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08:39

Menulis Kembali Sejarah Kota Yogyakarta

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Arsip ini merupakan transkripsi bagian Permulaan Kata (preface) dari buku "Kota Jogjakarta 200 Tahun, 7 Oktober 1756 - 7 Oktober 1956" (Darmosugito dkk./ Panitya-Peringatan Kota Jogjakarta 200 Tahun, Yogyakarta: 1956). Kecuali pembagian paragraf, arsip ini ditulis kembali dengan susunan kalimat dan ejaan sebagaimana aslinya.

Kesulitan-kesulitan jang saja alami dalam mengerjakan „Sejarah Kota Jogjakarta", yang terutama terletak kepada bahan-bahan yang dapat memberikan kesempurnaan hingga tulisan ini bisa dipertanggung-jawabkan, untuk mengisi kekurangan-kekurangan sejarah dan perkembangan kehidupan bangsa Indonesia pada umumnya, penduduk Jogjakarta pada khususnya, karena bagaimana juga saya berusaha mencari kebutuhan-kebutuhan itu, dengan bantuan beberapa ahli sejarah, terutama dari fihak Radya Pustaka di Solo, Kawedanan Kapujanggan di Jogjakarta, jawatan Kebudayaan PP dan K. di Jogjakarta, masih juga tidak dapat bahan-bahan yang sempurna, karena dokumen-dokumen yang perlu untuk bahan¬-bahan sejarah kurang mencukupinya.

Dari orang-orang tua yang saya pandang masih memperhatikan akan sejarah, saja dapati juga beberapa dongengan (legende) yang berhubungan dengan sejarah Jogjakarta dan Kotanya, tetapi sebagai kebiasaan dongengan-dongengan didalam masarakat kita yang berkenaan dengan sejarah atau tambo, pada umumnya tidak dapat diterima mentah-mentah saja, sebab umumnya mempunyai „inti sari" jang lebih mendalam, yang hanya bisa dimengerti oleh orang-¬orang yang tahu banyak tentang dasar kehidupan dan penghidupan suku Jawa saja. Dengan demikian sulitlah rasanya dijadikan bahan dalam membentuk sejarah dalam arti jang sebenarnya.

Disamping itu, saya dapati juga beberapa bahan dari buku-buku sejarah, tulisan ahli-ahli sejarah bangsa asing, diantaranya Prof. P.J.Veth, Jacob Mosses, Hartings, W. H. Van Ossenbercs, Tijdschrift voor Nederlands Indie dan lain-lain, Tetapi tulisan-tulisan itu tidak akan bisa dipisahkan dari pada „pandangan" dan „alam /pikiran asing", dalam menghadapi suatu tanah yang sangat diinginkan supaya pengaruh politik dan kekuasaannya dapat mengusir rasa-rasa kebangsaan clan rasa menentang yang, masih ada didalam kehidupan kita. Dengan demikian bila diselami dalam-dalam, tulisan-tulisan itu inti sarinya tidak lebih dan tidak kurang hanya inti merupakan usaha atau tipu daya, supaya kedudukan mereka disini makin menjadi kuat.

Salah satu bahan yang umumnya dipandang bisa memberi pertolongan banyak, adalah Babad Gianti, sebab didalam kitab tambo ini, membuat segala gerak-gerik yang bertalian rapat dengan lahirnya Jogjakarta. Tetapi berpegang kuat-kuat pada kitab tambo inipun rasanja masih kurang tepat, karena sejarah lahirnja tambo ini sendiri juga sudah tidak murni, sebab pendapat dan pikiran serta apa jang di¬ketahui oleh marhum Kiai Josodipuro, Pujangga di Surakarta, dan beberapa orang lagi Pujangga di Jogjakarta yang sama membantu menulis Babad Gianti, tidak semuanya boleh diumumkannya, sebab lebih dahulu harus mendapat persetujuan dari pihak Vereenigde Oost Indisch Compagnie, pihak yang berkeinginan keras untuk menyembunyikan „noda-noda dan kejelekannja", sebaliknja berkeinginan keras supaya kedudukannya disini dipandang sebagai „panggilan suci, untuk mendidik dan menolong kesulitan-kesulitan Negara dan rakyat Mataram".

Kalau masih ada satu-satunya harapan saya dalam menghadapi kesulitan¬kesulitan itu, adalah meneliti sendiri tentang bekas-bekas atau tempat-tempat yang mempunyai sejarah dalam „sejarah lahirnya Jogjakarta". Tetapi penyelidikan penyelidikan saja kearah itu, juga tidak mendapatkan hasil sebagai yang saya harapkan semula, sebab hampir semua bekas-bekas atau tempat-tempat yang bersejarah dan atau mempunyai hubungan langsung dengan sejarah „lahirnya Jogjakarta" itu kini sama sekali tidak terpelihara, hampir semuanya sudah musnah, dan kalau masih nampak, hanya tinggal kumpulan puing yang sangat menyedihkan. Catatan-catatan yang berkenaan dengan bekas-bekas atau tempat-tempat itu, sama sekali tidak ada, kecuali ceritera-ceritera dari beberapa orang tua yang berumah tangga dikanan-kiri tempat-tempat itu, jang merupakan dongengan-dongengan beraneka-rupa, bahkan yang satu dengan yang lain bertentangan.

Kesulitan-kesulitan yang saya hadapi ini, saya rasa akan dihadapi juga oleh lain-lain orang yang ingin menulis soal-soal yang berhubungan dengan sejarah kita, meskipun tidak demikianlah keinginan saja. Hanya dengan pengalaman-pengalaman ini, bisa ditarik kesimpulan, bahwa didalam kehidupan kita dimasa yang lampau, sangat kurang memperhatikan, akan barang-barang yang merupakan dokumentasi, baik yang berupa tulisan-tulisan, baik yang berupa gambaran-gambaran, maupun yang merupakan monumen-monumen yang langsung mempunyai hubungan dengan sejarah hidupnya orang-orang yang penting dalam masyarakat kita. Tentu saja yang saya maksudkan, bukannya hanya yang mempunjai arti „baik" saja, tetapi meskipun yang „bagaimana juga jeleknya", benda-benda itu tetap berharga bagi sejarah, sebab sejarah tidak dapat ditipu atau disulap; sejarah memberi didikan kepada keturunan kita yang akan datang, untuk meneropong sebab-sebab dan akibatnya cara hidup leluhurnya yang telah lampau, guna menempuh penghidupan dan kehidupan yang akan datang, supaya lebih sempurna dari pada yang pernah dialami dimasa yang lampau.

