96  Archeologisch Onderzoek op Java en Madura.’ [March 1905, 
e artists of the epipee — of Hindoo art in Java 
closely followed the original Sanscrit texts when representing their 
t 
snr ered resembling some legends of the Pancatantra, follow 
old Javanese Tantra, which itself is based on the original Pan- 
Javanese development of Hindoo thought and Hindoo life,—an 
outcome of that pene Hindoo influence, spread over the 
country for so many centuries—that the monument before us 
should be viewed and a place assigned to it in the history of Indian 
art in Java. In these sculptures we must look therefore for the 
true representative of all those literary and artistic weep 
which Hindoo civilisation finally developed: on Javanese grou 
and which, combined together, make out the proper aad original 
type of old Javanese civilisation. 
But there is yet another remarkable point to be noted in our 
monument; a point which is of considerable importance with 
regard to the religious and artistic vail sie of Hindoo belief 
not che in Java but over the whole sphere of 
at the decorative element of our canittmnes: You will 
find othe in it indicative of a work of Buddhist devotion.. 
The sculpture-cycles, in which Civa plays such a remarkable part, 
might lead you to say that Tjandi Toempang is a monument of 
Civa worshi 
ut this is not the case. Although the ornament is all 
Dhyani-Buddhas and of three Taras or mystic powers. 
becomes evidently manifest in the splendid stables ee 
separately the Dhyani-Buddhas and their Taras. And if there 
could a doubt abont the character of these statues, the old 
Nagari inscriptions, giving to every statue its proper si ae 
would dispel it. 
soveisth and Jans ntury and remained Civaite in vee of the 
Buddhistic ig spreading over the country. Buddhis® 
