Decorative Features of the Temple Complex Pura Beji (Sangsit, the Island of Bali)

Ratko Marina Valerievna ORCID: 0000-0002-9278-2155 PhD in Pedagogy Art Historian, Associate Professor, Doctor of Philosophy (Ph.D.) 119 Lenin Street, Melitopol, Zaporozhye region, 272319, Russia marina13.1011@yandex.ru Other publications by this author

Introduction. The pearl of the cult architecture of northern Bali is one of its oldest temple complexes – Pura Beji, located in Sangsit village (banjar Beji, Savan district, district/kabupaten Buleleng), 8 km from the administrative center of this region, the city of Singaraja. It has the status of a sanctuary of the local irrigation community subak (subak), which specializes in the cultivation of aspic rice. The temple is listed in the list of architectural monuments belonging to the cultural heritage of Bali province ^{[1, p. 4]}.

Among the significant works on the problems of this architectural complex should be called a monographic study by the Indonesian scientist And Ketut Darmai, devoted to a detailed account of its history. The author focuses on the active contacts of the northern region of the island with the states of ancient India, Java, China, Europe and comes to the conclusion that the village of Sangsit with its harbor served as a "gateway for the penetration of other cultures to Bali" ^{[2, p. 2]}.

A significant contribution to the study of the integral architectural and artistic image of Pura Beji is the work of Shella Dwiastu Hasnavati. The author analyzes in detail the composition of the temple complex, rightly noting that the traditionality of the general planimetric solution of the Pura Beja and the logical clarity of the design of most of its buildings contrasts with the extraordinary artistic richness of the carved decor ^{[3, pp. 126, 140]}.

These studies complement the publications devoted to the analysis of the motifs of the ornaments of the festive gates of the temple ^[4], the description of the factors that determined its cultural and artistic value ^[1], religious and educational potential ^[5]. The study of the sculptural design of the Pura Dalem Sangsit temple is also of interest. Its authors emphasize the stylistic community of the sanctuaries of the northern coast of the island, using the concept of "Buleleng style" ^{[6, p. 265]}. Studying the architectural heritage of northern Bali in the aspect of the development of the tourism industry, Indonesian scientists simultaneously point to the diversity of manifestations of the "Buleleng architectural style", appealing to a generalized analysis of a number of iconic temple complexes of this region (Pura Meduwe Karang, Pura Dalem Jagaraga) ^[7].

Based on the objectives of this work, it is also important to highlight the publications of Indonesian authors that allow us to clarify the ideas about the canonical repertoire of ornamental motifs used in the decoration of the traditional architecture of the island, their typology, semantics, principles of selection and placement on buildings of various kinds ^[8-13].

There is an extensive range of Western English–language sources that cover various facets of Bali's iconic architecture ^[14-16]. However, it should be noted that there are no specialized works focused on the study of Pura Beji. Concise data on the connection of the ensemble with the pantheon of deities of the local religion Agama Hindu Bali, individual decorative elements are presented mainly in reference publications ^[17], Internet resources (blogs, magazines, websites). The problems of the temple are indirectly covered in the fundamental work of U. Ramseer "The Art and Culture of Bali" ^[18], essays on the traditional and modern architecture of the island of Made Vijaya (M. White) ^[19].

In Russian Oriental studies, the decoration of Pura Beja, as well as the temple culture of Bali in general, have not been the subject of special scientific research. In this context, an overview article in M. Tsyganov's Internet blog should be mentioned. The author refers this temple to "the first three of the most ... strong in emotional impact on the whole island", compares its decor with "stone lace", outlines the problem of variability of iconographic reading of its images (We are making an encyclopedia on Indonesia!: Blog of Mikhail Tsyganov. URL: https://m-tsyganov.livejournal.com/314002.html).   

Analyzing the body of literature devoted to Pura Beji, we note the prevalence of a descriptive approach in characterizing its abundant plastic decoration, which forms the idea of it as a mosaic of various elements. This article is the first attempt to study the features of the sculptural decoration of this temple complex through the prism of the conceptualization of two generalizing lines – the general program orientation associated with the cult of fertility, and the intention to sharpen the phantasmagoric artistic and plastic thinking of local masters.

Historical excursion, general characteristics of the temple

There are no written documents based on which it would be possible to accurately date the construction of Pura Beji. The study of oral sources of information and archaeological finds on its territory allowed Indonesian researchers to make the assumption that the origins of the temple date back to the VII century AD, the period of the reign of the northern Bali monarch of the kingdom of Srivajaya – Dapuntha Hyang Sri Aji Jayanaga. At the same time, it is mentioned that the sanctuary served as a place of worship for the deity Hyang Pancha Putra Deva ^{[5, p. 182]}. According to another version, Pura Beji reliably existed in the XV century. ^{[2, p. 126]}.

