Above the reliefs
On the lower galleries, Borobudur teaches through carved stories. On the three circular terraces at the top, it teaches by absence. The walls fall away, the carvings stop, and what remains are rings of stupas arranged around a larger central stupa. Understanding these forms, together with the seated Buddha images in niches on the galleries below, is a good way into the monument’s spiritual meaning. As with the monument’s overall design, many of the associations below are interpretations, and specialists do not agree on every point.
The latticed stupas
There are 72 small stupas on the three circular terraces. They are arranged in concentric rings of 32, 24 and 16, which adds up to 72. Each is a bell-shaped structure of stone pierced with openings in a lattice pattern, with the openings often described as diamond-shaped on the lowest ring and square on the upper rings. Inside each one sits a seated Buddha, partly visible through the gaps.
The form of a stupa is basic to Buddhist architecture; the general parts and their meanings are described in our article on the parts of a stupa. At Borobudur, the openwork design means the figure inside is both hidden and visible. The usual spiritual reading is that the arrangement suggests the Buddha nature glimpsed but not fully grasped, or the quiet of meditation after the activity of the lower levels. This is a reflection offered by modern writers, not a statement found in an ancient source.
The central stupa
At the top of the monument stands the largest stupa, which is closed and unadorned. As discussed in the article on the Borobudur mandala design, it is the focus of the whole plan. What it once held, if anything, is not known. The point is often made that the absence of decoration here fits the idea of the level beyond form.
The seated Buddhas
Beyond the 72 in stupas, a larger group of seated Buddhas sit in niches along the balustrades of the square galleries. The commonly cited total is 504 Buddha images, made up of 432 in niches and 72 in stupas, and 432 plus 72 does give 504. Many have lost their heads or been damaged, through weathering and through removal in earlier centuries, so the number now standing is lower than the number originally made.
The figures are broadly similar in appearance, with the monastic robe, the cranial protuberance known as the ushnisha, and the legs crossed in the meditation posture. They differ chiefly in the position of the hands. For a general introduction to such features, see Buddha iconography.
Hand gestures and directions
Each side of the monument is associated with a distinct gesture, or mudra. The usual account runs as follows.
| Direction | Gesture | Common meaning |
|---|---|---|
| East | Touching the earth | The moment of awakening, with the earth as witness |
| South | Gift-giving | Generosity |
| West | Meditation | Concentration and calm |
| North | Fearlessness | Protection and reassurance |
| Upper level | Teaching | Setting the wheel of the teaching in motion |
The gestures are explained at greater length in the article on Buddha mudras, and the earth-touching pose recalls the awakening story and the Bodhi tree at Bodh Gaya. The teaching gesture is associated with the idea of the Dharma wheel symbol.
The five Buddhas question
Many authors associate the four directions, and the centre or upper level, with five transcendent Buddhas known from some Mahayana and esoteric systems. In this reading, each direction has a Buddha with a particular colour, element and quality. This is an attractive framework, and it is widely repeated. It is also an inference: no inscription at Borobudur names the figures this way, and scholars debate how closely the monument follows any one system. It is safest to treat the five-Buddha scheme as a plausible reading and not as a proven design.
Visitors who wish to compare this with other traditions can look at Buddhist colour symbolism, which shows how the same ideas appear in painted art elsewhere, and at bodhisattva images, which cover the figures often found alongside Buddhas.
Seeing them respectfully
The Buddha images are sacred to many people. Do not touch them, climb on them or place objects on them, and avoid posing in ways that mock or ignore them. Ask before photographing worshippers. Rules on how far visitors may climb, and which levels are open, change, so check current official information; see also the article on Borobudur visitor etiquette. The upper terraces are exposed to sun and heat, so go early or late, and carry water. This is general information, not medical advice.
What the upper terraces offer
Even without a full understanding of the symbolism, the top of Borobudur has a distinct quality. The stone lattices frame fragments of figures, the circular layout invites slow walking, and the open sky takes the place of the carved wall. The best approach is simply to walk slowly, look at a few figures closely and let the explanations come second.