Tuk Mas1Tuk Mas2
[quote]Hindu symbols carved on inscription stone which includes Trishula(Trishula), Parashu(axe), Shamkha(conch shell), Padma(lotus), Danda(staff), Kumbham(vase) and Meru(in the form of pillar emerging from Kumbham, pillars were often modelled after this).
Tuk Mas is a combination of two words, tuk which means fountain, and gold meaning gold. Tuk Mas hereafter can be interpreted as a golden springs. Why is that so? Experts estimate that the existence of the Tuk Mas inscription is a symbol of the existence of holy water streams that are likened to the Ganges river in India. Despite not mentioning the number of years of clear inscription but the use of the Pallawa-Grantha character, it can be estimated that the prejudice of Tuk Mas dates from 500 to 700 AD.

 

In addition to the writing circuit, in Tuk Mas inscriptions there are also symbols of the image, including a chakra (16-wheeled jig) a paw, two paws (a waterpot), a tricula (a three-eyed spear) , a knife and four chain rosetta motifs. In addition there are still some symbols that until now still can not be clearly explained the appearance and meaning.

 

The existence of the Tuk Mas inscription in the Magelang region has further strengthened Magelang as a thousandth temple area. 
Inscriptions, temples, important sites are scattered in Magelang. It is increasingly indicative that this area in the past was the center 
of the Ancient Mataram Kingdom...[unquote]


Sudamala Relief (A Ghost Story)   This relief illustrates a strange episode from the Sudamala, in which Pandava Sadewa is tied to a tree (photo right) in a cemetery and menaced by Durga. The fierce goddess, who is attended by ghostly companions, raises a wicked blade in her right hand to frighten him. One of the ghosts, a bodiless head, rests on a pedestal between Durga and Sadewa.
Sudamala Relief. Candi Sukuh. This relief illustrates a strange episode from the Sudamala, in which Pandava Sadewa is tied to a tree (photo right) in a cemetery and menaced by Durga. The fierce goddess, who is attended by companions, raises a blade in her right hand to frighten him. One of the ghosts, a bodiless head, rests on a pedestal between Durga and Sadewa.
Candi Sukuh, un étrange temple à Java 
-- Franck Michel (2012) Translated from French
 
  
 
 
Candi Sukuh est un temple hindou-javanais qui n’a pas encore dévoilé tous ses mystères…

  
 
 
 
Symbole fertilité et de procréation, l’ensemble « yoni-linga » (à droite) fait aujourd’hui encore l’objet de rituels pour les femmes de la région souhaitant devenir enceintes et qui viennent – pendant la pleine lune notamment – ici pour prier et se recueillir A gauche, le petit autel de pierre au premier plan sert également pour les offrandes que les pèlerins balinais font régulièrement lorsqu’ils visitent ce lieu chargé et toujours saint à leurs yeux.
 

 

 
 
 

  
 
 
 
A gauche, vue générale du site avec la pyramide à l’arrière. A droite, un mur de bas-reliefs où l’on aperçoit, de gauche à droite, Bhima en train de forger le métal,
un étrange Ganesh dansant au centre, et Arjuna qui s’emploie à attiser le feu pour actionner la forge.
 
    
  
 
 
 
Quelques détails des bas-reliefs et de l’une des « tables-tortues » qui trônent non loin de la pyramide.
 
    
  
 
 
  
 
 
  
 
 


  
 
 
 
 
  Les environs de Candi Sukuh, notamment dans le coin de Tawangmangu, sont propices à de belles balades 
 


 
A Javanese temple that has not yet unveiled all its mysteries ...  


With its singular appearance reminiscent of a Mayan pyramid, the temple of Sukuh has not finished to seduce, surprise and detonate, so we are surprised when we arrive at this particularly peaceful place, coiled in the heart of the Javanese countryside. Slightly perched on a hill at 910 meters above sea level, a 15th-century temple, Candi Sukuh - candi meaning "temple" - is located near Mount Lawu (3265 meters), on the island of Java. A strange temple, as erotic as sacred, in the purest Hindu-Javanese tradition of the end of theso-called classical period.If for a long time, on the religious level, the entire region has passed into the hands of Islam, it remains that Sukuh still attracts Hindu pilgrims (mostly Balinese) - even to a lesser extent indigenous people remained attached to animist beliefs - who continue to manage this sacred place as a worship space. Visiting this temple, it would also be a shame not to take the opportunity to enjoy the surroundings, starting with Tawangmangu, a village perched high (at 1300 meters), which is an excellent base, before (re) going for a walk in the corner and spot impressive waterfalls and various plantations that mingle with lush vegetation (forest of teaks, spices, vegetables, tea ...) that gives this beautiful region, wooded and hilly,

a really special stamp. Located 35 kilometers east of the city of Solo, Candi Sukuh is integrated in the village of Berjo. Considered the only truly erotic temple in Java, it has beautiful sculptures and bas-reliefs still well preserved.