The key role in the formation of the architectural appearance of the temple was played by political figures who ruled in the north of the island in the XVII century: the founder of the kingdom of Buleleng Ki Barak Panji Sakti (c. 1660 – c. 1704) and an influential ruler of the local level, who had possessions in the area of Manasa, Beraban Batu Lepang ^{[5, p. 184]}. There is a mention that in order to strengthen the authority among the locals in 1660, Beraban Batu Lepang enlisted the support of Dutch merchants and began a large-scale reconstruction of the temple in the village (desa) Beji, next to which a strategically important commercial port was located ^{[4, p. 4]}. Probably, the Dutch not only financed the restoration work, but also participated in the creation of individual details of the temple decor along with architects of local origin (undagi) and master carvers (sangg ing) ^{[4, p. 1]}. After defeating Batu Lepang (presumably in 1677), Panji Sakti took control of the entire northern region of Bali and united four indigenous villages (Desa Adat) in the Manasa area – Desa Adat Beji, Desa Adat Sora Lepang, Desa Adat Gunung Sekar and Desa Adat Tegal Manasa – into a single village Desa Adat Sangsit (Sejarah Desa. Terbentuknya Desa Sangsit. URL: http://sangsit-buleleng.desa.id/index.php/first/artikel/2). Later, Desa Beji was transformed into banjar Beji (a traditional rural community associated in this case with rice cultivation), and the village temple (p ura d esa) in each of the former villages was transformed into a pura subak temple ^{[2, pp. 115-116]}. In the following centuries, the heirs of Ki Barak Panji Sakti, who ruled in Buleleng, members of the local community, as well as representatives of the Dutch authorities who pursued a policy of enlightened colonialism, continued to attach great importance to this temple. Therefore, in general, it has been preserved in authentic architectural forms and plastic design ^{[5, p. 178]} (Perbaikan Pura Beji Sangsit Dibantu Dua Orang Belanda. URL: https://balidailynews.com/ada-dua-patung-belanda-di-pura-beji-sangsit-buleleng /). The exception is the buildings of the first zone, dated to the second half of the XX century. ^{[3, p. 9]}.

Actually, the word "beji" means a well, bathing, cleansing with holy water ^{[3, p. 35]}. This gave reason to assume that in the eastern side, next to the main mega-altar of the temple, there was a font with spring water, and it could perform a function similar to pura tirta empul (place of ablution). This source was also associated with the water supply of rice fields, which today border Pura Beji. When the temple became the sanctuary of pura subak, spring water began to be used in the ceremonial associated with the cult of fertility, as evidenced by its dedication to the goddess of rice fields Devi Sri ^{[17, p. 188]}.

The spatial organization of the temple complex corresponds to the general principles of building Balinese public temples pura. Its rectangular courtyard with a total area of 2293 m2 (93.4?35.81) is marked along the perimeter with a low fence and basement projections from the facade ^{[3, p. 42]}. In accordance with the Tri Mandala principle, it is divided into three linearly arranged zones (or courtyards) – Nista Mandal a (jaba sisi), Madya Mandala (jaba tenga n), Utama Mandala (jeroan), connected by the gates of Candi Bertar (Candi Bentar) and Candi Kurung (Candi Kurung) ^{[3, pp. 39-40]}. Sacred and secular buildings and decorative pillars have been erected on the territory of these zones. The largest building density is distinguished by the courtyard – jeroan. "Guest places" (pelinggih) for deities of fertility and abundance, spirits of mountains and volcanoes, spirits of ancestors are located here on a high stone base (pangka), which is typical for the temple complexes of northern Bali ^{[18, p. 131]}. The middle courtyard – jaba tengan – is filled mainly with pavilions-canopies bale. The outer courtyard – jaba sisi – includes a watchtower b ale k ul-kul, two columns, Candi Laras altars, basement ledges with statues.

The decorative plastic of Pura Beji is characterized by features characteristic of the "Buleleng style", manifested in a number of monuments of pura in the northern region of the island:

- firstly, the local "pink" paras (paras) is used in sculptural carving here – a stone of soft sedimentary rock of a pale pink hue, which darkens under the influence of atmospheric factors ^{[19, p. 152]};

- secondly, in the interpretation of decorative motifs - plant and zoomorphic – there is a deviation from the canonical version set forth in the longar treatises (Asta kosala–kosali), as a result of which they acquire a new interpretation ^{[7, p. 5 – 6],[9, p. 36]};

- thirdly, the tradition of the Wa y ang style (popular in painting and sculpture of central and southern Bali), appealing to the iconography of the Wayang Kulit theater, is weakened; the heroes of myths, scenes from tantric fairy tales are actively included in the vocabulary of the decor ^{[6, pp. 266 - 267]};

- fourth, Dutch, Chinese, and Indian influences are indirectly manifested in the samples of round plastic and individual reliefs; modern themes appear;

- fifthly, the sculptural design of the buildings is extremely elegant, zoomorphic images are articulated emphatically expressively, the carving pattern of floral motifs is dynamic, based on the stylization of wild climbing plants.

At the same time, the variability and rich imagination of local craftsmen manifested themselves in the interpretation of individual elements of the ornaments of this temple, their configuration.

