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'''Barabudhur''' (éjaan lumrah: '''Borobudur''') iku papan pamujaning wong Buddha Mahayana saka abad
Tandha yekti mahyakaké yèn Barabudhur kayasa ing abad angka 9 banjur linumbar ora kaopèn bareng karo bubrahing karaton-karaton Hindu ing Jawa déné wong Jawa wiwit padha ngrasuk agama Islam.<ref name="Soekmono4" /> Wong-wong sadonya nembé ngerti ananing Barabudhur ing 1814 awit saka pawartaning Sir Thomas Stamford Raffles kang kala samana minangka panguwasa Britis ing Jawa. Dhèwèké dikandhani wong-wong enggonan bab ananing Barabudhur.<ref name="3L5mh" /> Kawit titi mangsa iku, Barabudhur wis ping bola-bali kawaluyakaké. Pambudidaya maluyakaké kang gedhé dhéwé ditandangi pangrèh Indonésia lan UNESCO ing antaraning 1975 lan 1982 banjur Barabudhur kadhapuk minangka Sasana Pusaka Donya UNESCO.<ref name="unesco-whc" />
▲Kayasa ing abad angka 9 nalika Wangsa Sailéndra jumeneng nata, rancanganing pamujan iku dhedhasar arsitèktur Buddha Jawa kang ngaworaké kapitayan memuja leluhur kang asli Indonésia lan kapitayan nggayuh Nirwana kang saka agama Buddha.<ref name="unesco-whc" /> Pamujan iku mahyakaké dayaning kagunan saka Gupta ing India<ref>{{Cite journal|last=Rajarajan|first=R. K. K.|title=Rajarajan 2020 Borobudur et alii A Note on Place Names in Java|url=https://www.academia.edu/44356701/Rajarajan_2020_Borobudur_et_alii_A_Note_on_Place_Names_in_Java|journal=In Pedarapu Chenna Reddy, ed., Heritage of Indian History, Culture, and Archaeology (Festschrift to Dr. M.D. Sampath), vol. II, Art and Architecture. Delhi: B.R. Publishing Corporation|language=en}}</ref> lan akèh adegan saha anasir asli Indonésia, mula njalari Barabudhur dadi mirunggan saka Indonésia.<ref name="aOtRK" /><ref name="idyTD" /> Yeyasan Barabudhur minangka padhépokaning Buddha lan papan jiyarahing para wong Buddha. Laku jiyarah kawiwitan saka pérangan sor nututi dalan ngubengi yasan, tumuli munggah nganti pucuk ngliwati telung tataran kang nglambangaké kosmologi Buddha: ''Kāmadhātu'' (jagat kekarepan), ''Rūpadhātu'' (jagat wewujudan) and ''Arūpadhātu'' (jagat tanpa wewujudan). Para kang jiyarah kudu ngliwati undhakan lan lurung kang akèh tur rinenggan 1.460 panèl rélièf kang ngemu carita ing témbok-témboké dalah pager-pager langkané. Barabudhur minangka salah siji papan kang duwé klumpukan rèlièf Buddha kang pepak banget ing donya.<ref name="unesco-whc" />
▲Tandha yekti mahyakaké yèn Barabudhur kayasa ing abad angka 9 banjur linumbar ora kaopèn bareng karo bubrahing karaton-karaton Hindu ing Jawa déné wong Jawa wiwit padha ngrasuk agama Islam.<ref name="Soekmono4" /> Wong-wong sadonya nembé ngerti ananing Barabudhur ing 1814 awit saka pawartaning Sir Thomas Stamford Raffles kang kala samana minangka panguwasa Britis ing Jawa. Dhèwèké dikandhani wong-wong enggonan bab ananing Barabudhur.<ref name="3L5mh" /> Kawit titi mangsa iku, Barabudhur wis ping bola-bali kawaluyakaké. Pambudidaya maluyakaké kang gedhé dhéwé ditandangi pangrèh Indonésia lan UNESCO ing antaraning 1975 lan 1982 banjur Barabudhur kadhapuk minangka Sasana Pusaka Donya UNESCO.<ref name="unesco-whc" />
Evidence suggests that Borobudur was constructed in the 9th century and subsequently abandoned following the 14th-century decline of [[Hinduism in Indonesia|Hindu]] kingdoms in Java and the [[Javanese people|Javanese]] conversion to Islam. Worldwide knowledge of its existence was sparked in 1814 by [[Sir Thomas Stamford Raffles]], then the [[British Java|British ruler of Java]], who was advised of its location by native Indonesians. Borobudur has since been preserved through several restorations. The largest restoration project was undertaken between 1975 and 1982 by the [[Indonesian government]] and [[UNESCO]], followed by the monument's listing as a UNESCO [[World Heritage Site]].
