Table of Contents

Indonesia 2026: Monlam Ceremony & Learning Experience

Dates: July 11 – July 20th 2026

Location: Sewu – Mendut – Pawon – Borobudur – Plaosan – Kalasan, Yogyakarta, Indonesia

Planetary Alignments: New Moon (July 14th). First Quarter (July 21st); Moon close to Mars and Pleiades (July 11th); approaching full Solar Eclipse on August 12th

Nutrition: Regular Meals

Pilgrimage Intention

Borobudur is a place of pilgrimage not worship. A place to confront yourself with yourself and not with something outside of you. It is a place for self-work. A training center for those who wish to achieve enlightenment.

The Borobudur Mandala blends what they call the metaphysical and the physical. The symbolic and the material. The cosmological and the earthly with the structure of its own physical and its framework of the spiritual paradox. Polarity and oneness all at once – the Consciousness of oneness.

Our vision is to harness the profound potential of Borobudur Temple for shadow work and the practice of full presence. We will integrate preparatory teachings and practices received from Crizalia with the teachings offered on-site, allowing the pilgrimage to deepen and combine both streams. Through initiation classes in advance and specific guidance on site, we will identify the precise aspects to focus on at each specific location in order to broaden our respective insights. Aspiring to grasp the two most fundamental teachings of this site: “Every morning we are born again.” & “What we do today is what matters most.”.

Alongside the work on our Buddhic vows, we intend to continue our broader spiritual journey. Our primary aim remains to reconnect with our core values, so that this pilgrimage becomes the next step in the transformation of our internal dynamics. In doing so, we seek to clarify our purpose and what each one of us wishes to bring into the world—our individual contributions to the shared human experience.

Jonas Vision

Our Vision is to broaden our understanding of the traditions and rituals that once flourished in the Black Forest region, especially in relation to the ancestral fire. We hope to find common ground with other ancestral practices and ceremonial traditions that we have had the privilege to witness, work with, and learn from across different regions of the world.

The Vision is to continue and incorporate the work of the Unifying Ancestral New Fire that was held during Summer Solstice. So that I can resume broadening my understanding of the traditions that are part of the ceremonial practice in the Monlam practice and in Borobodur in general, especially in relation to the ancestral fire. I intend to find common grounds with other ancestral practices and ceremonial traditions that we have had the privilege to witness and experience across different regions of the world.

Jonas Intention

My intention is to carry on the quest of the empowerment of the unified ashes. And through that continue the work of cultivating the ancestral fire in Europe in order to be able to serve as a humble and honorable fire keeper. With a broad vision to deepen my understanding of guardianship of the ancestral ways and forms, my current primary focus is the consciousness of fire. So that I can eventually understand, work, and emanate from the root of our shared humanity.

Felix Vision

The continuation of the work of knowing myself, based on the content of the mixed circle.

Felix Intention

To be tested on the stability of what I have come to know of myself through the practice of the realizations of the content of the mixed circle.

Tamara Vision

The continuation of the work of knowing myself, based on the content of the mixed circle.

Tamara Intention

To be tested on the stability of what I have come to know of myself through the practice of the realizations of the content of the mixed circle.

Pilgrimage Sites

Collectively, Borobudur, Pawon, & Mendut symbolize the path an individual takes in attaining Buddhahood. According to previous studies, Borobudur, Pawon, & Mendut Temples are positioned on a straight line and they form a triadic of sacred buildings affiliated to Mahayana Buddhism. Furthermore, it is suggested that the three temples were closely associated with Mount Merapi.

The procession through them can be seen like washing your feet before entering a main Buddhist temple, which is done to remove the impurities sticking to the soles of the feet, which if unwashed can “pollute” the main sacred precinct!

“Between Mendut and Borobudur stands Pawon temple, a jewel of Javanese temple architecture. Most probably, this temple served to purify the mind prior to ascending Borobudur.“

Currently, during the full moon in May or June, Buddhists in Indonesia observe the annual Vesak ritual by walking from Mendut through Pawon to Borobudur.

Acala (Pawon) and the Garbhadhatu mandala (Mendut) belong to the carya-tantras, and the Vajradhatu mandala (Borobudur) to the yogatantras.

The Mendut tempel, representing the Garbhadhatu mandala of the Mahavairocana-sutra, and the Borobudur temple, symbolizing the Vajradhatu mandala of the Tattva-sangraha, were intended to fully sanction and stabilise the cakravartin sovereignty of the Sailendras in a sacred syndrome of philosophy, cosmology, aesthetics and hieratics of the Twin Mandalas of Vairocana, who is also known as the Ekaksara Cakravartin.

In old times a big road led from the Borobudur’s eastern entrance to Chandi Mendut, and passed through Chandi Pavon. Along the entire road there were walls with numerous towers, niches, and sculptures.

The three temples belong to Mahayana Buddhism. The details of the cults

practised are unsure, but a relationship certainly existed between the temples and the proclaimed divine nature of the kings who ordered their construction. In this connection, a possible, symbolic relationship between the three temples was investigated in details by Moens. In this controversial scholarly work, the idea is that the temples were connected by a “magical birth” ritual, in which the monarch’s consecration occurred both as the Buddha and as King. Moens proposed a ritual based on an analogy with the sun path in the sky in one day, and thus endowed with three main “stations”: east, zenith, and west. The beginning is located at the western staircase at Borobudur; to the east, Mendut; and for the zenith, Pawon.

