Unfinished Buddha

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Unfinished Buddha of Borobudur, now displayed at Karmawibhangga Museum

The Unfinished Buddha is a statue which is believed to have originated from the largest stupa of Borobudur. It is currently located in Karmawibhangga Museum.

The Unfinished Buddha is so-called because of its incomplete nature; the hands of the statue are not fully carved, the right arm is longer than the left and one of the shoulders is bigger than the other.[1]

History

Borobudur's main stupa in mid 19th-century, a wooden deck had been installed above the main stupa.

The large central stupa that crowns the Borobudur monument has a hollow chamber within, that is completely walled off from the outside. When opened during the monument's restoration, it was found to contain an unfinished Buddha image that may represent a transcendent spiritual state.[2][better source needed]

Although the original location of the statue has been a matter of dispute, it is now appears that the statue was probably originally in the stupa: there is, however, a possibility that it might not have been established there as a religiously significant item. Some scholars argue that the statue is unfinished because it was deemed flawed. Rather than destroy a Buddha statue, the supervisor of the project may have placed it in the stupa simply to get rid of it.[3]

From 1907 to 1911, Theodore Van Erp supervised the restoration of Borobudur. He found the main stupa was empty, but discovered the Unfinished Buddha buried in the dirt inside it. Because there was no proof regarding its origin at the time, Van Erp had it put under a pili tree next to the temple. He believed that the statue was a failed one and was thrown away. His opinion was supported by Prof. Soekmono in 1973, because the statue was never mentioned in the time of Borobudur's recovery in the era of Raffles in 1814.[1]

Van Erp's action didn't go without negative critics by some archeologists, they commented that he should put it back inside the stupa instead of leaving it outside the temple. According to Bernard Kempers, this statue was intentional left unfinished, and from the Chinese record of 604 CE, there was a same misshaped Buddha statue in India.[1]

In 1994, Prof. Soekmono wrote an archeological journal in which he told the true reason why he didn't put the statue back inside the main stupa. The reason is that they would have had to partially dismantle the stupa which was restored by Van Erp, and that that action would clash with the spirit of reconstruction of that time. But he believed that the misshaped statue was indeed originated from the inside of the main stupa. Based on Serat Centhini chapter 105 verses 8–9, Prof. Soekmono found a story about the statue. One night, Mas Cebolang, the main character of Serat Centhini, was sleeping next to the main stupa of Borobudur and saw a big Buddha statue which was unfinished. Cebolang asked why there was the unfinished statue in the top, and he considered that those statue was intentionally left broken.[1]

105. Sinom Javanese language[4] Translation [5]
8 Umiyat kurungan sela
tinarancang alus rêmit
nglêbête kurungan sela
isi rêca gêng satunggil
nanging panggarapnèki
kintên-kintên dèrèng rampung
saranduning sarira
kathah kang dèrèng cinawi
kang samya myat langkung eram ing wardaya
An holey stone cage
finely sculpted
inside the stone cage
only contain a single statue
but the manufacture
seems unfinished
the whole body
many have not been carved
all who see were awe inside their heart
9 Mas Cêbolang angandika
paran darunane iki
rêca agung tur nèng pucak
têka tan langkêp ing warni
yèn pancèn durung dadi
iku bangêt mokalipun
baya pancèn jinarag
êmbuh karêpe kang kardi
mara padha udakaranên ing driya
Mas Cebolang said
why is it
a big statue on the top
the form is unfinished
if it really is unfinished
that is very impossible
whether it was intentional
who knows the intention of the creator
let's think inside our heart

Now the statue can be seen at Karmawibhangga Museum which is built on the ground of the Archeological Park created around Borobudur during the restoration sponsored by the Indonesian government and UNESCO that began in the 1970s.[3]

Model and symbolism

See also

References

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