Penataran

The magnificent temple complex of Penataran occupies a special position among the stone remains to be found in East Java. Not only is it the province’s largest single archaeological site, but it is further a unique and invaluable historical document, preserving dated inscriptions spanning a period of more than 250 years. Most of the buildings visible today, however, are the work of Majapahit aechitects and craftsmen and date from the 14th century, during which time the complex appears to haveundergone continuous expansion.

Referred to in ancient literature as Palah, Penataran is situated 450 metres above sea level on the south western slope of the active volcano Mt Kelud, about 12 kilometres from the town of Blitar. The site, Which faces north west , is roughly rectangular in shape, devided into three courtyards in an arrangement similar to that found in contemporary Balinese pura, with the principal building located at the rear of the compound .

The first courtyard contains the remains of at least four buildings. In the north western corner lies a rectangular stone terrace, which probably once fungtioned as a meeting place ( bale agung) for priests and religious officials. Rising about one and a half metres above tha ground, the terrace appears to have supported a wooden structure, long since perished.

South east of the bale agung is another, smaller foundation known as the pendopo terrace, which is likewise thought to have served as the base for a building constructed of wood. Dating from 1375, the pendopo terrace may have been used for the placing of offerings during religious festivals. The walls of the foundation are decorated with a sequence of finely carved relief panels depicting popular narratives, among them the stories of Sang Setyawan, Bubuksah and Gagang Akhing, as well as Sri Tanjung.

Still within the first courtyard, east of the pendopo terrace stands the ‘dated temple’, so named because it displays the Saka date 1291 ( A.D. 1369) carved in stone on the lintel aboved the entrance. Known also as Candi Ganesa, after the image of the elephant headed deity within the temple’s single small chamber, the shape of the building is tall and slender, the roof tapering up to form a truncated spire. Above the entrance is displayed a fearsome image of Kala, or Banaspati, lord of the forest and widerness. Taking the form of a mythical, lion-like creature, his purpose on Javanese temples is to inner chamber is a square, stone slab, upon which is carved the emblematic Surya Majapahit. Other identifiable remains within the first courtyard include some large stone pillar supports which may have formed part of a priests’residance, as well as some isolated brick foundations, whose function is no longer possible to determine.

Entering the second courtyard, only one building from among sevev of which there is evidence, has survived. This is the Naga temple, named after the carved image of a naga (Mythical serpent deity), whose undulating coils extend around the upper section of the building . Constructed from stone the Naga temple is a small, roughly square structure standing just under five metres in height only the base and body of the building have survived. The roof, no longer visible, was probably made from perishable materials.

Despite its rather small size, the building is lavishly ornamented. The serpent’s coils, which in the past would have lain under the eaves of the roof., are supported by nine regal figures, portrayed with a priest’s bell in one hand, whilethe other holds up the body of the naga. The walls of the temple are further decorated with medallions carved in relief depicting animals and flowers. As to the original fungtion of the Naga temple, it is possible that it served as a repository for valuable items, such as ancient statues and other pusaka ( sacred heirlooms).
The largest and most important building of the Penataran complex can be found at the rear of the third courtyard, which is the most sacred enclosure. What remains today is just the footof the original structure, consisting of three diminishing terraces rising to a total height of just over seven metres. The base of the building, which is square with wide central projections, measures about 30 metres on each side. Entrance from ground level to the floor of the first terrace is by way of two flights of stairs located on the western side, each flanked by pairs of guardian figures. The first terrace provides a spacious walking area known as selasar, from where visitors can view at some distance the narrative carved in relief on the walls of the second level. A single stairway leads from the selasar to the top of the third terrace, from where the body of the building would originally have risen. The walls of this uppermost section are decorated with carved images of winged lions and serpents. Of interest is the discovery of what appears to be the remains of an earlier building made from brick, beneath the floor of this level.

In spite of the fact that only the base has survived, the main temple at Penataran displays a wealth of sculpture and relief carving as impressive as any in East Java. The walls of the first and second terraces are covered with carved stone panels depicting scenes from the Kresnayana ( stories og the god Kresna as a youth), as well asan episode from the ever popular Ramayana epic. Further carving showing exceptional detail can be seen on the backs of the guardian figures beside the entrances steps, where a date equivalent to A.D. 1347 is revealed. Another object of importance in the third courtyard lies on the southern side of the main temple. This is the stele of King Srengga of Kediri, dating from 1197. Addressed to Sira Paduka Bhatari I Palah, who is thought to represent the lord of Mt Kelud as well as the god Siwa, this is the earliest known inscription from Penataran.
There still remain two more structures, which lie outside the complex proper but were undoubtedly connected with it. These are the two bathing places situated behind located close to the southern corner of the rear courtyard. Built from a combination of stone and brick and dating from the Indian Panca Tantra.

Photo source: 3.bp.blogspot.com
Text source: Historic East Java by Nigel Bullough