Role of the moon in understanding the connection of the three temples: It is worth mentioning that the role of the moon is quite relevant in Buddhism, since festivals and recurrences associated with Buddha’s life are timed by the full moon. As is well known, in the course of a 18,6 years cycle the maximal declination of the Moon in her monthly cycle undergoes a slow variation from a minimum to a maximum, equal to the obliquity of the ecliptic minus/plus the obliquity of the earth-moon plane (=5° 9′) with respect to the ecliptic. This leads to a minor standstill at declination and a maximal standstill at declination. In 800 AD the obliquity of the ecliptic was about 9′ greater than today so =23° 39′ and the two standstills correspond to declinations 28° 48′ and to 18° 30′ respectively. The last matches, impressively, the orientation of Pawon, while the first closely (less than two degrees in declination, corresponding to less than 2 degrees also in azimuth) matches the orientation of Mendut (parallax corrections are negligible at these latitudes).

Since the minor standstill of the Moon is always mimicked by the sun two times a year, it is impossible to distinguish it from a solar orientation in the case of a single building. However, the coincidence of two buildings possibly related to the two standstills is, to say the least, impressive. In this respect it is important to remember that precise azimuths for the major 24standstills of the Moon are very difficult to individuate, and major standstills lunar orientations should always be understood as aimed to the full moon closest to the solstice, which always attains a declination close to the extremal one in the years of the standstills. The choice of orientation to the extreme of the moon might thus have arisen from calendrical reasons.

Chandi Mendut

Mendut Temple is located about 3 km east of Borobudur. Kayumwungan inscriptions found

in Karangtengah mentioned that Mendut Temple was built by King Indra of Syailendra Dynasty. This Rectangular temple, with multistoried roofs and decorated small stupas was built earlier than the Pawon and Borobudur Temples.

Different from the Borobudur Temple, which faces the rising sun, the Mendut Temple’s entrance faces westward.

The Mendut Temple niches became the throne for a large Buddha statue. The stairs projecting from the northwest side square, elevated base, is adorned with Makara statues on each side. The stairwell is carved with a bas-relief of the Jataka fable that narrates the animal story of Buddhist teaching.

The square terrace surrounding the body of the temple was meant for pradakshina or circumambulating ritual – walking clockwise around the temple.

The outer walls is adorned with bas-reliefs of Boddhisattvas (Buddhist divinities), such

as Avalokitesvara, Maitreya, Cunda, Ksitigarbha, Samantabhadra, Mahakarunika

Avalokitesvara, Vajrapani, Manjusri, Akasagarbha, & Boddhisattvadevi Prajnaparamita among other buddhist figures.

Originally the temple had two chambers, a small chamber in the front and the large main chamber in the center. The roof and some parts of the front chamber walls are missing. The uppermost part of the roof is missing, it is supposed to have a stupa pinnacle with size and style probably just like the one in Sojiwan temple. The inner wall of the front chamber is adorned with a bas-relief of Hariti surrounded by children, Atavaka, Kalpataru, and groups of devatas divinities flying in heaven on the other side.

At the foot of the temple’s yard, one finds some relief panels that depict the fables of the bird and turtle, monkey and manya bird, Brahmana dan crab, and a number of other stories. At a glimpse, the reliefs that describe Jataka’s story give a moral message for all those who visit Mendut Temple.

There are 8 reliefs of Bodhisattva with a variety of hand gestures (mudras) with much bigger size than the panel reliefs in Borobudur Temple. Three 3-meter-high statues of the Buddha are illuminated with golden light. In the temple room we find a statue of Avalokitesvara, and a statue of Bodhisattva Vajrapani. The Dyani Buddha Cakyamuni statue is located in the middle and is sitting with both feet down and the hand mudra for turning the wheel of dharma.

The square shrine stands on a high platform, accessible by a flight of stairs. Like the nearby Candi Pawon temple, the Candi Mendut temple is positioned directly to the east of Borobudur. These smaller temples therefore face west, opening towards the main site.

Candi Mendut is a shrine that can be entered, as opposed to a Buddhist stupa (reliquary mound) like Borobudur, which can only be circumambulated. Candi Mendut’s interior walls

have niches in which to place sculptures of buddhas or lamps to illuminate the dark space.

The relief carvings on Candi Mendut suggest a royal connection. In the vestibule leading inside, Buddhist deities and members of their celestial supporting cast flock toward the shrine, bearing offerings fit for gods and kings.

The main sanctum contains three massive seated Buddhist figures, each carved from a single block of stone. The central buddha, Vairochana, holds his hands in dharmachakra mudra, a teaching gesture, and plants his two feet firmly on a double-lotus pedestal. On each side of him are the bodhisattvas Avalokiteshvara and Vajrapani.

Buddha Vairocana is meant to liberate the devotees from the bodily karma, the Boddhisatva Avalokitesvara is meant to liberate from the karma of speech, and the Boddhisatva Vajrapani is meant to liberate from karma of thought.

Followers of the traditional Kejawen (Javanese mysticism) or Buddhists, came to worship in the Mendut temple to ask for the fulfillment of wishes, such as deliverance from sickness. Childless couples, for example, pray at the bas-relief of Hariti for a child, since in traditional Javanese beliefs, Hariti is a symbol of fertility, patroness of motherhood and protector of children.

The layout of Chandi Mendut is traditional. It is a temple with a deity figure placed on a pedestal, intended for ritual processions. The walls contain thematic reliefs with scenes from Buddhist parables. The reliefs contain well-preserved images of Bodhisattvas. The most unusual thing is that Shakyamuni Buddha is sitting in a “European” or “royal” pose with both his feet put on the lotus pedestal and his knees widely parted, without any traces of clothes. Bodhisattvas are sitting in traditional poses with one foot under their body and the other foot lowered. In traditional Buddhist iconography the image of the body part relating to genitals is always hidden by either a pose (asana) or pleats on the clothes (when Buddha is standing or lying). Hence, for adherents of canonical Buddhism the aforesaid depiction of Buddha is probably somewhat shocking.