Demikianlah kesulitan-kesulitan yang saya hadapi dalam mengerjakan beban yang diserahkan oleh Panitia Peringatan 200 tahun Kotapradja Jogjakarta bagian penerbitan. Dengan demikian, kecil sekali harapan saja akan bisa mengisi kekosongan kekosongan jang terdapat didalam sejarah Indonesia pada umumnya dan Jogjakarta pada khususnya.

Wassalam, Penulis.
08:48

Lambang Kotapradja Jogjakarta (1956)

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Buku "Kota Jogjakarta 200 Tahun, 7 Oktober 1756 - 7 Oktober 1956" (Darmosugito dkk./ Panitya-Peringatan Kota Jogjakarta 200 Tahun, Yogyakarta: 1956) memuat makna lambang Kota Yogyakarta yang masih dipergunakan hingga saat ini, sebagai berikut:

Lambang Kotapradja Jogjakarta memiliki perbandingan 18:25, yaitu dimaksudkan untuk memperingati tahun bermulanya perjuangan Pangeran Diponegoro di Yogyakarta pada tahun 1825.

Lambang ini menggunakan lima warna, yaitu: hitam, kuning, putih, merah dan hijau. Warna hitam melambangkan keabadian, warna kuning melambangkan keluhuran, dan warna putih melambangkan kesucian. Kemudian warna merah melambangkan keberanian dan warna hijau melambangkan kemakmuran.

Kalimat "Mangaju Hajuning Bawana" merupakan ungkapan cita-cita untuk menyempurnakan kehidupan masyarakat.

Bintang emas menjadi lambang cita-cita kesejahteraan, yang dicapai dengan usaha di lapangan kemakmuran (padi dan kapas: makanan dan pakaian).

Bentuk perisai menjadi lambang pertahanan dan bentuk segilima bermakna Pancasila yang menjadi dasar negara Republik Indonesia. Bentuk tugu mencitrakan Kota Jogjakarta sendiri.

Dua sayap melambangkan adanya kekuatan yang seimbang. Kemudian gunungan merupakan lambang kebudayaan, beringin kurung adalah kerakyatan, banteng mewujudkan semangat, dan keris menjadi simbol perjuangan.

Terdapat dua kalimat sengkala, yaitu: "Gunaning keris anggatra Kotapradja" yang bermakna angka tahun 1953 Masehi dan "Warna hasta samadyaning Kotapradja" yang bermkana angka tahun 1884 Jawa.
20:43

Babad Tanah Jawi #25: Cultuurstelsel tahun 1830 - 1915

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Cultuurstelsel iku pranatan kang didhawuhaké GG. van den Bosch dhèk tahun 1830. Surasané pranatan cekaké namtokaké marang wong Pribumi nandur tetanduran kang kena didol menyang Europa, kayata: kopi, tebu, kapas lan tom, ana ing sapéranganing palemahané. Pametuné tatanduran iku kudu dilebokaké menyang Paréntah Gupermèn, supaya Paréntah bisa banjur luwih kenceng enggoné gawé raharjaning tanah.

Apa sababé déné Gupermèn teka nganakaké pranatan iku? Ing abad 17 lan 18 VOC. mung ngudi kauntungané dhéwé, dhasar saluguné VOC. iku mung pakumpulan dagang. Ing abad 19 bareng tanah Indhiya tumiba panguwasané Praja Nederland, bab ngudi kauntungané dhéwé wis ora tumindak.

Nederland duwé wajib agawé tentreming tanah lan raharjaning kawulané anyar, yaiku bangsa pribumi. Lah kepriyé rékané bisané tumindak murih beciking bab pangrèh praja, bab sekolahan, bab tetanèn lan katentremaning umum?

Iku kabèh bakal sepira wragadé. Mangka Paréntah Gupermèn ora nindakaké monopolie kaya déné VOC., wuwuh wuwuh praja Nederland ing nalika iku akèh banget utangé kang jalaran saka perang Napoléon, perang Dipanegara lan perang Bèlgie.

Ing tahun 1828 Praja Nederland kepeksa ambayari kabutuhan Indhiya kèhé 37.000.000, mangka Nederland dhéwé lagi rekasa rekasané. Olèhé dhuwit 37.000.000 iku saka enggoné utang utang marang kawula ing Nederland.

Dhèk samana kekarepané wong Nederland ing bab Pangrèh Praja kena kapérang dadi rong golongan: 1. bangsa liberaal lan 2. bangsa Conservatief.

Bangsa liberaal anjaluk tumraping Indhiya supaya pedagangan lan panggaotan dimerdikakaké, gugur gunung lan lebon wulu wetu kasuwak, mung kebon kebon Gupermèn iku digadhèkna. Hogendorp, Daendels, Du Buss, Elout kekarepané iya mengkono iku. Malah ana kang nedya ngejokaké wong pribumi enggoné tatanèn lan anggota.

Déné golongan Conservatief kayata: Nederburg, van der Cappellen njaluk balining pranatan tanduran peksan, lebon wulu wetu lsp.

Kang akèh wong ing Nederland ngrujuki panemu liberaal mau, éwadéné pranatané ana ing Indhiya ora ditindakaké, utawa mung sathithik kang ditindakaké, marga ora ana wragadé.

Panemuning akèh bisané ngajokaké kemajuan iku kudu ana dhuwit.

Dhuwit iku wetuné saka tetanduran kang pametuné payu larang, mulané Paréntah majegna tanahé, kang durung ana tandurané, marang bangsa Europa, supaya metu kasilé; ing nalika iku ing tanah Jawa kang sinebut loh jinawi iki mung sethithik banget pametune: lebuning barang ing tanah Jawa pangajiné luwih gedhé tinimbang barang kang metu saka tanah Jawa.

Bareng van den Bosch jumeneng Gouverneur Generaal menggalih yèn kabudi dayaning Walanda nenandur ana ing tanah Jawa iku ora bakal bisa kadadéyan, yèn mengkono dadi ora bisa gawé karaharjaning tanah.

GG. van den Bosch banjur ngajokaké wulu wetune tanah Jawa, supaya nenandur tanduran kang payu ana ing Europa manèh, nanging aja nganti gawé sengsaraning wong Jawa kaya sing uwis uwis.

Panemuné van den Bosch kang mengkono iku ora nyimpang saka mesthiné, awit miturut saka kaananing cara ing tanah Jawa, sapa kang nyekel panguwasa nagara (ratu utawa Gupermèn) iku kang nduwèni bumi sauwongé.

Bumi iku diparingaké marang wong cilik supaya digarap, lan sapérangan pametuné katur marang ratu (Gupermèn).

