The Mudras - Hand Position of the Buddha

Welcome to Borobudur, one of the sacred buildings of Buddhism as a World Cultural Heritage site. The splendor and beauty of Borobudur has its own historical value for Indonesian people. The Indonesian government has designated Chandi Borobudur as a major tourist attraction, and also a priority tourist destination for domestic and foreign visitors.

Chandi Borobudur and its surroundings have attracted extraordinary enthusiasm and amazed all eyes, to travel and visit on thematic tours, to get to know and deepen the narrative of the history and architecture of this building. Enjoying historical learning, admiring the splendor and beauty of Borobudur's architecture, is an appreciation and participation in preserving ancestral cultural heritage with the Chandi Borobudur tour guide.

Tracing the history and architecture of Borobudur during the Ancient Javanese era, as well as the narrative of the early history of this building's existence, as a Mahayana Buddhist temple. Get to know Borobudur more closely through the mudra (hand position) of the Buddha statue. Exploring the meaning and meaning of mudra or the hand position of the Buddha statue at Borobudur Temple.

Mudra of Borobudur

Apart from the form of Buddha in Buddhist cosmology, there are also relief carvings engraved on the walls of Borobudur, where there are many statues of Buddha sitting cross-legged in a perfect lotus position and displaying mudras or hand gestures which have certain symbolic meanings. Buddha statues with a height of about 1.5 meters were carved.

Buddha statue with several mudra gestures. The main stupa is in the center of 72 Buddha statues, each sitting inside a hollow stupa. Buddha statues in niches at the Rupadhatu level, arranged in rows on the outside of the balustrade. The number decreases on the upper side. The first row of balustrades consists of 104 niches, the second row 104 niches, the third row 88 niches, the fourth row 72 niches, and the fifth row 64 niches. In total there are 432 Buddha statues at the Rupadhatu level.

In other words, the Borobudur statue shows five types of mudra, corresponding to the five cardinal points (East, West, North, South, Zenith), and also the Mahayana conception of the five Dhyani Buddhas. One compass point is ascribed to each Dhyani Buddha, and differences between Dhyani Buddhas are indicated by different mudras.

At first glance, all these Buddha statues look similar, but there are subtle differences between them, namely in the mudra or hand posture. There are five groups of mudras: North, East, South, West, and Central, all based on the five main directions of the compass according to Mahayana teachings. The four balustrades have four mudras: North, East, South and West, where each Buddha statue facing these directions displays a distinctive mudra.

The Buddha statue on the fifth balustrade and the Buddha statues in the 72 stupas hanging in the upper courtyard display the mudra: being in the Middle or Center. Each mudra represents the five Dhyani Buddhas; each with its own symbolic meaning.

Borobudur

Apart from the form of Buddha and relief carvings engraved on the walls of Borobudur, there are many statues of Buddha sitting cross-legged in a perfect lotus position and displaying mudras or hand gestures which have certain symbolic meanings. These Buddha statues look similar, but there are subtle differences between them, namely in the mudra or hand posture. Source: Guidance Technique Chandi Borobudur arisguide. Photo arisguide.

Meaning of Mudras

Following the Pradakshina sequence, namely a clockwise circular movement starting from the East side, the mudras of the Buddha statues in Borobudur are:

Bhumisparca Mudra

This statue faces east and is a special sign for Dhyani Buddha Aksobhya as the ruler of the east. The position of the hands is facing downwards, the left hand is open and looking up in the lap, while the right hand is attached to the right knee with the fingers pointing downwards. Symbolizes the time when the Buddha summoned the Goddess of Earth as a witness when he repelled the attack of the demon Mara.

Wara Mudra

This mudra can be recognized by Dhyani Buddha Ratna Sambawa who is enthroned in the south. This statue faces south. The right palm faces upwards while the fingers rest on the right knee. This mudra symbolizes charitable giving.

Dyhana Mudra

This statue faces west and is a special sign for the Dhyani Buddha Amitabha who was the ruler of the western area. This mudra describes the hand posture of meditation, both hands placed in the lap, the right one on top of the left with the palms facing up and the thumbs meeting each other.

Abhaya Mudra

This statue faces north on the Ledge and is a special sign for the Dhyani Buddha Amogasidha who ruled in the north. The left hand is open and looking up in the lap, the right hand is raised slightly above the right knee with the palm facing the face. This mudra depicts a calming hand gesture and expresses fearlessness.