Pawon

The original name of this Buddhist shrine is uncertain. Pawon literally means “kitchen” in Javanese language, which is derived from the root word awu or dust.

The connection to the word “dust” also suggests that this temple was probably built as a tomb or mortuary temple for a king. Pawon from the word Per-awu-an (place that contains dust), a temple that houses the dust of the cremated king. However who was the personage that entombed here is still unknown. Local people name this temple as “Bajranalan” based on the name of the village.

Bajranalan is derived from the Sanskrit word Vajra (thunder or also a Buddhist ceremonial tool) and Anala (fire, flame). Due to its small size, Pawon resembles a memorial monument. When the temple was found, it was in a very poor condition. Themes of decorative reliefs in Pawon include the “heavenly tree”, vessels with gifts, bearded dwarfs spilling necklaces, rings and jewels from boxes. Such themes are explained by the fact that Chandi Pawon is dedicated to the deity of wealth Kubera, who was usually depicted at entrances to temples.

Pawon is 1150 metres from Mendut and 1750 metres from Borobudur. It is also

called Brajanalan & is “often regarded as a porch-temple to Borobudur, dedicated to Kuvera, the god of riches. The bearded dwarfs above the entrance, pouring out rings and other trinkets from bags, are consistent with this view”, said Kempers back in 1959 (41, pg. 65-66). However, there is no clear indication that it should be considered as being dedicated to Kubera. It has small windows, which are merely decorative and seldom seen in temples.

In Bali, there are five stanzas to Vajranala, entitled (Paiica)- Bajranala-stava (Hooykaas 1973:86), in which he is described as seated in a mandorla of flames, pure as die autumnal moon, with three eyes and four arms holding a staff (danda), abhayada mudra, rosary (aksasutra) and vase (kamandalu). Each of the mudras refer to to Vajranala. The Pawon temple, thus seems to have been a temple to Vajranala, who is connected with fire: sarvdgneya, sdnti-karmani samiddha (in the Balinese stotra).

The word sdnti-karmani is a clear reference to santika homa. Vajranala was the presiding deity of homa, which explains the presence of small windows as an escape for the smoke of homa ceremonies. Homa is a distinctive characteristic of vajrayana. It had to be provided for with a special temple, because of the smoke.

In the vajrayana (Shingon) monasteries of Japan, special halls are constructed for the performance of homa. As the vajrayana of both Japan and Indonesia go back to the same sources, it is but natural that both should follow the same pattern of giving a prominent place to homa, to the extent that a separate temple was erected for it. The prominence of homa in vajrayana is also evident in its ritual. In the Japanese text Shi-dn-zu, ‘mudras of the four rites’, the four rites are:

(1) the preliminary ceremony of 18 steps (juhachido),

(2) Vajradhatu (Kongokai),

(3) Garbhadhatu (Taizokai), and

(4) Homa or Fudo (Acala).

Chandi Pawon must have been a homa temple whose presiding deity was Acala. Jvalanala or Vajrajvalanalarka coincides with Vajranala, on which Bajranalan — the alternative name of Chandi Pawon — was based.

At Pawon, we find a small square room with a small porch with an entrance of some narrow treads flanked by a Garuda-Naga ornament. but this room is empty and unadorned”. Shallow niches exist in each sidewall, in correspondence of the place where “once may have stood a pedestal and image”. Like in Candi Mendut, Groneman explains that the niches may have been used to light the inner-part of the temple.

According to Groneman, this temple was a mausoleum built to receive an urn containing the ashes of a guru or monk. As in the case of Mendut, Groneman observes that “It is an extraordinary thing that even the entrance of this incontestably true buddhistic temple had not been made on the east side but to the west”. Again we find an observation on the orientation of the temple.

The inner premises of the temple are trimmed with dark volcanic stone. Although no statues have been preserved in Chandi Pavon, it is possible to ascertain by outer wall reliefs that the temple once was dedicated to Kubera – the generous lord of luck and wealth. There are also extant images of Kalpataru – the mythical tree of desires in Hindu and Buddhist traditions.

Kubera is the Buddhist Vaiśravaṇa or Jambhala, and the Japanese Bishamon. The Buddhist Vaisravana, like the Hindu Kubera, is the regent of the North, a Loka-pala and the Lord of Yakshas. He is one of the Four Heavenly Kings, each associated with a cardinal direction. In Buddhist legends, Kubera is also equated with Pañcika, whose wife Hariti is the symbol of abundance.(25

The iconography of Kubera and Pancika is so similar that in certain cases, A. Getty comments, it is extremely difficult to distinguish between Pancika and Kubera. The Japanese Bishamon, also known as Tamon-Ten,(26) is one of the Jūni-Ten, a group of 12 Hindu deities adopted in Buddhism as guardian deities (deva or ten) who are found in or around Buddhist shrines. The Juni-Ten group of twelve deities were created by adding four deities to the older grouping of Happou-Ten, the eight guardians of the directions. Bishamon rules over the north, like his Hindu counterpart Kubera.

Jambhala (also known as Dzambhala, Dzambala, Zambala or Jambala) is the God of Fortune and Wealth and appropriately a member of the Jewel Family (see Ratnasambhava). He is sometimes equated with the Hindu deity Kubera. Jambhala is also believed to be an emanation of Avalokitesvara or Chenrezig, the Bodhisattva of Compassion. There are five different wealth Jambhalas; each has his own practice and mantra to help eliminate poverty and create financial stability.