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==Sajarah==
===Yasa===
Ora ana cathetan bab yasa lan ancas yasaning Barabudhur.<ref name="Soekmono9" /> Kapan yasané kinira-kira sarana mbebandhingaké
There are no known records of construction or the intended purpose of Borobudur. The duration of construction has been estimated by comparison of [[stone carving|carved]] reliefs on the temple's hidden foot and the [[inscription]]s commonly used in royal charters during the 8th and 9th centuries. Borobudur was likely founded around 800 AD. This corresponds to the period between 760 and 830 AD, the peak of the [[Sailendra|Sailendra dynasty]] rule over [[Medang|Mataram kingdom]] in central Java, when their power encompassed not only the [[Srivijaya|Srivijayan Empire]] but also [[Ligor|southern Thailand]], Indianized kingdoms of [[Philippines]], North Malaya (Kedah, also known in Indian texts as the ancient Hindu state of Kadaram). The construction has been estimated to have taken 75 years with completion during the reign of [[Samaratungga]] in 825.
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Christiaan Lodewijk Hartmann<!--(1795–1856)-->, the [[Resident (title)#Dutch colonial Residents|Resident]] of the [[Kedu Residency|Kedu region]], continued Cornelius's work, and in 1835, the whole complex was finally unearthed. His interest in Borobudur was more personal than official. Hartmann did not write any reports of his activities, in particular, the alleged story that he discovered the large statue of Buddha in the main stupa. In 1842, Hartmann investigated the main dome, although what he discovered is unknown and the main stupa remains empty.
Pangrèh Hindia-Walanda banjur ngutus Frans Carel Wilsen, punggawa tèknis Walanda, kang naliti yeyasan mau lan nggambar skèt
[[File:COLLECTIE TROPENMUSEUM De Boroboudour op Java TMnr 60050687.jpg|left|thumb|Borobudur in 1872.]]
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The [[Dutch East Indies]] government then commissioned Frans Carel Wilsen<!--(1813–99)-->, a Dutch engineering official, who studied the monument and drew hundreds of relief sketches. Jan Frederik Gerrit Brumund<!--(1814–63)--> was also appointed to make a detailed study of the monument, which was completed in 1859. The government intended to publish an article based on Brumund's study supplemented by Wilsen's drawings, but Brumund refused to cooperate. The government then commissioned another scholar, Conradus Leemans<!--(1809–93)-->, who compiled a [[monograph]] based on Brumund's and Wilsen's sources. In 1873, the first monograph of the detailed study of Borobudur was published, followed by its French translation a year later. The first photograph of the monument was taken in 1872 by the Dutch-[[Flemish people|Flemish]] engraver Isidore van Kinsbergen.<ref name="p42" />
Panampaning Barabudhur tuwuh alon-alon. Ing dalem sawatara wektu, Barabudhur dadi sumbering olèh-olèh lan pikolèh tumrap para "wong mbeburu olèh-olèh" lan maling. Ing 1882, lurahing juru mriksa tumrap artéfak-artéfak budaya sumelang lan mrayogakaké Barabudhur supaya kabongkar, déné
Appreciation of the site developed slowly, and it served for some time largely as a source of souvenirs and income for "souvenir hunters" and thieves. In 1882, the chief inspector of cultural artifacts recommended that Borobudur be entirely disassembled with the relocation of reliefs into museums due to the unstable condition of the monument. As a result, the government appointed Willem Pieter Groeneveldt<!--(1841–1915)-->, curator of the archaeological collection of the [[Royal Batavian Society of Arts and Sciences|Batavian Society of Arts and Sciences]], to undertake a thorough investigation of the site and to assess the actual condition of the complex; his report found that these fears were unjustified and recommended it be left intact.