Vitarka Mudra

This mudra is characteristic of Dhyani Buddha Waroicana. This statue is in the middle, at Rupadhatu level on the fifth (top) row of balustrades. The left hand is open and looking up in the lap, while the right hand is raised slightly above the right knee with the palm facing the face, index finger and thumb together. This mudra represents reason.

Dharmachakra Mudra

This mudra is characteristic of the Dhyani Buddha Waroicana whose territory is located in the center. Both hands are raised to the front of the chest, the left one below the right one. The left hand faces upwards with the ring finger, similar to the movement of turning a wheel. This mudra symbolizes the turning motion of the wheel of dharma.

Mudras of Borobudur

Source: Guidance Technique Chandi Borobudur arisguide.

Traveling and visiting with the aim of getting to know Borobudur more closely, studying its history, taking part in thematic tours and exploring Borobudur as a sacred Buddhist building is something very special, admiring the splendor and beauty of the architectural artistic value, is a form of appreciation and participation in preserving and protecting Borobudur which is a world cultural heritage site, Chandi Borobudur is the largest monument in the world.

Chandi Borobudur

World Cultural Heritage Site since 1991, one of the views of Borobudur from the northwest. Source: Chandi Borobudur Guidance Technique Chandi Borobudur arisguide.

Barabudur or Borobudur is a Mahayana Buddhist temple or sacred building with stepped pyramid stupa-shaped architecture, which was founded by Samaratungga around 824 AD during the heyday of the Syailendra dynasty.

Chandi Borobudur, the majestic and little-known temple - the mountain of virtue - was first a landscape, which more than a thousand years ago, met the eyes of those who came on pilgrimage here in search of the inner peace to which all Buddhists aspire.

Read the complete narrative and material about Chandi Borobudur by visiting and make your tour even more enjoyable, explore in more detail the thematic narrative of Borobudur tour.

Reading becomes more fun, digging into the narrative in more detail and reading in English is indeed fun and also seems very interesting to translate into easy and flexible language, get detailed reading at Welcome to Borobudur Temple, the fabric of life in the Buddhist culture. Explore, admire the beauty of fine art in images and photos at PHOTO IMAGE BOROBUDUR.

Stupas of Borobudur

Chandi Borobudur or Barabudur is a 9th–century Mahayana Buddhist temple, which consists of nine stacked platforms, six square and three circular, topped by a central dome, surrounded by 72 stupas and decorated with 2,672 relief panels and 504 Buddha statues. Source: Guidance Technique Chandi Borobudur arisguide. Foto screenshot arisguide.

Borobudur adalah monumen terbesar di dunia. Sumber: Tehnik Kepemanduan Chandi Borobudur arisguide. Foto arisguide.

Stupa utama terbesar sebagai mahkota Borobudur

Chandi Borobudur atau Barabudur merupakan candi Buddha Mahayana yang dibangun pada abad ke-9, terdiri atas enam teras persegi, dan tiga teras melingkar, di atasnya terdapat kubah tengah, dikelilingi oleh 72 stupa dan dihiasi 2.672 panel relief dan 504 arca Buddha. Sumber: Teknik Kepemanduan Chandi Borobudur arisguide. Foto arisguide.

Buddha statue

This is when you are on Borobudur, the biggest Buddhist building in the world, in every side of outer wall of narrative bas relief sculptures and decorative carvings, Candi Borobudur is full of Buddha statues, its placed in the niches and all depicting Dhyani Buddhas. They are on the Rupadhatu terraces and in the 3 circular terraces of stupas. Borobudur statues of Rupadhatu terraces, they are placed in its niches, arranged in rows on the out sides of every balustrades. It is diminish in size since measuring in progress, at the first and the second balustrades have 104 niches, there are 88 niches at the third, the fourth are 72 niches and the fifth has 64, so all about there are 432 statues in the niches originally.

The statues of the arupadhatu are placed in perforated stupas, which are themselves arranged in three concentric circles. The first circular terrace supports 32 domes, the second 24, the third 16, so that originally there were 72 Dhyani Buddha statues, out of sight but still partly visible in the stupas. Of the original total of 504 Buddha statues, over 300 are mutilated (mostly headless), and 43 are missing. At first sight the Buddha statues seem all alike, but closer observation reveals evident differences, particularly in the mudras (position of the hands).

