96 Archzologisch Onderzoek op Java en Madura. ' [March 1905. ~ 
The artists of the classical period of Hindoo art in Java 
closely followed the original Sanserit texts when representing their 
legendary objects. The legends, as told either in the original 
Ramayana and Mahabharata or in the original Lalitavistara, 
were the models put before the eyes of the workmen of Central Jaya. 
In Eastern Java, onthe contrary, it is no longer Hindoo epic poetry 
as contained in the original epic, but Hindoo poetry remodelled in 
the old Javanese Kavi translation. The scenes of the first terrace, 
although closely resembling some legends of the Pancatantra, follow 
the old Javanese Tantra, which itself is based on the original Pan- 
catantra or on the Hitopadega. The cycle of the second terrace 
follows the Rama legend as told in the old Javanese Ramayana. 
Andso with the legend of Arjuna in the third terrace and with the 
Krishna legend on the walls of the Sanctuary. It is therefore asa 
Javanese reflex of Hindoo poetry, thatis to say, as a typical old 
Javanese development of Hindoo thought and Hindoo life,—an 
outcome of that continuous 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 characteristics 
which Hindoo civilisation finally developed on Javanese ground 
and which, combined together, make out the proper and 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 development of Hindoo belief 
not only in Java but over the whole sphere of India. 
Look at the decorative element of our sanctuary. You will 
find nothing in it indicative of a work of Buddhist devotion. 
The sculpture-cycles, in which Viva plays such a remarkable part, 
might lead you to say that Tjandi Toempang is a monument of 
Civa worship. 
But this is not the case. Although the ornament is all 
Brahmanical and as regards the sculpture cycles rather Civaite, 
the monument itself was consecrated to the worship of the five 
Dhyani-Buddhas and of three Taras or mystic powers. This 
becomes evidently manifest in the splendid statues representing 
separately the Dhyani-Buddhas and their Taras. And if there 
could be a doubt about the character of these statues, the old 
Nagari inscriptions, giving to every statue its proper signification 
would dispel it. 
How is this fact, that is to say the close connexion of Civaite 
art and Buddhistic worship, to be explained. 
The foundation of the Sanctuary, according to an inscription 
found at Tjandi Toempong is to be assigned to the first half of the 
thirteenth century. Hindoo society in Eastern Java was at that 
time absolutely Yivaite; it had been Civaite ever since the 
seventh and eight century and remained Civaite in spite of the 
Buddhistic influence spreading over the country. Buddhism 