Saka karepé GG. van den Bosch lebon sapérangan pametu iku disalini sapralimaning lemah kang ditanduri kopi, tebu, kapas utawa tom, lan wongé kang ora duwé panduman bumi, ditamtokaké nglakoni gugur gunung 66 dina ing dalem setahun, lan manèh lebuning wulu wetu iku isih bakal nganggo dibayar sethithik minangka ganjaran.

Dadi lebuning wulu wetu iku mau sejatiné minangka pajeg utawa landrente. Petungané ora luwih tinimbang lebuning landrente pranatan Raffles.

Minister van Kolonien Tuwan Elout ora cocog karo panemuné GG. van den Bosch, nganti dilabuhi sèlèh enggoné dadi minister. Déné Ratu Willem I ing Nederland, ngèngeti bangeting kekuranganing dhuwit nagara, kepeksa cocog lan karepé van den Bosch:

  1. Wong Jawa dipeksa nandur tetanduran kang durung diweruhi, lan banjur kètèr enggoné tetanèn dhéwé.
  2. Dhuwit kang minangka ganjaran enggoné nglebokaké wulu wetu mung sethithik, luwih luwih tumraping kopi, mangka sadurungé telung tahun kopi mono durung kena diundhuh.
  3. Panggaraping tanduran anyar iku akèh kang luwih abot tinimbang panggaraping tanduran Jawa, upama: pari.
  4. Tindaking para ambtenaar sok sawenang wenang; lemah kang ditanduri tanduran Gupermèn iku dipihaké sing apik, tur luwih saka sapralimaning palemahan lan liya liyané.
  5. Landrente jebul iya isih ditindakaké.
Wong Jawa batiné mung dumunung mundhak kawruhé ing bab nenandur lan bathi mundhak kasregepané. Tumraping Praja Nederland akèh bathiné, awit pametuning Cultuurstelsel wiwit tahun 1830 tekan tahun 1878 ora kurang saka 800.000.000 rupiyah.

Wong Jawa ora duwé wragad lan ora kober anggarap pasawahané, mulané dadi kamlaratané. Ing sawatara panggonan malah nganti kambah ing paceklik lan palilan, kayata: Cirebon, Demak lan Grobogan (tahun 1818 - 1850).

Kang mengkono iku sejatiné iya ora diniyati déning para kang yasa Cultuurstelsel, lan wong ing negara Walanda akèh kang ora rujuk yèn tindaking Cultuurstelsel banjur sawenang wenang mengkono.

Sawisé tahun 1854 akèh kang mbudidaya amrih suwaking Cultuurstelsel lan gugur gunung.

Ing tahun 1865 tanduran tom disuwak mengkono uga tèh, manis jangan lan cochenil (nopal). Mrica suwak tahun 1860, tembako tahun 1866, tebu tahun 1870. Wet tahun 1915 nyuwak tanduran peksan kang isih kari, yaiku kopi. Dadi wiwit ing tahun 1915 iku Cultuurstelsel wis ilang babar pisan.
Ana ing negara Walanda kana kang banget enggoné ngemohi Cultuurstelsel yaiku Tuwan Pandhita van Hoevell.

Ing tahun 1848 miturut owah owahaning Grondwet, Staten Generaal olèh panguwasa niti priksa tindaking Préntah Luhur tumrap Indhiya lan ngulat ulataké lebu wetuning dhuwit negara, lan manèh Staten Generaal dipasrahi netepaké Reglement ophet beleid der Regeering in Nederlandsch Indie (Regeeringsreglement) lan pranatan liya liyané. Marga saka iku van Hoevell lan sagolongané bisa ngandaraké panemuné ana ing Tweede Kamer.

Regeeringsreglement tahun 1854 wis nyebutaké yèn kabutuhaning kawula Indhiya kudu diprelokaké dhisik lan kawula Indhiya mau sangkaning sathithik kudu didadèkaké bangsa kang nyekel pamaréntah dhéwé (zelfbestuur). Regeeringsreglement iki tumekané saiki isih mengkono.

Bebarengan lan suwaking Culturstelsel ana pranatan pranatan anyar, kang becik, kayata: Pasar wis ora dipajegaké (marang Cina). Ananing batur tukon lan sapepadané diilangi (tahun 1860) lan bab pangedolé candu dikuwasani Gupermèn dhéwé (opiumregie).

Ing tahun 1864 ana Comptabiliteitswest, netepaké yèn begrooting Nederlandsche Indie iku kang gawé Paréntah Indhiya bebarengan lan Paréntah Nederland sarta disahaké srana angger angger déning Staten Generaal.

Ing tahun 1870 ana Agrarische Wet, surasané: Gupermèn kena majegaké bumi kang durung tau digarap marang wong Walanda suwéné ing dalem 75 tahun.
Palemahané wong Indhiya ora kena didol marang wong kang dudu golonganing wong Pribumi, yèn ora srana lantaran Paréntah Gupermèn.

Marga saka iku:

  1. Banjur bisa ana kabudidayan kabudidayan gedhé.
  2. Palemahané wong Pribumi ora gampang bisané tumiba ing tangané wong liya lan wong Pribumi ora gampang kenané apus.
Pedagangan lan pelayaran bisa maju banget. Ing tahun 1870 anané pakumpulan palayaran kang dhisik dhéwé jenengé Stoom vaart Maatschappij "Nederland".

Ing tahun 1872 nalika GG. Loudon rawuh ing Indhiya wis prasasat kari nemu kapénaké, prakara prakara kang ndadèkaké rekasané wong Pribumi wis prasasat ilang.

Sumber: ‘Babad Tanah Djawi’, Gubahanipun L. Van Rijckevorsel (Directeur Normaalschool Muntilan) kabantu R.D.S. Hadiwidjana (Guru Kweekschool Muntilan), Pangecapan J.B. Wolters U.M., Groningen - Den Haag - Weltervreden – 1925.
21:39

Babad Tanah Jawi #04: Ken Angrok Nelukaké Karajan Karajan Cilik (1220 - 1247)

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Ing tahun 1222 ana ratu ing Tumapel utawa Singasari, jenengé Ken Angrok. Critané Ken Angrok iki saka layang Pararaton. Ketemuné layang iki ana ing Bali dhèk tahun 1891. Ken Angrok lair ana ing sacedhaké Tumapel (Singasari), asal wong tani lumrah baé. Ken Angrok kacarita bagus rupané lan bisa nenarik katresnaning wong, nanging banget kareme marang pangaji aji lan wani marang penggawé luput.

Ing sawijining dina ana Brahmana ketemu karo dhéwékné, kandha yèn dhéwékné titising Wisnu. Anggoné kandha mangkono iku, awit Brahmana mau ngerti yèn Ken Angrok iku wong kang gedhé karepe lan kenceng budiné. Brahmana banjur golèk dalan bisané Ken Angrok kacedhak karo adipati ing kono, Sang Tunggul Ametung.