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[[File:COLLECTIE TROPENMUSEUM De Borobudur TMnr 10023620.jpg|thumb|right|Borobudur after Van Erp's restoration in 1911. Note the reconstructed ''chhatra'' pinnacle on top of the main stupa (now dismantled).]]
[[File:Karmawibhangga Museum Borobudur Unfinished Buddha.jpg|thumb|The [[Unfinished Buddha]] from the main stupa of Borobudur at [[Karmawibhangga Museum]], to which the Buddhists give offerings, along with the main stupa's ''chhatra'' on its back.]]
Barabudhur narik kawigatèn ing 1885 nalika insiyur Walanda aran Jan Willem IJzerman minangka lurahing Masarakat Arkéologi ing Ngayogyakarta nemu pérangan sikilané kang sinamun.<ref name="kompas" /> Sawatara foto kang kajupuk ing 1890–1891 nuduhaké ananing
Borobudur attracted attention in 1885, when the Dutch engineer {{illm|Jan Willem IJzerman|id||nl|}}<!--(1851–1932)-->, Chairman of the Archaeological Society in Yogyakarta, made a discovery about the hidden foot. Photographs that reveal reliefs on the hidden foot were made in 1890–1891. The discovery led the Dutch East Indies government to take steps to safeguard the monument. In 1900, the government set up a commission consisting of three officials to assess the monument: Jan Lourens Andries Brandes<!--(1857–1905)-->, an [[Art history|art historian]], {{illm|Theodoor van Erp|nl}}, a [[Royal Netherlands Army|Dutch army]] engineer officer, and Benjamin Willem van de Kamer<!--(1860–1920)-->, a construction engineer from the Department of Public Works.
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The restoration then was carried out between 1907 and 1911, using the principles of [[anastylosis]] and led by Theodor van Erp. The first seven months of restoration were occupied with excavating the grounds around the monument to find missing Buddha heads and panel stones. Van Erp dismantled and rebuilt the upper three circular platforms and stupas. Along the way, Van Erp discovered more things he could do to improve the monument; he submitted another proposal, which was approved with the additional cost of 34,600 guilders. At first glance, Borobudur had been restored to its old glory. Van Erp went further by carefully reconstructing the ''[[chattra]]'' (three-tiered parasol) pinnacle on top of the main stupa. However, he later dismantled the ''chattra'', citing that there were not enough original stones used in reconstructing the pinnacle, which means that the original design of Borobudur's pinnacle is actually unknown. The dismantled ''chattra'' now is stored in [[Karmawibhangga Museum]], a few hundred meters north from Borobudur.
Amarga wragad kang winates, upaya maluyakaké mligi ngresiki reca-reca tatahan déné Van Erp ora ngrampungi masalah kalènan. Ing dalem limalas taun, témbok-témbok ingkiran dadi kendho, lan
Due to the limited budget, the restoration had been primarily focused on cleaning the sculptures, and Van Erp did not solve the drainage problem. Within fifteen years, the gallery walls were sagging, and the reliefs showed signs of new cracks and deterioration. Van Erp used concrete from which [[alkali salt]]s and [[calcium hydroxide]] leached and were transported into the rest of the construction. This caused some problems, so that a further thorough renovation was urgently needed.
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Congregational worship in Borobudur is performed in a walking pilgrimage. Pilgrims are guided by the system of staircases and corridors ascending to the top platform. Each platform represents one stage of [[Four stages of enlightenment|enlightenment]]. The path that guides pilgrims was designed to symbolize [[Buddhist cosmology]].
