Pradaksina Practice in Borobudur Temple

Written by Randi Eka Sanjaya

Pradaksina practice in real practice has been symbolize as a journey to the enlightenment. This statement is placed inside mandala (i.e. territory, environment) Borobudur Temple as great representation of Buddha creation. In each side, there is a lot of sculptures which representing each stage to be Buddha. As for the mandala basis (Sadhana), it is being manifested for advance meditation, in term that meditation stage only be able to be used for those who already capable nor ready to be placed there.

For facing that, we have to realizing about basis principles in term of karma, pratityasmupada, heaven, and hell in our inner self. In Pradaksina practice, those who seek for Bodhicitta will meditating that including mudra which being manifested as they walk around the temple in a clock direction. This ritual is being practiced until it reached Buddha Stupa which represented Buddha itself.

Borobudur Temple has been divided into two section, outer mandala and inner mandala. Outer mandala is interpreted as a way, and inner mandala is interpreted in a series of tathagata in context for transforming our way of life into Buddha. There is a series of symbol that symbolize the transformation itself, Tathagata ratnasambhava (facing south) symbolize the transformation of proud into equality, Tathagata Amonghasiddhi (facing north) symbolize the transformation of frustration into fruitfulness, Tathagata Aksobhya (facing east) symbolize the transformation of hatred into wise, amd Tathagata Amitabha (facing west) symbolize the transformation of lust into wisdom, it is all placed in first stage of Borobudur Temple. Tathagata Vairocana (facing all direction) symbolize its capabilities for giving enlightenment which transform wishful thinking into knowing the reality, it is placed in second stage of Borobudur Temple. In the third stage, it is filled with a series of Buddha statue with Vitakara mudra and also a place for every statue that we saw in the first stage. It’s placed in a series of stupa with hand that represent all direction, until in the end, it reached the Buddha state itself.

In my conceptual photography work, I intentionally executing a romantic symbolic approach for Pradaksina practice. It is manifested as conseptual photography which represent the existence of this concept within my intellectual. As for the photo, I placed Avila Amorita as a person who represent those who do Pradaksina. Creating combination as the flow goes on, it is created as manifestation in my intense curiosity towards Buddhism to gain interaction for culture awareness within audience. It surely giving me some footsteps to get a hold in my existence.