• SUVANNABHUMI
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• v.2 no.1
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• pp.17-53
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• 2010

The Chandi Borobudur was likely constructed around 800 AD, during the period of the Sailendra dynasty in central Java, Indonesia. The Chandi Borobudur have 1460 narrative panels of reliefs which are distributed from the hidden foot to the fourth gallery. The 160 panels show various scenes of actions producing the corresponding results according to the Karmavibhanga(分別善惡報應經) text. Blameworthy activities with their purgatorial punishments and praiseworthy activities with their subsequent rewards are both shown. The 120 panels depict the biography of Buddha according to the Lalitavistara (方廣大莊嚴經) text. The 620 panels depict stories from Jatakas (本生譚) and Avadanas (譬喩經). The stories of 560 panels are based on Mahayayana (入法界品, 488 panels) and Bhadrucari (普賢行願讚, 72 panels) of Gandavyuha (華嚴經) text. In this study, among the 120 narrative reliefs which tell the life story of Buddha according to the Lalitavistara text in Chandi Borobudur, the images of Birth of Siddhārtha(誕生), The Great Departure (出家), Attaintment of Enlightenment (成道) and The First Sermon (初轉法輪) have been compared with the images of biography of Buddha showing in Ancient India, Gandhara and South India, and China. From a historical perspective of cultural exchange, Borobudur is very important site because it is located on the south route of transmission of Buddhism from India to South Asia, China, Korea and Japan. Study on the reliefs sculptured on the wall of Chandi Borobudur provide us information to understand the process of spreading and changes in styles of Buddhist arts.

• (The) Research of the performance art and culture
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• no.39
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• pp.637-667
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• 2019

I have researched in the field the religious and performance culture of Indonesia through the musical iconography of Borobudur. There are many kinds of musical instruments which belong to India or Indonesia, performers being either court or folk musicians. Contemporary south-east Asian Indonesia has a broad religious heritage. Most of the population is Muslim, but the culture and customs are rooted in Indian Ramayana. I discovered, for example, the same percussion instruments played on a person's knees. I also came across similar string instruments with long and elliptical resonance casks on the iconography of the Incense Burner and Byam temple stone pagoda of Beakje dynasty in Korea and in Borobudur in Indonesia. The two musical instruments can not be found in other countries, such as Silla, Koguryŏ, China or the silk road area, but only Indonesia or India. This suggests that Beakje Buddhism is from the southern regions rather than China. I also discovered the same dancing motion with the court performers on the iconography of Borobudur, and the same musical instrument and performance in the Gamelan in today's Indonesian performance. Despite a disjuncture between the people and their past, the Shailendra Buddhism is alive in people's life and culture in the present day. So we can discover some familiarities between Indonesia's Gamelan and the percussional performance in Korean Buddhist rituals.

• Journal of Conservation Science
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• v.35 no.5
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• pp.385-391
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• 2019

In order to examine the material characteristics of a black and white photograph of the Borobudur temple, in Indonesia, several analyses were conducted. A sample was taken from a black and white photograph; microscopy, Fourier transform-infrared spectroscopy, scanning electron microscopy/energy dispersive spectroscopy, X-ray diffraction, and X-ray fluorescence analyses showed that the black and white photograph was composed of four layers including a paper substrate, baryta, binder and surface layers. It was confirmed that the substrate was paper made of cellulose fiber from Cannabis sativa, the baryta layer was made of barium sulfate(BaSO₄) in powder form, the binder was an emulsion containing silver halide, and the surface protective layer was made of gelatin. Since photographs have different characteristics and require different preservation environments depending on the material of construction, it is necessary to study various black and white photographic material characteristics corresponding to each time period.

• The Journal of Asian Finance, Economics and Business
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• v.8 no.2
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• pp.1071-1078
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• 2021

The purpose of this study is to investigate the relationship among the components of brand equity and to examine the effects of these components on the overall customer-based brand equity from the perspective of the Generation Z. This study is applied in the case of Borobudur World Heritage Destination, which is in Indonesia. A survey questionnaire has been collected through purposive sampling from 167 Generation Z who have visited Borobudur World Heritage Destination. The research hypotheses were supported by the empirical test using a Structural Equation Model with AMOS. The result concludes that destination brand awareness has significant, positive effects on destination brand image and perception of destination quality; destination brand image has positive influences on perception of destination quality and destination brand loyalty; perception of destination quality has significant, positive impacts on destination brand loyalty. Except for destination brand image and destination brand awareness, the perception of destination quality and destination brand loyalty have positive and direct impacts on overall destination brand equity. In sum, overall customer-based brand equity of a world heritage destination in the context of a developing economy is directly influenced by only two components of brand equity, namely, the perception of destination quality and destination brand loyalty.