Borobudur is a ninth-century Mahayana Buddhist Monument in Magelang, Central Java, Indonesia. The monument comprises six square platforms topped by three circular platforms, and is decorated with 2,672 relief panels and 504 Buddha statues. A main dome, located at the center of the top platform, is surrounded by 72 Buddha statues seated inside perforated stupa.
The monument is both a shrine to the Lord Buddha and a place for Buddhist pilgrimage. The journey for pilgrims begins at the base of the monument and follows a path circumambulating the monument while ascending to the top through the three levels of Buddhist cosmology, namely K?madh?tu (the world of desire), Rupadhatu (the world of forms) and Arupadhatu (the world of formlessness). During the journey the monument guides the pilgrims through a system of stairways and corridors with 1,460 narrative relief panels on the wall and the balustrades.
Evidence suggests Borobudur was abandoned following the fourteenth century decline of Buddhist and Hindu kingdoms in Java, and the Javanese conversion to Islam. Borobudur, a name deriving from an expression meaning ‘Mountain of accumulation of merits of the ten states of Bodhisattva’ is commonly thought of as a Buddhist structure, yet its initial construction was planned and conducted by Hindu builders sometime around 775AD. The enormous first and second terraces were completed by a declining Hindu dynasty, construction was then halted for some years, and later, from 790 to 835 AD, the Buddhist Sailendra dynasty continued and finally completed the great stupa. The huge stone mass might have then been permanently abandoned, for it was difficult to adapt to the needs of Buddhism. However, leaving in evidence such an obvious manifestation of Hinduism was probably not deemed politically correct and thus the unfinished Shiva temple was transformed into the world’s largest Buddhist stupa. After 832 AD the Hindu dynasty of Sanjaya began to reunify central Java and soon reappropriated the Buddhist monuments built by the Sailendra. Although the Sanjaya were themselves Hindu, they ruled over a Buddhist majority and thus, while some Hindu modifications and ornamentations were done on Borobudur, the stupa remained a place of Buddhist use. During the 10th and 11th centuries there was a transfer of power from central Java to the east, and the great stupa fell into decline. For centuries the site lay forgotten, buried under layers of volcanic ash and jungle growth. In 1815 Europeans cleared the site. Worldwide knowledge of its existence was sparked in 1814 by Sir Thomas Stamford Raffles, the then British ruler of Java, who was advised of its location by native Indonesians. In the early 1900’s the Dutch began its restoration, and a US$21 million project begun in 1973 completed the work. Borobudur has since been preserved through several restorations. The largest restoration project was undertaken between 1975 and 1982 by the Indonesian government and UNESCO, following which the monument was listed as a UNESCO World Heritage Site. Borobudur is still used for pilgrimage; once a year Buddhists in Indonesia celebrate Vesak at the monument, and Borobudur is Indonesia’s single most visited tourist attraction.
The Borobudur stupa is a massive, symetrical monument, 200 square meters in size, sitting upon a low sculptured hill. The monument represents a Buddhist cosmological model of the universe organized around the axis of mythical Mt. Meru. Starting at the eastern gateway, pilgrims circumambulate the stupa, always in a clockwise direction. Walking through nearly five kilometers of open air corridors while ascending through six square terraces and three circular ones, the pilgrim symbolically spirals upward from the everyday world to the nirvanic state of absolute nothingness. The first six terraces are filled with richly decorated relief panels in which the sculptors have carved a textbook of Buddhist doctrines and a fascinating panorama of 9th century Javanese life. Upon the upper three terraces are 72 small stupas, each containing a statue of the Buddha (these statues are usually headless; relic hunters stole many of the heads, others are in museums). Crowning the entire structure is a great central stupa. Representing Nirvana, it is empty.
HISTORICAL BACK GROUND
The Sailendra dynasty is said to hark back indirectly to India by being cousins to the Chandella dynasty, which left numerous monuments in India between the 7th and 8th centuries (most notably, the Khajuraho temples). Allegedly, a schism in the family occurred between those remaining faithful to Hinduism – the Chandella dynasty, which stayed in Khajuraho – and the Sailendra branch which, having converted to Buddhism, set off for Indonesia as early as the 4th century.
The Sailendra dynasty reached its zenith in Indonesia during the 7th, 8th, and 9th centuries. Their king was considered the founder of Borobudur; he bore the name Indra (Hindu god represented on an elephant – god of rain, monsoons, storms and winds). The fact that the founder of this most fabulous Buddhist shrine bore a Hindu name shows the ambiguity of the Sailendra dynasty’s position between Buddhism and Hinduism. The shrine was actually signed or co-signed by Indra’s son, King Samaragunta (also spelled Samaratunga). The latter turned the com pleted monument over to the Buddhist monks, who enjoyed royal sponsorship. Just as in classical India, in Java the dynasties generally continued Hindu names and beliefs. At the same time, they opened their minds to Buddhist doctrines, effecting a sort of unofficial conversion, which they concretized in the form of a gift of land, money or even pensions to the Buddhist monks who, in return, affected a tolerant and protecting attitude towards the royalty.