Gyalten Sogdzin Rinpoche said that Jambhala is the protector of all Lineages and of all sentient beings from all sickness and difficulties. Jambhala is a Bodhisattva of material and spiritual wealth as well as many other things, especially for granting financial stability. Because in this world, there are all kinds of wrathful and negative emotions or bad spirits, and sometimes they will harm you and other sentient beings, Dzambhala must take on such a wrathful and powerful form to protect us from these harmful spirits and negative karma. Dzambhala thus helps us minimize or decrease all misfortunes and obstacles and helps us increase all good fortune and happiness.

Dzam means “deity or gathering.” Bhah means “gold or wealth.” La means “to

honor”. Dzambhala thus means the “Precious golden deity who gathers or brings the wealth of spirituality or Dharma and material security or accomplishment to our lives.”

Borobudur

Historical background: The construction of Borobudur took place during a period of significant political and cultural transformation in Java.

The Sailendra dynasty, which ruled from the late 8th to the early 9th centuries, was instrumental in promoting Mahāyāna Buddhism as a state religion.

This period saw the emergence of large-scale temple complexes, reflecting the integration of religious authority with political power.

Borobudur stands in the geographical center of the island of Java, fifteen miles from

Yogyakarta, on a plateau that is the caldera of an ancient volcano ringed by the Menoreh mountains.

Two sets of twin volcanoes – Merapi and Merbabu to the northeast, Sumbing and

Sindoro to the northwest – stand sentinel across the plains. Merapi, the “fire mountain,” is active. A legend is told of a heavenly architect who built Borobudur in a single day and laid a curse on anyone who dared ascend his holy shrine. According to Asian art historian Jan Fontein: “There is a mountain south of Borobudur that when viewed from the monument looks very much like the profile of a man; the nose, lips and chin are clearly delineated. The story goes that the ridge depicts Gunadharma, the architect of Borobudur, who is believed to keep watch over his creation through the ages.”

Current records do not reveal any consensus on the meaning of the name “Borobudur.” Two alternatives were proposed based on Javanese manuscripts from 842 AD: “the mountain of the accumulation of virtue on the ten stages of the Bodhisattva,” or “the mountain which is terraced in successive stages.” Sir Thomas Raffles, the British governor of Indonesia responsible for the excavation of Borobudur in 1814, thought that “boro” might mean “great” and “budur” might correspond to the more modern Javanese word “buda,” interpreted as “The Great Buddha.” One Javanese expert indicated that “boro” is related to the word for “monastery,” and “budur” is a place name. This would suggest that Borobudur means “Monastery of Budur.”

Borobudur Temple is located in the west of Elo River and possesses several meanings related to the belief of Mahayana Buddhism.

The temple is both a shrine to the Lord Buddha and a place for Buddhist pilgrimage. The journey for pilgrims begins at the base of the monument and follows a path around the temple that ascends to the top through three levels that are symbolic of Buddhist cosmology: Kāmadhātu (the world of desire), Rupadhatu (the world of forms) and Arupadhatu (the world of formlessness). The monument guides pilgrims through an extensive system of stairways and corridors with 1,460 narrative relief panels on its walls and balustrades. Borobudur has the largest and most complete ensemble of Buddhist reliefs in the world.

The Architecture and symbolism: Borobudur is a monumental stūpa, a type of Buddhist shrine, that embodies the principles of Mahāyāna and Vajrayāna cosmology. Its design reflects a sophisticated understanding of space, geometry, and symbolism, creating a physical manifestation of the Buddhist path to enlightenment.

The Mandala structure and vertical cosmology: The architectural layout of Borobudur is designed as a mandala — a sacred diagram of the Buddhist cosmos — built in stone. The monument consists of nine superimposed platforms: six square terraces at the base and three circular terraces at the top, culminating in a central stūpa. This vertical arrangement is a three-dimensional expression of Mahāyāna and Vajrayāna cosmology, symbolizing the progressive path of spiritual purification and awakening.

It resembles the Hindu-Buddhist cosmology and its model of the universe, with three ascending realms, Kāmadhātu (the realm of desire; red), Rūpadhātu (the realm of form; orange), and Arūpadhātu (the realm of formlessness; yellow).

The base of the monument represents the realm of Kāmadhātu, or the world of desire. This level was once adorned with explicit narrative reliefs, now largely hidden behind an encasement platform, which depict the consequences of karma and samsāric entanglement.

The six square terraces above this base correspond to the Rūpadhātu, the realm of form, where spiritual practice refines the mind but form is still present. These terraces are lined with hundreds of narrative and didactic panels depicting the life of the Buddha, Jātaka tales, and Avataṃsaka-themed cosmology.

The highest three circular terraces symbolize the Arūpadhātu, the formless realm. Here, the walls are bare of reliefs, and the spatial experience becomes increasingly open and contemplative. The visitor, ascending clockwise through these stages, moves symbolically through levels of spiritual progress, culminating in the empty central stūpa that may evoke śūnyatā, or ultimate emptiness.

The journey for pilgrims begins at the base of the monument and follows a path around the monument and ascends to the top through three levels symbolic of Buddhist cosmology: Kāmadhātu (the world of desire), Rupadhatu (the world of forms) and Arupadhatu (the world of formlessness).

Zone 1: Kamadhatu (The phenomenal world, the world inhabited by common people)

Borobudur’s hidden Kamadhatu level consists of 160 reliefs depicting scenes of Karmawibhangga Sutra, the law of cause and effect. Illustrating the human behavior of desire, the reliefs depict robbing, killing, rape, torture and defamation. A corner of the covering base has been permanently removed to allow visitors to see the hidden foot, and some of the reliefs.