Ing 1889, pérangan kang sinamun ing pérangan dhasar ora njarag tinemu.<ref name="kompas" /> "Sikilan kang sinamun" iku ngemu rélièf kang 160 saka kabèh
In 1885, a hidden structure under the base was accidentally discovered. The "hidden footing" contains reliefs, 160 of which are narratives describing the real ''Kāmadhātu''. The remaining reliefs are panels with short inscriptions that apparently provide instructions for the sculptors, illustrating the scenes to be carved. The real base is hidden by an encasement base, the purpose of which remains a mystery. It was first thought that the real base had to be covered to prevent a disastrous subsidence of the monument into the hill. There is another theory that the encasement base was added because the original hidden footing was incorrectly designed, according to ''[[Vastu Shastra]]'', the Indian ancient book about architecture and [[town planning]]. Regardless of why it was commissioned, the encasement base was built with detailed and meticulous design and with aesthetic and religious consideration.
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[[File:Borobudur Cross Section en.svg|thumb|left|300px|Half cross-section with 4:6:9 height ratio for foot, body and head, respectively]]
Watara 55.000 mèter kubik watu andhesit kajupuk saka pamelikan watu ing sakiwa-tengening Barabudhur kanggo yasa yeyasané.<ref name="Soekmono16" /> Watu kakethok banjur kagawa menyang papaning yeyasan lan kadèkèk tanpa bobokan. Kenob (''knob''), legokan (''indentation''), lan anjing-anjingan (''dovetail'') katrapaké minangka gegelan (''joint'') antaraning watu. Payoning stupa, pranalaka, lan gapura plengkung kaadegaké sarana tata cara kondhé (''corbelling method'').
Approximately {{convert|55000|m3|cuyd}} of [[andesite]] stones were taken from neighbouring stone quarries to build the monument. The stone was cut to size, transported to the site and laid without [[Mortar (masonry)|mortar]]. Knobs, indentations and [[Dovetail joint|dovetails]] were used to form joints between stones. The roof of stupas, niches and arched gateways were constructed in [[Corbel arch|corbelling]] method. [[Relief]]s were created ''[[in situ]]'' after the building had been completed.
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The basic unit of measurement used during construction was the ''tala'', defined as the length of a human face from the forehead's hairline to the tip of the chin or the distance from the tip of the thumb to the tip of the middle finger when both fingers are stretched at their maximum distance. The unit is thus relative from one individual to the next, but the monument has exact measurements. A survey conducted in 1977 revealed frequent findings of a ratio of 4:6:9 around the monument. The architect had used the formula to lay out the precise dimensions of the [[fractal]] and [[Self-similarity|self-similar]] geometry in Borobudur's design. This ratio is also found in the designs of Pawon and Mendut, nearby Buddhist temples. Archeologists have conjectured that the 4:6:9 ratio and the ''tala'' have calendrical, astronomical and cosmological significance, as is the case with the temple of [[Angkor Wat]] in Cambodia.
