Was Queen of Sheba’s Influence Present in Borobudur? Uncovering Middle Eastern Roots Behind Ratu Boko and Java’s Sacred History

Reassessing Dr. Anurak Sutham’s Controversial Findings: Ancient Water Engineering, Sun Worship, and the Forgotten Origins of Borobudur’s Builders

By Brian S.

Was Borobudur influenced by Middle Eastern culture before Buddhism’s arrival? Dr. Anurak Sutham’s research proposes that Ratu Boko may carry Queen of Sheba’s legacy—challenging mainstream archaeological views.

Borobudur, the world’s largest Buddhist temple, is commonly recognized as a Mahayana architectural masterpiece from the 8th to 9th centuries, constructed under the Sailendra Dynasty. However, could its historical roots reach further—perhaps to the era of seafaring merchants from Arabia or Persia who once docked in Java?

This bold question was posed by Dr. Anurak Sutham, an archaeologist and cultural anthropologist from Thailand. His controversial hypothesis challenges traditional beliefs about the origins of Borobudur and its neighboring hilltop complex, Ratu Boko.

Interestingly, Dr. Sutham Phongphit and other regional historians have also proposed that Borobudur may have originated from a royal palace or secular residence, or at least served a non-religious function before being transformed into a Buddhist monument.

Who Is Dr. Anurak Sutham?

Dr. Sutham is a former lecturer at Chiang Mai University, specializing in comparative iconography and ancient maritime cultures. Through decades of research across Java, Sumatra, and Southern Thailand, he developed an unconventional thesis: that Ratu Boko predates Borobudur, and its builders may have included immigrants or spiritual envoys from the Middle East, potentially linked to the Queen of Sheba (Bilqis).

Key Discoveries That Challenge the Consensus

1. Ratu Boko’s Precise Water Systems: Echoes of Middle Eastern Engineering

The finely constructed stone reservoirs at Ratu Boko resemble desert hydraulic technologies such as the Sabaean water systems or Persian yakhchāl ice storage domes (Stein, 1998).

2. Winged Bird Reliefs at the Gateway: Simurgh, Not Garuda?

The wide-winged bird carvings at Ratu Boko do not closely resemble the Hindu-Buddhist Garuda, but rather the Simurgh from Persian mythology or guardian birds seen in Sabaean palace art (Gutas, 2004).

3. Solar Orientation and Temple Layout: A Site of Sun Worship?

Several structures at Ratu Boko are aligned east–west, implying solar veneration, akin to the Almaqah Temple in Ma’rib, Yemen (Kitchen, 1994).

4. Clothing Depicted in Reliefs: Parthian Style, Not Indian?

Fragments show figures wearing belted tunics and round turbans, resembling Parthian or Sabaean dress more than local Hindu-Buddhist attire (Yamauchi, 1990).

Was Borobudur Influenced by These Hidden Cultures?

Beyond Middle Eastern influence, some Southeast Asian scholars like Dr. Sutham Phongphit have speculated that Borobudur’s lowest tier—now covered—likely depicted worldly narratives such as daily life and human desires (Karmawibhangga), not just religious symbolism.

This lends weight to the idea that its original structure may have been secular or royal, later repurposed as a Buddhist monument. Furthermore, the megalithic architectural style at Borobudur’s base also points to pre-Buddhist and Hindu-Javanese palace influences, indicating possible reuse of an older palace foundation during the Sailendra period.

The syncretic cultural context of 8th–9th century Java—a fusion of Hindu, Buddhist, and indigenous beliefs—makes such a transition plausible. In fact, some local legends link Borobudur to a lost kingdom, though these accounts are often shrouded in myth.

Why Is This Theory Contested?

Dr. Sutham’s hypothesis challenges Indonesia’s official archaeological narrative, which attributes Borobudur’s origin to local and Indian influences. His theory of Middle Eastern links and connections to the Queen of Sheba is deemed speculative due to the lack of written documentation. Still, the concept of cultural transmission via maritime trade routes remains a relevant academic framework (Miksic, 2007).

Conclusion: Ratu Boko and Borobudur as Historical Palimpsests

Whether or not the Queen of Sheba ever set foot in Java, the structures and symbols at Ratu Boko and Borobudur may represent the cultural footprints of many civilizations meeting through trade and migration. They are palimpsests—layers of history revealing the interweaving of Sabaean, Indian, and Buddhist traditions.

The research of Dr. Anurak Sutham and the perspectives of regional historians like Dr. Sutham Phongphit remind us that history is not always linear. Borobudur is not just a monument of one civilization, but a confluence of memories from many, united by the trade winds of the Indian Ocean.

References 

Gutas, D., 2004. Greek Thought, Arabic Culture: The Graeco-Arabic Translation Movement in Baghdad and Early 'Abbasid Society. London: Routledge.

Kitchen, K.A., 1994. The World of the Old Testament. Grand Rapids: Baker Academic.

Miksic, J.N., 2007. Old Javanese Gold: The Hunter Thompson Collection at the Yale University Art Gallery. New Haven: Yale University Press.

Rahman, R., 2010. Revisiting Ancient Java: Critical Perspectives on Pre-Islamic Southeast Asia. Jakarta: Sejarah Nusantara Foundation.

Stein, M.L., 1998. 'Ancient Hydraulic Technologies in the Middle East.' Journal of Arid Environments, 39(1), pp.15–29.

Sutham, A., 2009. Ratu Boko and the Legacy of Bilqis: An Alternative Archaeological Interpretation. Penang: Maritime Heritage Press.

Yamauchi, E.M., 1990. Persia and the Bible. Grand Rapids: Baker Book House.

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