Ora antara suwé kelakon Ken Angrok kaabdèkaké. Bareng wis mangkono, Ken Angrok banjur tansah golèk dalan kapriyé enggoné bisa ngendhih Sang Adipati, nggentèni jumeneng. Ketemuning nalar Ken Angrok banjur ndandakaké keris becik marang Empu Gandring. Sawisé keris dadi, katon becik temenan, nganti mitrané Ken Angrok aran Keboijo kepéncut kepéngin nganggo, banjur nembung nyilih: oleh. Saka senengé, keris mau saben dina dianggo sarta dipamèr pamèraké, dikandhakaké duwèké dhéwé.

Bareng wis sawatara dina Ken Angrok banjur nyolong kerisé dhéwé kang lagi disilih ing mitrané mau dianggo nyidra Sang Adipati. Kelakon séda, keris ditinggal ing sandhingé layon. Urusaning prakara: mitrané Ken Angrok sing kena ing dakwa, diputus ukum pati. Ken Angrok banjur bisa oleh Sang putri randaning Tunggul Ametung lan gumanti madeg adipati: Sang Putri asmané Ken Dhedhes.

Sasuwéné dicekel Ken Angrok negarané tata, reja, wong cilik banget sungkemé. Sawisé mbedhah karajan cilik cilik ing Jenggala, Ken Angrok banjur emoh kebawah Kedhiri, malah ing tahun 1222 mbedhah praja Kedhiri nganti kelakon menang, Ratu ing Kedhiri Prabu Kertajaya séda nggantung sabalané kang padha tuhu. Kedhiri banjur ditanduri adipati kabawah Singasari. Bareng para ratu darah Empu Sindhok wis kalah kabèh karo Ken Angrok, Ken Angrok banjur jumeneng Ratu gedhé, jejuluk Prabu Rejasa, yaiku kang nurunaké para ratu ing Majapait.

Kacarita Sang Retna Dhedhes nalika sédané adipati Tunggul Ametung wis ambobot. Bareng wis tekan mangsané, Sang Retna mbabar putra kakung, diparingi peparab Radèn Anusapati.

Wiwit timur nganti diwasa Sang Pangéran ora ngerti yèn satemené dudu putrané Prabu Rejasa, nanging rumangsa yèn ora ditresnani ing Sang Prabu, béda banget karo rayi rayiné.

Ing sawijining dina Anusapati kelair marang ibuné mangkéné: "Ibu, punapa, déné Kangjeng rama punika teka boten remen dhateng kula?" Sang Retna banget trenyuhing galih mireng atur sasambaté kang putra, wasana banjur keprojol pangandikané; kang putra dicritani lelakoné wiwitan tekan wekasan. Anusapati banget ing pangunguné, sanalika banjur duwé sedya males ukum, nanging isih sinamun ing semu. Keris yasané Empu Gandring disuwun, pawatané mung kepingin banget anganggo. Kang ibu lamba ing galih, keris diparingaké.

Anusapati banjur nimbali abdiné kekasih, diparingi keris mau lan diweruhaké ing wewadiné. Benginé Sang Prabu séda kaprajaya ing duratmaka. Layoné Sang Prabu dicandhi ana ing Kagenengan (cedhak Malang). Anusapati nggentèni jumeneng Nata.

Anusapati jumeneng ora suwé, awit Radèn Tohjaya ngerti yèn Anusapati kang nyédani ramané, mulané sumedya males ukum lan iya kelakon.

Tohjaya jumeneng Nata, nanging iya ora suwé. Tohjaya utusan mantriné aran Lembu Ampal, didhawuhi nyirnakaké kalilipé loro, yaiku: Ranggawuni, putrané Anusapati, lan nakdulure kang aran Narasingamurti; yèn ora bisa kelakon, Lembu Ampal dhéwé bakal kena ukum pati.

Dumadakan ana sawijining Brahmana kang welas marang radèn loro, banjur wewarah saperluné. Satriya loro banjur ndhelik ana ing panggonané Panji Patipati. Lembu Ampal nggolèki radèn loro ora ketemu, banjur ora wani mulih, ngungsi marang Panji Patipati. Bareng ana ing kono mbalik ngiloni radèn loro, malah ngrembugi para punggawa kang ora cocog karo Tohjaya diajak ngraman, wasana kelakon, Sang Prabu nganti nemahi séda.
Ranggawuni jumeneng Nata ajejuluk Syri Wisynuwardhana nganti nakdhèrèké Narasinga.

Nganti tekan ing séda priyagung loro mau rukun banget, nganti dibasakaké: "Kaya Wisynu lan kang raka Bathara Endra". Karatoné mundhak gedhé pulih kaya dhèk jamané Prabu Erlangga, malah jajahané wuwuh Madura.

Sang Nata séda ing tahun 1268, layoné diobong kaya adat, awuné sing separo dicandhi ana ing Welèri, ditumpangi reca Syiwah, sing separo dipethak ana candhi Jago (Tumpang) nganggo reca Budha. Dadi tetéla ing wektu iku agama Syiwah karo Budha campur.

Sumber: ‘Babad Tanah Djawi’, Gubahanipun L. Van Rijckevorsel (Directeur Normaalschool Muntilan) kabantu R.D.S. Hadiwidjana (Guru Kweekschool Muntilan), Pangecapan J.B. Wolters U.M., Groningen - Den Haag - Weltervreden – 1925.
21:29

Babad Tanah Jawi #03: Karajan Ing Tanah Jawa Wétan (wiwitané Abad 10 - Tahun 1220)

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Ing dhuwur wus kasebutaké yèn Tanah Jawa Wétan, kabawah karajan Indhu ing Mataram; nanging wong Indhu kang manggon ana ing Tanah Jawa Wétan ora pati akèh, yèn katimbang karo kang manggon ing Tanah Jawa Tengah (Kedhu). Marga saka iku wong Indhu kudu kumpul karo wong bumi, prasasat tunggal dadi sabangsa.

Ing wiwitané abad 10 ana pepatihing karajan Tanah Jawa Tengah aran Empu Sindhok lolos mangétan. Let sawatara tahun empu Sindhok mau jumeneng ratu ing Tanah Jawa Wétan, karajané ing Kauripan (Paresidhènan Surabaya sisih kidul).

Ambawahaké: Surabaya, Pasuruwan, Kedhiri, Bali bok manawa iya kabawah. Enggoné jumeneng ratu tekan tahun 944 lan iya jejuluk Nata ing Mataram. Nata ing Mataram mau banget pangèdêpé marang agama Budha. Empu Sindhok misuwur wasis enggoné ngerèh praja. Ana cathetan kang muni mangkéné: "Awit saka suwéning enggoné jumeneng ratu, marcapada katon tentrem; wulu wetuning bumi nganti turah turah ora karuhan kèhé."

