Between the Petanu and Pakerisan Rivers – Part 1: Central Bali

In Central Bali there is an area of land situated between two holy rivers – the Pakerisan and the Petanu – and, in this narrow corridor there is to be found some of the of the most treasured antiquities in Bali – from Tirtha Empul in the north to Pura Gaduh in the south.

The area is the old Kingdom of Pejeng and often referred to as the ‘Holy Land’ and its importance, both archaeologically and historically, is irrefutable.

THE CENTRAL REGION

Goa Gadjah: Between Peliatan and Bedulu, this antiquity is located on the side of the road some 25 kilometres from Denpasar. The actual site appears to sit on the edge of a steep ravine of the Petanu River. There are the ubiquitous sellers stalls in the carpark and the area leading down to a lower level, and it is from there, as you look down into the ravine, that the mouth of the ‘Elephant Cave’ is visible. It is without a doubt an awe-inspiring sight. If you plan on visiting this antiquity, try and arrive there before 10am when the tourist buses start arriving.

History: Dutch Archaeologists date the site back to the 11th Century around the time of King Airlangga’s reign in Eastern Java according to inscriptions found at the site. Originally a Bhuddist Monastery, up until 1923 it was known only to the local people, and in 1954, the fountains and bathing pools nearby were excavated. There is uncertainty if Goa Gadjah was in fact used by Bhuddist or Hindu monks as a hermitage similar to the ‘hermit cells’ in eastern Java. There are Hindu and Bhuddist sculptures inside and around the cave, which points to a cohabitation of religions, but whether this occurred is not actually verified.

What is of relevance is the actual name of the antiquity. According to archaeological research, The Nagarakertagama (an old Javanese chronicle) written in 1356 AD, gave mention of a hermitage called ‘Lwa Gadjah’ kept by a high ranking Bhuddist. Literally interpreted means ‘Elephant River’. It was assumed the reference was to the Petanu River nearby to the cave. There are other theories. The name ‘Elephant cave’ derived because of the statue of Ganesha inside the cave, and, another giving mention to the cave being named after the river (when it was known as Elephant River).

Layout: Thee are roughly 80 steps in the steep descent to the site. Once in the courtyard of the site, the exterior of the cave mouth is confronting. The cave, cut into rock, has a flat top – regarded by researchers as a place of meditation. Above the entrance to the cave, a monstrous head with bulging eyes (which view to the left-hand side), with large hands either side appearing to be pushing back the rock. The whole figure is ornately carved and there are many theories regarding the façade. It is said to represent Rangda the Witch Queen, while other historians believe it to be Bhoma, the son of Vishnu and Pertiwi. There are numerous carvings on the exterior of the cave depicting forests, animals and people running in panic.

To the left-hand side of the cave mouth is located a statue of Hariti in a small pavillion. It is recorded this dates back to the Old Balinese Period (1000 AD). Hariti is surrounded by small children. Once a devourer of children, Hariti was converted to Bhuddism and became the protector of children.

Inside the T-shaped cave it is two metres high and only one metre wide causing one to bow in a bizarre manner. The actual passageway is nine metres long leading to the T-junction. To the left-hand side, there is a 100cm high statue four-armed statue of the Elephant God Ganesha (son of Shiva). The Elephant God’s nature was warlike and is evident with the axe, a broken tusk, a drinking vessel and beads held in his four hands. To the right-hand side are the three stone phalluses (or lingas) of the Hindu God Shiva and the female counterpart known as the Yoni.

In an area facing the cave entrance, are the Bathing Pools. There are two distinct sections, believed to be separate bathing areas for men and women. When the Dutch Archaeologist Krijgsman unearthed the pavilions after WWII, each bathing pavilion had four large waterspouts each supported by six ‘Widyardi’(standing nymphs). The Bhuddist and Shivaistic elaborate carvings are symbolically religious.

At the rear of the bathing pavilion there is a path with a steep descent to a smaller antiquity. There is a Candi with two 9th C Bhudda statues. Nearby are several fragments of what appeared to have once been a large bas-relief believed to have been carved on a rock-face higher up the ravine. Close to this area are situated two five-metre high stones shaped like stupas. These antiquities are believed to be dated around the 10th C, and according to Archaeologists, are from the reign of Kesari, a Bhuddist king who ruled Bali during the Central Javanese Period.

The Legend: That the great hollowed-out rock face was the supernatural work of Kebo Iwo, the builder of Gunung Kawi and Yeh Pulu.

Pura Panataran Sasih: From Goa Gadjah, a few kilometres to the north, the road leads to the town of Pejeng. On the left-hand side just before you enter Pejeng, you will see the well-signed Pura. The Pura is renowned for the treasure it holds within – The Moon of Pejeng.

History: Once the capital of the Pejeng Kingdom, Pura Panataran Sasih (lunar governance) was the state shrine. The Kingdom of Pejeng fell to Majapahit invaders in 1343. It has links to the Bali Aga mountain sanctuary of Penulisan situated north of Kintamani.