The Buddhas at the first four balustrades have different mudras, each peculiar to one particular side of the monument. The statues facing East have the same mudras, and so have respectively the Buddhas facing South, West and North. The Buddhas on the uppermost (fifth) balustrade all have the same mudra, regardless of the direction they face. This same mudra also characterizes the 72 statues on the three circular terraces.

In other words, the Borobudur statues show five kinds of mudra, corresponding to the five cardinal points of the compass (East, West, North, South, Zenith), and also to the Mahayana conception of the five Dhyani Buddhas. One point of the compass is ascribed to each Dhyani Buddha, and the distinction between the Dhyani Buddhas is indicated by the different mudras.

The five mudras are as follows:

1. Bhumisparsa mudra, meaning the hand position touching the earth. The open left hand rests on the lap, the right hand is placed on the right knee with the fingers pointing downwards. This mudra is associated with the moment when the Buddha called the Earth Goddess to witness while refuting Mara’s impeachments. It is the mudra peculiar to the Dhyani Buddha Aksobhya, who resides in the Eastern Quarters.

2. Abhaya mudra, symbolizing the reassurance to refrain from fear. The open left hand is placed on the lap, the right hand is lifted up above the right thigh with the palm forward. This gesture is attributed to the Dhyani Buddha Amoghasiddhi, the Lord of the Northern Quarters.

3. Dhyana mudra, expressing meditation. Both hands are opened and placed on the lap, the right hand above the left hand, the thumbs touching. The mudra is ascribed to Amitabha, the Dhyani Buddha of the western Quarters.

4. Vara mudra, the mudra of charity. It resembles the bhumisparsa mudra, but the palm of the right hand is turned upwards while the fingers rest onthe right knee. This mudra denotes that the Dhyani Buddha is Ratnasambhva of the Southern Quarters.

5. Dharmachakra mudra, symbolizing the turning of the Wheel of the Law. Both hands are held before the breast, the left hand below the right. The left hand is turned upwards with the ring finger touching the thumb, while the ring finger of the right hand touches the little finger of the left. The position suggests the turning of a wheel. This mudra is attributed to the Dhyani Buddha of the Zenith, Vairochana.

Applying this information to the statues of Chandi Borobudur, the Buddhas at the East side are identified as Aksobhyas, while those at the North, West and South sides are Amoghasiddhis, Amitabhas and Ratnasambhavas respectively. This holds true in respect of the statues of the first four balustrades. Those of the fifth balustrade, all having the same mudras, are identified as Vairochanas, and similarly those in the stupas on the circular terraces.

The rupadhatu is ‘guarded’ by 92 Aksobhyas at the East, 92 Amoghasiddi his at the North, 92 Amitabhas at the West, and 92 Ratnasambhavas at the South (26 at the first, 26 at the second, 22 at the third, and 22 at the fourth balustrade). The arupadhatu has its square base enclosed by 64 Vairochanas in the niches of the fifth balustrade, and its circular terraces are occupied by 72 other Vairochanas. The fact that the Dhyani Buddhas in the open niches of the balustrades are entirely visible, whereas those in the stupas of the circular terraces are partly disclosed suggests a sequence mounting to a climax which is reached when there is only one more Dhyani Buddha, completely invisible.

The five different Dhyani Buddhas are emanations of the Adi Buddha (the Supreme or Primeval Buddha), who generally is not represented in any tangible form. Consequently the single replacement of an image by a stupa, which is after all the symbol par excellence of Buddhism, is wholly reasonable. Moreover, this is no common stupa, but a huge one, crowning the entire monument and its surroundings. Nevertheless, it is conceivable that, in view of the presence of the five Dhyani Buddhas, a representation of the Adi Buddha was thought necessary for Candi Borobudur. In that case, there should be a statue inside the big dome.

The main stupa does in fact have an inner space, big enough to accomodate a statue as large as those of the Dhyani Buddhas. However, there is much confusion regarding the location of the statue reportedly found in the middle of the nineteenth century, which was first mentioned in 1853 although, if it existed, should surely have been noted during Hartman’s visit in 1842. Since the rediscovery of Chandi Borobudur it was found that a big hole in the eastern wall of the main stupa allowed easy entry into its interior.

