hidden’ temple complex at Dieng Plateau, Candi Gatotkaca is more interesting than it might appear on casual inspection.

A kala-makhara arch on the outer walls

In terms of its decoration, Candi Gatotkaca can seem rather austere. It has much less carving than the other temples on the plateau. In terms of exterior ornamentation, the main thing of note is the use of kala-makhara  arches. You will find some excellent examples above the niches on the outer walls. There may once have been one of these arches over the main entrance as well, but it was not possible to include it in the reconstruction. Apart from that, the other feature which is likely to capture your interest is the large, well-preserved yoni which is found inside the temple. This is perhaps the finest example of yoni which is still in situ at Dieng, though there was no sign of the linga.

With regards to the form, it is said to be a mixture of the two main temple plans found on the Dieng Plateau: the square plan and the cruciform plan. It has a fairly simple cella platform, with a short staircase extending out from the main entrance. The roof has an interesting brickwork yet most of the superstructure is missing. This gives it something of an artificially square and stumpy appearance. Its original roof would probably have been tiered like Candi Arjuna. While you are inside the temple, it is also worth checking out the step-corbelled ceiling, which is another common feature of the Dieng temples.

The front view of Candi Gatotkaca, the traces of other structures in the foreground

Apart from this, there are a couple of other facts about Candi Gatotkaca which might enhance its interest for the visitor. Firstly, it is usually classified as one of the oldest temples in all of Java. For instance, in a recent book by Samba Ditta and David Beynon, they suggested a dating for the temple of somewhere between 650 and 750 AD. This makes it one of the oldest Hindu temples in all of Java, dating from the original penetration of the religion into the island. At this point, the architecture of the Javanese temple was still in its infancy and the shrines were comparatively simple compared to the later glories of the Mataram kingdom.

A second point which is worth knowing is there were once two complexes of ancient temples in the vicinity of Candi Gatotkaca. Today, the Arjuna Complex is in reasonably good repair and has been a well-known sight since the days of the Dutch East Indies. Yet right alongside there was another complex, which included six temples. However, until about a decade ago Candi Gatotkaca was the only one of these temples which amounted to more than a pile of rubble. At that time, Candi Setyaki was reconstructed, becoming the second of this second group to re-emerge in something approaching its original form. In the coming years the other four temples- Candi Nakula, Candi Sadewa, Candi Petruk and Candi Gareng- might also see the attentions of restorers. Until then, they will remain piles of bricks in the Dieng mist.

The temple is set in a sunken garden, with a lush hillside in the background

Candi Setyaki: Kalas and Makharas

This is the first of a trio of posts which will focus on lesser-known temples of the Dieng Plateau: Candi Setyaki, Candi Gatotkaca and Candi Bima. Located on the edge of the main Arjuna Complex, Candi Setyaki includes many of the same motifs and architectural features of its nearby cousins. However, with its wealth of stone-carving motifs, Setyaki is a particularly appealing example and is surely worth making the short detour to see.

Like most of the Dieng temples, Candi Setyaki was probably built during either the 8th or 9th centuries, making it one of the oldest Hindu shrines in the Indonesian archipelago. Like most of the Dieng temples, Setyaki is small and box-like compared to those on the Prambanan Plain, but things become more interesting once you start paying attention to small sculptural details. For instance, Setyaki has a frieze of unusual figures around the base, some of which are still crisply carved. The frieze features a woman in a squatting position who is dangling a pair of bells from thick chains. Her weighty ear-rings and necklace suggests she is of high birth.

An unusual motif from the base of Candi Setyaki

Less unusual but also beautifully rendered are the kala-makhara arches which can be found over the main entrance and also the niches on the body of the temple. The kalas at Dieng are mostly jawless, featuring only the upper row of teeth. They are also noteworthy for their giant, bulging eyes which evoke the demonic nature of these beings. The example shown below is surrounded by a rich background of swirling foliage which gives a more abstract effect. Unfortunately, the statuary which would once have filled the niche has long since been lost.

A kala head can be seen over a niche in the body of the temple

Another kind of monster which is encountered at Candi Setyaki is the makhara, a kind of stylized sea-monster which is often found in the company of kalas. There is a particularly good example at Candi Setyaki, which is set at the base of the main entrance. It would originally have been one of a pair but its right-hand side counterpart is now missing. Nevertheless, its graceful shape and gaping mouth, which contains a smaller, lion-like monster, make it a memorable piece of statuary.

The stone makhara on the steps of the Hindu shrine

Candi Setyaki is not a complete structure. The roof of the temple is missing. However, there are still hundreds of unplaced stones which are being stored in the immediate vicinity, so further restorations seem possible. It is also clear that Setyaki also had several candi perwara or satellite temples. The base of one of these is in reasonable condition but the rest are completely ruinous. In terms of the main temple, it is estimated that 70% of the stones are original and the rest are modern replacements. Due to its sculptural detail, it is worth seeing even in its partially ruined state.

The main entrance of the temple is framed by a kala-makhara arch