Layout: The Pura itself is a wide-open area with several pavilions on either side. Each pavilion has an odd assortment of statues and sculptures dating from the 10th-12th C. These include groups of standing Gods (Batara Brahma) seemingly in prayer and believed to be an unusual representation of the Hindu Trinity, as well as commemorative statues of various old rulers of the Pejeng Kingdom.

However, it is the pavilion in the rear of the courtyard, which holds the treasure of the temple – a highly revered and ornate gong called The Moon of Pejeng drum regarded as Indonesia’s most important Bronze-Age antiquity. Shaped like an hourglass, this beautifully etched drum is the largest single-cast piece in the world. Its length is roughly three metres. The antiquity is thought to be dated as far back as 300 BC around the time of the Bronze Age in Indonesia. Its origins are uncertain, and theories abound whether it was made locally or came from outside Indonesia. However, the intricately designed motifs on the drum, has strong connections with the Donsong culture of North Vietnam. This culture was the cradle of South-East Asia’s Bronze Age and indeed had a great influence on Old Indonesia’s ornamental art. Other scholars speculate the drum actually predates the Ming Dynasty and could have possibly been a gift from Kublai Khan to a Raja in Bali. Its history and antiquity are a mystery.

The ornamental facial patterns on the drum also have curious connections. Between the gong’s four handles are four heads. These are reputed to be the earliest representations of human faces in Indonesia. Upon close inspection the faces are heart-shaped with curved skulking mouths and large round eyes. Earrings hanging from elongated ears have a similar resemblance to certain ancestral figures and patterns found on the islands of Nias and Tanimbar. Naturally, the bronze has oxidised heavily and is an eerie blue-green colour. Talk to any of the ‘keepers of the temple’ and they will most certainly inform you of the drums supernatural qualities!.

Legend: It was one of the several moons that fell to earth and landed in a tree. Thieves wanting to ransack the temple were unable to go about their dastardly deeds because the moon was shining brightly. One of the thieves climbed a tree and urinated on the moon, which in turn exploded and fell back to earth as a drum. Other legends include that the gong was a wheel of a chariot of the moon. Another that the drum was the earplug of the mythical giant Kebo Iwo or of the Moon Goddess Ratih.

Pura Kebo Edan: On the road north from Bedulu, you pass by the Museum Purbakala (worth a visit) on the right-hand side. On the left-hand side not far from there you will see the ‘Mad Buffalo Temple’ or Pura Kebo Edan.

History: Very little is known of this temple. However, Archaeologists have approximately dated the large statue, ‘The Pejeng Giant’, as 700 years old. Urs Ramsayer wrote in his book ‘The Art and Culture of Bali’ that Pura Kebo Edan was most probably a Balinese version of the East Javanese Singosari magic temples. Interestingly these temples were built in the 12th C in Java.

Layout: The temple is small in comparison to other temples in this region. The most significant part of this temple is a huge wooden shelter. It stands out in its height and that’s because it houses the four metre giant statue of the Pejeng Giant. This interesting statue has snakes seemingly curling around its ankles and wrists. The most prominent feature of the statue is its well-endowed and realistic penis. There is a lot of debate regarding whether or not this ‘giant’ is actually a demon or a God. It is said that it could be a Bima (a warrior-lover). However, its dating is around the 13th or 14th C, and again, there is debate as to its influent creation. Some Archaeologists state that it was either by Shivaite or Tantric Bhuddist cults or factions. Interestingly, the giant is flanked by two ‘raksasa’ (Hindu mythical giants) threateningly decorated with skulls.

Legend: The Giant or Bima had immense desires for a woman. However, his rather large penis was too large for her and subsequently the woman took another lover. Bima , at one point in time, found the couple copulating and immediately set out to stomp them to death out of anger.

Yeh Pulu: One kilometre east of Goa Gadjah, you will see the well-marked signs to the site of Yeh Pulu. A short walk through rice-fields is entailed to reach the site. There are no shortages of guides to take you there for a nominal fee.

History: Yeh Pulu is a small hermitage dating back to the 14th C. This antiquity is a unique frieze carved into a cliff face some two metres high and twenty-five metres in length. For centuries it was buried under volcanic eruptions and of course the jungle vegetation. The site was excavated in 1925. What was found was the most unique and mysterious sculptured structure of the Middle Balinese Period.

Layout: This 14th C hermitage comprises a unique frieze some two metres high and twenty-five metres in length. The life-sized frieze is framed with carved, decorative leaves. The illustrative crude chiselled carvings relate everyday life in Bali, even though it has been done in a primitive manner. The relief depicts various figures in postures, walking, playing with animals, and farm life. There are also hunting scenes portraying the acts of capture and slaying of boars and bears, even animals slaying other animals. Interestingly there is no religious connotation to the whole relief. It is a mixture of all levels of society in daily life. The only deity represented at this antiquity is Ganesha, the elephant-headed son of Vishnu. This is carved into a niche to the far right of the frieze length.

In his book ‘Monuments of Bali’, Bernet Kempers points out that the relief represented stories from the life of Lord Krishna, an incarnation of Vishnu. He cites the hunting scene for example saying it corresponds to the Hindu legend of Krishna defeating the bear Jambavat.

Legend: The frieze was carved out by the mythical giant Kebo Iwo using his thumbnail.