Ratu Boko is an
archaeological site known to modern
Javanese as
Kraton Ratu Boko or Ratu Boko's Palace. Ratu Boko is located on a plateau, about three kilometres south of Lara Jonggrang
Prambanan temple complex in
Yogyakarta Indonesia.
The original name of this site is still unclear, however the local
inhabitants named this site after King Boko, the legendary king
mentioned in
Loro Jonggrang folklore.
The site covers 16 hectares in two hamlets (
Dawung and
Sambireja) of the village of Bokoharjo and Prambanan. In striking contrast to other Classic-period sites in
Central Java and
Yogyakarta, which are remains of
temples, Ratu Boko displays attributes of an occupation or
settlement site, although its precise functions is unknown.
[1] Probably the site was a palace complex which belongs to the kings of
Sailendra or
Mataram Kingdom that also build temples scattered across
Prambanan Plain.
The argument was based on the fact that this complex was not a temple
nor building with religious nature, but a fortified palace instead which
evidence in the remnant of fortified walls and the dry
moat as defensive structures.
[2]
The remains of settlements also founds in Ratu Boko vicinity. This site
is located 196 m above the sea level, on the highest point in the site,
there is a small pavilion from which one will be able to see a
panoramic view of Prambanan temple with
Mount Merapi as the background.
Archaeological Remains
The main entrance to Ratu Boko compound.
At Ratu Boko traces of probable
secular structures were erected on a
plateau divided into terraces separated from each other by stone walls and stone-faced ramparts (
talud).
The site was reached by a steep path up the northwest slope of the
plateau, in the direction of Prambanan. The structural remains in the
terrace at Ratu Boko site consist of places with folk names connected
with palaces such as
paseban (reception pavilion),
pendopo (audience hall) and
kaputren
(women's quarter). A pool complex lies on a terrace adjoining the east
side of the pendopo. A group of artificial caves, probably for
meditation, lies to the north, isolated from the rest of the site. These
archaeological sites are:
Main Gate
The first of three terraces is reached through a massive gateway
built on two levels. On the western edge of this terrace is a high
talud of soft white limestone. The second terrace, separated from the first by andesite wall, is reached through a gateway in
paduraksa
form consisting of three doors, a larger central one flanked by two of
lesser dimensions. The third terrace, the largest, contains the richest
concentrations of archaeological remains. Another talud and andesite
wall separate the third terrace from the second terrace, with another
connecting gateway of paduraksa form, this time consisting of five
doors, again the central one having larger dimensions than the two which
flank it.
It is read on the main gate Panabwara that was written by
Rakai Panabwara, descendant of
Rakai Panangkaran. He carved his name there in order to legitimate his authority of this palace.
Candi Batu Putih
Literally,
Batu Putih means white stone. It is a structure
made from white limestone on the north side of the first row of the gate
on second terrace.
Candi Pembakaran
Beyond the second row of gates on third terrace, on the north side of
the plateau there's a structure similar to the base part of the temple
with two terraces about 26x26 m in size. On the center of upper terrace
is just an empty descending square hole. The function of that building
probably as the
crematorium to burn the corpses.
Paseban
On the plateau on the third terrace, beside the Candi Pembakaran,
there are also several square stone structures. On the structures there
are some
umpak or stones which serve as the base for wooden
columns with holes to support the pillars. These structures are highly
suggested as the base of the building, since the pillars, wall, and roof
are made from
organic material, only the stone floor and base still remain.
Pendopo
On the second terrace on the southeast side of the plateau, lies the
pendopo (audience hall). The pendopo is a square stone enclosure surrounded with andesite stone wall with the small
paduraksa
entrance gates in the north, west, and south sides of the walled
enclosure. In the center of this walled enclosure there's a stone base
formed by two separated terraces, the terrace in the southern side is
smaller than the north side one. This terrace served as the base and
floor of the wooden structure since there are some
umpak or
stones which serve as the base for wooden columns with holes to support
the pillars. Since the pillars, walls, and the roof were made from
easily decayed material such as wood,
sirap (wooden shingles roof) or
ijuk, none of it survives.
[3] Only the stone base still remains while the organic wooden material of the building is gone.