Yasan pokok bisa kapérang dadi telu: dhasaran, awakan, lan pucuk.<ref name="Long" /> Pérangan dhasaran ambané 123 m x 123 m mawa témbok 4 mèter.<ref name="Soekmono16" /> Pérangan awakan kapérang dadi panggungan kothak cacah lima kang dhuwuring panggungan saya suda nalika saya dhuwur tatarané. Téras kapisan kawiwitan 7 mèter saka pinggiring dhasaran. Saben téras candhaké kawiwitan 2 mèter saka téras sadurungé, kang dadi lurung sempit ing saben panggungan. Pérangan pucuk kapérang dadi panggungan bundher cacah telu kang saben panggungané ngemu salarik stupa bolong-bolong kang tinata ngubengi mustaka pokok ing tengah. Pucuking mustaka iku dadi titik dhuwur dhéwé yasan Barabudhutt, ya iku 35 mèter saka lumahing palemahan. Undhakan ing satengahing saben sisih kang cacah papat dadi dalan kang ngener pucuk. Undhakan iku kacakan sawatara gapura plengkung mawa reca singa cacah 32. Gapura-gapurané rinenggan sirahing Kala ing pérangan dhuwuré lan Makara ing kiwa-tengené. Rerenggan Kala-Makara lumrah tinemu ing gapura-gapuraning pamujan Jawa. Dalan mlebu kang baku ana ing sisih kiwa, ya iku pernahing
The main structure can be divided into three components: base, body, and top. The base is {{convert|123|x|123|m|ft|abbr=on}} in size with {{convert|4|m|ft}} walls. The body is composed of five square platforms, each of diminishing height. The first terrace is set back {{convert|7|m|ft}} from the edge of the base. Each subsequent terrace is set back {{convert|2|m|ft}}, leaving a narrow corridor at each stage. The top consists of three circular platforms, with each stage supporting a row of perforated ''[[stupa]]s'', arranged in [[Concentric|concentric circles]]. There is one main dome at the center, the top of which is the highest point of the monument, {{convert|35|m|ft}} above ground level. Stairways at the center of each of the four sides give access to the top, with a number of arched gates overlooked by 32 lion statues. The gates are adorned with [[Kāla (time)|Kala]]'s head carved on top of each and [[Makara (Hindu mythology)|Makaras]] projecting from each side. This Kala-Makara motif is commonly found on the gates of Javanese temples. The main entrance is on the eastern side, the location of the first narrative reliefs. Stairways on the slopes of the hill also link the monument to the low-lying plain.
==
[[File:Borobudur Reliefs Position en.svg|thumb|left|The position of narrative bas-reliefs stories on Borobudur wall]]
Barabudhur kaadegaké kanthi ngatonaké téras-térasé, nuduhaké tata wangun kang njlimet saka téras-téras kang rinenggan
Borobudur is constructed in such a way that it reveals various levels of terraces, showing intricate architecture that goes from being heavily ornamented with bas-reliefs to being plain in ''Arupadhatu'' circular terraces. The first four terrace walls are showcases for bas-relief sculptures. These are exquisite, considered to be the most elegant and graceful in the ancient Buddhist world.
The bas-reliefs in Borobudur depicted many scenes of daily life in 8th-century ancient Java, from the courtly palace life, hermit in the forest, to those of commoners in the village. It also depicted temple, marketplace, various flora and fauna, and also [[Indonesian architecture|native vernacular architecture]]. People depicted here are the images of king, queen, princes, noblemen, courtier, soldier, servant, commoners, priest and hermit. The reliefs also depicted mythical spiritual beings in Buddhist beliefs such as [[Asura (Buddhism)|asuras]], gods, [[boddhisattva|bodhisattva]]s, [[kinnara]]s, [[gandharva]]s and [[apsara]]s. The images depicted on bas-relief often served as reference for historians to research for certain subjects, such as the study of architecture, weaponry, economy, fashion, and also mode of transportation of 8th-century [[Maritime Southeast Asia]]. One of the famous renderings of an 8th-century Southeast Asian double outrigger ship is [[Borobudur Ship]]. Today, the actual-size replica of Borobudur Ship that had sailed from Indonesia to Africa in 2004 is displayed in the [[Samudra Raksa Museum]], located a few hundred meters north of Borobudur.
The Borobudur reliefs also pay close attention to Indian aesthetic discipline, such as pose and gesture that contain certain meanings and aesthetic value. The reliefs of noblemen, noble women, kings, or divine beings such as [[apsara]]s, [[Tara (Buddhism)|tara]]s and boddhisattvas are usually portrayed in [[tribhanga]] pose, the three-bend pose on neck, hips, and knee, with one leg resting and one upholding the body weight. This position is considered as the most graceful pose, such as the figure of [[Surasundari]] holding a lotus.
