Christianity in Javanese Culture and Society
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The Influence of Hindu, Buddhist, and Chinese Culture on the Shapes of Gebyog of the Javenese Traditional Houses
Arts and Design Studies www.iiste.org ISSN 2224-6061 (Paper) ISSN 2225-059X (Online) Vol.79, 2019 The Influence of Hindu, Buddhist, and Chinese Culture on the Shapes of Gebyog of the Javenese Traditional Houses Joko Budiwiyanto 1 Dharsono 2 Sri Hastanto 2 Titis S. Pitana 3 Abstract Gebyog is a traditional Javanese house wall made of wood with a particular pattern. The shape of Javanese houses and gebyog develop over periods of culture and government until today. The shapes of gebyog are greatly influenced by various culture, such as Hindu, Buddhist, Islamic, and Chinese. The Hindu and Buddhist influences of are evident in the shapes of the ornaments and their meanings. The Chinese influence through Islamic culture developing in the archipelago is strong, mainly in terms of the gebyog patterns, wood construction techniques, ornaments, and coloring techniques. The nuance has been felt in the era of Majapahit, Demak, Mataram and at present. The use of ganja mayangkara in Javanese houses of the Majapahit era, the use of Chinese-style gunungan ornaments at the entrance to the Sunan Giri tomb, the saka guru construction technique of Demak mosque, the Kudusnese and Jeparanese gebyog motifs, and the shape of the gebyog patangaring of the house. Keywords: Hindu-Buddhist influence, Chinese influence, the shape of gebyog , Javanese house. DOI : 10.7176/ADS/79-09 Publication date: December 31st 2019 I. INTRODUCTION Gebyog , according to the Javanese-Indonesian Dictionary, is generally construed as a wooden wall. In the context of this study, gebyog is a wooden wall in a Javanese house with a particular pattern. -
Potency Exploration of Trowulan Cultural Heritage Area As Educational Facility
Potency Exploration of Trowulan Cultural Heritage Area as Educational Facility Retno Eka Pramitasari, Nur Muflihah Universitas Hasyim Asy’ari, Jombang, Indonesia Keywords: Exploration, Cultural Heritage, Educational Facility. Abstract: Trowulan is a very popular cultural heritage area in Mojokerto city and designated as a National Tourism Strategic Area which is thick with cultural and historical elements. The purpose of this study to explore the tourism and cultural heritage potency in Trowulan area as education facility. The object of this research is the existing cultural heritage in the Trowulan area including Bajang Ratu Gate, Petirtaan Tikus, Brahu Temple and Majapahit Information Center. This study used descriptive research with a qualitative approach and sampling techniques using purposive sampling techniques. The results of this study indicated that the majority of visitors who are student-certified were 52.5%, the response of visitors related to the perception of the attractiveness of the tourist environment was 62.1% very interesting, and the perception of tourist accessibility to visitors responds 76.4% supported this condition. Visitors expressed satisfaction with the facilities and activities in the tourism object. This proved that the Trowulan cultural heritage area can be used for holidays and educational facility. 1 INTRODUCTION the potency as a tourism place, a media of educating both history and culture. Likewise with people in Indonesia is a country that is rich in history and several large cities, there are among them who do not culture in the past, namely the existence of kingdom know the historical sites and religious tourism in spread among others the Majapahit kingdom, Trowulan. -
8 Performing Indonesia Abroad1
