Kidal Temple is found in Rejokidal village of Tumpang Subdistrict with Malang Regency approximately 20 km towards the east of Malang city. This temple is reportedly the oldest shrine in Eastern Java, because Airlangga (11-12 one hundred year AD) of Kahuripan Kingdom as well as kings of Kediri Kingdoms (12-13 one hundred year AD) left only Belahan Brow and Jalatunda, which is the pool.



Kidal Temple was built-in 1248 AD, following a 'Cradha' memorial ceremony for King Anusapati connected with Singasari Kingdom. The temple was constructed as King Anusapati’s dharma as a way the he received glorification because Shiva Mahadewa. Built during transitional period of Central Java kingdoms’ heyday to be able to East Java kingdoms, Kidal Brow shares the characteristics of Central Java temple and East Espresso temple. Some scholars even mention that Kidal Temple will be the prototype temple of East Espresso style.



The temple is built exclusively of andesite stones with vertically geometric dimension. Around the temple yard is usually a stone structure that serves as a fence. The temple sits on the batur (temple base) 2 yards high. To access veranda around the temple base, stone stairs are placed right in front of the entrance gate. Interestingly, each in the stair is flat, which makes the whole stairs do not look including real stairs from distance.

These stone stairs do not need handrails in ukel style, as commonly obtained in other temples, but on the left hand side there is a badug (low wall) in shoulder shape that blocks the side and part of the front side of the particular stair base. No such badug is found in other temples.

The temple’s entrance gate heads on the west, with performer room acquiring kalamakara (a giant’s head) decoration above its sill. The giant’s brain ornament, which is scare together with eyes open wide, open mouth area, and 2 big and prolonged curved fangs, gives a sense of dominance. The 2 fangs are a characteristic of temples with East Java style.




On the particular left and right corners tend to be fingers in threatening mudra (position), setting up a perfect fearsome impression that the shrine keeping creature deserves. There exists a small niche on the quit and right hand side in the entrance gate, where a statue is put with a 'roof' above. Above the sills in the niches are decorated with kalamakara ornaments also.


The roof of Kidal Brow is three-layered square, which gets smaller towards the top. The top is definitely not pointed, but square with extensive enough surfaces. The roof top just isn't decorated with ratna or stupa, but is actually plain. Around the edge of each one layer is decorated with flower floral and climbing plantations. Legend has it that many layer’s corner is planted having a small diamond.

Around the forehead base is decorated with medallion engravings with rows interspersed with frames with floral and climbing plantation motifs. About the left and right of stairway base and on each predicting corner, there is an animal figurine that resembles a lion with sitting position like human with one hand towards the air. These statues look like supporting the upper edge of the temple base projecting out from the veranda.




The temple body is slim, providing a wide enough veranda around the temple base. Inside the temple body is a relatively small room, that is now vacant. The temple’s rooms are engraved in medallion motifs. A niche is provided around the flank and rear area of the temple to place a figurine. The niches also have 'roof' as well as kalamakara decoration above the sills. None in the statues are found in Kidal Brow. Reportedly the beautiful Shiva figurine now kept in Leiden Museum was removed from Kidal Temple.

In ancient Javanese literary works, there is a popular myth among the people, i. e. Garudeya, a mythical bird garuda that was able to liberate her mother from slavery giving amerta holy water (water of life) in exchange. Legend has it that Garudeya ended up being invented to fulfill Anusapati’s wish who would like to purify Ken Dedes, his precious mother. The myth of Garudeya is depicted in detail in reliefs of around forehead base. The prasawiya (counter clockwise) strategy of reading is used for examining the reliefs, beginning from the particular southern side.



The first alleviation describes a garuda carrying 3 large snakes; the second depicting the garuda with pot on the head; and the third relief depicting a garuda carrying a girl. Among the three reliefs, the second is the most beautiful and in one piece.


The Myth of Garudheya

The myth of Garudheya lived among ancient Javanese people who embraced Hinduism. It tells of your mythical bird struggling to totally free his mother from hardship. The story begins having a Resi (somebody who leads austere life) branded Kasyapa who lives in his retreat with his two wives, Dewi Winata as well as Dewi Kadru. Although the wives are siblings, each day they fight resentfully to win bigger attention from other husband. Their hearts grow even bitter after they bear no children yet.

One day, a god visits Dewi Winata as well as leaves an egg into your ex care. The god advises her to raise whatever creature being subtracted from the egg as her own child. Upon receiving the ovum, Dewi Winata keeps it in the hidden place. Meanwhile, Dewi Kadru also has the same experience. Later if the time is due, the offspring hatch. A chick comes outside of Dewi Winata’s egg whereas some snakes hatch outside of Dewi Kadru’s. Dewi Winata’s young bird grows in to a garuda (a mythical gigantic eagle), afterwards called Garudheya, while Dewi Kadru’s create children become dragon snake.

Although each wife has already been presented with children, the siblings should never be on good terms. One time, Dewi Kadru tricks her sister into betting and Dewi Winata loses both the bet and her freedom. The girl becomes a slave to Dewi Kadru as well as her children. Learning that the mother leads a miserable existence, Garudheya is deeply sad. The moment he becomes a fully-fledged hen, Garudheya vows to set his mother free whatever it takes. Finally he finds out which his mother will regain her freedom on condition that they can fetch tirta amerta (water connected with life). The water can only be obtained in the abode of gods as well as goddess, guarded by Vishnu. By means of tremendous toil and trouble, Garudheya finally managed to discover the water. Vishnu, however, grants Garudheya his permission to look at the water only after Garudheya gives his word to get Vishnu’s means of transportation.