Nalika pangedhuking Barabudhur, para arkéolog ngemu pigmèn warna biru, abang, ijo, ireng, lan cuwilan grènjèng mas, lan awèh dudutan yèn yasan kang katon saiki – warna klawu peteng watu gunung geni, tanpa warna liya – bokmanawa biyèné kalapisan lépa putih warjalépa lan kalukisan mawa warna-warna kang padhang kang bokmanawa kanggo nuduhaké sunaring ajaran Buddha.<ref name="World Religions" /> Tilasing lépa wajralépa uga tinemu ing pamujan Sari, Kalasan, lan Sèwu. Dinuga
During Borobudur excavation, archeologists discovered colour pigments of blue, red, green, black, as well as bits of [[gold foil]], and concluded that the monument that we see today – a dark gray mass of [[andesite|volcanic stone]], lacking in colour – was probably once coated with ''varjalepa'' white plaster and then painted with bright colors, serving perhaps as a beacon of Buddhist teaching. The same ''vajralepa'' plaster can also be found in [[Sari Temple|Sari]], [[Kalasan]] and [[Sewu]] temples. It is likely that the bas-reliefs of Borobudur was originally quite colourful, before centuries of torrential tropical rainfalls peeled-off the colour pigments.
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Barabudhur ngemu watara 2.670
Borobudur contains approximately 2,670 individual [[bas relief]]s (1,460 narrative and 1,212 decorative panels), which cover the [[facades|façades]] and [[balustrade]]s. The total relief surface is {{convert|2500|m2|sqft}}, and they are distributed at the hidden foot (''Kāmadhātu'') and the five square platforms (''Rupadhatu'').
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The narrative panels, which tell the story of [[Sudhana]] and Manohara, are grouped into 11 series that encircle the monument with a total length of {{convert|3000|m|ft}}. The hidden foot contains the first series with 160 narrative panels, and the remaining 10 series are distributed throughout walls and balustrades in four galleries starting from the eastern entrance stairway to the left. Narrative panels on the wall read from right to left, while those on the balustrade read from left to right. This conforms with ''[[pradaksina]]'', the ritual of circumambulation performed by [[pilgrim]]s who move in a clockwise direction while keeping the [[sanctuary]] to their right.
Pérangan sikilan kang sinamun nggambaraké lakuning pranata karma. Témbok-témbok ing gladri kapisan ngemu sèri
The hidden foot depicts the workings of [[Karma in Buddhism|karmic law]]. The walls of the first gallery have two superimposed series of reliefs; each consists of 120 panels. The upper part depicts the [[Gautama Buddha|biography of the Buddha]], while the lower part of the wall and also the balustrades in the first and the second galleries tell the story of the Buddha's former lives. The remaining panels are devoted to Sudhana's further wandering about his search, terminated by his attainment of the [[Perfection of Wisdom|Perfect Wisdom]].
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[[File:COLLECTIE TROPENMUSEUM Reliëf O 89 op de verborgen voet van de Borobudur TMnr 10015826.jpg|thumb|right| The Karmavibangga scene on Borobudur's hidden foot, on the right depicting sinful act of killing and cooking turtles and fishes, on the left those who make living by killing animals will be tortured in hell, by being cooked alive, being cut, or being thrown into a burning house.]]