 A temple with a turbulent and mysterious history


Candi Sukuh is a temple that was built in 1437, in the midst of turmoil in the history of the Majapahit Empire, then already entered a phase of decline. "Sukuh" would mean "march / attack to victory". A meaning that at the time was, surely, to address the supporters of power in Majapahit. The dating could be established thanks to an inscription on one of the doors preserved on the site: the year 1359 (Saka calendar) is mentioned, this one corresponds to the year 1437 of our calendar. Candi Sukuh is one of the Hindu-Javanese temples that mark this part of the island in this crucial period, preceding the seizure of power by the Muslim armies that will be effective from the early sixteenth century. Three sacred places actually form a real sanctuary in a "cosmic triangle": Candi Sukuh, Candi Ceto and Candi Menggung.


 Placed in the heart of the kingdom of Daha-Kadiri which, around 1437, competed with the supremacy of Majapahit (powerful and main East-Javanese empire of the time, established in 1305, whose institutions and foundations are Hindu-Javanese, and which will last until 1527), Candi Sukuh certainly had a reason to be political. The state of Grobogan-Medan, a split (led by Bhre Daha) of the Daha-Kadiri dynasty, was established in 1437 with the stated purpose of rivaling the almighty power of Majapahit. But this power will be ephemeral, even if Sukuh was precisely "the cosmological center of this state", to use the words of the researcher Victor M. Fic.


In the face of the much stronger pressures from both Chinese and Arab / Malay Muslim sailors / traders, the rivalries between the Kadiri and Majapahit kingdoms will diminish and then die in the face of stronger, more organized powers. In Sukuh, notes VM Fic., 33 layers of bricks support the main building: "33" means "god" in the encrypted language if not deciphered (Indra, the king of the gods, is thus, according to the Trayastrimsapati, "the Lord of 33 "). The temple founder no doubt felt that this spiritually charged place was ideal for venerating gods and ancestors, honoring the spirits of nature, and indulging in fertility rites. According to Stanley J. O'Connor, the British governor of Java between 1811 and 1816, Thomas Raffles, visited the temple in 1815 and found his state of disrepair.  It is more exactly a certain Johnson, the "Resident" of Solo (or Surakarta) who, under the tutelage of Raffles, discovers the temple in 1815: statues esquintées, heads decapitated, giant linga broken in two parts. These acts of vandalism and destruction perhaps dated, thought Johnson and Raffles, from the time of the Muslim invasions of the sixteenth century. It was then in 1842 that the first study was conducted under the direction of a group of Dutch archaeologists, then further research continued the work in 1889, and again in 1910, and especially in 1917. It will take wait until 1989 for a restoration worthy of the name can finally take place under the authority of the Government of Central Java.


Candi Sukuh n’est pas un temple hindou en terre javanaise comme un autre, et cela par son histoire comme par son architecture. L’archéologue Victor M. Fic montre que Shiva, grand maître de l’ordre cosmique, et Bhima, principal agent de la fertilité dans l’hindouisme, sont sans doute les deux divinités principales rattachées au temple. Pour Fic, le message du temple est « le cycle cosmique de la vie, de la mort, de la renaissance ». En 1437, en demandant aux sculpteurs et aux artisans brahmanes, nourris des canons architecturaux du Shilpashastra, les « constructeurs » tentaient, selon ce même chercheur, de répondre à deux objectifs clairement définis :


1)      Un objectif politique et cosmologique, matérialisé par l’achèvement du grand linga royal en 1440, reprenant de fait la mainmise de Daha-Kadiri (sous la tutelle de Bhre) sur le trône désormais bancal de Majapahit.


2)      Un objectif philosophique et religieux, avec la construction d’un temple valorisant les croyances « mixtes » hindoues-javanaises, et focalisant les efforts sur l’unité entre la vie et la mort, et la perpétuation du cycle de la création, mort et renaissance…

  Symbol of fertility and procreation, the whole "yoni-linga" (right) is still the subject of rituals for women of the region wishing to become pregnant and who come - during the full moon in particular - here to pray On the left, the small stone altar in the foreground is also used for the offerings that Balinese pilgrims make on a regular basis when they visit this place, which is always holy in their eyes.


Eros and Thanatos in tantric version


 In Java Center, Candi Sukuh represented in truth a "temple" of Tantric Shaivism fully in force in the official Hindu-Javanese space of the time. To this was added Javanese shamanism, the whole forming a spiritual mixture that would explain all the better the rites of fertility and sacralized sexual unions. As such, Bhima - sort of "mediator" advised between Shiva and the people - is the one by which the cult of fertility is activated. Indeed, it is he who is designated by Shiva to collect the sacred water, pledge of immortality. And the procreation of life in the eternal and cosmic cycle is still him! Thus, a form of popular eroticism has undoubtedly coiled, if not perfectly married, with Shivaite Tantrism.