Iconographic program and decorative motifs

The main iconographic program of Pura Beji is associated with the cult of fertility. At this sacred place, prayers and rituals are performed for the well–being and fruitfulness of the fields to the supreme deity Sanghiyang Vidi Vasa through his manifestations, who visit the temple during ceremonies - to the goddess of rice Devi Sri and local deities Dewa Ayu Manik Galih, Dewa Ngurah B e raban, Dewa Ayu Kesaren, Ida Bagus Ngurah Pengastulan ^{[1, p. 7]} (Perbaikan Pura Beji Sangsit Dibantu Dua Orang Belanda. URL: https://balidailynews.com/ada-dua-patung-belanda-di-pura-beji-sangsit-buleleng /). The presence of separate sanctuaries in the temple also testifies to the veneration at this place of Dewa Ayu Rambut Sedana (protector of prosperity, seeds and plants) and Dew i Ayu Ulun Danu Batur (goddess of Lake Batur, patroness of the life-giving power of water) ^{[3, p. 48]}.

The focus of the ceremonial on honoring the vital energy of nature is due to the emphasis on vegetative motifs in the sculptural decor of this temple, made in paras mainly in the technique of high relief. Long juicy stems and vines with large, voluminously interpreted leaves and flowers entwine the surface of temple structures, amaze with their uninhibited plasticity, the originality of individual details.

Among the characteristic and specifically interpreted patterns of this circle should be called:

- patra olanda – a pattern consisting of a plastic bend of a thick corrugated stem, spreading, with a characteristic wavy outline of corrugated leaves and rounded, slightly shaded with green flowers on the legs, with one or more corollas of petals; resembles twisted ivy and bears the imprint of Dutch influences (olanda comes from the Indonesian Belanda – Holland, Dutch ^{[20, c. 100]}) (Fig. 1);

Fig. 1. parta olanda ornament. A fragment of the decoration of the Candi Bentar gate.  Photo by the author, 2019

- patra sulur-suluran is a modified version of the patra sulur ornament based on the stylization of branches and leaves of the "sweet" sulur tree (Ornament Arsitektur Bali. URL: https://www.academia.edu/6538615/ORNAMEN_ARSITEKTUR_BALI ); it is formed by long rounded stems-vines and numerous shoots with foliage curled in a circle, budded from them, complemented by flowers and buds of different configurations and in the context of the ornamental program of this temple, the sulur-suluran pattern is also articulated in the form of strands of long flowing foliage, similar to algae;

- patra gemulumg – a combined motif containing a large flower with a developed oval midpoint framed by bundles of three long sharp–angled leaves - at the bottom and at the top; found in versions with a single trefoil or when side half-flowers are added to the central floral element; demonstrates a transformed version of the karang simbar (ornament depicting a bunch of foliage) and karang bunga (convex flower) ^{[18, p. 68]} (Fig. 2);

Fig. 2. Flower antefixes on Candi Laras (upper part). View from the Utama Mandala area. Brick, pink paras. Photo by the author, 2019

         - p atra punggel – a pattern that is based on wavy twigs with abundant small foliage; it can be built on a component of a single leaf, treated at the edges with teeth, with rounded holes, deep curls-veins;

       - patra cina – an ornament of Chinese origin, reinterpreted by local carvers ^[8]; a drawing in the form of an expressive 5- or 6-petal flower of rounded shape, similar to a sunflower, which dominates the surrounding foliage (Fig. 3);

Fig. 3. Patra cina ornament. A fragment of a relief based on Candi Laras. Fencing of the Utama Mandala zone.  Photo by the author, 2019

       - p atra sari is a floral motif of Indian origin with a rounded or oval center surrounded by an outer corolla of petals formed in a circle; framed by wavy leaves on shoots that depart from the flower, or leaves without stems.

The list of these motives is defined in the study of Sh. D. Hasnavati ^{[3, p. 141]}. In other sources, you can find variable interpretations of individual plant patterns. For example, a large-leaved motif imitating wild climbing plants is designated as patra wanga (and not patra olanda) ^{[4, p. 6]}. The ornament in the form of a floral element with sharp shamrocks is considered as a stylization of flowers and leaves of the wild sunflower Sungenge ^{[6, p. 275]}.

In the decoration of temple structures there is a mas-masan ribbon ornament with the image of a flower in a rhombus, etc. ^{[4, p. 7]}.

In addition to the above, the unique patterns of Pura Badge decor are:

- the palmette motif is a specific combined decorative composition formed by long sharp–angled perforated leaves of the p atra punggel pattern, assembled into "fan-crowns" of 3 or 5 elements (Fig. 4);

Fig. 4. Palmette motif with patra punggel pattern. A fragment of the decor on the side section of the Candi Kurung gate. Photo by M. Tsyganov. Source: https://m-tsyganov.livejournal.com/314002.html

- the motif of a "flaming" flower bud is a unique decorative element, which is sometimes interpreted as a symbol of the api–apian flame, but in its configuration resembles a rosebud rather than tongues of fire ^{[3, p. 58]}. Its volume is formed by hypertrophied leaves with energetically outlined contours – they envelop the flower umbilicus, which is rapidly reaching for the sun (Fig. 5).

