Candi Ceta

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Origins

Candi Ceta is, along with Candi Sukuh, an example of late Majapahit temple construction on Central Java. Like all late temples, it is located high in the mountains, in this case at an altitude of more than 2,000 metres on Mount Lawu to the East of Solo. It is likely that it was built on a site previously used for sacral purposes: remains of meditating platforms have been found at the tops of many of Java's mountains, and, when adherents of the Majapahit kingdom sought to build a last outpost away from the lowlands, this historic and secluded place might well have sprung to mind. 

Mt. Lawu celebrates the earthly and the profane. It is the home of Sunan Lawu, an important supernatural force of a non-Islamic nature, and often said to house the spirit of the last king of Majapahit. In keeping with this spirit, the wearing of green, the colour of Islam, is forbidden. 

Mt. Lawu remains an active centre of kejawen, or Javanese spiritualism, and many adherents come to Ceta to meditate at midnight, as evidenced by the remains of offerings often encountered during early morning visits to the temple. It is tempting to think of a continuity of tradition here, but we know that when Ceta was re-discovered in the early 19th C, it had been in disuse and was overgrown. 

The Candi dates from the mid 15th C. One of the statues is explicitly dated 1370Ç (=AD 1448)

Majapahit was a Buddhist kingdom, but it is difficult to identify the temple as such. The phallic focus of the temple could suggest a link with Sivaism - as the phallus is a common form of representation for Siva. Siva played a major role in Majapahit's Buddhism, so it is not inconceivable that he was honoured in this temple.  

Description of architecture

Ceta was built on a number of terraces that rise up to the East. In 1842, Van der Vlis identied fourteen terraces, but the decay was such that when Hoepermans visited in the 1860s, he could see only eight. The terraces that currently remain are the higher terraces. When we visit the site, we are welcomed by a statue of a crouching man with a cudgel reminding us of a raksasa. From there we walk up three sets of steps before entering through the first split gate counting nine layers. The terrace now entered has a small structure on the left, and on the right is a platform that remains covered. A few steps take us to a next terrace, passing the remains of what would have been a full gate. This next terrace has a major relief on the ground, composed of a the body of a bat carrying a tortoise, a triangle with assorted fish and amphibians, and a phallus. Here we also see the Majapahit sundial, and statues on either side of the entrance to the next level. See pictures. Little remains of the gate leading to the next level. We see a small enclosure on the left with statues of tortoises, and two guards lead to a next terrace. This terrace is located higher, and is reached after a series of seven, and two series of six steps. On either side of the terrace are platforms. These are recent structures, of wood with straw roofs, and used for meditating. We pass a tortoise on the way to the next terrace, and the passageway is flanked by elephants. Krom reports the dating 1378Ç (=AD 1456) for this gate. One series of six, and two series of five steps take us to a substantial gate, again of the split variety, and we descend four steps to get to the next terrace with a symmetrical series of six structures in the shape of raised, roofed spaces with wooden walls. See pictures. . The two largest are open in front, while the smaller ones have doors and are locked: these presumably contain statues. A group of three sets of stairs, this time with eight and twice six steps take us to the penultimate level where we find a repetition of the group of six structures. Looking East, we now see a big wall, with stairs in the centre. See pictures. Mounting the stairs, and descending a smaller number of steps on the other side, we are now faced with the principal structure.  This lower pediment is like that of many temples, but no reliefs are visible on the side, and the temple body has no superstructure. This structure differs from the low platform with pointed stones on it, that was found by Van der Vlis and Hoepermans. These no longer remained at the end of the 19th C, so that we won't know whether these were linga, other forms of decoration, or merely construction stones. 

Description of reliefs

Earlier reseach has shown that there were reliefs telling the story of Sudamala [link] Today, no such reliefs remain, and instead we still find some statues. These appear primitive in comparison to the sophisticated sculpture produced in Central Java during the 8-10th Centuries. At first sight, they remind us of Polynesia rather than Java.

Rediscovery and restoration

Candi Ceta was first described by Lt. Williams during the English interim administration of Java in the early 19th C. This unpublished MS was followed by a monograph of Dr. Van der Vlis dated 1842. In both cases, the writings deal with both Sukuh and Ceta. Hoepermans also wrote about Ceta in the 1860s. When the site was revisited in 1910 with a view to take measurements of the site, it was found to be completely overgrown. The Archeological Service started working on the restoration of this site in the following decade.

Mounted: 6-Jan-06กก

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