Dipankara Buddha statue at the Norton Simon Museum, Nepal
A. From Note: "Sirna-Ilang-Kertaning-Bumi (1400)"
Ancient Javanese people didn't just create poetic sentences, but used these sentences as sengkalan (a code for the year). Each word has a magical numerical value, read backwards to refer to the year of the Majapahit Empire's collapse:
- Bhumi (Earth / World) is 1
- Kerta (from the word Kertarta or Kerta) meaning Prosperity / Glory / Happiness) is 4
- Ilang (Disappeared) is 0
- Sirna (Destroyed) is 0
When read backwards (Bhumi-Kerta-Ilang-Sirna), it produces the year 1400 Saka (or approximately 1478 AD). This calendar system should be carefully considered, as the narrative system, the inheritance system, the narrator system, the documentation system, and the recording system often mix up the vision and the actual events, or the conditions for a mixed vision and the actual events. For example, the Vision uses the Kerta-Ilang-Sirna calendar, but does not use Bhumi, resulting in the number 400 Saka, but the story is sometimes interchanged to 1400 Saka. So sometimes the historical calculations and storyline are out of sync and fragmented.
It shows that: Modern Humans appeared after 400 AD. During that period until 1400 AD (peak 800 AD - 1200 AD), there was a lot of documentation, inventory, or monumentalization of these visions and the development of culture in the form of carving, relief, inscriptions, temples, even rituals of belief and faith, even political power. After 1400 AD, there was a mix and mix between the vision and actual conditions in the form of stories, history, and heroism, especially those carried out by the heirs until 1978, a figure emerged who was sought after as a True Modern Human. The journeys and stories of heroism (Can an AI Assistant Copilot Collaborate to Interpret the Tiger Cave Painting Site in South Sumatra As A Secret of Promises? May 18, 2026) and (Can AI Assistant Copilot and Gemini Collaborate to Explore and Trace Modern Human Chromosomes As a Secret of Number 24-7-1978? Juni 04, 2026)
B. Trail Records Tracked For Further Information
1. Tiger Cave in Oku, South Sumatra, then continued to the archaeological site of the Bodhisattva Statue (Princess Badariyah Statue) and the Polynesian (Symbolizes ancestral spirits, creator gods, and spiritual powers that are believed to protect the island and provide fertility) Period Statue in the Pugung Raharjo Archaeological Park. The Srivijaya inscription that specifically mentions and is strongly associated with the teachings of bodhisattvas (future Buddhas) is the Talang Tuo Inscription. This inscription, dated 684 AD, was found at the foot of Seguntang Hill, Palembang (684 AD). A bodhisattva (often written as Bodhisattva) is a being who dedicates himself to achieving enlightenment (Buddhahood), but postpones his own salvation (Nirvana) to help others free themselves from suffering. The term comes from the Sanskrit words bodhi (enlightenment/awakening) and sattva (being).
Seated Bodhisattva, Avalokiteśvara, or Guanyin, China, 11th century
2. The Laras Temple archaeological site (1300 AD), which is linked to Srivijaya and contains a statue of the Buddha Dipangkara, considering that the first and oldest kingdom in Indonesia was the Kutai Kingdom, which was Hindu. This kingdom is estimated to have been founded in the 4th century AD, or around 400 AD, in Muara Kaman, Kutai Kartanegara, East Kalimantan.