Fig. 5. The motif of the "flaming" flower bud. The decorative completion of the wall is alin-alin. Utama Mandala zone. Photo by the author, 2019

    The theme of the cult of fertility is also revealed in the symbolism of individual images of zoo- and anthropomorphic plastics. The nourishing moisture needed for rice fields is symbolized by images of naga snakes. Their long tails stretch in a wavy line along the borders that enclose the sides of the first courtyard of the temple; a pair of long-tailed nagas in luxurious crowns decorate a platform with a staircase in front of the entrance to the main gate of Chandi Kurung, etc. The symbolic personification of Mother Earth (Ibu Pertivi) are numerous female images represented by statuesque plastic on decorative pillars, miniature altars, balustrade the fence, in the upper register of the gate, near the altars.

A distinctive feature of Pura Beji also lies in the heightened phantasmagoria of the figurative structure of its plastic decoration. It has no programmatic subtext, but rather is a concentrated expression of the spirit of the Balinese version of Hinduism with its belief in the metamorphoses of divine and demonic forces, the existence of their numerous explications and ritual practices of appeasement.

In the Balinese view, there is no emptiness in the universe, the world is permeated by invisible spiritual entities Nis k ala, the manifestations of which are Hindu deities of the highest rank, deities of the local (regional) level, spirits of ancestors and natural phenomena, the smallest entities inhabiting the surrounding world ^{[14, p. 15, 18]}. There are no oppositions in this complex conglomerate: positive, pure (divine) forces of d ewa/dewi and impure, chthonic (demonic) bhuta – different modes of existence of Niskala, co-creators and allies in maintaining harmony in the universe.  This is vividly illustrated by the Balinese model of outer space N awa Sanga, where the Hindu guardians-protectors of the eight cardinal directions (asta dikpalaka) and the coordinating center combine divine and demonic aspects: Shiva – Kala Rudra (controls the multicolored demons bhuta), Ishvara – Kala Pita (dominates the white demons bhuta), Brahma – Kala Bang (rules the red demons), Vishnu – Kala Ireng (dominates the black demons), etc. ^{[18, p. 109]} (Fig. 6).

Fig. 6. Nawasanga. And Gusti Nyoman Mirdiana. Paper, ink ^{[24, p. 128]}.

In the dynamic universe, through special ritual practices, destructive forces transform into higher light forms. One of the key Hindu myths about Shiva and his consort Uma demonstrates mutual transformations of light and dark deities and spirits: Shiva – Kala Siwa – Shiva, Uma – Durga – Panca Durga (five replicas of Durga) – Uma, Panca Durga – bhuta kala – bidadari (angels) ^{[21, pp. 64-70]}. In the Balinese version of this myth, Barong (the embodiment of the light forces in a monstrous form) fights Rangda (the sinister emanation of Durga, the patroness of black magic and witches) and turns her to the original positive beginning ^{[21, pp. 42-43]}.

The phantasmagoric dreams of the sculptors who decorated Pura Beji were reflected in the vivid colorfulness of the characters of local demonology and mythopoetic fiction imprinted in stone, their motley variety, a combination of incongruous, when a grinning chimera and an angel, a fierce beast and a participant in real historical battles, an earth demon and a priest frozen in a meditative pose coexist in a single space. In our opinion, the Sangsit masters tried to impress the imagination of the Europeans who arrived on the island with bright personifications of invisible and visible inhabitants of the local jungle. Therefore, their artistic language in some research contexts is compared with the Baroque style ^{[17, p. 188]}.

Among the motifs of this circle: masquerades of mythical heroes of Boma (karang Boma), Barong (karang Barong), Sai (karang Sai); masked images of earth demons (bhuta kala), chimerical ravens (karang goak), anthropomorphic cranks (karang tapel); sculptural sculptures of fantastic birds Garuda and Vilmana, winged lion Singa. The colorful iconographic repertoire of surreal creatures is complemented by masked characters of the Topeng theater, images of turtles, snakes, etc.

Let us characterize in detail the lines of the plastic decoration of the temple indicated above on the example of the decor of individual buildings of the temple and samples of round sculpture.

Statues on the front basement ledge

In the context of the above, it is natural that along the basement of the first courtyard of Pura Beja, statues of not bidadari angels are installed on pedestals, but real werewolves with anthropomorphic teenage torsos, dragon paws, disproportionately enlarged half-animal/half-human brick-nosed faces with lush crowns of densely stuffed, upturned leaves. Those on the right of the aisle are clutching small figures of human victims in their hands, and those on the left are holding a skull in the palm of their hands. However, the demonic grin of these monsters is softened by the motifs of flowers in their festive attire, carefully worked branching ornaments on the cape, belt, long hanging plachts (patra punggel, patra sulur-sulur an). Floral antefixes also decorate the corners of the tops of decorative stands for guards (Fig. 7).