Ing tahun 1010 Erlangga tetep jumeneng ratu, banjur nerusaké enggoné mangun paprangan lan ngelar jajahan. Ing tahun 1037 enggoné paprangan wis rampung, negara reja, para kawula padha tentrem. Déné karatoné iya ana ing Kauripan. Sang Prabu Erlangga ora kesupèn marang kabecikaning para pandhita lan para tapa, kang gedhé pitulungané nalika panjenengané lagi kasrakat.

Minangka pamalesing kabecikané para pandhita, Sang Nata yasa pasraman apik banget, dumunung ing sikile gunung Penanggungan. Pasraman mau kinubeng ing patamanan kang luwih déning asri, lan rerenggané sarwa peni sarta endah. Saka ediné, nganti misuwur ing manca praja, saben dina aselur wong kang padha sujarah mrono.

Pangadilané Sang Nata jejeg. Wong désa kang nrajang angger angger nagara padha kapatrapan paukuman utawa didhendha. Kècu, maling, sapanunggalané kapatrapan ukum pati. Sang Prabu enggoné nindakaké paprentahan dibantu ing priyagung 4, padha oleh asil saka pametuning lemah lenggahè. Saka enggoné manggalih marang tetanèn yaiku pagawéyaning kawula kang akèh, Sang Nata yasa bendungan gedhé ana ing kali Brantas.

Sang Nata uga menggalih banget marang panggaotan lan dedagangan. Kutha Tuban nalika samono panggonan sudagar, oleh biyantu akèh banget saka Sang Prabu murih majuning dedagangan lan lelayaran.

Sang Nata yèn sinéwaka lenggah dhampar (palenggahan cendhèk pesagi), ngagem agem ageman sarwa sutra, remané diukel lan ngagem cênéla. Yèn miyos nitih dwipangga utawa rata, diarak prajurit 700. Punggawa lan kawula kang kapethuk tindaké Sang Nata banjur padha sumungkem ing lemah (ndhodhok ngapurancang?).

Para kawula padha ngoré rambut, enggoné bebedan tekan ing wates dhadha. Omahè kalebu asri, nganggo payon gendhèng kuning utawa abang. Wong lara padha ora tetamba mung nyuwun pitulunganing para dewa baé, utawa marang Budha. Wong wong padha seneng praon lan lelungan turut gunung, akèh kang nunggang tandhu utawa joli. Dhèk samono wong wong iya wis padha bisa njogèt, gamelané suling, kendhang lan gambang.

Karsané Sang Prabu besuk ing sapengkeré kang gumanti jumeneng Nata putrané loro pisan, mulané kratoné banjur diparo: Jenggala (sabageyaning: Surabaya sarta Pasuruwan) lan Kedhiri. Déné kang minangka watesé: pager témbok kang sinebut "Pinggir Raksa", wiwit saka puncaking Gunung Kawi, mangisor, nurut kali Leksa banjur urut ing brangloré kali Brantas saka wétan mangulon tekan ing désa kang saiki aran "Juga", nuli munggah mangidul, terusé kira kira nganti tumeka ing pasisir. Gugur gugurané tembok iku saiki isih ana tilasé, kayata ing sacedhaking kali Leksa, sakulon lan sakiduling kali Brantas, ing watesing afd. Malang lan Blitar.

Mungguhing babad Jawa jumenengé Prabu Erlangga kaanggep minangka pepadhang sajroning pepeteng, awit rada akèh caritané kang kasumurupan. Kawruh kasusastran wis dhuwur. Layang layangé ing jaman iku tekané ing jaman saiki isih misuwur becik lan dadi teturutaning crita crita wayang. Layang layang mau basané diarani: Jawa Kuna, kayata: 1) Layang Mahabarata, 2) Layang Ramayana lan Arjuna Wiwaha.

Karajan Jenggala ora lestari gedhé, awit pecah pecah dadi karajan cilik cilik, marga saka diwaris marang putraning Nata; yaiku praja Jenggala (Jenggala anyar); Tumapel utawa Singasari lan Urawan. Karajan cilik cilik kang cedhak wates Kedhiri or suwé banjur ngumpul mèlu Kedhiri, liyané isih terus madeg dhéwé nganti tekan abad 13.

Kerajan Kedhiri (Daha, Panjalu) mungguha saiki mbawahaké paresidhènan Kedhiri, sapérangané Pasuruwan lan Madiyun. Kuthané ana ing kutha Kedhiri saiki. Karajan mau bisa dadi kuncara.

Ing wektu iku kasusastran Jawa dhuwur banget, nalika jamané Jayabaya (abad 12) ngluwihi kang uwis uwis lan tumekané jaman saiki isih sinebut luhur, durung ana kang madhani.

Ing tahun 1104 ing kedhaton ana pujangga jenengé: Triguna utawa Managocna. Pujangga iku sing nganggit layang Sumanasantaka lan Kresnayana. Radèn putra utawa Panji kang kacarita ing dongèng kae, bokmenawa iya ratu ing Daha, kang jejuluk Prabu Kamesywara I. Jumeneng ana wiwitané abad kang kaping 12. Garwané kekasih ratu Kirana (Candra Kirana) putrané ratu Jenggala. Ing mangsa iki ana pujangga jenengé Empu Dharmaja nganggit layang Smaradhana. Radèn Panji nganti saiki tansah kacarita ana lakoné wayang gedhog lan wayang topeng.

Pujanggané Jayabaya aran Empu Sedah lan Empu Panuluh. Empu Sedah ing tahun Saka 1079 (= 1157) methik sapéranganing layang Mahabarata, dianggit lan didhapur cara Jawa, dijenengaké layang Bharata Yudha. Wong Jawa ing wektu iku wis pinter, wong Indhu kesilep, karajan Indhu wis dadi karajan Jawa.

Sumber: ‘Babad Tanah Djawi’, Gubahanipun L. Van Rijckevorsel (Directeur Normaalschool Muntilan) kabantu R.D.S. Hadiwidjana (Guru Kweekschool Muntilan), Pangecapan J.B. Wolters U.M., Groningen - Den Haag - Weltervreden – 1925.
21:08

Babad Tanah Jawi #02: Karajan Indhu ing Jawa Tengah (Abad Kaping 6)

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Mirit saka: (1) Cathetané bangsa Cina; (2) Unining tulisan tulisan kang ana ing watu watu lan candhi; (3) Cathetané sawijining wong Arab, wis bisa kasumurupan sathithik sathithik mungguh kaananing wong Indhu ana ing Tanah Jawa Tengah dhèk jaman samono.