The simultaneous MRI and PET scanning of the brain can now be performed, saysSiemens. Thanks to a new, world’s first fully-functioning device capable of performing both Magnetic Resonance Imaging (MRI) and Positron Emission Tomography (PET), the breakthrough development will likely further improve the diagnostic power of these imaging modalities, according to the company:
The first in-vivo human brain simultaneous MR-PET images were acquired in the Siemens facilities in USA. Testing of this new prototype MR-PET will start before the end of 2007.
MR-PET presents a tremendous leap forward in imaging capabilities. Siemens is the first company to have realized an MR-PET prototype, which brings the exceptional soft tissue contrast and high specificity of MR together with PET’s excellent sensitivity in assessing physiological and metabolic state. The first MR-PET images were acquired with support of Dr. David Townsend and Dr. Claude Nahmias, both from the University of Tennessee, USA, and Dr. Heinz-Peter Schlemmer, Dr. Claus Claussen and Dr. Bernd Pichler, all from the University Tübingen in Germany. MR-PET has the potential to become the imaging modality of choice for neurological studies, certain forms of cancer, stroke, and the emerging study of stem cell therapy.
Researchers expect that MR-PET will open new doors in understanding the pathologies and progression of various neurological disorders like Alzheimer’s, Parkinson’s, epilepsy, depression and schizophrenia. For example, PET can currently differentiate mild cognitive impairment from early-stage Alzheimer’s, but cannot determine reduced brain volume caused by atrophy. By combining MR and PET, clinicians may be able to make a more sound determination of both cognitive impairment and atrophy. Furthermore, combining MR-PET and the new emerging neurological biomarkers, has the great potential to strengthen the assessment of the condition.
Similarly, in stroke patients, the technology holds the promise of allowing physicians to study which brain tissues might be salvageable after a stroke. In other rehabilitation settings, such as for patients with traumatic brain injury, the Siemens MR-PET approach would improve care and workflow. In that case, patients would be only scanned once instead of having to go to two different locations and get two subsequent scans. “The ability to determine in great detail the loss of neurological function puts us on the path to better care,” said Maerzendorfer.
UNESCO has fortified Indonesian keris (a wavy-bladed ceremonial dagger), including Balinese keris, as a masterpiece of cultural heritage that belongs to the world, that must be preserved (Oral and Intangible Heritage of Humanity).
“The world has admitted the existence of Indonesian keris and gives international appreciation. That encourages us to collect hundreds of inherited keris,” said Pande Wayan Suteja, the founder and manager of Neka Museum at Artist Village Ubud, Gianyar. The Museum, established 27 years ago, has added 272 collection, after the strict selection done by experts and Indonesian keris preserver – Ir. Haryono Haryoguritno and Sukoyo Hadi Nagoro (armorer and keris expert), besides 312 paintings and sculptures. Some countries such as Singapore, Brunei Darussalam, and the Philippines has struggled to achieve world acknowledgement but until now they are not successful yet.
The tradition to use keris as a weapon, hereditary equipment and ritual equipment has become a culture in Indonesian life, especially the Hindus in Bali. The keris at the museum are collected because of their beauty and art not hereditary.
Suteja Neka is the heir of a weapon maker, especially supernatural keris. His ancestor, Pande Pan Nedeng, was a keris armorer from Peliatan-Ubud Kingdom when King Peliatan III, Ida Dewa Agung Djelantik led the kingdom in 19th century (1823-1845). His Father, Pande Wayan Neka (1917-1980) was famous as a sculptor with his unique and qualified masterpiece, such as a 3 meter garuda sculpture for New York World Fair, USA (1964).
Suteja Neka hoped that Neka Museum could preserve and develop keris as a masterpiece as it was acknowledged in the world.
The kris or keris is a distinctive, asymmetrical dagger indigenous to Malaysia and Indonesia. Both a weapon and spiritual object, krises are often considered to have an essence or presence, with some blades possessing good luck, while others possessing bad.
The kris spread from the island of Java, Bali and Lombok throughout the archipelago of Indonesia and even to the Southeast Asian areas now known as Malaysia, Brunei, Southern Philippines, Cambodia, Southern Thailand, Singapore and Vietnam.
Kris vs. keris
The term keris comes from the Malay and means dagger. Kris is a European rendering of this Malay term. As noted by Frey (2003), kris is the more frequently used term. The correct term, keris, is justified by the title of the Enskilopedi Keris (Keris Encyclopedia) by the late Bambang Harsrinuksmo. Some collectors prefer keris, others kris. Older spellings include cryse, crise and criss.
Blade and fittings 
Kris blades are usually narrow and have a wide, asymmetrical base. Blade length is highly variable. The blade is made from different iron ores and often contains nickel. A bladesmith, or empu, makes the blade in layers of different metal. Some blades can be made in a relatively short time, while more legendary weapons can take years or even a lifetime to complete. In high quality krisses the metal of the blade has been folded dozens or even hundreds of times and handled with the utmost precision. There are kris blades that carry the imprints of the smith’s thumbs, or even lips, used in the forging process! The different metals formed into the blade give the steel its distinctive appearance. This is called pamor or pamir and is similar in concept to Damascus and Japanese steel. Blades are acid etched after forging to bring out the brilliance and darkness of the metals used. Iron ore sources are rare in some areas of the Malay world, especially in areas of Java. Empus are very resourceful in finding blade materials and have used everything from meteorite iron (rare and highly prized in blades) to scrap from fallen World War II aircraft. Kris blades can be straight or sinuous. With sinuous blades, the bends are called luks. Most krises have fewer than 13 luks and there will always be an odd number.