The investigations of Cornelius, who was involved in the first clean-up of the monument as early as 1814, did not neglect the inside of the dome but none of his reports mentions the presence of a statue in it; neither did any of the other investigators between then and 1842. Hartman himself did not write any report on his activities at Chandi Borobudur. The story about the statue told in connection with his visit in 1842 was apparently obtained from the villagers and it was in circulation forover ten years before being taken up in an account written in 1853.

The statue in question is now located under the canary trees to the northwest of the monument. It was taken out of the main stupa when the monument was restored in the beginning of the present century, and was not put back there simply because of the lack of any convincing evidence to show where it really belonged. On close observation, this statue proves to have several imperfections.

The facial expression is ugly, one arm is shorter than the other, the fingers are not complete, and the pleats of the cloth are carelessly carved. The statue is in fact unfinished. In view of the supreme quality of all the other statues it is hard to believe that such imperfections could have been tolerated if the statue was indeed meant to depict the Highest Buddha of Chandi Borobudur. It is more plausible to assume that this particular statue was one that was rejected and, for that reason, left unfinished.

Source: Guidance Technique Chandi Borobudur arisguide.

Traveling and visiting with the aim of getting to know Borobudur more closely, studying its history, taking part in thematic tours and exploring Borobudur as a sacred Buddhist building is something very special, admiring the splendor and beauty of the architectural artistic value, is a form of appreciation and participation in preserving and protecting Borobudur which is a world cultural heritage site, Chandi Borobudur.

Read the complete narrative and material about Chandi Borobudur by visiting and make your tour even more enjoyable, explore in more detail the thematic narrative of Borobudur culture with Pamong Carita. Reading becomes more fun, digging into the narrative in more detail and reading in English is indeed fun and also seems very interesting to translate into easy and flexible language, get detailed reading at Insight into Borobudur - Pamong Carita. Explore, admire the beauty of fine art in images and photos at Travel Guide to Borobudur Temple with Pamong Carita.

Chandi Borobudur is the largest Buddhist temple in the world, the splendor and uniqueness of the architecture and the beauty of Borobudur are displayed on the walls and balustrades which are very beautiful, and have high artistic value. 

Carvings carved on the walls of Borobudur, one of the relief stories related to the depiction of character which is very meaningful for Buddhists is a story about life taken from the Jataka and Awadana texts. One of the relief stories in Borobudur that is very beautiful in Buddhism is the story about Jataka and Awadana. Stories about good deeds and high moral values.

Jataka Avadana

Jataka and Avadana are treated in the same series without any real differences in the reliefs of Borobudur Temple. There is no particular proven replacement system. The reliefs of the Jataka and Awadana stories on the walls of Borobudur line the east side and are found in a row of relief panels on the balustrade of the upper chain, beautifully arranged with fine carvings and having fine art aesthetic value.

Walking from the east side you will find the first twenty panels on the main wall of the first gallery which depict the journey of Sudhanakumaravadana or Sudhana's sacred works. With a total of 135 relief panels, the first upper wall in the same gallery on the balustrade is devoted to 34 legendary Jatakamala stories. Meanwhile, the remaining 237 relief panels depict stories from other sources, such as the lower relief series and panels in the second gallery.

The row of reliefs on the walls of the first gallery mostly depict avadana. Some jatakas were incorporated through variations. The system in the top row of balustrade sets is very different. The reliefs are almost all Jataka stories, with only a few Avadana stories.

Jatakas are various stories about the Buddha before he was born as Prince Siddharta. Its contents are the main points of highlighting good deeds, such as an attitude of self-sacrifice and helpfulness that distinguishes the Bodhisattva from any other being.

Some Jataka stories feature fables, namely stories involving animal characters who act and think like humans. In fact, the accumulation of merit or good deeds is a preparatory stage in the effort to reach the level of Buddhahood.

Meanwhile, Awadana is basically almost the same as Jataka, but the perpetrator is not the Bodhisattwa, but another person and the stories are collected in the book Diwyawadana, which means noble divine deeds, and the book Awadanasataka or one hundred Awadana stories.

In the reliefs of the Borobudur Jataka and Awadana temples, they are treated the same, meaning that they are both found in the same row without being differentiated. The most famous collection of the Bodhisattva's life is the Jatakamala or series of Jataka stories, the work of the poet Aryasura who lived in the 4th century AD.

