Vol. I, No. 3.] Archsologisch Onderzoek op Java en Madura. 95 
LW. 8.] 
to Prambanam. We might have perhaps expected that the system- 
uld b 
atic research now inaugurated wo egin with those master- 
pieces of art. The survey has taken a contrary c , beginning 
with Eastern Java, w art was in its decline and leading in 
vestigation from the latest relics of true Indian art to the earliest 
and at the same time the most glorious representatives of Indian 
ee ip. 
Ee “* time ndian art.” For when you go through the 
The true Indian character shines forth above all in the sculpture 
eycles decorating the terraces of the monument. It was one of the 
sixty reliefs. Another series of sculptures represents in continu- 
ous line more than thirty Jatakas, that is to say, more than all the 
Buddhist monuments of India proper and of Afghanistan bogs. 
ther contain, Besides there is another sculpture cycle of more 
so sixty highly-r shned poliats of which the meaning has be: yet 
n discovered. We with the same oie eed: ic feature 
in the sissurnent desribed in the present volum 
The Sanctuary is mounted on a threefold t ee one terrace 
rising above the Be The walls of every terrace e have their 
peculiar cycle of legends. In the first terrace we meet with a set 
ow 
Tjandi Toe ng are, as 1 have already pointed out, ae inferior 
to those Ee pena Java. For co oe sake I have laid 
before you a few of my own photos, representing scenes of the 
pture eyales either of Tega Bode or of Prambanam. Nay, 
the artistic value of our Tjandi must be held even much inferior 
— reliefs of Panataran, lying in the same region of Eastern 
But it is not the artistic value, which gives 2 the sculpture- 
— iol represented their importance. This is te be sou ght 
or in quite another line of comparison. 