Panèl cacah 160 iji kang kadhelikan ora maujud carita kang sambung-sinambung, nanging saben panèl iku nuduhaké gegambaran pepak bab jalaran lan temahan (''cause and effect'').<ref name="p20" /> Ana gegambaran bab lelaku kang tinutuh, saka ngrasani nganti matèni, sinartan paukuman-paukumané. Ana uga lelaku kang kaprayogakaké, kalebu awèh sedhekah lan jiyarah menyang papan kramat, sinartan ganjaran-ganjarané. Bab naraka kang nggegirisi lan swarga kang nyenengaké uga ana gegambarané. Ana adegan kaanan sadina-dina, kang jinangkepan sesawangan samsara (rodha kauripan tanpa mandeg bab lair lan pati). Pérangan dhasar pamungkus ing Barabudhur binongkar saperlu ngatonaké pérangan sikilan kang kadhelikaké, banjur rélièfé difoto Casijan Chepas ing 1890. Foto-foto iku kang kapajang ing Musiyum Barabudhur (Musiyum Karmawibangga), kang kapernah ing sawatara atusan mèter ing saloring yasan candhi. Nalika kawaluyakaké, pérangan dhasar pamungkus pinasang manèh kanggo nutupi
The 160 hidden panels do not form a continuous story, but each panel provides one complete illustration of [[Pratītyasamutpāda|cause and effect]]. There are depictions of blameworthy activities, from gossip to murder, with their corresponding punishments. There are also praiseworthy activities, that include [[Charity (virtue)|charity]] and pilgrimage to sanctuaries, and their subsequent rewards. The pains of hell and the pleasure of heaven are also illustrated. There are scenes of daily life, complete with the full panorama of ''[[Samsara (Buddhism)|samsara]]'' (the endless cycle of birth and death). The encasement base of the Borobudur temple was disassembled to reveal the hidden foot, and the reliefs were photographed by Casijan Chepas in 1890. It is these photographs that are displayed in [[Borobudur Museum]] (Karmawibhangga Museum), located just several hundred meters north of the temple. During the restoration, the foot encasement was reinstalled, covering the Karmawibhangga reliefs. Today, only the southeast corner of the hidden foot is revealed and visible for visitors.
===Caritaning Pangèran Siddhartha lan lairing Buddha (Lalitavistara)===
{{Main|The birth of Buddha (Lalitavistara)}}Carita iku kawiwitan saka udhuning Buddha saka swarga Tushita lan kapungkas mawa sesorahé kang kapisan ing Taman Kidang ing cedhak Benarès.<ref name="p21" />
The story starts with the descent of the Buddha from the [[Tushita]] heaven and ends with his first sermon in the Deer Park near [[Benares]]. The relief shows the birth of the Buddha as [[Gautama Buddha|Prince Siddhartha]], son of King [[Suddhodana]] and [[Queen Maya]] of [[Kapilavastu (ancient city)|Kapilavastu]] (in Nepal).
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===Carita kauripaning Buddha kang sadurungé (Jataka) lan wong-wong wigati liyané (Awadana)===
[[File:Jataka - Level 1 Balustrade Top - 141 Jataka, Level 1, West Wall (8597647402).jpg|thumb|left|A relief of Jataka story of giant turtle that saving drowned sailors.]]
Jataka iku caritaning Buddha sadurung lair minangka Pangéran Siddhartha.<ref name="Soekmono26" /> Carita-carita iku bab kauripan-kauripaning Buddha kang sadurungé ing wujud manungsa lan kéwan. Buddha ing tembé bisa wujud raja, wong buwangan, déwa, gajah—naning, ing wujud apa baé, dhèwèké nindakaké sawatara kautaman kang dadi telenging carita.<ref name="HqZ8l" /> Awadana mirib Jataka, nanging paraga kang baku dudu Boddhisattwa. Lelaku suci ing Awadana ditindakaké wong-wong wigati liyané. Jataka lan Awadana sok katunggalaké lan ing
[[Jataka]]s are stories about the Buddha before he was born as Prince Siddhartha. They are the stories that tell about the previous lives of the Buddha, in both human and animal form. The future Buddha may appear in them as a king, an outcast, a god, an elephant—but, in whatever form, he exhibits some virtue that the tale thereby inculcates. [[Avadana]]s are similar to jatakas, but the main figure is not the Bodhisattva himself. The saintly deeds in avadanas are attributed to other legendary persons. Jatakas and avadanas are treated in one and the same series in the reliefs of Borobudur.
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==Gladri==
===Gladri
<gallery mode="packed">
File:Borobudur ship.JPG|<small>Relief panel of a [[Borobudur ship|ship at Borobudur]]. </small>
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