Zone 2: Rapudhatu (The transitional sphere, humans are released from worldly matters)

The four square levels of Rapadhatu contain galleries of carved stone reliefs, as well as a chain of niches containing statues of Buddha. In total there are 328 Buddha on these balustrade levels which also have a great deal of purely ornate reliefs. The Sanskrit manuscripts that are depicted on this level, over 1300 reliefs, are Gandhawyuha, Lalitawistara, Jataka and Awadana. They stretch for 2.5km. In addition there are 1212 decorative panels.

Zone 3: Arupadhatu (The highest sphere, the abode of the gods) The three circular terraces leading to a central dome or stupa represent the rising above the world, and these terraces are a great deal less ornate, the purity of form is paramount.

The terraces contain circles of perforated stupas, an inverted bell shape, containing sculptures of Buddha, who face outward from the temple. There are 72 of these stupas in total. The impressive central stupa is currently not as high as the original version,which rose 42m above ground level, the base is 9.9m in diameter. Unlike the stupas surrounding it, the central stupa is empty and conflicting reports suggest that the central void contained relics, and other reports suggest it has always been empty. The monument guides pilgrims through an extensive system of stairways and corridors with 1,460 narrative relief panels on the walls and the balustrades. Borobudur has the largest and most complete ensemble of Buddhist reliefs in the world.

Borobudur is built as a single large stupa and, when viewed from above, takes the form of a giant tantric Buddhist mandala, simultaneously representing the Buddhist cosmology and the nature of mind. The original foundation is a square, approximately 118 metres (387 ft) on each side. It has nine platforms, of which the lower six are square and the upper three are circular. The upper platform features seventy-two small stupas surrounding one large central stupa. Each stupa is bell-shaped and pierced by numerous decorative openings. Statues of the Buddha sit inside the pierced enclosures.

Architectural design and construction: Borobudur was constructed entirely of interlocking andesite stone blocks, totaling over a million stones. These were laid without the use of mortar, using a system of joints and gravity to secure the structure. Drainage spouts and internal water channels were carefully engineered to manage the tropical rainfall and protect the monument from erosion.

The entire monument is aligned to the cardinal directions and rests atop a natural hill that was shaped to support the structure. Its placement in the Kedu Plain, surrounded by volcanoes and rivers, appears to reflect geomantic principles, embedding the monument in a sacred landscape believed to mirror cosmic order. Some scholars suggest the orientation and design of Borobudur may also correspond to solstitial events or calendrical observances.

Borobudur was not merely a place of worship, but a constructed cosmos in stone — a space meant to be inhabited ritually, interpreted doctrinally, and experienced meditatively.

Borobodur took about 70 years to be built by the architect Gunadharma .There is a small hill directly facing Borobodur and folklore says that this hill is said to represent the sleeping body profile of Gunadvara.

The whole building symbolizes a Buddhist transition from the lowest manifestations of reality at the base, through a series of regions representing psychological states, toward the ultimate condition of spiritual enlightenment at the summit.

The unity of the monument effectively proclaims the unity of the cosmos permeated by the light of truth. The visitor was meant to be transformed while climbing through the levels of Borobudur, encountering illustrations of progressively more profound doctrines nearer to the summit. The topmost terrace, whose main stupa contained an unfinished image of Buddha that was hidden from the spectator’s view, symbolized the indefinable ultimate spiritual state.

The 72 openwork stupas on the circular terraces, with their barely visible internal Buddhas, symbolize incomplete states of enlightenment on the borders of manifestation. The usual way for a pilgrim to pay reverence to a Buddhist stupa is to walk around it, keeping it on his right hand. The vast series of reliefs about three feet (one metre) high on the exterior walls of the terraces would thus be read by the visitor in series from right to left. Between the reliefs are decorative scroll panels, and a hundred monster-head waterspouts carry off the tropical rainwater. The gates on the stairways between terraces are of the standard Indonesian type, with the face of the Kala monster at the apex spouting his scrolls.

Architecture that Goes from Darkness to Light: The idea of moving from the darkness into the light is the final element of the experience of Borobudur. The temple’s pathway takes one from the earthly realm of desire (kamadhatu), represented and documented on the hidden narratives of the structure’s earthbound base, through the world of forms (rupadhatu) as expounded on the narratives carved along the four galleries set at right angles, until one finally emerges into the realm of formlessness (arupadhatu) as symbolized and manifested in the open circular terraces crowned with 72 stupas.

However, the symbolization of enlightenment these stupas represent is not intended to be merely aesthetic. Buddhist stupas and mandalas are understood as “spiritual technologies” that harness spiritual “energies” in the creation of sacred space. The repetition of form and the circumabulatory progress of the pilgrim mimic, and thereby access, the cosmological as a microcosm. The clockwise movement around the cosmic center reproduces the macrocosmic path of the sun. Thus, when one emerges from the dark galleries representing the realms of desire and form into the light of the “formless” circular open air upper walkways, the material effect of light on one’s physical form merges concomitantly with the spiritual enlightenment generated by the metaphysical journey of the sacred path.

Light, in all its paradoxes, is the ultimate goal. The crowning stupa of this sacred mountain is dedicated to the “Great Sun Buddha” Vairocana. The temple sits in cosmic proximity to the nearby volcano Mt. Merapi. During certain times of the year the path of the rising sun in the East seems to emerge from the mountain to strike the temple’s peak in radiant synergy. Light illuminates the stone in a way that is intended to be more than beautiful. The brilliance of the site can be found in how the Borobudur mandala blends the metaphysical and physical, the symbolic and the material, the cosmological and the earthly within the structure of its physical setting and the framework of spiritual paradox

Sewu Temple

Candi Sewu was built by the end of the eighth century, at the end of Rakai Panangkaran’s reign, and was completed during the reign of his successor, King Indra. Rakai Panangkaran (746–780 CE) was a well known devoted Mahayana Buddhist and was the king who ruled the Medang Mataram Kingdom.