A kris and its sheath have many parts. The names for these parts vary by region, but for the most part, these are the standard terms: ukiran handle/hilt; patra handle carvings (especially on Javan ukiran); selut metallic cap on the ukiran (not on all krises); mendak metal cup on the tang between the ukiran and the blade guard; wilah blade; pocok blade point; peksi tang; ganja guard/parrying structure; wrangka the wide, top portion of the sheath; gandar the narrow portion of the sheath; pendok a metal sleeve for the gandar; buntut- end of the pendok.
The ukiran and the sheath are often made from wood, though examples from ivory, even gold, abound. Different regions in Southeast Asian produce different styles of wilah, ukiran and sheaths. One beautiful material used for some ukiran and wrangka was fossilized elephant teeth. A tooth would be cut to transect the enamel folds and polished. The result was a stunning work of art.
Origins
Frey (2003) concludes from Raffles (1817) study of the Candi Sukuh (Candi is pronounced chundi in Malay) that the kris recognized today came into existence around AD 1361. Scholars, collectors and others have formed myriad theories about the origins of the kris. Some believe the form that is credited with being the earliest form of the kris, the keris majapahit, was inspired by the daggers of the Dong-Son in Vietnam (circa 300 BC). Frey (2003) dismisses the Dong-Son origin of the majapahit. Unverifiable claims of another form predating the majapahit exist. Kris history is traced through study of carvings and bas relief panels found in Southeast Asia. One of the more famous renderings of a kris appears on the Borobudur temple and Prambanan temple.
Use
Functionally, the kris is not a slashing weapon like a bowie knife or other fighting knife, but rather a stabbing instrument. The kris was mostly out-matched against anything other than another kris. If a kris fighter had stealth on his side, the kris was lethal. There are many stories of a kris being made especially for killing a specific person.
One of the most famous folk stories from Java describes a legendary kris bladesmith, called Mpu Gandring, and his impatient customer, Ken Arok. Ken Arok wanted to order a powerful Kris to kill the chieftain of Tumapel, Tunggul Ametung. Ken Arok eventually stabbed the old bladesmith to death because he kept delaying the scheduled completion of the kris, which Ken Arok had probably ordered several months before. Dying, the bladesmith prophesied that the unfinished or incomplete kris would kill seven men, including Ken Arok. The prophecy finally came true, and the unfinished kris of Mpu Gandring disappeared.
Krises were worn everyday and at special ceremonies, with heirloom blades being handed down through successive generations. Yearly cleanings, required for as part of the spirituality and mythology around the weapon, often leaves ancient blades worn and thin. In everyday life and at events, a man usually only wore one kris. Women sometimes also wore krises, though of a smaller size than a man. In battle, a man would wear three krises: one of his own, one from his father-in-law and one a family heirloom. The other krises served as parrying daggers. If the warrior didn’t have another kris to parry with, he used the sheath. Krises were often broken in battle and required repairs. A warrior’s location determined what repair materials he had. It isn’t unusual to find a kris with fittings from several areas. For example, a kris may have a blade from Java, a handle from Bali and a sheath from Madura.
In many parts of Malaysia and Indonesia, the kris was the weapon for execution. The specialized kris, called an executioner’s kris, had a long, straight, slender blade. The condemned knelt before the executioner, who placed a wad of cotton or similar material of the subject’s shoulder/clavicle area. The kris blade was inserted through the material and entered the body behind the clavicle. The blade pierced the sub clavian artery and the heart. Upon withdrawal, the cotton wiped the blade clean. Death was fairly quick.
Spiritual power
Discussing the essence of the kris is a complicated topic. For the most part, blades were consider to almost be alive in some cases, or at the very least holders of special powers. Krises could be tested two ways. A series of cuts on a leaf, based on blade width and other factors, could determine if a blade was good or bad. Also, if the owner slept with the blade under their pillow and had a bad dream, the blade was unlucky and had to be taken away. It is important to note that just because a blade was bad for one person didn’t mean it would be bad for another. Harmony between the owner and the kris was critical.
Some krises helped prevent fires, death, agricultural failure and myriad other problems. Likewise, they could do more than prevent problems; some krises brought on fortuitous harvests and other events. Krises could also have tremendous killing power. There are legends of krises moving around on their own and killing individuals they disliked. When making a blade, the empu could infuse into the blade any special spiritual qualities and powers the owner desires.
Because some krises are considered sacred, and people believe they contain magical powers, specific rites needed to be completed to avoid calling down evil fates. For example, pointing a kris at someone is thought to mean that they will die soon, so in ceremonies or demonstrations where ritualized battles are fought with real krises, the fighters will perform a ritual which includes touching the point of the blade to the ground to neutralize this effect.