Nalika wiwitané abad kang kanem ana wong Indhu anyar teka ing Tanah Jawa Kulon. Ana ing kono padha kena ing lelara, mulané banjur padha nglèrèg mangétan, menyang Tanah Jawa Tengah. Wong Jawa wektu samono, isih kari banget kapinterané, yèn ditandhing karo wong Indhu kang lagi neneka mau; mulané banjur dadi sor-sorané.

Wong Indhu banjur ngadegaké karajan ing Jepara. Omah omah padunungané wong Jawa, ya wis mèmper karo omah omahé wong jaman saiki, apayon atep utawa eduk lan wis nganggo képang.

Enggoné dedagangan lelawanan karo wong Cina; barang dedagangané kayata: emas, salaka, gading lan liya liyané.

Cina cina ngarani nagara iku Kalinga, besuké, ya diarani: Jawa. Karajan mau saya suwé saya gedhé, malah nganti mbawahaké karajan cilik cilik 28 (wolu likur). Wong Cina uga nyebutaké asmané sawijining ratu putri: Sima; dikandakaké becik banget enggoné nyekel pangrèhing praja (tahun 674).

Tulisaning watu kang ana ciriné tahun 732, dadi kang tuwa dhéwé, katemu ana sacedhaké Magelang, nyebutaké, manawa ana ratu kang jumeneng, jejuluk Prabu Sannaha, karajané gedhé, kang klebu jajahané yaiku tanah tanah Kedhu, Ngayogyakarta, Surakarta lan bokmenawa Tanah Jawa Wétan uga klebu dadi wewengkoné karajan iku.

Mirit caritané, karajan kang kasebut iku tata tentrem banget kaya kang kasebut ing tulisan kang katemu ana ing patilasan: Nadyan wong wong padha turu ana ing dalan dalan, ora sumelang, yèn ana bégal utawa bebaya liyané. Mirit kandhané sawijining wong Arab, dhèk tengah tengahané abad kang kaping sanga, ratu ing Tanah Jawa wis mbawahaké tanah Kedah ing Malaka (pamelikan timah).

Karajan ing dhuwur iki sakawit ora kawruhan jenengé, nanging banjur ana karangan kang katulis ing watu kang titi mangsané tahun 919, nyebutaké karajan Jawa ing Mataram. Jembar jajahané, mungguha saiki tekan Kedhu, Ngayogyakarta, Surakarta; mangloré tekan sagara; mangétané tekan tanah tanah ing Tanah Jawa Wétan sawatara. Kuthané karan : Mendhangkamulan.

Wong Arab ngandhakaké, ana ratu Jawa mbedhah karajan Khamer (Indhu Buri). Sing kasebut iki ayaké iya karajan Mataram mau. Kajaba Khamer, karajan Jawa iya wis mbawahaké pulo pulo akèh. Pulo pulo iku mawa gunung geni. Karajan Jawa mau sugih emas lan bumbu crakèn. Wong Arab iya akèh kang lelawanan dedagangan.

Sabakdané tahun 928 ora ana katrangan apa apa ing bab kaanané karajan Mataram. Kang kacarita banjur ing Tanah Jawa Wétan. Ayaké baé karajan Mataram mau rusak déning panjebluge gunung Merapi (Merbabu), déné wongé kang akèh padha ngungsi mangétan. Ing abad 17 karajan Mataram banjur madeg manèh, gedhé lan panguwasané irib iriban karo karajan Mataram kuna.

Agamané wong Indhu sing padha ngejawa rupa rupa. Ana ing tanah wutah getihe dhéwé ing kunané wong Indhu ngèdhep marang Brahma, Wisnu lan Syiwah, iya iku kang kaaranan Trimurti. Kejaba saka iku uga nembah marang déwa akèh liya liyané, kayata: Ganésya, putrané Bethari Durga.

Manut piwulangé agama Indhu pamérangé manungsa dadi patang golongan, yaiku: para Brahmana (bangsa pandhita), para Satriya (bangsa luhur), para Wesya (bangsa kriya), para Syudra (bangsa wong cilik). Piwulangé agama lan padatané wong Indhu kaemot ing layang kang misuwur, jenengé Wedha.

Kira kira 500 tahun sadurungé wiwitané tahun Kristen, ing tanah Indhu ana sawijining darah luhur peparab Syakya Muni, Gautama utawa Budha.

Mungguh piwulangé gèsèh banget karo agamané wong Indhu mau. Resi Budha ninggal marang kadonyan, asesirik lan mulang muruk marang wong. Kajaba ora nembah dewa dewa, piwulangé: sarèhné wong iku mungguhing kamanungsané padha baé, dadiné ora kena dipérang patang golongan.

Para Brahmana Indhu mesthi baé ora seneng pikire, mulané kerep ana pasulayan gedhé. Ana ing tanah Indhu wong Budha mau banjur peperangan karo wong agama Indhu. Wusana bangsa Budha kalah lan banjur ngili menyang Ceylon sisih kidul, Indu Buri, Thibet, Cina, Jepang.

Mungguh wong agama Indhu iku pangèdêpé ora padha. Ana sing banget olèhe memundhi marang Syiwah yaiku para Syiwaiet (ing Tanah Jawa Tengah); ana sing banget pangèdêpé marang Wisynu, yaiku para Wisynuiet (ing Tanah Jawa Kulon).

Kajaba saka iku uga akèh wong agama Budha, nanging ana ing Tanah Jawa agama agama iku bisa rukun, malah sok dicampur baé. Petilasané agama Indhu mau saikiné akèh banget, kayata:

  • Candhi candhi ing plato Dieng (Syiwah), iku bokmenawa yasané ratu darah Sanjaya.
  • Candhi ing Kalasan ana titi mangsané tahun 778, ayaké iki candhi tuwa dhéwé (Budha), yasané ratu darah Syailendra.
  • Candhi Budha kang misuwur dhéwé, yaiku Barabudhur lan Mendut.
  • Candhi Prambanan (Syiwah). Ing sacedhaké Prambanan ana candhi campuran Budha lan Syiwah.

Sumber: ‘Babad Tanah Djawi’, Gubahanipun L. Van Rijckevorsel (Directeur Normaalschool Muntilan) kabantu R.D.S. Hadiwidjana (Guru Kweekschool Muntilan), Pangecapan J.B. Wolters U.M., Groningen - Den Haag - Weltervreden – 1925.

21:01

Babad Tanah Jawi #01: Karajan Indhu ing Tanah Jawa Kulon (wiwit abad 2 utawa 3)

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Kang wus kasumurupan, karajané bangsa Indhu ana ing Tanah Jawa, kang dhisik dhéwé, diarani karajan "Tarumanagara" (Tarum = tom. kaliné jeneng Citarum).

