The graceful hand positions of the Buddha, mudras in Sanskritic language, all have specifically symbolic meanings. Six mudras are depicted, the symbolic meaning of each position being long-familiar.

In iconography, the description and interpretation of the 504 Buddha statues of Borobudur chandi still are a subject of controversy. The explanation for this pantheon of Buddhas is sought in the resemblance between the arrangement of the Buddhas on Borobudur chandi and those on Thibet temples.

The deviations, however, reflect the distinctive nature of the Javanese interpretation when depicting Buddhism.

Although one can ascend Borobudur chandi from all 4 directions, the easterly gate is, according to the arrange of the reliefs, considered to be the primary essence.

100s of Buddhas belongings their hands in different positions are placed in niches along 5 balustraded galleries.

The stately rhytm in which the various mudras follow along consecutively creates a unique harmoniousness.

On the 1st four galleries circumvented by balustrades are 4 dissimilar types of mudras can be distinguished. The hands of the Buddhas of the east of Borobudur chandi, call upon the Earth as witnesser to his enlightenment, in Sanskrit Bhumisparca-mudra.

Those on the south side symbolize Charity, the Wara-mudra. Further west, comes the gesture of Meditation or Dhyana-mudra, whereas those to the north express bravery, the Abhaya-mudra.

The entire 5th balustrade symbolizes the Zenith. To all 4 winds of heaven the hands of the Buddha signify Reasoning or Witarka-mudra.

The 6th mudra, reflecting the Turning of the Wheel of Law – Dharmacakara-mudra, is hidden in stupas. During his 1st sermon in the park of the Gazelles at Benares, the Buddha assumed this posture.

Should a connectedness be sought between the 6 and the cosmographic division-the sphere of Desire, the sphere of Form, and the sphere of Formlessness-then the placing of Buddhas on the 1st balustrade, forming part of the sphere of Desire, would be inappropriate.

But as this balustrade also constitutes a smooth transition to the sphere of Form, being the appropriate sphere in which to place statues, the Javanese architects placed the Buddhas there, in niches differently arranged.

The 5th balustrade separates the sphere of Form and the access to the sphere of Formlessness. Here too the depiction of Buddhas in the sphere of Formlessness would actually not be applicable.

Nevertheless, an ingenious solution was found to demonstrate the presence and non-presence of the Buddhas in the highest sphere, by putting them under trellised stupas.

The 6 positions of the hands;Bhumisparca-mudra, Wara-mudra, Dhyana-mudra, Abhaya-mudra, Witarka-mudra, and Dharmacakara-mudra, reveal the mystery which Buddha’s serene face conceals.

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Narasumber: Moerdowo,R.M.