Vol. I, No. 3.]  Archxologisch Onderzoek op Java en Madura. 97 
[N. 8.] 
became in the ninth century so strong that it could give rise to 
monuments of such splendour as we see in Boro-Bodur and in its 
neigbourhoo’. it is as if a mighty wave of Buddhist influence 
had suddenly come over Hindoo civilisation, established in Java 
on a thoroughly Brahmanical ground, either Qivaite or Vishnuite. 
Later on this Buddhist wave lost its strength amidst Qivaite and 
Vishnuite worship, rooted deeper and spreading farther its branches 
amongst the Hindooised population. 
But in the beginning of the thirteenth century a second wave 
of Buddhist influence reached Java on its eastern shore. This 
second wave came evidently from the south of India and gained 
some temporary ascendancy in the mighty kingdom of Madja- 
pahit. That there must have been such an influence coming from 
the south, long ago, was pointed out by Burnell in his South-Indian 
Inscriptions. He found evidence of it in the close resemblance of 
the Nagari type of inscriptions we find in connexion with the 
statues to the Nagari type of South India. He was only wrong 
about the epoch, saying that according to the resemblance of types 
this influence must have been exerted in the eleventh century. The 
writing of the inscriptions closely resembles the Nagari character 
of the first half of the thirteenth century, which is quite in ac- 
cordance with the age of the monument, as attested by the inscrip- 
tion of King Vishnuvardhana. The monument described is there- 
fore a new proof of the fact that Buddhism was yet existing 
in the south of India at the beginning of the thirteenth century, 
as in fact it existed in the north of India. But at the same time it 
is evident that Buddhism as developed in the Mahayana, had 
entered into a close religious and artistic alliance with Viva worship. 
With regard to this the Sanscrit inscription found in Kasia in the 
North-Western Provinces and recently interpreted by Prof. 
Kielhorn of Giéttingen gives a striking parallel. 
The inscription in the two first lines celebrates Civa; in the 
third line Tara, the Buddhagakti is mentioned disertis verbis. 
In the fourth and fifth line Buddha is celebrated as Tathagata and 
Munindra. So we find in the north of India the same connexion of 
Civa on the one side, of Buddha and its Gahti on the other side 
that we meet with in the eastern part of Java. 
The few words I desired to say have become many. But 
they are, I hope, not quite out of place, since they tried to 
show how much light the religious and artistic development of 
Hindooism in Java may yet throw on the whole history of Indian 
religion and art. Further research may perhaps lead to the dis- 
covery of a page of the history of Indian art, lost in India proper 
and preserved in the Hindooised island far away. 
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