The reliefs of the Jataka and Awadana stories at Borobudur temple are lined up from the east side and are on level I on a row of relief panels on the balustrade of the upper chain, beautifully arranged with fine carvings with the beautiful aesthetic value of Borobudur cultural arts.

Walking from the east side you will find the first row of twenty panels in the first gallery on the wall depicting Sudhanakumaravadana, or the sacred work of Sudhana. With a total of 135 reliefs the first upper panel in the same gallery on the balustrade is devoted to 34 Jatakamala legends. The remaining 237 panels depict stories from other sources, as do the lower series and panels in the second gallery. Some jatakas are depicted twice, for example the story of King Sibhi (Rama's ancestor).

Jataka

Balustrade: Jataka and Avadana

The Jataka stories in Borobudur temple are stories about the Buddha before he was born as Prince Siddhartha, which are on a row of hallway walls containing stories that tell about the Buddha's previous life, both in human and animal form. The future Buddha may appear to them as a king, an outcast, a god, or in the form of an elephant, but in whatever form, he displays some of the virtues of which the story relates.

 

Some Jataka stories feature fables, namely stories involving animal characters who act and think like humans. In fact, the accumulation of merit or good deeds is a preparatory stage in the effort to reach the level of Buddhahood.

Some Jataka stories in Borobudur temple which can be seen on the balustrade walls for example are as follows:

When Bodhisattva was born as a giant turtle

A striking example of self-sacrifice was demonstrated by the Bodhisattva when he was born as a giant tortoise.

One day five hundred merchants were shipwrecked, and struggled desperately against the waves. The Bodhisattva appeared, took the five hundred people on his back, and brought them safely to the shore.

The turtle was tired, and fell asleep. The traders, tormented by hunger, decided to kill the turtle and eat its meat. The Bodhisattva woke up, and when he understood what was happening, he felt sorry for the starving merchants. He offered them his body to eat, and thus the unfortunate people were saved.

The Story of Quail and Forest Fires

This relief is located on the wall on the south side of the balustrade on the top of the Borobudur wall.

A family of quail lives nesting in the forest. There was a child who didn't want to eat the living things his mother brought him. It only eats plants and seeds. In the end he didn't seem to grow well. It cannot fly because it has no feathers on its wings.

Without knowing the reason, suddenly a forest fire broke out. All the animals in the forest were confused and afraid, trying to find shelter. The animals were amazed to see that a weak bird, having no feathers and therefore unable to fly, remained calm in its nest and the fire seemed unable to burn it.

Thanks to his attitude and behavior of not wanting to eat other living creatures and always doing good, his prayer to be safe from the fire was answered by God. Even though he couldn't run, he remained calm and it turned out that the fire was extinguished near his nest.

The story of the Bodhisattva being born as a Rabbit

It is said that the Bodhisattva was once born as a rabbit. His closest friends are an otter, a wolf and a monkey. One day, wanting to test Rabbit, Lord Sakra appeared in the forest in the form of a Brahmin who was lost and hungry.

The four friends rushed to meet the Brahmin and provide assistance. The otter brought seven fish, the wolf brought a lizard, and the monkey brought ripe fruit. At the moment the Rabbit can't offer anything. Then the Brahmin lit a fire for sacrifice, and immediately the Rabbit jumped into the fire, offering himself as a sacrificial animal.

The king of the gods admired the holy deed, and returning to his own form, he praised the Hare for his self-sacrifice.

The Story of a Woodpecker and a Lion

This relief is on the south side in a row of relief panels on the upper balustrade.

The story tells that in a forest there lives a kind bird. He has beautiful fur and doesn't want to hurt other creatures. Therefore he felt it was enough to just eat flowers, leaves and fruit.

One day, the woodpecker saw a lion who was in pain because a bone was stuck in his throat. The woodpecker ordered the lion to open its mouth wide and with a piece of wood placed upright between its jaws the lion's mouth could open. The woodpecker was finally able to remove the bone from the lion's throat with its peck.

One day, the woodpecker was hungry and happened to see the lion he had once helped eating deer meat. The woodpecker begged the lion to give him some meat but the lion didn't give it to him and even chased the woodpecker away. The woodpecker left the lion and did not hold a grudge against him. Even though God suggested that the woodpecker peck the lion's eyes to make him blind, the woodpecker didn't want to do it.