 But let's get back to the specifics of the monument as a whole. At the entrance to the site, a sculpture on the floor describes the male and female genitals - linga and yoni - symbolizing the birth of life, and certainly in common use for various fertility / fertility rites. Then, in the heart of the site, in the most sacred space, once enthroned a giant linga (phallus, in the form of a phallic statue in stone, the latter measuring 1.82 meters in height and dating from 1440) which is now located prominently at the National Museum of Jakarta. The temple has three terraces and corresponding "entrance" doors.

The main monument is the pyramid in front of which statues and various sculptures are arranged, including three turtles with a flat top (including two large "keep" actually the entrance to the pyramid) and - real tourist must site! - a man standing tall, holding his penis firmly with his left hand. Male tourists, always petty otherwise Gallic, sometimes spend a good part of the visit to admire the virile craft of the decapitated man and to be photographed behind the statue, offering a "head" to this well-hung body, and some start to dream ... If the presence of this statue of man remains mysterious, that of the turtles seems easier to understand: their heads are all oriented to the west and the top - flat, ideal for laying offerings - served without doubt as an altar to perform rites of purification or ceremonies in honor of ancestors. Note that in Hindu mythology, the turtle symbolizes the "base of the world" and, as Vishnu's avatar (more precisely Kurma), it refers to the "Sea of ​​milk". In addition, Kala heads, a symbol of cosmic time, adorn the walls, as well as two snakes-naga (Vasuki and Taksaka), without forgetting a huge Garuda, this mythical eagle that Indonesians have instrumentalized through their airline national ...

A passage allows to reach, by a small stone staircase, the top of the pyramid, probably place predisposed to welcome the faithful and the priests (that one called here, according to the investigations of Fic, the "wiku"), as well as to collect the offerings serving for some of the most important rituals that took place there. The artistic themes raised here, whether they be birth rites or sex education scenes, differ considerably from those found on other Hindu-Javanese sites in the area. Sculptures show various scenes: a monster eating a man, birds and a tree, a dog ... Scenes of Bhima seeking sacred water with the destructive god Shiva and the god of wind Bayu (Bhimaswarga) or of the Dewaruci altar (illustrating some major and sacred texts of Hinduism). Not to mention sex that is clearly guessed and anthropomorphic statues where we see the genitals of men and women. This is a specificity of this time because nowhere else in Java, on the other monuments of this classical Hindu-Javanese period, one can see examples of an artistic style as "daring" and realistic. It seems that Candi Sukuh - whose construction comes late in the history of classical architecture, the usual criteria and norms have not been respected - was erected at the time when the Hindu religion was already dying. For example, the shape of a Hindu temple should be here a rectangle (or a square) and not a "trapeze" with three terraces, as is precisely the case for Sukuh.

On the decorated and carved walls, there is a portrait of two blacksmiths working on a firecracker and a representation of Ganesh, the elephant-headed god and son of Shiva. Ganesh is an essential deity in tantrism and blacksmiths of powerful characters in Hindu-Javanese mythology since, not only do they work and "transform" the metal, but they are also able to understand the hidden essence of the spiritual "matter" . The kriss (keris) and its magical powers related to it testify to the importance of the forge for the natives, formerly as still today, the blacksmiths drawing their strength thanks to the power of the god of fire which is allotted to them. This is also why a forge "is" an altar, a sacred place par excellence. We can still notice this today, for example among the blacksmith class - among Balinese Hindus. Royal dynasties and other aristocratic or non-aristocratic lineages are often legitimized through the possession of powerful kriss "loaded" with spirituality and / or magic.  The figure of Ganesh, god crowned with metal and protector of the Hindu faith, is omnipresent in Candi Sukuh. On the stone, he is not shown sitting - as is often the case elsewhere - but dancing, and even showing off his genitals! This posture clearly refers to tantrism and even to certain rituals found in Tibetan Buddhism (especially because of the presence, in the image, of a dog). According to the researcher Victor Fic, the bas-reliefs bring back and make the portraits of the inhabitants of Daha-Kadiri in the image of the Pandawas - the clan of the just! - fighting for the good cause (see Mahabharata) in their claims to Ayodhya. In these times of unrest and doubt, there would be a strong identification of Javanese natives with the prestigious Indians of the past. Because the history of the temple is to relocate constantly in the context of crisis in which already survived the empire of Majapahit since the end of the fourteenth century.