Fig. 7. Statue of punakawan (or Balinese ogre) clown-servant on a decorated pedestal.  Fencing of the Nista Mandala zone. Photo by the author, 2019

Locals call the guards of their temple Leyak witches or rakshasa demons. Sh. D. Hasnavati suggests that these are the clowns-servants of punakawan transformed by the plastic thinking of sculptors from Sangsit ^{[3, p. 98]}. However, at the same time, she does not put forward a single argument that would confirm their similarity to the canonical prototypes of the comedic heroes of the Wayang theater ^{[22, pp. 86-91]}.

The variability of interpretation of stone plasticity of Balinese temples was noted as a general trend by H. Girtz. In her opinion, the temple carving in Bali, old or new, is not an artifact implying reflection and contemplation, but a "tool for further interaction" of human beings with invisible spirits ^{[16, p. 7]}. Therefore, the study of the iconography of images imprinted in stone, the identification of the levels of their symbolism is not essential for the inhabitants of the island, who rather prefer to tell legendary stories from the life of the temple and its characters ^{[16, p. 28]}. Thus, bypassing the controversy with experts in Balinese demonology, we will make an assumption about the similarity of chimeras at the entrance to Pura Beji with tropical ogres.

The field of pedestals for statues is filled with relief compositions with an intricate mascaron motif at the base, corresponding, in our opinion, to the ornamental pattern of karang daun punggelen ^{[18, p. 68]}. His face is formed from plant curls, so this type can also be called "the face of a growing plant" ^{[13, p. 11]}. Similar patterns of ornament already belong to the period of modern decorative creativity (the fence of the outer courtyard of the temple was completed in 1971). The surreal "revived plant" holds vines decorated with flowers in its hands, which form a cartouche-like pattern around it (the motif is an echo of European influences). Budding, the vines dynamically grow over the entire decorated surface, demonstrating a distinctive feature of the style of carving by Sangsit masters, not peculiar to carvers of other Bali art centers – the ability to capture the world of flora in the growth phase.

Candi L aras Altars

The original plastic solution is striking paired pillars-columns symmetrically mounted between sections of the fence, which delimits the first and second zones of the temple.  In Indonesian sources they are designated as Candi L aras ^{[3, pp. 80-81]}.

On the front side, they are decorated vertically, hiding the constructive basis, high-relief images of the tiger cub-like Severobali lion Singa (karang singa), the grinning bird Vilmana and the demon king Ravana riding a winged chimera. The image of Vilmana forms the center of this sculptural composition. He demonstrates striking individual traits that distinguish him from his "kinsman" Garuda and bring him closer to the demon rakshasa: dense, rounded, upward-pointing wings, wide open jaws with bared teeth, long sharply upturned fangs and a snub nose ^{[14, p. 243]}. Vilmana is armed with a sword and firmly holds the legs of Ravana, who also clutches a sharp weapon in his right hand (Fig. 8).

Fig. 8. Sculptural composition "Lion of Sing – Vilman – Ravan". A fragment of the decorative design of Candi Laras. Fencing of the Madya Mandala zone. Photo by the author, 2019

The demon king is endowed with somewhat atypical clownish-comedic, rather than intimidating facial features for this character: a small mouth, a small snub nose, wide pointed mustache, round, like balls, eyes under the petals of eyebrows. And his high trapezoid-shaped crown of leaves resonates with the agrarian-cult subtext of the sculptural decoration of the temple. Awareness of this general programming softens individual contrasts, in particular the appearance of fragile figures with gifts and fruit fruits under the wings of Vilmana – a girl (in the column to the left of the gate) and two children (on the "floral" elevation of the column to the right).

The upper tier of the structure, vaguely similar to a stone tabernacle, tapers pyramidally to the top. On the sides and on the back side, it is encircled by rhythmically repeating projections decorated with decorative elements of karang goak in a version characteristic of this region – with high two-tiered trefoil crowns and long rectangular beards of stylized leaves that frame a mascaron resembling the face of a bird (crow) (Fig. 9). The upper projection is decorated with expressive floral antefixes. The column is crowned by a male statuette, dressed in a sarong, with a bell in his left hand.

Fig. 9. karang goak antefixes. Candi Laras decor (upper part). View from the Madya Mandala zone. Brick, pink paras. Photo by the author, 2019

According to S. D. Hasnavati, these structures have a decorative function, which is legitimate due to the absence of a niche for offerings in their "body". However, the name candi, which means temple in translation, indicates the sacred status of the columns ^{[15, p. 79]}. This is indirectly confirmed by H. Girtz: "Every carving preserved in the [Balinese] temple is alive, is a potential or actual vessel for the gods or their followers" ^{[16, p. 7]}.