Sewu is the second largest Buddhist temple complex in Indonesia. Although the complex consists of 249 temples, its Javanese name translates to ‘a thousand temples,’ which originated from popular local folklore (The Legend of Loro Jonggrang).

Archaeologists believe that the original name for the temple compound is Manjusrigrha Manjusri, a Bodhisattva from Mahayana Buddhism whose teachings symbolize the “gentle glory” of transcendent wisdom (Sanskrit: prajñā). According to the Kelurak inscription (dated from 782 CE) and the Manjusrigrha inscription

(dated from 792 CE), which were discovered in 1960, the original name of the temple complex was probably “Manjusri grha” (The House of Manjusri).

The Manjusrigrha temple was the largest Buddhist temple in the Prambanan Plain region, predating the nearby Prambanan Shivaist temple by over 70 years and the Borobudur by about 37 years. Located in the heart of Mataram, the temple served as the royal Buddhist temple of the kingdom.

Stately religious ceremonies were held here regularly. The Manjusrigrha inscription (792) praises the perfect beauty of the prasada (tower) of this temple compound. The Bubrah temple, located several hundred meters south, and the Gana temple, located east of the Sewu temple, probably served as guardian temples for the Manjusrigrha complex, guarding the four cardinal directions around the Sewu temple. The ruins of the Lor temple to the north of Sewu and the Kulon temple on the western side are both in poor condition; only a few stones remain on those sites. Prior to the construction of Borobudur and Prambanan, Sewu likely served as the kingdom’s main temple. The temples are arranged in the mandala layout, which symbolizes the universe in Buddhist cosmology.

Although buried deep beneath the volcanic debris around Mount Merapi, the temple ruins were not completely forgotten by the local Javanese inhabitants. However, the origins of the temple were a mystery. Over the centuries, tales and legends infused with myths of giants and a cursed princess were recounted by villagers. Prambanan and Sewu were believed to be of supernatural origin, and in the legend of Loro Jonggrang they were said to have been created by a multitude of demons under the order of Bandung Bondowoso. Such tales are most likely the reason the temples were preserved through the centuries prior to the Java War (1825–1830). The local villagers dared not remove any of the temple stones, believing the ruins to be haunted by supernatural beings.

The Sewu temple complex is the largest Buddhist compound in the Prambanan area, with rectangular grounds that measure 185 meters north-south and 165 meters east-west. There is an entrance on all four cardinal points, but the main entrance is located on the east side. Each of the entrances is guarded by twin Dvarapala statues. These large guardian statues have been better preserved, and replicas can be found at Jogja Kraton. There are 249 buildings in the complex which are arranged in a Mandala pattern around the main central hall. This configuration expresses the Mahayana Buddhist view of the universe.

There are 240 smaller temples, called Perwara (guardian) temples, with similar designs that are arranged in four rectangular concentric rows. The two outer rows are arranged closer and consist of 168 smaller temples, while two inner rows, arranged at certain intervals, consist of 72 temples. The 249 temples located in the second precinct were all made with a square frame but varied by different statues and orientations.

Many of the statues are now gone, and the arrangements on the current site are not in the original orientations. The statues are comparable to the statues of Borobudur and were likely made of bronze.

Along the north-south and east-west central axis at a distance of about 200 meters, between the second and third rows of the smaller temple, the apit (flank) temples are located – a couple on each cardinal point facing each other.

The apit temples are the second largest temples after the main temple, however only the eastern twin apit and a northern one still remain intact today. These smaller temples encompass a larger sanctuary that has been heavily looted. Behind the fourth row of smaller temples lies the stone paved courtyard where the main temple stood in the center.

The nearby temples, Gana temple in the east and Bubrah temple in the south, are suggested as the part of greater Manjusrigrha vajradhatu mandala complex. Both temples are located around 300 metres from the Sewu main temple. There are northern and western ruins discovered around the same distance from the main temple, however the stones were too scarce for reconstruction. These temples suggested that indeed the Sewu temple compound was completed with four additional temples, located 300 metres from the main temple, which correspond with the mandala and the guardians of the directions concept.

The main temple measures 29 meters in diameter and soars up to 30 meters high. The ground plan of the main temple is a cross-shaped 20-sided polygon. On each of the four cardinal points of the main temple, there are four structures projected outward, each with its own stairs, entrances and rooms, crowned with stupas, which form a cross-like layout. All of the structures are made from andesite stones.

The main temple has five rooms, one large garbhagriha in the center and four smaller rooms in each cardinal direction. These four rooms are all connected with outer corner galleries with balustrades bordered by rows of small stupas. From the findings during the reconstruction process, it was suggested that the original design of the central sanctuary only consisted of a central roomed temple surrounded by four additional structures with open portals. Doorways were added later. The portals were narrowed to create door frames on which to attach wooden doors. Some of the holes to attach doors are still visible. The doorways join the temples together into one main building with five rooms.

The central chamber can be reached from the eastern room. It is larger than other rooms with a higher ceiling and a taller roof. Today, all five rooms are empty. The lotus carved stone pedestal in the central chamber suggests that the temple once contained a large bronze Buddhist statue (possibly the bronze statue of Manjusri), likely reaching a height of four meters. Since the statue is missing, another theory suggested that the main statue was probably constructed from several stone blocks coated with vajralepa plaster.

Plaosan Temple

Candi Plaosan, located in Central Java, Indonesia, is a temple complex that stands as a testament to the harmonious coexistence of Buddhist and Hindu traditions in ancient Java.

Built in the 9th century, Candi Plaosan consists of two main temples, the Plaosan Lor (North) and Plaosan Kidul (South).

