y relates that in 1351 A.D. a shrine was erected on behalf of the royal
family in memory of those who died with the king.[418]

The Nagarakretagama represents this king as a devout Buddhist but
his very title Sivabuddha shows how completely Sivaism and Buddhism
were fused in his religion. The same work mentions a temple in which
the lower storey was dedicated to Siva and the upper to Akshobhya:
it also leads us to suppose that the king was honoured as an
incarnation of Akshobhya even during his life and was consecrated as a
Jina under the name of Srijnanabajresvara.[419] The Singasari
temple is less ornamented with reliefs than the others described but
has furnished numerous statues of excellent workmanship which
illustrate the fusion of the Buddhist and Sivaite pantheons. On the
one side we have Prajnaparamita, Manjusri and Tara, on the other
Ganesa, the Linga, Siva in various forms (Guru, Nandisvara,
Mahakala, etc.), Durga and Brahma. Not only is the Sivaite element
predominant but the Buddhist figures are concerned less with the
veneration of the Buddha than with accessory mythology.

Javanese architecture and sculpture are no doubt derived from India,
but the imported style, whatever it may have been, was modified by
local influences and it seems impossible at present to determine
whether its origin should be sought on the eastern or western side of
India. The theory that the temples on the Dieng plateau are Chalukyan
buildings appears to be abandoned but they and many others in Java
show a striking resemblance to the shrines found in Champa. Javanese
architecture is remarkable for the complete absence not only of
radiating arches but of pillars, and consequently of large halls. This
feature is no doubt due to the ever present danger of earthquakes.
Many reliefs, particularly those of Panataran, show the influence of a
style which is not Indian and may be termed, though not very
correctly, Polynesian. The great merit of Javanese sculpture lies in
the refinement and beauty of the faces. Among figures executed in
India it would be hard to find anything equal in purity and delicacy
to the Avalokita of Mendut, the Manjusri now in the Berlin Museum
or the Prajnaparamita now at Leyden.

6

From the eleventh century until the end of the Hindu period Java can
show a considerable body of literature, which is in part theological.
It is unfortunate that no books dating from an earlier epoch should be
extant. The sculptu