Similar altar pillars are built into the fence between the second and third zones of the temple. However, their front side is decorated with a composition represented by an iconographic triad: "lion Singa – bird Garuda – Vishnu". A winged lion in a horn-like crown on his head holds in his right paw a ball similar to a lotus bud, which can be considered a replica of Chinese origin. Garuda's bestial face is narrowed, and Vishnu, the husband of the goddess Devi Sri, sits in her tail with a magnificent plumage, holding a ritual vessel in his hand.

Candi Bentar Gate

The sculptural design of the Chandi Bentar gate – the passages to the middle courtyard of the temple (jaba tengan) – vividly illustrates the ability of the masters of the North Bali Art Center to skillfully combine the world of wonder and reality. The gate has a canonical structure for this type of buildings, which in configuration resembles a mountain divided in half. The symmetrical halves are formed by central rectangular pillars, accentuated upwards, and three pairs of side sections adjacent to them, which proportionally decrease in size. The tops of the main volume are differentiated into three levels, which are crowned with split crowns bental e, and in the lateral parts with finials in the form of a "fiery" flower bud (Fig. 10).

Fig. 10. Candi Bentar gate. View from the Madya Mandala area. Brick, pink paras. Photo by the author, 2019

At first glance, attention is attracted by giant statues of monsters in relief and mascarons, which are friezes, in two tiers, placed in the middle register of the gate. Their muscular, relatively well-proportioned bodies are dressed up in festive, flower-filled costumes and seem to be dancing. And ferocious muzzles in big-eared crowns made of lush foliage are trying to escape from the surface of the gate (Fig. 1 1).

Fig. 11. Images of karang Barong. A fragment of the decoration of the southern part of the Candi Bentar gate. Photo by the author, 2019

There is no consensus among Indonesians regarding the iconographic identification of these giants: researchers identify them with the Boma; in the oral tradition they are called Kal a demons ^{[3, p. 50]}. Each of these versions has strengths and weaknesses. For example, Boma is the son of Heaven (Vishnu) and Earth (Ibu Pertivi), the protector of the plant world ^{[23, p. 22]}. His image is also considered to be derived from the demon Rahu, a creature popular in Hindu mythology, who ate his flesh because of Shiva's anger, but after repentance received the name Kirtimukha ("Face of Glory") and was appointed the supreme guardian of the temple gates ^{[12, p. 3]}. Therefore, in Balinese traditional iconography, the Boma is not depicted in full-length; it is a mascaron with an oval face configuration, rounded eyes, wide mouth, intimidating and at the same time friendly. Sometimes palms (widely spaced or holding branches of greenery) are adjacent to his face ^{[23, pp. 5-6]}. Fantastic Kala masks decorate the aisles of Javanese temples-chandi ^{[24, p. 54]}. In the canonical configuration of decoration on temple buildings in Bali, Kala Rauh mascarons can decorate the corners of the "body" of the structure, sometimes the basement part ^{[18, p. 68]}.

According to our assumption, the figures in high relief on the gates of Pura Beji may be images of a Barong (a lion by origin, the king of tropical forests), as indicated by the features of their narrowed animal–like faces - pug noses, bulging eyes, elongated jaws with quadrangular teeth and fangs, a relatively narrow mouth, wide ears of sprawling greenery ^{[23, pp. 23-25]}. The eared mascarons that "settled" on the wings of the gate resonate with the faces of these statues. Iconographically, they also correspond to the canonical version of karang In arong ^{[14, pp. 300, 310]} (I Gusti Ngurah Agung Jaya. Ornament kekarangan. URL: http://gungjayack.blogspot.com/2013/10/).  An indigenous resident of the island, Ida Bagus Putra, also pointed out the barong characteristics of the masked heroes of this temple in an individual conversation. In some Internet sources, the finishing style of Pura Beji is also generically called "barong" (Pura Beji Temple in Bali. URL: https://balicheapesttours.com/pura-beji-temple.html ).

The free space between the figures and masks of the barongs, as well as the lower level ("legs") of the gate is occupied by the patra olanda ornament. Branching vines, thick leaves with magnificent graphically linear processing of veins freely creep, barely swirl on the wall, not obeying the logic of the architectural division of the surface. At the bottom, near the foundation, animals (monkeys, deer, cows) play between elastic thick plant shoots, lizards crawl, a turtle looks out, referring to the plots of tantric stories popular on the island about the adventures of animals.

On the back side, the plastic decoration of Chandi bentar is devoid of muscular figures. The volumetrically interpreted decor (patra olanda, patra sari) is not so dense, but more refined, represented by flower bouquets, long vines with leaves that flow more dynamically and freely from one volume of the gate to another, making it difficult to read their architectural division. Birds lurked in this binding. The peaceful, at first glance, structure of this spectacle is violated by paired statues of dwarapala guards on pedestals and syncopated faces of barongs in the upper register of the "body" of the structure. And on the profiled tops, the sarcastic "crows" of karang goak and the bearded mascarons of karang tapel sat tightly in tiers.