The twin temples of Plaosan are a reflection of the religious harmony between Hindu and Buddhist communities at the time, symbolizing the peaceful coexistence and mutual respect between the two traditions.

The temples were originally dedicated to the gods and the Buddha, representing the spiritual and cultural unity of the ancient Javanese civilization.

Local Myth: Plaosan Temple is reportedly often chosen as a location for pre-wedding photo shoots. This is because of the belief in the community that couples who visit this temple will have a lasting relationship. Locals consider the temple to be a symbol of deep love because of its constructions as an expression of affection for someone. Therefore, many couples choose to come to this place with the hope that their love and loyalty will last forever.

Kalasan Temple

Kalasan Temple is considered the oldest Buddhist temple in Central Java and Yogyakarta and is located on the main southern road between Yogyakarta and Solo, about 2 km from the Prambanan Temple grounds.

The temple is dedicated to Tara (Vaśya-Tārā), a Buddhist deity venerated in Mahayana Buddhism. According to inscriptions found on the site, the temple was built to honor her and serve as a monastery for Buddhist monks.

The temple is built of volcanic stone, with a square base and a stupa-shaped superstructure. It is adorned with detailed reliefs and sculptures depicting various Buddhist deities and floral motifs.

The temple’s exterior walls are decorated with intricately carved reliefs and statues, including images of Buddhas and Bodhisattvas. One of the temple’s unique features is the use of stucco (a mixture of lime,

sand, and other materials) to coat certain sections of the walls, creating a smooth, glossy finish.

Sanskrit inscriptions, engraved in the Pallava alphabet, have been found at the site. They provide valuable information about the history of the temple and the reasons for its construction.

Each of the four main cardinal points has staircases and doorways decorated with Kala-Makara and chambers measuring 3.5 square meters. No statues are found in the smallest chamber facing north, west, and south; however, the lotus pedestals suggest that the chambers must once have contained statues of bodhisattvas. The temple is richly decorated with Buddhist figures such as the Bodhisattva and Gana.

The Kalasan inscription, found near the temple, indicates that it was completed in the Saka year 700 or 778 AD. It is written in Sanskrit using a Pranagari script. A notable feature of the temple is its octagonal roof, which displays images of the Tathagatas/Buddha facing the four cardinal directions, each framed by a pair of bodhisattvas in low-relief carvings.

There are some very impressive kala-makara arches (see the photo on the left) with a kala head over the door and two makaras (a kind of sea-monster) on either side of the entranceway. The roof is in the form of a massive dagoba. Built by the Sanjaya Dynasty, who ruled Central Java between the eighth and tenth centuries, it is one of the main indications of the artistic genius of the Old Mataram kingdom.

This temple marks the point where the Mataram kingdom stopped building small, box-like shrines and began to build vast, splendid sanctuaries designed to create a sense of awe.

Integration of Indigenous Culture and Foreign Religion: Kalasan Temple is a significant early example of cultural acculturation in Indonesia, particularly between indigenous Javanese elements and 8th-century Indian Buddhism (Sarkar, 1972). Acculturation should not be perceived merely as a unilateral encounter between two cultures but as a dynamic interaction that yields a novel synthesis. The local culture was not entirely overwhelmed by foreign influences but assimilated, adapted, and incorporated new elements into its established cosmological and aesthetic framework. The evidence indicates that ancient Javanese society was capable of selective and innovative responses to external influences (Wintako et al., 2021).

The profound influence of Mahayana Buddhism from India is evident in the symbolic and iconographic features of Kalasan Temple (Gupte, 1972). The Bodhisattva figures sculpted on the temple walls, the stupa reliefs embellishing the panels, and the lotus motif symbolizing spiritual enlightenment constitute the Mahayana Buddhist iconography. These elements suggest that priests and merchants did not solely disseminate Buddhism but also did so visually and monumentally through significant sacred architecture. Kalasan Temple served as a transcultural conduit for conveying Indian philosophical teachings in a manner that resonated with the local populace (Eni, 2019).

Nonetheless, the Indian influence does not unequivocally prevail over the entirety of the temple’s artistic and architectural design. The architectural style of Kalasan Temple continues to embody the local Javanese cultural heritage. The distinctive use of andesite stone, the terraced roof structure resembling the Meru shape in Javanese architecture, and the kala-makara ornaments depicting local mythological creatures at the entrance, illustrate this (Tjahjono, 2003). These elements function not only as ornamentation but also as protective and cosmological symbols within the Nusantara tradition, affirming that during the process of acculturation, the local community retains its identity while simultaneously broadening it.

The acculturation evident in the architecture and symbolism of Kalasan Temple demonstrates that the Javanese people of the 8th century were not merely passive recipients of Indian influence but actively engaged as interpreters and processors of it (Soekmono, 1979). Mahayana Buddhism, originating from India, was not adopted in its original form but rather refined, curated, and modified to align with the pre-existing local social framework and cosmology. This process exemplifies religious “localization,” wherein transnational doctrines are redefined within the local cultural framework to achieve significance and broad acceptance within the community.

Symbols like the lotus and Bodhisattva from Indian tradition are amalgamated with local elements such as kala-makara and multi-story roof structures, which possess distinct spiritual significance in Javanese culture (Fadliana et al., 2024). This procedure illustrates the ability of local communities to generate new interpretations from external symbols, integrating them into their cultural lexicon. This aesthetic and ideological adaptation incorporates new values within a familiar ethical and spiritual framework. Consequently, Kalasan Temple is historical evidence of the Javanese people’s ability to transform external influences into unique, lasting cultural manifestations.

