@article{oai:nagoya.repo.nii.ac.jp:00025977,
 author = {野澤, 暁子 and NOZAWA, Akiko},
 journal = {名古屋大学人文学研究論集},
 month = {Mar},
 note = {Candi Penataran, the largest Hindu monument in eastern Java, was completed by the Majapahit kingdom in the 14th century as a ‘state temple’ which includes various narrative reliefs. Hariani Santiko analyzed the dual spiral arrangement of the main reliefs as a symbol of the movement of a holly mountain expressed in a creation myth of Hinduism (Samdra Manthan). For the further interpretation of the mythical landscape of Penataran, this article especially examines the symbolism of water which is represented in the reliefs of a rectangular stage named pendopo teras. The narrative reliefs of this site describe local tales written in the medieval era. The common feature of these stories is the role of water which directs the dramas into various dimensions. While an iconographer Lydia Kieven simply identified this as Hindu worship for holly water (tirta), this article particularly focuses on the function of water as a barrier to divide the world vertically (death and rebirth) and horizontally (farewell and reunion). Significantly, the whole sequence represents the cosmology of medieval Java based on various powers of water originated from local nature worship. Candi Penataran was primary designed as an embodiment of Hindu cosmology by the political strategy of Majapahit. However, the detail of the reliefs shows multiple aspects of symbolism constructed upon the inclusion of local societies in order to produce a theatrical space together through ritual practices for the divinity of the kingdom., 本研究はJSPS科研費（15KK0048）の助成を受けたものです。},
 pages = {245--268},
 title = {プナタラン遺跡の神話的景観 : 山と水をめぐる浮彫壁画の象徴性より},
 volume = {1},
 year = {2018}
}