Miniature Temples
On the south side on the pendopo, there are three miniature temples
with a square stone basin in front of it. This small temple probably
served a religious purpose, as some kind of Hindu or Buddhist
shrine in the Ratu Boko complex.
Kaputren and Bathing Place
On the eastern side of pendopo on the lower terrace, there are
several andesite stone walled enclosure with paduraksa gate and a
gallery leads to the several pools within the walled enclosure. This
structure is associated by local folks as kaputren (women's quarter),
since the pool is believed to be the pleasure garden for king and his
concubines.
One particular pool (or well) within the bath place is considered
sacred by Hindu people called 'Amerta Mantana'. It is believed that the
water of Amerta brings luck for anyone who uses it.
Hindu people use it in
Tawur Agung ceremony, one day before the
Nyepi
day, to support the achievement of self purify and to return the earth
into her initial harmony. To the east of the pool there are two stone
base structures, yet again probably the remains of a wooden structure of
which only the stone base still remains. From this structure,
overlooking a valley on the east side of Ratu Boko compounds, visitors
can see
Candi Barong, a Hindu temple complex across the valley on the slope of the hill in the east.
Ascetic Cave
At the northern part from pendopo, isolated from the rest of the
site, lies two caves that were formed of sediment stones. The upper cave
is called Gua Lanang (Male Cave) and the lower cave is called Gua Wadon
(Female Cave). In front of Gua Lanang, there is a pond and three
effigies. Based on the research, the effigy is known as
Aksobya, one of
Buddha Pantheons. The cave probably functioned as a meditation place.
Buddhism and Hinduism
Ratu Boko site has yielded many smaller artefact including statues, both Hindu (
Durga,
Ganesha,
Garuda, a
Linga and a
Yoni) and Buddhist (three unfinished
Dhyani Buddhas).
Other finds include ceramics and inscriptions; a golden plate with the
writing "Om Rudra ya namah swaha" on it as form of worship to Rudra as
the other name of
Shiva. This proved that the
Hindus and
Buddhist live together with tolerance or in a
syncretism.
Functions
Despite the large quantity and variety of remains found there, the
exact functions of Ratu Boko site is still unknown. Some believe it was
the former palace of ancient
Mataram Kingdom; other scholars interpret this site as
monastery.
While third group holds that it was a place for rest and recreation.
Inscriptions shows that the site was occupied at least during the 8th
and 9th centuries. Five inscriptions in pre-Nagari script and
Sanskrit describe the construction of a shrine for
Avalokitesvara. One inscriptions refers to the constructions of a Buddhist monastery modelled after Abhayagiri
Vihara (means a monastery on a peaceful hill) in
Sri Lanka, where a group of ascetic forest dwelling
monks resided. Three dated inscriptions in
Old Javanese and poetic Sanskrit recount the erection of two
lingga,
and bear the date of 778 Saka or 856 AD. Another undated inscription
mentions the erection of lingga named Hara at the order of King
Kalasobhawa.
The Legend of King Boko
King Boko is a legendary character known from popular folklore of
Loro Jonggrang. This folklore connects the Ratu Boko Palace, the
Durga statue in
Prambanan temple (which is identified by local folklore as Loro Jonggrang), and the origin of the
Sewu temple complex
nearby. Prince Bandung Bondowoso loved Princess Loro Jonggrang, the
daughter of King Boko, but she rejected his proposal of marriage because
Bandung Bondowoso had killed King Boko and ruled her kingdom. Bandung
Bondowoso insisted on the union, and finally Loro Jonggrang was forced
to agree for a union in marriage, but she posed one condition: Bandung
must build her a thousand temples in one night. He entered into
meditation and conjured up a multitude of spirits (genies or demons)
from the earth. They succeeded in building 999 temples. Loro Jonggrang
then woke her palace maids and ordered them to begin pounding rice. This
awoke the roosters, which began to crow. The genies, hearing the sound
of morning, believed the sun was about to rise and so disappeared back
into the ground. Thus the prince was fooled, in revenge he cursed the
princess and turned her into a stone statue. According to the
traditions, she is the image of
Durga in the north cell of the Shiva temple at Prambanan, which is still known as Loro Jonggrang or
Slender Virgin.
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