8 Performing Indonesia abroad1 Jennifer Lindsay In 1954, Sutanti was a young woman of twenty five.2 Her education had spanned three eras. She attended primary school during the Dutch colonial period, and when she was twelve had started study- ing Javanese classical dance at Kridha Beksa Wirama, the dance school established in 1918 by princes from the Yogyakarta palace.3 Sutanti attended junior high school in Yogyakarta during the Japa- nese occupation, was sixteen in 1945 when Indonesia declared its independence, and completed her schooling during the turbulent 1945-1949 revolutionary period. In the 1950s, she became a mem- ber of the newly established dance association Perkumpulan Kes- enian Irama Tjitra where she studied classical and contemporary adaptations of Javanese dance.4 In early 1954, Sutanti began working at the national govern- ment’s subdirectorate for the arts (Kantor Djawatan Kebudajaan 1 In 2010 I directed a 90 minute video documentary, titled ‘Menggelar Indonesia; Misi ke- senian ke manca negara 1952-1965’ (‘Presenting Indonesia: Cultural missions abroad 1952- 1965’) made up of extracts from interviews with 30 participants of the cultural missions of the 1950-1965 period, and illustrated with photographs from the interviewees’ personal collections. Copies of the documentary have been deposited in libraries of major centres of Indonesian/ Southeast Asian studies. Readers are encouraged to refer to the documentary. 2 There is some discrepancy on the date of Ibu Sutanti’s birth. Her employment records noted 1929, whereas her parents thought she was born in 1927. 3 Kridha Beksa Wirama was founded by P.A. Tejokusumo, P.A. -
Heirs to World Culture DEF1.Indd
8 Performing Indonesia abroad1 Jennifer Lindsay In 1954, Sutanti was a young woman of twenty five.2 Her education had spanned three eras. She attended primary school during the Dutch colonial period, and when she was twelve had started study- ing Javanese classical dance at Kridha Beksa Wirama, the dance school established in 1918 by princes from the Yogyakarta palace.3 Sutanti attended junior high school in Yogyakarta during the Japa- nese occupation, was sixteen in 1945 when Indonesia declared its independence, and completed her schooling during the turbulent 1945-1949 revolutionary period. In the 1950s, she became a mem- ber of the newly established dance association Perkumpulan Kes- enian Irama Tjitra where she studied classical and contemporary adaptations of Javanese dance.4 In early 1954, Sutanti began working at the national govern- ment’s subdirectorate for the arts (Kantor Djawatan Kebudajaan 1 In 2010 I directed a 90 minute video documentary, titled ‘Menggelar Indonesia; Misi ke- senian ke manca negara 1952-1965’ (‘Presenting Indonesia: Cultural missions abroad 1952- 1965’) made up of extracts from interviews with 30 participants of the cultural missions of the 1950-1965 period, and illustrated with photographs from the interviewees’ personal collections. Copies of the documentary have been deposited in libraries of major centres of Indonesian/ Southeast Asian studies. Readers are encouraged to refer to the documentary. 2 There is some discrepancy on the date of Ibu Sutanti’s birth. Her employment records noted 1929, whereas her parents thought she was born in 1927. 3 Kridha Beksa Wirama was founded by P.A. Tejokusumo, P.A. -
Thearchaeologicalidentificationo
TheArchaeologicalIdentificationoftheMajapahitRoyal Palace:Prapañca’s1365DescriptionProjectedontoSatellite Imagery AmritGomperts,ArnoudHaagandPeterCarey incollaborationwithDjokoUmbaran1 ‘As with all archaeological site detection from space, features must be detected on the ground before any claims can be made.’ Sarah Parcak (2009: 119) Introduction Succeeding his father in the Buddhist office of the Kingdom of Majapahit in East Java, Prapañca probably served for a brief period as the minister of Buddhist religious affairs when he accompanied King Hayam Wuruk (reigned 1350-89) during his royal journey through East Java in September-October 1359. Although he had long since started composing his text Deśawarṇana (literally, ‘The Depiction of Districts’), it was not until Tuesday, 30 September 1365, when Prapañca took his iron stylus and scratched the final words in palm leaves of what we now consider to be the most important historiographical text of medieval Java. Among the Balinese who preserved the text, Prapañca’s historiography is also known under its Javano-Sanskrit title Nāgarakṛtāgama which freely translates as ‘The Precept of Past Statecraft’. In his text, Prapañca includes a detailed description of the layout of the royal palace and the court town of Majapahit. Over the past six years, we have published several articles focussing on the archaeological discoveries of a number of authorities on Majapahit-Trowulan archaeology. During this time, we have been able to make a careful evaluation of the available sources assisted by appropriate onsite observations and GIS (Geographic 1 The authors would like to thank Dr. -