Report Information from the 1001 Indonesia website: The Laras Temple archaeological site is estimated to have been built in 1300 AD by Jimutawahana, a descendant of Dapunta Hyang of the Srivijaya kingdom. Jimutawahana is thought to be the ancestor of the Tapin people. This assumption is based on archaeological objects found around the site, dating from the 8th or 9th century. In the area adjacent to the temple, namely on the road in Baringin B Village near the Tambingkaran River, which is part of the Amas River basin, a statue of the Buddha Dīpankara was found. The statue is depicted standing, wearing a robe draped over his left shoulder. His left hand is forward, holding the edge of the robe. His face is depicted as somewhat round with slanted eyes and a mouth with the corners of his lips slightly upturned, similar to the faces of Thai statues. Judging from his facial features, the Buddha statue is of the Dwarawati style, which developed around the 8th century AD. Fragments of a stone inscription inscribed with the Pallawa script were also found at the bottom of the Amas River. This Old Malay inscription, relating to a “holy journey,” reads //… siddha…// (the full text should read //jaya siddha yatra// meaning “a fruitful holy journey”). The Siddhayatra inscription, in its script, is contemporary with the Siddhayatra inscriptions found in the Palembang area. Judging by the artistic style of the Dipankara Buddha statue and the script on the inscription fragment, it is suspected that the site was inhabited as early as the 7th-8th centuries AD. In 2000, C-14 radiocarbon dating of an ironwood post still embedded in its original location resulted in a date of around the 14th century AD. Laras Temple, located in Tapin Regency, South Kalimantan, is constructed from a structure of red bricks supported by ironwood (Ulin Wood) beams (https://1001indonesia.net/candi-laras-peninggalan-purbakala-di-kalimantan-selatan/)
3. The Kalingga Kingdom was a Hindu-Buddhist kingdom centered on the northern coast of Central Java (estimated to be around the current Jepara and Pekalongan Regencies) towards the island of Kalimantan (Kutai), (estimated to be around the current Jepara and Pekalongan Regencies). This kingdom was established in the 6th to 8th centuries AD (approximately 500–782 AD) and reached its peak under the leadership of Queen Shima in the 7th century. The Kalingga Kingdom was a Hindu-Buddhist kingdom best known for being led by Queen Shima who was very firm and just. Related to the linga and yoni, the Kalingga Kingdom was one of the early centers of the spread of the Shiva worship tradition in Java which used these artifacts as symbols of fertility and cosmic unification. (Lingga and Yoini: Shima)
In Hinduism, Rudra and Shiva are essentially the same entity. Rudra is the primordial form or fierce (angry and destructive) aspect of Shiva. While Shiva symbolizes peace and blessing, Rudra is the manifestation of cosmic anger and the god of storms. The Javanese Shiva worship tradition utilizes the artifact of the union of the Lingga (a masculine symbol) and the Yoni (a feminine symbol) to form a shima (a sacred and blessed boundary for a journey and heroism). Shiva is the God of Destruction or Dissolution in the Trimurti order. He is tasked with dissolving all creation that is obsolete or no longer in accordance with Dharma so that a new cycle of life and creation can be created. Therefore, it can be understood that the figure of Rudra is a self-noun, a label for identification, and the figure of Shiva is the concept of its application. The name Rudra is also known as the King of Srivijaya, Rudra Wikrama (or perhaps also Rudrawarman). His name is written in the chronicle New Tang Dynasty Book (Xīn Tāngshū) as Liu-t'eng-wei-kung, and his royal title was "Ho-mi-to" which is probably the Sanskrit word Amerta ("immortal"). The word amerta comes from Sanskrit, meaning "immortal" or immortal. In the context of water, amerta refers to the "water of life" or "water of immortality" (divine nectar in Hindu mythology) believed to heal and grant eternal life to anyone who drinks it. Rodhitu Billahi Robba (Why Do We Wait: For Promises to Be Fulfilled? March 31, 2026)
