In the center of it all emerges the enormous, monstrous face which ever since the early 1920 has intrigued visitors, and which still leaves us with many questions. It most probably is a witcha well known feature in Balinese thought-for the ear ornaments are a woman’s. The head defi- nitely recalls the witch Rangda’s mask from Balinese theater.
It has changed places with the kala-heads, well known from ancient Javanese monuments, where they are usually taken to be entrance protectors, looking fearful and clawing with pointed nails. Kala-heads, well known from ancient Javanese monuments, where they are usually taken to be entrance protectors, looking fearful and clawing with pointed nails. Kala-heads moreover function as celestial elements stressing the heavenly character of sanctuaries.
Rather than the Goa Gajah witch herself, Balinese monster heads on the gate ways to the temple compounds resemble East Javanese kalas. The Combinations of a monster’s head [of kala type] and hermit’s cave is also known in East Java. But again the candi’s entrance, it is version turned fully Balinese: a real witch-the more dehumanized for her pointed ears and the long tusk-like fangs which enclose the entrance – taken from theatricals and impressed upon the rock. It is difficult to say whether this specific witch should be considered “threatening”. A Balinese, for that matter, likes threatening temple decorations, which make him feel safe from the dangerous powers repelled by the ugly faces.
The witch seems to emerge with all her powers from the mysterious world enclosing her, and to which she belongs. A different interpretation has some mighty personage pushing apart the rock, as Siva Pasupati did to the cosmic mountain-thuns creating simultaneously the rival mountain Batur and Agung as well as the “split gate” or candi bentar.
The witch’s eyes curiously look sideways at the intruder, instead of peering straight ahead. And just as Rangda she seems to express, rather than impose, fear: “…the witch is not only a fear-inspiring figure, but…she is fear. Her hands with their long menacing fingernails do not clutch and claw at her victims… But the witch herself spreads her arms with palms out and her fingers flexed backward, in the gesture the Balinese call kapar, a term which they apply to the startled reaction of man who falls from a tree.”
In the 1950s a large piece of the witch’s head which had fallen down [spoiling its expression and resulting in erroneous interpretations] was restored to original place. Moreover, Mr. Krijgsman’s activities when working at the Goa Gajah eventually led to an interesting discovery.
Until 1954 several figurative spouts stood on either side of the cave’s entrance: one shaped as a two- handed Ganesa, the others [six] as the upper halves of female figures. They evidently came from some watering place in the neighborhood. In the early 1950s the spouts were provisionally placed around a small pond not far from the cave. Water came from a well via an old tunnel parallel to the rock as of old, provided with four manholes for cleaning purpose]. But the spout figures did not fit this situation because there was no connection between the busts and the pound’s border. In 1954 the flat courtyard in front of the cave was excavated. Rock bottom was struck around 50 c, without any soil finds other than the wall screen in front of the cave.
Acting on information received from locals, Krijgman widened the field of his clearing to include the ravine’s border south of the cave. There, it was said, he would find stone steps. The beginning of a three fold flight of steps was found, which after excavations led a former watering place. It consist of two separate partitions, probably one for women and one for men. Each formerly had been connected with a water system by three figurative spouts, shaped like standing nymphs. Only the lower parts of these figures were still in situ. They proved to the fit the upper parts found in front of the cave. The figures measure around 2 meters in height, without their lotus cushions. Thus the watering place could be restored, and its original functions re-established. The walls of the basins were renewed to construct an aesthetically satisfactory and work able bathing unit.
The back wall’s top is in a line with the courtyard in front of the cave. Part of the wall between the two groups of there spouting figures has not been restored; the narrow basin’s exact layout has not been ascertained. The Ganesa spout found with the other figures in front of the cave may have been situated in the middle basin and provisionally given a place there, albeit unconnected with the water system. The other spouting figures are fed from the original water system [east of the cave, used previously for the small pond], and produce their jets of water from lotus buds.
Despite the different in level there is apparently a direct relation between the cave and the watering place. The spouts are arranged in a line with the cave’s entrance passage.
The lower part of the figures was carved from the living rock. Presumably, masses of earth, and carved stones from walls or gateways, slipped down from the side of the stairs, eventually coverings part of the figures. On top of this piled up mass was situated a pura, which still partially exists. The loose upper parts apparently were taken away to be replaced in front of the cave. This must have occurred before the cave was first reported by Heyting and Niuwenkamp. In the neighborhood of the cave several objects were also located: a pot – shaped stone object, two cylindrical stupas, and some pinnacles.
The discovery of the watering place was one the greatest surprises of archaeological work in Bali after World War II. Hoping that site would be accepted as a regular bathing place, Mr. Krijigsman led the way by taking his daily bath there. Others happily followed his example until it was officially decided this ancient watering place was too sacred for such profane use.
One of the pavilions in front of the cave harbors an image of the Buddhist goddess Hariti. A child – devouring ogres, she was converted to Budhism, and became a child protectress; she is always accompanied by quite a number of children. She is found in sanctuaries in India as well as elsewhere in the Buddhist world [e.g. in Java in Candi Mendut’s antechamber]. In Bali she acquired an establish positions – perhaps through identifications with some indigenous legendary personage. In Both ancient and recent art she is picture as the female half of a poor couple-Pan Brayut and his wife Men Brayut- blessed with many children. The Goa Gajah Hariti was dated by Stutterheim around A.D 1000 [old Balinese Period].