Speakers Res Artis Conference Bangkok 2021
SPEAKERS DAY 1 - WEDNESDAY 8 SEPTEMBER 2021 ----------------------------------------------------------------------------------------- ELIZA DAWSON EXECUTIVE DIRECTOR, RES ARTIS (AUSTRALIA) 14:00-14:15 BKK TIME - OPENING WELCOME FROM RES ARTIS Eliza Dawson was appointed as the inaugural Executive Director of Res Artis in 2016 where her role is focused on fundraising, public profile and strategy for the organisation. Eliza served on the Res Artis Board of Directors from 2012 – 2016, including a 2-year term as Vice-President from 2014. For 6 years Eliza worKed as Arts Residencies Manager at AsialinK, Australia’s most long- standing artist residency program in the region. Eliza has diverse experience in the arts industry, having worKed at a range of local and international institutions and organisations. Eliza speaks intermediate level Indonesian and holds a MA Art Curatorship and BA Creative Arts, both from the University of Melbourne. MAMI KATSUYA PROGRAM DIRECTOR, KYOTO ART CENTER (JAPAN) 14:15-14:45 BKK TIME - CREATIVE ENCOUNTERS: REIMAGINING RESIDENCIES Mami Katsuya graduated from Hiroshima City University (B.A. in International studies). She had been an artist-in-residence coordinator of Kyoto Art Center and curator of Yuhisai KodoKan Foundation before her current position. Katsuya is interested in the process of art making and mechanisms of artist- in-residence programs in the contemporary art field. She has engaged with many international projects such as ‘The Instrument Builders Project: Circulating Echo’ (2018), Culture City of East Asia 2017 and FeldstärKe International (2017). She coordinated the 2019 Res Artis conference in Kyoto, “Creative Encounters: Reimagining Residencies”. She is a committee member of Higashiyama Artists Placement Service (HAPS), and Kyoto Writers Residency. -
An Arts Tourist in Yogjakarta
An arts tourist in Yogyakarta Kim Dunphy, Manager , Cultural Development Network The art of the overpass in Yogyakarta: the famous monkeys from the Ramayana Ballet On leave from my day job supporting cultural development in Victoria, I took the opportunity to explore some of the arts experiences that Yogyakarta, Indonesia’s cultural capital had to offer. My brief exploration of city attractions included an enjoyable mix of traditional and contemporary arts. I begin with a visit to the famous tourist attraction, the Ramayana Ballet which is performed twice a week throughout the year against the magnificent backdrop of the famous Prambanan temples. This dance style is a curious mix of Indonesian and Indian cultures, with the Indian Ramayana story presented through traditional Javanese dance, demonstrating the considerable impact of early Hindu missionaries and traders on Indonesian culture. A highlight was the deer dance, and the enchanting fluid and flexible movements, jangly gold costumes and headdresses of the young female deer dancers. Disappointingly, the heroine of the Ramayana, Princess Shinta, doesn’t dance much at all. This is quite unlike western ballet, when the female dancers’ roles are as physically and technically demanding as the men’s. Shinta’s royal station is indicated by her complex and beautiful costume. This sarong is tied and positioned in such a way that Shinta can only make the tiniest of movements, indicative also of her tightly bound social role. Around her, the menfolk of the story, including her husband Rama (a good and bad guy), the really bad guys, and the ebullient wild monkeys of the forest, run, jump, battle, adventure and 1 move her, kidnapping and rescuing her over and over, while she stands, poses and creeps tiny steps forward and backwards, endlessly flicking her sarong out of the way to do so. -
FRAMING a COMPARATIVE ANALYSIS of TROPICAL CIVILIZATIONS: SETS Project – Phase 1 (Volume 1) Edited by Gyles Iannone