Avadana

Awadana is a story that basically has similarities to the Jataka story, but it is not the Bodhisattva who is told. The Avadana story which is related to the Jataka story, where the main character is not the Bodhisattva himself, tells about sacred moral deeds in avadana which are associated with legendary people and the stories are collected in the book Diwyawadana which means noble divine deeds, and the book Awadanasataka or one hundred Awadana stories.

In the reliefs of the Borobudur Jataka and Awadana temples, they are treated the same, meaning that they are both found in the same row without being differentiated. The most famous collection of the Bodhisattva's life is the Jatakamala or series of Jataka stories, the work of the poet Aryasura who lived in the 4th century AD.

The first 20 relief panels in the lower series on the main wall of the first gallery are story panels depicting a character named Sudhanakumaravadana or the Ho Deeds of Prince Sudhanakumara, which comes from the Divyavadana text.

The story begins with the rivalry of two kingdoms: the prosperous North Panchala kingdom, and the poverty-stricken South Panchala kingdom. The Southern King realized that Northern Panchala owed its prosperity to a Naga named Janmachitraka, who was on friendly terms with his rival, and ensured regular rainfall.

He decided to seek help from a powerful snake charmer to move the Naga to South Panchala. For his services, the hunter was entertained by the Naga family and rewarded with priceless jewels. However, a soothsayer advised Halaka to take the never-failing lasso that the Dragons possessed.

Prince Sudhanakumara appointed a brahmin as his future court priest, much to the annoyance of his father's high priest, who saw his future vanish into smoke. The crown prince asks his mother to look after Manohara, and marches out.

Unexpectedly he enjoyed the full support of the Yaksa (benevolent demon) king, who joined the expedition with his huge army. Meanwhile, the king's ominous dreams were interpreted by the fierce high priest as ominous; according to him, the danger could only be avoided by sacrificing a Kinnara.

Although very disappointed, the king finally agreed to sacrifice Manohara. After a long journey, Sudhanakumara arrived at the capital of the kingdom, Kinnara. King Druma, Manohara's father, was willing to welcome Prince Sudhanakumara. The prince convincingly demonstrates his superiority in archery, and then shows his true love for Manohara by choosing his wife among a crowd of Kinnaras who appear identical to her.

Soon after he became absorbed in the painting and annotation, and entered into meditation. He reached the level of Srotapanna, which is one of the stages of perfection. At that time Rudrayana wanted a Buddhist priest at his court, and Bimbisara sent Mahakatyayana to Roruka. Bimbisara sent Nurse Saila.

Queen Chandraprabha was so impressed with the Buddha's teachings that when his death drew near, she decided to become a nun. Indeed, after her death, she appeared as a goddess, and persuaded her partners to follow her example.

The first 135 relief panels in the upper series on the first gallery ledge are devoted to 34 Jatakamala legendary stories. The remaining series of 237 relief panels depict stories from other sources, as do the lower series and those on the ledge of the second gallery.

These stories are not all Jatakas, but also include several Avadana stories. Some Jatakas are depicted twice, although not in the same series. The story of King Sibhi is displayed on the main wall and balustrade of the first gallery. The Jatakas are not arranged chronologically from the Bodhisattva's reincarnation as an animal to his rebirth in heaven, nor are the reliefs.

Source: Guidance Technique Chandi Borobudur arisguide.

Borobudur Story relief wall hallway

The beauty of the relief carvings of the Borobudur story on the walls and balustrades. Source: Borobudur Conservation Center. Chandi Borobudur Scouting Technique arisguide. arisguide's photo.

Traveling and visiting with the aim of getting to know Borobudur more closely, studying its history, taking part in thematic tours and exploring Borobudur as a sacred Buddhist building is something very special, admiring the splendor and beauty of the architectural artistic value, is a form of appreciation and participation in preserving and protecting Borobudur which is a world cultural heritage site, Chandi Borobudur.

Borobudur

Borobudur Temple is a Mahayana Buddhist temple, built in the 9th century during the reign of the Sailendra Dynasty, this temple was designed in the form of Javanese Buddhist architecture, which combines native Indonesian culture, namely ancestor worship and the Buddhist concept of achieving Nirvana.

Chandi Borobudur or Barabudur is a Mahayana Buddhist temple built in the 9th century, consisting of nine terraced terraces, six square terraces and three circular terraces, on top of which there is a large stupa, surrounded by 72 stupas and decorated with 2,672 relief panels and 504 Buddha statues .