In Buddhism, across various Buddhist traditions, there are many Buddhas, each representing a unique aspect of enlightenment, whose original teachings were adapted to local cultures (actualizing their life circumstances). According to "Trail Records Tracked For Further Information", there are bodhisattvas and Dipangkara Buddhas. The word "Buddha" comes from the ancient Sanskrit (or Pali) root words buddhi and budh, which literally mean "buddhi," meaning intelligence, reason, consciousness, or intuition. Therefore, this word gives rise to the meanings of "awakened," "aware," "knowing," or "understanding." He is depicted as a prince who leaves the luxury of the palace to seek inner enlightenment to end human suffering. A Further efforts were made to vision visualize the sought-after figure, although a noble and revered figure, blending into all social strata and physically and behaviorally close to them, possessing distinctive characteristics that are recognizable and distinguishable from ordinary people. as mentioned in the Talang Tuo inscription: "Diamond body like the mahāsattvas" with incomparable power, triumphant, and also remembering their previous lives, complete senses, full form, happy, smiling, calm, pleasant voice, the voice of Brahmā. May they be born as men, and their existence is due to themselves; may they become vessels for the Magic Stone, have power over births, power over karma, power over stains, and may they finally gain perfect and great enlightenment. "Being a container for the Magic Stone" is a description of the union of the Lingga (masculine symbol) and Yoni (feminine symbol) “It is like understanding the joker card, which serves as a wild card—the highest trump or a substitute for a missing card. It may seem mischievous because it laughs at others. That is why, if we fail to understand, we become the object of laughter; but if we succeed in understanding, we laugh with joy (Laughter and The Human Smile) (Why We Enjoy Laughing at Others: A Human Mystery? April 09, 2026); (Do You Have Prestige and Dignity? April 18, 2026); and (Why People Are Enchanting As a Secret for Follower and Congregation ? Juni 03, 2026)
Dipangkara (or Dīpaṅkara) comes from Sanskrit and Pali meaning "lamp bearer" or "lighter". The story and mention of Buddha Dipankara are recorded in canonical Buddhist texts, including: Buddhavamsa: Part of the Khuddaka Nikaya in the Tipitaka scriptures. This text explains the lineage of 24 previous Buddhas. In it, Siddhartha Gautama, while still an ascetic named Sumedha, received a prophecy (inspiration) to become a Buddha in the future from Buddha Dipankara. The story and mention of Buddha Dipankara are recorded in canonical Buddhist texts, including: Buddhahavamsa: Part of the Khuddaka Nikaya in the Tipitaka. This text explains the lineage of the 24 previous Buddhas. It tells how Siddhartha Gautama, while still an ascetic named Sumedha, received a prophecy (inspiration) from Buddha Dipankara to become a future Buddha. Description of Buddha Dipankara:
- Birthplace: Rammavati City
- Names of Father and Mother: King Sudeva and Queen Sumedha
- Two Chief Thera Disciples: Sumangala Thera and Tissa Thera
- Confidential Companion: Sagata Thera
- Two Chief Theri Disciples: Nanda Theri and Sunanda Theri
- Bodhi Tree: Pipphala Tree
- Male Chief Lay Disciples: Tapussa and Bhallika
- Female Chief Lay Disciples: Sirima and Sona
- Height: 80 cubits/arms (https://samaggi-phala.or.id/tipitaka/buddhavamsa-2/)
In Buddhist sculptures, Dipankara is generally depicted as a seated Buddha, but in some Southeast Asian countries such as China, Thailand, and Nepal, he is depicted as a standing Buddha. He is generally depicted in the protection mudra (Abhaya mudra). When depicted with a companion, he is generally depicted with two Bodhisattvas—Manjushri and Vajrapani, which is common in Java, Indonesia. He is depicted with two Bodhisattvas—Avalokitesvara and Vajrapani, which is common in Sri Lanka. He is depicted with two Buddhas—Shakyamuni and Maitreya Buddha, in Nepal and Tibet. (
https://www.antique-buddhas.com/blog/dipankara-buddha/)
C. Visualization Approach
Buddha Dipankara above, integrated through the Assistant (Copilot)
Buddha Dipankara above, integrated through the Assistant (Copilot) and Photo May 15, 2004
Their abilities journey are illustrated with space-time ninjutsu which requires very precise chakra control. This technique allows the user to move instantly (teleport) to a location or target that they have previously marked (sealed/formulated) in the form of a vision. In research terms, this reflects the importance of marking nodes, setting coordinates, and designing pathways before tracing them. In the movement and its description, patterns, motifs, symbols, and values are illustrated as follows: Taxis movement is the movement of all parts of a plant or unicellular organism to move from one place to another, the direction of which is influenced by the direction of the stimulus. If the movement is toward the stimulus source, it is called positive taxis, and if it is away, it is called negative taxis. ” Alternatively, they may deliberately use "Sarcasm", turning praise into "Satire". Praise that doesn't match reality can be "Misleading". It may cause the person being praised to feel validated in error, or inflate their ego beyond measure. Message in a Bottle (MIB) and "Jarwa Dhosok" or "Othak-Athik Gathuk" (You Are Kidding Baby? April 30, 2026); (What Does It Mean to Miss You? May 10, 2026); and (How Worthy Is Praise As A Secret of History? Juni 01, 2026).