FRAMING A COMPARATIVE ANALYSIS OF TROPICAL CIVILIZATIONS: SETS Project – Phase 1 (Volume 1) Edited by Gyles Iannone Trent University Department of Anthropology Occasional Papers in Anthropology No. 17 2014 Dedicated to Michael D. Coe, whose writings on the importance of the comparative analysis of tropical civilizations first inspired me as an undergraduate student, and more recently, whose kind words encouraged me when I subsequently started my own intellectual journey to contribute to this worthy endeavour. Acknowledgements: Members of the SETS Project are thankful for the generous support of the Social Sciences and Humanities Research Council of Canada (Insight Development Grant 2013- 2015). We also extend our sincere gratitude to Dr. Damian Evans, who took time out from his busy schedule to tour us around Koh Ker and Beng Mealea during our trip to Angkor in 2013. Finally, our deepest appreciation goes out to all of the people who have housed us, fed us, and driven us around Southeast Asia. Your generosity, hospitality, and good nature are unsurpassed. Cover Image: Wat Mahathat, Sukhothai, Thailand. Trent University Occasional Papers in Anthropology ISSN 0825-589X; No. 17 ©2014 Peterborough, Ontario SETS PROJECT MEMBERS Gyles Iannone (Trent University): Principal Investigator Kendall Hills (University of Illinois at Chicago): Research Associate (Integrative Features) Scott Macrae (University of Florida): Research Associate (Agriculture) Leah Marajh (Trent University): Research Associate (Water Management) Peter Demarte (Trent University): -
The Goddess Durga in the East-Javanese Period
H a r ia n i Sa n t i k o Universitas Indonesia, Jakarta The Goddess Durga in the East-Javanese Period Abstract This article assesses the changing perceptions of the goddess Durga in Java in the tenth to the fifteenth centuries C.E. From an early perception of her as a beneficent goddess, slayer of the demon Mahisa and protector of welfare and fertility, we see later portrayals of her with a frightful countenance and a predilection for graveyards. This change is traced through the mythology to poorly understood Tantric practices that deteriorated into black magic and the coercion of the goddess’s power for evil purposes, causing her image in Java to become tarnished and turning her into an evil demon. Keywords: Durga— Mahisas"ura— Tantrism— Javanese mythology— antiquities Asian Folklore Studies, Volume 56,1997: 209—226 RCHAEOLOGICAL REMAINS in the form of statues of the goddess {bhatarl) Durga, Durga the destroyer of Mahisas'ura, are quite numer ous in Java. The oldest of these statues is estimated to date from around the eighth century C.E.,while the most recent is from about the fifteenth century. On the basis of their characteristics and of the area where they were found, these Durga MahisasuramardinI statues can be divided into two large groups: those from the Central Javanese era, dating to between the eighth century and the beginning of the tenth century, and those of the East Javanese period, which date between the middle of the tenth century and the fifteenth century C.E. The Central Javanese period is very rich in archaeological remains (especially from early Hindu-Buddhist times), though relatively lacking in written data. -
Lost Classic Civilization
Sukoreno Site: Lost Classic Civilization Ainur Rohimah1, Joni Wibowo2, Ricky Yulius Kristian3, Fitri Nura Murti4 1 Indonesia Education Language and Arts Departments Faculty of Teacher Training and Education, University of Jember, Indonesia 2 History Education Departments Faculty of Teacher Training and Education, University of Jember, Indonesia 3 Elementary Education Departments Faculty of Teacher Training and Education, University of Jember, Indonesia 4 Indonesia Education Language and Arts Departments Faculty of Teacher Training and Education, University of Jember, Indonesia [email protected] Abstract : The discovery of Statue and Red Bricks (Bata Abang) located in Sukoreno Village. The Red Brick in Sukoreno site has scattered in settlements and suspected that many Red Bricks has been crushed by residents. Being a cultural heritage of the past, this site needs deep attention and is very important to be studied as an Indonesian nation's self-image. The researcher used the folklore method to uncover the surrounding of the cultural and historical context. In addition, through physiological comparative studies, the shape and characteristics of decapitated statue and red bricks with Majapahit relics in Trowulan, it is found that decapitated statues (Sukoreno statues) have physiological characteristics (shapes and models) that are similar to the Nandiswara or Mahakala statues. The first identification lead the researcher how the connection of the Sukoreno Site with The East Majapahit Kingdom. This effort is expected to be able to support the development of the cultural tourism area in Jember Regency and contribute to the retention of assets of national culture, especially the culture of the people in Jember. This research concludes that The Sukoreno Site as an important area and assume The Sukoreno Site as a palace. -
