In addition to their armed followers, kings and people of importance were always accompanied by emblems showing their rank and position. The most general attribute, common as well to persons of lower rank, was the umbrella and likewise the bearers (male and female) of fly‑whisks are not always in the company of persons of the highest class. There is no distinct style of umbrellas according to the rank of the official they belong to; possibly the color showed this as it did in later Java. Sometimes they are ornamented with ribbons or a tuft of hair on the handle like the camara's, but this adornment is added quite casually here or there. Some few other emblems belong chiefly to royalty as the large fan in the shape of a sinte leaf and a feather fan also with a long handle; it is narrow at the bottom but spreads out very wide at the top. As fourth attribute sometimes a very largefly‑whiskappears; on relief Ib I and 12 we see the four objects placed next to each other. It is not possible to discern exactly what the feather fan is made of, it is sometimes longer and narrower (Ib 22), and then shorter and wider (Ia 62); the ,,feathers" are rather wide, rounded at the top and the centre‑spot, occasionally added in the lower part (Ib 22, 105), makes them look like peacock feathers; on II B 50 where they are more finished off it seems very likely, but on the whole these objects are not shown with much detail. We can only see they consist of about three to seven rows. In some cases the fan is left quite smooth and can only be recognised by its shape (Ib 94).

Such attributes are always carried behind the people they belong to, there are others, standards, banners and the like, often taken along in the same way but also fixed into the ground by way of ornament. It stands to reason that these objects and emblems just described would sometimes be set up when the eminent person was resting, and we can often see plainly that this was done with the umbrellas. Those I now speak of serve sometimes as fixed, unmoveable ornaments or if placed in a temporary position, they do not follow any special person. The least important are the banners that appear of two sorts. The first consists of a narrow strip of stuff, fastened to a pole so that part of the long edge is stuck to it and the rest waves loose; these can be seen for instance on buildings (I a 35) ornext to them (III 3), behind a seat of honour (Ia 87) or in a pendapa (Ia 84, compare IB a 80). They can also be found borne by a procession that is paying homage as on Ia 12 i) and IV26.Thesecond sort can be seen on Ia 91 and IVB 65; here the banner is only fastened with its end to the pole where it curves at the top and streams out all its length. The flag‑staff is sometimes split in two with a banner on each; instances of this are found on la 93 fixed up, and carried in the hand on O 141, their identity being given by the inscriptionpataka. Even split in three with triple pennons on the same pole it can be seen, and that as decoration to a templebuilding on III 20 and 31. Perhaps the objects on IBa 11 and IVB 8 must be reckoned as banners, though they are not very distinct.

The triple banners on III 20 just mentioned, are four in number; they are set up next to two stambha's placed on either side of the temple, one bearing a trident, the other a winged shell, both having a broad cushionshaped pedestal; the banners below their triple branch are fixed into the same kind of pedestal. Next to another temple on III 32, there are stambha's on each of the four sides with small lions on them, also fixed on a pedestal and therefore belonging to the building; at the side we see two more simha‑stambha's. Shell and trident are also carried on separate poles, the trident only once, IB a 206, the shell several times: with wings on Ib 65 and II 18, without wings on Ib 83, II 72 and Ib a 166. In this last scene we may remember next to the seated Garuga there is a pole set up bearing the figure of a bird. The cakra is quite a favorite, found on Ia 91, Ib 68, O 33, IBb 101, II 92, III 59, III B 58, and once or twice at the top of a banner IB a 47 a, where it is apparently an ensign of battle and IBb 11 2). A staff bearing the jewel is also not uncommon, as we see on la 73, 91, Ib 75, IBa 168, 260 and III 59.

Beside these we have standards that are not meant to carry some special emblem but have a cushion‑shaped top with a small ornament on it; these appear in various forms, set up as a fixture next to a building as well as carried in the train of a distinguished personage. We find them on O 29, III 47, IV 10, 20, at the top of a banner, and further on la 73, Ib 70, IBa 292, 369, II 76, IV 26. There is a round ball‑shaped top to a standard on O 132, lb 63, IB b 118, II B 92 and probably IB a 359, but most of this has been knocked off. The curious broad top to the banner on lb 33 we must not give too much attention to, it may be nothing more than a suitable finish to the banner. Finally let us notice on lb 83 a couple of standards with a clasp shaped like a shamrock leaf by being bent inwards at each side, like the frame of a lamp; they are finely ornamented. Though much plainer, the staff a monk has in his hand on IV 28 is very much like these, it also has the same sort of clasp with bells hung on it to attract attention. Such kind of objects are among those that have actually been found in Java.

There was a pole with a small box at the top on IBa 175. The text there chewed us that this was not an emblem or an ornament, but the box contained a sum of gold to be carried throughout the land as a 	reward to the person who fulfilled the king's wishes.

 Also belonging to the emblems, though very fictitious ones, are the seven royal attributes the saptaratrta^ni, the ,,jewels" belonging to the ruler of the world, the horse, elephant, disk, gem, spouse, general and minister (or pater‑familias). These are depicted in several scenes where the cakravartin appears. They are partly easily identified, cakra and cintamanu hovering in the air on lotuscushions as well as horse and elephant, but the rest of the seven are not always to be found, especially the male figures. On O 129 we get the first cakravartin‑scene, the ,,spouse" is evidently the queen seated beside the monarch with a halo behind her head; thenonthegroundareseatedsix male attendants all alike, none of them being recognisable as ~ general" and ~ minister". O 132 shows five similar attendants and here it is even impossible to distinguish which of the ladies near the king is really his "jewel of a queen". In contrast to this on O 159 we see on a separate seat,next to the group of the king himself,on one side a woman and on the other a man, the queen Andorra of the male jewels, but where is the other? Relief lb 44 is no better; the saptaratnani are here flying through the air, the four objects are distinct enough, so is the queen, then comes the yaksa who according to the tale i) acts as herald or if need be as general or minister—he advises the king continually to start new wars—but behind this group there is nothing but an umbrella‑bearer, and in any case the seventh jewel is missing entirely. On the first balustrade there is a story twice showing the saptaratnani; in the scenes IBa 285—287 the queen can easily be recognised but not the male jewels, and on reliefs 290—291, behind the four other jewels in the air, there is a chariot in which the queen sits beside a man in ceremonial dress; this person might be one of the male jewels and then the other is missing; but most likely it is the cakravartin himself. The queen with the four ordinary jewels is found on IV B 1; then III 59 is noticeable because jewel and disk are not on cushions but placed at the top of standards, and here we look in vain for the queen. On III B 58 again the disk is at the top of a standard but the (very indistinct) jewel seems to be hovering on a lotus cushion. The male "jewels" here are not indicated at all, the queen not very clearly. To sum up it looks very much as if the Barabudur sculptors were not familiar with the saptaratnani and perhaps are showing us the pancaratnani —only in a single instance do they give us one of the male jewels and sometimes also lose sight of the queen. At a later period the saptaratnani were really known in Java as we see by their representation on the Amoghapaca‑statue sent to Sumatra by Krtanagara in 1286 and their mentioning on its inscription ).