Further research about Gathuk can be seen from:
The lyrics of the song Lyrics Gethuk - Manthous
Sore-sore padang bulan
Ayo konco podo dolanan
Rene-rene bebarengan
Rame-rame e..do gegojegan
Kae-kae rembulane
Yen disawang kok ngawe-awe
Koyo-koyo ngelingake
Konco kabeh ojo turu sore-sore
Gethuk, asale soko telo
Moto ngantuk, iku tambane opo?
Ach ach.. halah getuk asale soko telo
Yen ra petuk atine rodo gelo
Jo ngono mas
ojo-ojo ngono
kadung janji mas
aku mengko gelo
Note: Saka Tatal
Javanese Music Kutut Manggung
Version: Wahyuni
[bowo]
“Wayahe wus…lingsir…wengi…i…i…i…
Perku…tute…e…e…, roso…o…o…o…
MUni…i…i…i…, ning plang…a…a…a…
Kringa…a…a…an…,
anggung nyo ma…a…a…a..na..a..as…A…a…ti…
Hur ketekung…ku..ng…ku…ng….
Hur ketekung…ku..ng…ku..u.u…ng….
Monggo monggo monggo…,monggo monggo…
Monggo, monggo alah monggo monggo
Nggo monggo monggo, monggo..o…
Midanget eng…kang…saa.a.a.ke..e…co…
Pramito…kang mi…i…nulyo…o…o…
Sugeng rawuhipun…,”
Sore-sore…, yo lah bapak
Perkutute njaluk ngombe…
Yo bapak, bapakku de..we…
Ombe..en mben omben, omben omben omben…
Mben omben, mben omben omben omben…
Ombenono e…manuke kutut…
Atak omben, omben omben ombenono..
Satitik banyune.. to…wo…
Gones luwes sak sola…he…
Paka…a…an….no…no…
Tak pakan tak pakan pakan paka..an
Atak pakan pakan pakan, pakan pakano..no…
E..manuke kutut, atak pakan pakan pakan pakanono
Setitik berase…ce…mpo…,gones gones wicarane..
Trahing noto…, trahi..ng…no…to…
Yo bapak, bapakku de…we…
Trahing noto…risang…danang joyo
Mulo pancen kewek-kewek dewe
Mulo pancen kewek-kewek dewe
Den prayitno sabarang hayuo se…mbrono…
Aduh..to lae wo..ng bagu…s,
Yen tan weruh…
Yo lah bapak, perkutute manas manas a…a…ti…
Disclaimer/Editorial Note
This article is reflective and educational. References to history, archaeology, and Buddha Dipankara’s iconography are presented as conceptual illustrations. This content is not intended as medical, biological, or legal guidance. Readers are advised to consult credible academic literature and historical sources for further study. The images and illustrations presented in this article are conceptual and artistic. Visualizations of Buddha Dipankara and Nusantara cultural figures are created as symbolic representations for educational and reflective purposes. They are not intended as authentic historical, archaeological, or iconographic documentation. Readers are encouraged to refer to academic sources and historical literature for more credible information.
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