Kalasan Temple serves as a place of worship and a multifunctional center for the education and dissemination of Mahayana Buddhism (Jordaan, 1997). Temple edifices served as a significant medium for visual religious communication in an 8th-century society predominantly characterized by oral tradition and lacking widespread literacy. Ornaments like Bodhisattva reliefs, stupas, and lotus motifs serve aesthetic purposes and convey symbolic teachings regarding wisdom, compassion, and the journey to enlightenment.

The grand architectural design of temples renders them a public space accessible to diverse groups, including individuals who cannot read sacred texts in Sanskrit or Old Javanese (Subandi, 2018). Kalasan Temple functions as a conduit for religious education, internalizing the principles of Mahayana Buddhism through visual experiences and sacred environments. Reliefs, Bodhisattva statues, and cosmological symbols like stupas and lotuses embody the principles of compassion, enlightenment, and cosmic order, functioning as an educational resource for both the religious community and the general people.

The existence of monasteries and the configuration of ritual spaces suggest that this complex was intended as a hub for religious activities and doctrinal education. Kalasan Temple, through rituals, pilgrimages, and symbolic spatial representations, influenced the collective memory and spiritual identity of classical Javanese society, establishing it as both a sacred site and a hub for continuous ideological and spiritual transmission. Kalasan Temple serves as a religious structure and a political instrument the royal elite utilizes to legitimize their power.

In the 8th-century Old Mataram kingdom, temple construction was a calculated strategy to disseminate Buddhism, implemented by the ruling elite to consolidate spiritual authority with temporal power. Monarchs and aristocrats demonstrated individual devotion and bolstered their political authority by supporting Mahayana Buddhism and financing temple construction. The temple functioned as a visual representation of the unity between the king as “cakravartin” (universal king) and the essence of the Dharma (Kapadia, 2013). The construction of the Kalasan Temple functioned as a symbolic diplomatic effort aimed at promoting political stability, unifying social factions, and disseminating state ideology via religious expression. It manifested as a concrete representation of social, ideological, and spiritual integration strategies actualized through monumental architecture (Degroot, 2009).

Kalasan Temple exemplifies the intricate cultural interplay between India and Java. It exhibits foreign influences and demonstrates the capacity of local individuals to reinterpret the significance and purpose of new doctrines within their cultural context. The acculturation observed in Kalasan Temple exemplifies that cultural processes are neither linear nor dominant; they are the outcome of negotiation. In this context, the temple serves as a nexus between the prominent civilizations of Asia and the indigenous identity of the archipelago. This historical accomplishment enhances the wealth of Indonesian architecture, spirituality, and cultural identity.

Practices on-site for all locations above listed:

In each location you will need to cultivate calm abiding by first developing Presence through the senses and then resting within awareness. If it is too complicated, do a conscious walk and practice simple breathing. If you can, instead of simple breathing, practice conscious awareness.

Ceremonial Skeleton

Day 0: Arrival on Saturday, July 11, 2026

Flight schedule CDG 10:55 – SIN 06:05 (SQ335)
SIN 08:05 – YIA 09:30 (SQ 8660)
Temple Visit: Sewu, Mendut and Pawon
Check-in Hotel Doman Borobudur

Day 1: Sunday, July 12, 2026

Temple Visit and short prayers led by Lamas:

Sewu temple, Plaosan, Kalasan, & Mendut

Meet all Monlam organizers & participants
Room key distribution
Pick-up Uniforms/souvenirs
Rest
Dinner
Night at Hotel Doman Borobudur

Day 2: Monday, July 13, 2026

Sunrise Meditation at Borobudur

3:20 am Be ready at the lobby of Doman Hotel

3:30 am Go to BCC (Borobudur Cultural Center) office.

Note: The distance from the Doman Hotel to BBC is about 400 meters (5 min walk)

04:00 am – 04:30 am Arrival and re-registration at BCC (Gate 7), distribution of flashlights, wristbands (entry bracelets), and special Upanat sandals.

04:30 am – 05:00 am Walk from the gathering point to the structure of Borobudur Temple, accompanied by a guide.

05:00 am – 07:00 am Explore the temple structure & Sunrise meditation at the upper level (Level 9) of the temple.

07:00 am – 08:00 am Descend from the temple and enjoy breakfast at Manohara Restaurant

This day is Chökor Düchen, which also coincides with the sacred birth anniversary of His Holiness Drikung Kyabgön Thinley Lhundup. On this most auspicious occasion, special prayers, offerings, and vast dedication will be performed in accordance with the Monla tradition, dedicating the accumulated merit for the flourishing of the Dhama, the long life of the lineage masters, and the peace and wellbeing of all sentient beings.

5:30-6:30 Breakfast at hotel

7:00-10:00 Kora at Borobudur Mandala

10:00-10:30 Tea Break

10:30-12:00 Guru Puja

12:00-14:00 lunch and rest at Doman Hotel

14:00-17:00 Long Life prayers and Dedication

17:30-19:00 Afternoon Tea and Rest

19:00 – 20:00 Marme Monlam

20:00 – 21:00 Gala Dinner with Traditional Dance performances at the Borobudur View Ground. Also, Birthday Celebration of His Holiness.

Day 8 Sunday, July 19, 2026

Conclusion and Depature

The Monlam concludes with final dedication prayers, sealing all accumulated merit for the benefit of all sentient beings. Participants depart with renewed inspiration, blessings and aspirations to continue the path of dharma in daily life.

Breakfast

Check out and departures

Hotel Night in Melia Purosani Yogyakarta (Booking Reservation)

Flight Back Monday, July 20, 2026

YIA 18:50 – SIN 22:15 (Terminal? then 1)

SIN 00:15 – CDG 07:45 (SQ 336 – Terminal 3 and then 1)