Karajan iku mau dhèk abad kaping 4 lan 5 wis ana, déné titi mangsaning adegé ora kawruhan. Ratu ratuné darah Purnawarman. Mirit saka gambar gambar kembang tunjung kang ana ing watu watu patilasan, darah Purnawarman iku padha nganggo agama Wisnu.

Ing tahun 414 ana Cina aran Fa Hien, mulih saka enggoné sujarah menyang patilasané Resi Budha, ing tanah Indhu Ngarep mampir ing Tanah Jawa nganti 5 sasi. Ing cathetané ana kang nerangaké mangkéné :

  1. Ing kono akèh wong ora duwé agama (wong Sundha), sarta ora ana kang tunggal agama karo dhèwèkné: Budha.
  2. Bangsa Cina ora ana, awit ora kasebut ing cathetané.
  3. Barengané nunggang prahu saka Indhu wong 200, ana sing dedagangan, ana kang mung lelungan, karepé arep padha menyang Canton.
Yèn mangkono dadi dalané dedagangan saka tanah Indhu Ngarep menyang tanah Cina pancèn ngliwati Tanah Jawa. Ing Tahun 435 malah wis ana utusané Ratu Jawa Kulon menyang tanah Cina, ngaturaké pisungsung menyang Maharaja ing tanah Cina, minangka tandhaning tetepungan sarta murih gampang lakuning dedagangan.

Karajan Tarumanagara mau ora kasumurupan pirang tahun suwéné lan kepriyé rusaké. Wong Indhu ana ing kono ora ngowahaké adat lan panguripané wong bumi, awit pancèn ora gelem mulangi apa apa, lan wong bumi uga durung duwé akal niru kapinterané wong Indhu. Ewa déné meksa ana kaundhakaning kawruhé, yaiku mbatik lan nyoga jarit.

Sumber: ‘Babad Tanah Djawi’, Gubahanipun L. Van Rijckevorsel (Directeur Normaalschool Muntilan) kabantu R.D.S. Hadiwidjana (Guru Kweekschool Muntilan), Pangecapan J.B. Wolters U.M., Groningen - Den Haag - Weltervreden – 1925.
10:08

Candi Kalasan, Masterpiece of the VIII Century

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This temple of Kalasan is located in Kalibening hamlet, village of Tirtomartani, Kalasan district, Sleman regency. It stands visibly, 20m away, from the Jogjakarta-Solo highway, at the 13th km, surrounded by local dwellings. The location is easily reached by car or public transport. The temple is maintained by the Office of Archeological Services (Kantor Sejarah Peninggalan Suaka Purbakala, or SPSP) of Jogjakarta. A contribution is required upon entrance.

This impressive temple, on account of its size and decorations, is thought by archeologist to be one of masterpieces of its time. Its base is a rectangle of 45m sq wiyh protrusions in the form of Greek crosses. Its roof is an octagonal prism with one large stupa and 52 stupikas around it. Two side chambers are almost completely in ruin, one has literally no ornaments left, and only the last one, to the south, retains its decarations. At the facade you can see the most beautiful Kala motives in the region; the monster heads are a strange mix of animal and luxurious plants. The Kalas, celestial elements, are in opposition with the Makaras, which are aquatic elements. Notice the top of Kala heads surrounded by divine musicians.

Kalasan is constructed from andesites and retains its vajralepa (stucco layering), which was done skillfuly and with great care. There are many niches that once housed statues, many of which are now missing, but we can still admire the large number of bas-relief representing the Dhyanis Buddha as well as the lotus-carrying goddesses. An extraordinary world inhabits the temple: flowers, leaves, musicians carrying their instruments, elephants, lions, and so forth. You can enter the sanctuary that once must have housed a large bronze statue of Buddha.

An inscription discovered nearby make a reference to Buddhist priest asking the Sailendra dynasti, then in power, to build a shrine in honor of the goddess Tara as well as a monastery in 700 Caka year, or 778. It is this year that is retained as the constructing date of the temple, although it might well be that it was renovated many times since. It is interesting to notice that the cult of Tara Bodhisattva coming from India, made its first appearance in South-East Asia here and have been popular in Tibet.

Kalasan was renovated and excavated from 1927 to 1929 by the Dutch archeologist Van Romondt. Don’t leave without making a tour of the fragments around the temple: it gives the detail of the temple’s reliefs.

The locals believe that the guards of the temple are a great serpent and a beautiful woman. But until now these guards have never disturbed the human being that live around the temple. To protect themselves from these creatures, the villagers make offerings of flowers and food, especially for wedding and circumcision ceremonies. Another legend is about the stucco that covers the temple: it is believed to be made of egg whites protecting the temple from the weather.

Source: Situs-Situs Marjinal Jogja (Sanctuaires Retrouvés/ Sites Out of Sight) - M. Rizky Sasono, Jean-Pascal Elbaz, Agung 'Leak' Kurniawan (Enrique indonesia, Yogyakarta: 1997).

10:10

Candi Sambisari, The Sunken Temple of Shiva

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The temple is situated in the Sambisari hamlet, village of Purwomartani, Kalasan district, Sleman regency. It is easy to reach either by bus or by car: Take the highway that leads to Solo and turn left (north) at the 10th km. Go straight north on the asphalt road. Motorbike-taxis (ojek) are available at the junction to take you to the site. A ticket box stands at the entrance, where you pay the entrance fee.

This temple was discovered by a villager in 1966, but was not entirely excavated until 1987. It has the peculiarity of standing 6m under ground level, perhaps due to an eruption of Mount Merapi. Today the site is an agreeable place resembling a public park where students, lovers, or mothers go for a walk. The site is composed of a sanctuary and three secondary temples (perwara) facing it. The principal sanctuary faces west and its shape on the ground is a perfect square of 13.65x13.65m, 7m in height. The temple is rare for not having a proper foot; the base was its foot. It is surrounded by niches with Kala heads above tham, all housing the statue of Durga (at the north), Ganesha (at the east), and Agastya (at the west). At each side of the entrance, the empty niches once housed the statue of the guardians Mahakala and Nandiswar, now stolen. In the interior, a yoni (facing north) with ornaments of a naga and its lingga stands intact.

In front of the sanctuary, the secondary temples have lost their roofs, but a pedestal ornamented of a lotus flower is still visible in two of the temples. Notice, at the terrace, the presence of twelve stones in the form of flat mounds around the sanctuary (8 rectangular and 4 round ones) that could be the plinths of wooden pillars.