Probably the least known erotic temple in the world, Candi Sukuh was built rather oddly if one refers to the official canons of traditional architecture of Hindu origin. Different theories clash and cultivate the mystery of its foundations, here are two summaries: 1) as the temple was built during a period of decline, one returned to the concepts and references of the ancient local and megalithic culture; 2) the shape of the temple is singular because it refers to the sacred texts Nawaruci, Sudamala and Adiparva (early Mahabharata), where the story of the quest for the lustral water of immortality (tirta amerta) is evoked ; as for the "cut" form of the pyramid, it symbolizes Mandaragiri (whose summit has been cut to let the ocean pass) and the water of immortality which brings, it is said, eternal life to the one or who drinks it! All this obviously remains to be proven, and none of these two theories seem, for the time being, really to hold water ...

Left, general view of the site with the pyramid at the back. On the right, a wall of bas-reliefs where we see, from left to right, Bhima forging the metal, a strange Ganesh dancing in the center, and Arjuna who is working to fan the fire to power the forge.

Some details of the bas-reliefs and one of the "tables-turtles" which enthroned not far from the pyramid.


Candi Sukuh today


In January 2012, in the columns of the daily newspaper The Jakarta Post, Ganug Nugroho Adi shows that globalization has reached the Sukuh temple in the Javanese countryside. A photo shows Estefania Piffano, an artist from far away Venezuela, dancing at the annual festival called Srawung Seni Candi (8th festival, beginning of January 2012), while a young Indonesian choreographer, Solo, performs a original and danced show, called "Agape". And the local dancer, Agustin Intan, to explain: "Agape comes from the Greek and means eternal love. This dance deals with universal and not just individual love. This festival brings together many artists  at Sukuh Temple, Karanganyar, Central Java, and in this, marks a new cultural step for the region. Another Indonesian choreographer, Mugiyono Kasido, made a personal version of "Dewaruci" - part taken from the Mahabharata - where he played the role of "Bima Maja" leaving for the holy water. Other events at the festival include Riyanto, who arrived from Solo, dazzled the audience during a dance (Lelananging Jagad, tracing the story of a warrior hero and yet very much in love), performed in concert with nine dancers accoutrées according to the fashion of the time and officiating in good complicity with and on the "stone altars" of the then more cultural than archaeological site. Other shows - around the goddess Betari Durga for example - took place since the beginning of the festival, December 31, 2011. The New Year's Day is also a highlight of the festival, and foreign artists (Russian, Mexican or Venezuelan ) blend harmoniously with Indonesian actors to play an ancient Hindu-Javanese repertoire nicely mixed with magic and eroticism. Fifty artists now come together each year to celebrate, in good popular and shared culture, the transition to the new year, and all this - to be emphasized - with the support and blessing of the Indonesian authorities. A good initiative to report and perhaps a promising sign for the future, towards more cultural miscegenation and more religious tolerance? We can really hope for it. The surroundings of Candi Sukuh, especially in the corner of Tawangmangu, are conducive tobeautiful walksWaiting for the next festival and Christmas Eve, every day of the year, for 10,000 rupees per person (the equivalent of one euro, and for Indonesians, the entry costs only 2,500 rupees), you will discover a site as original as it is exceptional, far from the crowd and even the heat of Borobudur.  It is sure, yesterday and probably even more today, Candi Sukuh is undoubtedly an erotic temple that surprises the visitor who dares to be rerouted by the usual circuit - Yogya, Borobudur, Prambanan, Bromo, Kawah Ijen - and who discovers in this way a jewel (still) hidden by cultural and nonetheless mass tourism. An enigmatic and exciting site that gives free rein to our imagination. Swan song from the Hindu era to Java or the last snub to Islam that has just taken over from the fifteenth century, healthy provocation or suicidal reaction against the announced victory of the Muslim forces, Candi Sukuh has not finished to dream if not fantasize Indonesians and travelers ...  At the end of this little visit on the spot, we can remember that, for a rather short historical period of time, Indian Tantrism and indigenous shamanism intermingled with real happiness in Candi Sukuh. Moreover, is it not precisely what - up to the present day - worries supporters of Muslim rigorism, frightened by the prospects eventually offered by these "alternative" beliefs and spiritualities, where sex, women or still pleasure, would occupy an essential place?  Then, to overflow the water of the vase of tolerance, there would be no more that the water of immortality (tirta amerta), that which so simply would ensure the eternal life, does not become water of life. And there, intoxicated by so much faith, the cup would probably be good (too) full ...    Franck Michel


https://www.baliautrement.com/pdf/Sukuh_Java.pdf Download article in PDF format   To read, to go further:


Further reading: 


- Victor M. Fic, From Majapahit and Sukuh to Megawati Sukarnoputri, New Delhi, Abhinav Pub., 2003.


 - Stanley J. O’Connor, Metallurgy and immortality at Candi Sukuh , Indonesia, Vol. 39, avril 1985, pp. 53-70.


 - Ganug Nugroho Adi, Welcoming the new horizon at Candi Sukuh , Jakarta, The Jakarta Post, 17 janvier 2012.