Altars of A pit L awang

The main gate of the temple is flanked on both sides by spacious rectangular platforms with stairs flanked by paired altars A pit L awang for offerings to the guards of the festive passages to the "holy of holies". These pillar-shaped structures, simple in their constructive aspect, are richly decorated with sculptural decor and are notable for the atypical order of placement of decorative elements. Following the concept of Tri A n gga, vertically they are conditionally divided into three sections: Utama Angga (or "head" of the kepala structure), Madya Angga ("body" badan), Nista Angga ("legs" kaki) ^{[11, p. 4]}. The low "legs" of each altar are wrapped in spreading strands of greenery (sulur-suluran motif), also similar to the roots of plants, and decorated with flower buds (karang bunga) in the corners. (Usually simplified mascarons of elephants karang gajah are placed here.) The "body" is conditionally divided into two levels, marked with huge angular antefixes: images of a forelock karang Boma clutching thick plant shoots with small curls at the tips (patra punggel), and "crows" karang goak, whose eyes and beak have dissolved into sheaves of sharp-angled foliage (karang simbar), striking fine detail processing. The corners of the lower tier (with Boma mascarons) are cut off and decorated with architectural geometric decor (pepalihan) – semi-columns with horizontal profiling ^{[10, p. 7125]}. The space between them is filled with a long branch with fluffed foliage and a plastic rounding at the end. The upper tier of the "body" of the altar contains a square niche for canang offerings, and its "head" is crowned with a "flaming rose" on a rounded base (Fig. 12).

Fig. 12. The Altar of Apit Lawang. Madya Mandala zone. Photo by the author, 2019

It should be noted that the well-established system of decorating auxiliary altars of Balinese temples does not provide for the use of the mascaron Boma, since this character, being born from the higher gods, has a sacred status. The protrusions of the middle tier can be decorated with masked anthropomorphic ornaments karang tapel, which perform an exclusively decorative function ^{[12, p. 9]}. However, the iconography of this mascaron excludes, unlike karang Boma, the use of the element of hands ^{[12, p. 7]}. The identification of the mysterious antefixes on Apit Lawang with the Boma is also based on parallels in local mythology between this mythical character and the Indian Vanaspati mentioned in the Rigveda – the "King of Forests", a deity in the form of a huge tree, dominating the plant world and at the same time immanent to him ^{[12, p. 8]}.

Thus, the mascaron of Boma fits into the general semantic field of the elegant floral decoration of the temple, associated with the glorification of the life-giving forces of nature, attracting the attention of the gods and patron spirits of vegetative forms, the community's gratitude to them for a rich harvest. Together, the composition of the Apit Lawang decor (generous, reaching in this case to extravagance) and its structuring (roots, trunk with foliage and seated birds, budding bud) create an allusion to a precious tropical plant, reliably protected by the heirs of deities and endowed with magical functions.   

Candi Kurung Gate

According to tradition, the approaches to the festive gates of the temple are also guarded by an "honor guard". On the steps, on richly decorated pedestals, rise several pairs of dwarapala guards. According to H. Girts, they allow spirits to pass through the gate into the sacred area of the temple and form the kuuban Kori ensemble ^{[16, p. 123]}.

Among the statuesque plastics of this kind, paired figures in dance poses stand out. Their effeminate round-shaped faces are framed by luxurious crowns of leaves with a characteristic garuda mungkur element in the back, resembling the headdresses of the characters of the Wayang theater ^{[14, p. 324],[22, p. 11]}. The ears and neck of the guards are decorated with earrings and a necklace of flowers.

At the base of the left pedestal, attention is drawn to the statue of a lying pig surrounded by chanang offerings. His appearance in the figurative and plastic accompaniment of Pura Beja can be explained from the point of view of Hindu symbolism and local ceremonial. The boar is one of the avatars of Vishnu, whose spouse is Devi Sri; in Hinduism, he is interpreted as a source of life and fertility ^{[25, p. 478]}. The ceremonial side of many religious activities in Balinese temples is associated with bringing gifts to spirits and deities in the form of roasted or live piglets. For example, in the temple of the neighboring subak Banjar Dangin, once a year, during the odalan festival (the temple's birthday), a ceremony is held with the sacrifice of a black roasted pig to receive a blessing from the supreme deity Sanghiyang Vidi Vasa (Pura Beji & Keunikannya. URL: https://disbud . bulelengkab.go.id/informasi/detail/artikel/pura-beji-keunikannya-81). Thus, the statue of a piglet at the entrance to the courtyard of Pura Beji expresses its connection with the ritual aspect of the nearby temple and the main cult for its species specificity – fertility.

Against the background of the accompanying decorative structures and the nearby greenery, the Chandi Kurung sound a rich chord. They consist of three sections (pokok atau induk candi) with a dominant central volume, which symbolizes Mount Meru ^{[4, p. 5]}. The height of the gate reaches 7 meters. The presence of developed connecting additions (anak candi) also emphasizes the horizontal length of the structure, unlike the Kori Agung gate of the temple complexes of central and eastern Bali with an accentuated tower-like completion ^{[11, p. 5]}. Their silhouette has the appearance of a separate "overgrown" portal with the main entrance on the steps and side doors (Fig. 13).