It has changed places with the kala-heads, well known from ancient Javanese monuments, where they are usually taken to be entrance protectors, looking fearful and clawing with pointed nails. Kala-heads, well known from ancient Javanese monuments, where they are usually taken to be entrance protectors, looking fearful and clawing with pointed nails. Kala-heads moreover function as celestial elements stressing the heavenly character of sanctuaries.
Rather than the Goa Gajah witch herself, Balinese monster heads on the gate ways to the temple compounds resemble East Javanese kalas. The Combinations of a monster’s head [of kala type] and hermit’s cave is also known in East Java. But again the candi’s entrance, it is version turned fully Balinese: a real witch-the more dehumanized for her pointed ears and the long tusk-like fangs which enclose the entrance – taken from theatricals and impressed upon the rock. It is difficult to say whether this specific witch should be considered “threatening”. A Balinese, for that matter, likes threatening temple decorations, which make him feel safe from the dangerous powers repelled by the ugly faces.
The witch seems to emerge with all her powers from the mysterious world enclosing her, and to which she belongs. A different interpretation has some mighty personage pushing apart the rock, as Siva Pasupati did to the cosmic mountain-thuns creating simultaneously the rival mountain Batur and Agung as well as the “split gate” or candi bentar.
The witch’s eyes curiously look sideways at the intruder, instead of peering straight ahead. And just as Rangda she seems to express, rather than impose, fear: “…the witch is not only a fear-inspiring figure, but…she is fear. Her hands with their long menacing fingernails do not clutch and claw at her victims… But the witch herself spreads her arms with palms out and her fingers flexed backward, in the gesture the Balinese call kapar, a term which they apply to the startled reaction of man who falls from a tree.”
In the 1950s a large piece of the witch’s head which had fallen down [spoiling its expression and resulting in erroneous interpretations] was restored to original place. Moreover, Mr. Krijgsman’s activities when working at the Goa Gajah eventually led to an interesting discovery.
Until 1954 several figurative spouts stood on either side of the cave’s entrance: one shaped as a two- handed Ganesa, the others [six] as the upper halves of female figures. They evidently came from some watering place in the neighborhood. In the early 1950s the spouts were provisionally placed around a small pond not far from the cave. Water came from a well via an old tunnel parallel to the rock as of old, provided with four manholes for cleaning purpose]. But the spout figures did not fit this situation because there was no connection between the busts and the pound’s border. In 1954 the flat courtyard in front of the cave was excavated. Rock bottom was struck around 50 c, without any soil finds other than the wall screen in front of the cave.
Acting on information received from locals, Krijgman widened the field of his clearing to include the ravine’s border south of the cave. There, it was said, he would find stone steps. The beginning of a three fold flight of steps was found, which after excavations led a former watering place. It consist of two separate partitions, probably one for women and one for men. Each formerly had been connected with a water system by three figurative spouts, shaped like standing nymphs. Only the lower parts of these figures were still in situ. They proved to the fit the upper parts found in front of the cave. The figures measure around 2 meters in height, without their lotus cushions. Thus the watering place could be restored, and its original functions re-established. The walls of the basins were renewed to construct an aesthetically satisfactory and work able bathing unit.
The back wall’s top is in a line with the courtyard in front of the cave. Part of the wall between the two groups of there spouting figures has not been restored; the narrow basin’s exact layout has not been ascertained. The Ganesa spout found with the other figures in front of the cave may have been situated in the middle basin and provisionally given a place there, albeit unconnected with the water system. The other spouting figures are fed from the original water system [east of the cave, used previously for the small pond], and produce their jets of water from lotus buds.
Despite the different in level there is apparently a direct relation between the cave and the watering place. The spouts are arranged in a line with the cave’s entrance passage.
The lower part of the figures was carved from the living rock. Presumably, masses of earth, and carved stones from walls or gateways, slipped down from the side of the stairs, eventually coverings part of the figures. On top of this piled up mass was situated a pura, which still partially exists. The loose upper parts apparently were taken away to be replaced in front of the cave. This must have occurred before the cave was first reported by Heyting and Niuwenkamp. In the neighborhood of the cave several objects were also located: a pot – shaped stone object, two cylindrical stupas, and some pinnacles.
The discovery of the watering place was one the greatest surprises of archaeological work in Bali after World War II. Hoping that site would be accepted as a regular bathing place, Mr. Krijigsman led the way by taking his daily bath there. Others happily followed his example until it was officially decided this ancient watering place was too sacred for such profane use.
One of the pavilions in front of the cave harbors an image of the Buddhist goddess Hariti. A child – devouring ogres, she was converted to Budhism, and became a child protectress; she is always accompanied by quite a number of children. She is found in sanctuaries in India as well as elsewhere in the Buddhist world [e.g. in Java in Candi Mendut’s antechamber]. In Bali she acquired an establish positions – perhaps through identifications with some indigenous legendary personage. In Both ancient and recent art she is picture as the female half of a poor couple-Pan Brayut and his wife Men Brayut- blessed with many children. The Goa Gajah Hariti was dated by Stutterheim around A.D 1000 [old Balinese Period].