Indoor Positioning System Using BLE Beacon to Improve Knowledge About Museum Visitors
TELKOMNIKA Telecommunication, Computing, Electronics and Control Vol. 18, No. 2, April 2020, pp. 792~798 ISSN: 1693-6930, accredited First Grade by Kemenristekdikti, Decree No: 21/E/KPT/2018 DOI: 10.12928/TELKOMNIKA.v18i2.14886 792 Indoor positioning system using BLE beacon to improve knowledge about museum visitors Andreas Handojo1, Tanti Octavia2, Resmana Lim3, Jonathan Kurnia Anggita4 1,4Informatics Department, Faculty of Industrial Engineering, Petra Christian University, Indonesia 2Industrial Engineering Department, Faculty of Industrial Engineering, Petra Christian University, Indonesia 3Electrical Engineering Department, Faculty of Industrial Engineering, Petra Christian University, Indonesia Article Info ABSTRACT Article history: Generally, a museum has many locations and artifacts collection that display for visitors. Museum manager often have difficulty in obtaining information Received Jul 24, 2019 on visitors behavior such as, is there are particular locations/artifacts in Revised Jan 16, 2020 the museum that are frequently/rarely visit by museum visitors, how long Accepted Feb 9, 2020 visitors spend their time in particular locations/artifacts, etc. The purpose of this study is try to build a suitable system in order to improve knowledge about Keywords: the behavior of museum visitors by identifying the position of visitors in the museum. This study uses Bluetooth Low Energy (BLE) Beacon that Bluetooth low energy place around the museum. The visitor mobile phone will detect BLE beacon Indoor positioning system signal, then the mobile phone application will calculated the visitor’s mobile Mobile phone phone position using the signal strength from the BLE beacons that are Museum detected. The application then sends it to the computer server to display Visitor experience it in as museum visitor heat map. -
CHINESE CERAMICS and TRADE in 14 CENTURY SOUTHEAST ASIA——A CASE STUDY of SINGAPORE XIN GUANGCAN (BA History, Pekingu;MA Arch
CHINESE CERAMICS AND TRADE IN 14TH CENTURY SOUTHEAST ASIA——A CASE STUDY OF SINGAPORE XIN GUANGCAN (BA History, PekingU;MA Archaeology, PekingU) A THESIS SUBMITTED FOR THE DEGREE OF DOCTOR OF PHILOSOPHY DEPARTMENT OF SOUTHEAST ASIAN STUDIES NATIONAL UNIVERSITY OF SINGAPORE 2015 Acknowledgements Upon accomplishing the entire work of this thesis, it is time for me to acknowledge many people who have helped me. First, I will like to express my utmost gratitude to my supervisor Dr.John N. Miksic from the Department of Southeast Asian Studies, National University of Singapore. He has dedicated a lot of precious time to supervising me, from choosing the thesis topic, organizing the fieldwork plans, to giving much valued comments and advice on the immature thesis drafts. I am the most indebted to him. The committee member Dr. Patric Daly from the Asian Research Institute and Dr. Yang Bin from the History Department, who gave me useful suggestions during the qualifying examination. I also would like to thank the following people who have given me a lot of support during my fieldwork and final stage of writing. For the fieldtrip in Zhejiang Province, with the help of Mr. Shen Yueming, the director of Zhejiang Relics and Archaeology Institute, I was able to be involved in a meaningful excavation of a Song to Yuan Dynasty ceramic kiln site in Longquan County. During the excavation, the deputy team leader Mr. Xu Jun and the local researcher Mr. Zhou Guanggui gave a lot of suggestions on the identification of Longquan celadon. Moreover, Ms. Wu Qiuhua, Mr. Yang Guanfu, and Mr.