Fig. 13. Pura Beji. Candi Kurung Gate. General view from the Madya Mandala area. Brick, pink paras. Photo by the author, 2019

The plastic expressiveness of Chandi Kurung lies in the selection of decorative elements, their composition. From the side of jaba tengan, the heads of turtles entwined with naga snakes persistently emerge from under the foundation (or "legs" of the kaki gate), referring to the myth of the universal turtle Bedavan Nalu as the unshakable basis of the Universe; masquerades of stylized elephants (karang gaja h) look out ^{[26, p. 150]}. The earthly world (the "body" of the badan gate) is represented by a floral theme (motifs of parta olanda, patra sari). Huge flowers, corrugated leaves are tightly applied to the surface of the wall. Bulls, replicas of cultural borrowings from South India, rest in this weave. Miniature karang Sai mascarons hang on the bars like night bats – bizarre "relatives" of the Boma with sunken cheeks and gaze ^{[12, p. 6]} (Fig. 14).

Fig. 14. Karang Sai mascarons on the background of a floral ornament. A fragment of the Candi Kurung decor. Madya Mandala zone. Photo by the author, 2019

   The edge of the heavenly world above the main entrance and along the entire broken line of the cornice is marked by a garland of barong masks (karang Barong), which is duplicated by a myriad of motifs-"clothespins" karang goak and karang tapel in the upper register of the gate. And the sphere of the divine (atap) is represented by a unique fairy–tale "garden" - a cascade of giant stone palmettes, "planted" mixed with living greenery along their edge. The gate is crowned by the head of a naga snake, which breaks out from the center of the pediment, supporting the figure of Devi Sri in a crown.

From the side of the courtyard (jeroan), another unique iconographic nuance appears in the plastic of Chandi Kurung. On the field of the middle register, along with the masks of Sai and sneering minx, earth demons bhuta kala, mustachioed mascarons of friendly little men are scattered. These men's masks differ both in complexion and in character-mood (Fig. 15).

Fig. 15. Mascarons topeng, bhuta kala. A fragment of the Candi Kurung decor. Utama Mandala zone. Photo by the author, 2019

According to local researchers, these are "immortalized images of soldiers from the tar-tar troupe who fought on the side of Beraban Batu Lepang against Ki Barak Panji Sakti in the XVII century for the right to be the ruler of Buleleng" ^{[4, p. 11]}. The assumption made is convincing in relation to masks in the lower field of the middle register, revealing similarities with warriors. The masqueraders in the upper field – with bleached faces, tinted lips and eyeliner – have the likeness of peaceful characters. There is no doubt that these images are similar to the masks of the actors of the topeng theater, a dance drama based on stories from the life of Balinese kings and their mail ^{[27, p. 64]} (Fig. 16). It is noteworthy that most of the heroes of this temple "miniature theater" are dressed in elegant frills made of leaves and petal-shaped hats, which resonates with the general iconographic program of the temple.

Fig. 16. The character of the masked dance drama topeng. Source: https://i.pinimg.com/736x/99/0e/fc/990efc089f27f02dcfa7174930498fb7--topeng-denpasar.jpg

Conclusion. Thus, the Pura Beji temple complex is the pinnacle achievement of the architects of northern Bali in the field of sacred architecture and decorative plastics. It demonstrates the characteristic features of sculptural design in the "Buleleng style", due to the active processes of acculturation of the region, as well as the high level of technical skill of sculptors-decorators from Sangsit, their desire to surprise Europeans who arrived on the island with colorful examples of mythopoetic fiction.

Using the example of the analysis of the decorative decoration of a number of buildings of the complex (gates C andi B entar and C andi Kurung, altars Candi Laras, Apit Lawang) and samples of round plastics, it is demonstrated that the temple is notable for the rich and peculiar vocabulary of decor, the hyperbolized manner of its interpretation, the desire to build free compositions of stylized creeping, writhing plants (patra olanda, patra sulur-suluran, p atra punggel), in the canvas of which fabulous, fantastic images are woven (earth demons bhuta kala, bats karang Sai, bearded crows karang goak, winged lions karang singa, demons rakshasa, birds-vakhans, protectors of the plant world), masks of characters of the topeng theater. The temple is also decorated with zoomorphic images (snakes, turtles, piglet), anthropomorphic forms (figures of Devi Sri, statues of Vishnu and Ravana, evil ogres, angels, female and male statues), "revived" plants.

Due to the complex rich texture, resembling an application of flowers, plant curls, leaves, stems, fantastic mascarons, the decorated surface of temple buildings creates the impression of extraordinary picturesque richness. The above features are the result of an organic fusion of the general programmatic orientation of the decorative solution of Pura Beja, associated with the cult of fertility (and its belonging to the pura subak group of temples), as well as the Balinese version of Hinduism, based on the concept of comprehensive animism (N i skala), belief in the unity and transformation of divine and demonic forces.

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