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The plan of the entire monument, as of the bas-reliefs, sculptures and stupas, has a symbolic meaning. The gradation from base to main stupa represents the individual stages towards perfection, and also the celestial spheres.

The bas-reliefs at the foor depict everyday events and the punishments of hell; they thus refer to stage of development when man is still bound-bound to his desires. The bas-reliefs of the four galleries represent, successively, the most important incidents in the life of Buddha (First Gallery) and in the lives of the various Bodhisattvas (the following galleries). This is thus a representation of the successive phases through which spiritual enlightenment can be attained.

The circular terraces with the stupas symbolize salvation attained man is no longer doomed to re birth. In the niches above the four galleries there are statues of Dhayani Buddhas, each pointing in the direcgesture a mudra.

In the open stupas on the terraces there are likewise stastues of dhyani Buddhas, and in the main stupa an uncompleted statue of Buddha himself.

This entire colossal monument served the purpose of veneration, worship and meditation; in the perambulation gallery for meditation, the worshipper always had bas-relief on his right-hand side. During the course of centuries Borobudur fell into a state of almost complete ruin, but in 1907-11 it was restored by the distinguished archaeologist and architect Dr. T.V.Erp, and thus the world once again obtained a monument which, next to the Hindu temple Ankor Vat Cambodja built in the 12th century, represent the most imposing and beautiful achievement of architecture and sculpture inspired by Hinduism and Buddhism.

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