The temple is surounded by two entourages of white stone. The first, of a dimension of 50x48m, has four doors (the one facing north was discovered closed, without it being known why) and the terrace that it forms is girded by 8 linggas. The second entourage is not entirely unearthed, but we can see the whole of its north face. It is estimated, considering the statuary, that the temple is of the Shivaist Hindu religion and that the construction was in the IXth or Xth century, which makes it a contemporary of the Prambanan, Plaosan, and Sojiwan temples. Finally, don’t miss the very beautiful fragments of statues conserved at the pavilion at the left of the park’s entrance. The temple is until today used as a place of worship for the Hindu of the region.

It is said that a kyai (Muslim priest) appears in thr dreams of a villager named Karyowinangku, saying,”There is stone in your land”. A week afterwards the villager plowed his land and found seven stones. After observation by specialists, these stones was found to be part of the temple, Karyowinangku is of the opinion that the kyai was the spirit of his grandfather.

Source: Situs-Situs Marjinal Jogja (Sanctuaires Retrouvés/ Sites Out of Sight) - M. Rizky Sasono, Jean-Pascal Elbaz, Agung 'Leak' Kurniawan (Enrique indonesia, Yogyakarta: 1997).

10:03

Situs Ratu Boko, The Palace of Legend

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This site basically has two different kinds of buildings: the sacred and the profane. According to the Abayagiri Wihara inscription found on the site, dating from the Caka year 714, or 792 A.C., the Boko Palace is a Buddhist monastery built by Tejahpurnapana Panamkarana. The evidence is strengthened by the findings of stupas, gold plates with inscriptions of Buddhist mantra and Bodhisattva statues. Archeologists also believed that the Ratu Boko site was a once a palace belonging to the Anchient Mataram dinasty. It is also mentioned in the epic of Balaputradewa, a Buddhist king of the dinasty, who built a hilltop fortress in an attempt of defense against the attack of Rakai Pikatan.

Although there is a strong indication that the Ratu Boko temple is of Buddhist origin, there is interesting and controversial evidence of Hindu remains in the form of lingga, yoni, Ganesha, and Durga Mahissasuramardini. According to the Pereng inscriptions, of 856 A.C., the complex was a palace of local Hindu ruler called Rakai Walaing Pu Kumbhayani. Thus, the function of the complex is so far undiscovered, and a short visit will only give a glance. We recommended sparing time to visit the following sites.

Alun-alun. One of the ruins is a site called alun-alun (town squre). Following the path leading to the site, you will notice foundations of large white stones at its left. The site has a pair of entrance gates (gapura) of andesite. The first has three doors and the second, behind several stone steps, has five. The alun-alun is composed of two squares, measuring 170x20m each and surrounded by a 1,5m-wide pit. On the stone terraces you can see a group of plinths in neat formation, indicating that there was once a pillared building on top, perhaps a pendopo (reception hall). Not far from the plinths there is a brick-and-cement well built by locals, preserved to indicate that the location of the alun-alun was in the recent past inhabited.

Crematory Temple. On the vast ground, you will see a tall platform, bordered by steps, surrounded by parapets and equipped with a basin of white stones. This construction measures 25x10m at the base and 1.5m in height. It functioned as a crematorium for the dead, as practice in the hindu tradition.

Audience Hall. To visit the ruins of the palace, you have to continue to the right (west), through the Dawung village. The site is constructed of two rectangular esplanades of 20x25m, a meter in height, made of andesite rocks. These are thought to once function as a waiting room before an audience with the king. About 10m to the south lies another door in ruin and half destroyed, which is thought to be part of the entourage of the Ratu Boko palace.

Pendopo. To the south of the paseban, through a bit of a teak forest, we will face a pendopo (audience hall) surrounded by a high rock fence of white and andesite rock with three entrance gates. The 40mx30m rectangle of stone blocks retains the plinths of the pillars of a wooden construction it used to support. A part of its floor has larger rocks, which indicates where the wood pillars once stood. The structure has waterspouts, or jaladwaras, outside its fence. Inside the fence there are two separated rooms: Batur Pendopo (10x10m) and Batur Pringgitan (4x10m), connected by a narrow opening with a downward flight of steps.

Miniatur Temple. At the west of the pendopo fence there is an altar of 10x10m with three little gates at one side. The gates, standing side by side, are not higher than 1m and symbolize the three Hindu goods: Brahma, Shiva, Vishnu. The building is often called the miniature temple and is thought to function as a place of worship.

Keputren Pool (Princess' Bath). The most intersting element of the Ratu Boko complex is located at its eastern side, consisting of a group of pool called Keputren (literlly “ladies’ quarters”); some of them still contain water. Some of the pools are cavities dug into the white rocks and lime while others are rectangular pool, sometimes with kala-ornamented gates. You will have a better view stepping onto one of the platforms boerdering them. Fragments of sculputures and bas-reliefs can be found around the pools: elephants, birds, and snakes. Near the bath, stupas are visible; some whole and ithers in ruin. It was here that the Bodhisattva statue, now kept at the Office of Archeologaical Services, was found.

The Lanang and Wadon Caves. To the south of the complex there are two artificial caves called Lanang (male) and Wadon (female). The white-stone Lanang cave, the one situated higher, is larger (about 3m long). The names of these caves come from the discovery of, respectively, a lingga and a yoni inside of them. The caves, until today a place of meditation and contemplation, are eqiupped with a well for washing before prayers. Men will meditate in the Lanang cave and women in the Wadon.

The complex of Ratu (King) Boko site is popularly believed to be royal palace of a king who had the habit of eating human flesh. The habit started in his infancy, when his mother cut herself during cooking. Tasting the blood in the food, he found it so delicious he developed a penchant. As an adult and a king, he sent one soldier every day to find a human prey. If the soldier failed, the king would devour him. The people were terrorized and fled to the neighboring kingdom Pengging, whose king of Pengging tried to find a solution and finally decided to send his son Bandung Bondowoso to fight Boko. After an insight from God and a ferocious battle of ten days, Bandung defeated Ratu Boko.

Source: Situs-Situs Marjinal Jogja (Sanctuaires Retrouvés/ Sites Out of Sight) - M. Rizky Sasono, Jean-Pascal Elbaz, Agung 'Leak' Kurniawan (Enrique indonesia, Yogyakarta: 1997).

10:01

Candi Barong, The Twins on the Hill

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This temple overhangs that of Banyunibo, thus you have to follow the same directions: on the Jogjakarta-Solo highway, at the Prambanan intersection, turn right (south) to the direction of Piyungan. After 3km, you will find a signpost indicating the direction of the Banyunibo, Barong, and Ratu Boko temples. Follow the direction to the Cepit hamlet, Bokoharjo village, Prambanan district. The Barong temple is on top of a 200m-high hill.

The site is comprised of two separate terraces. The first terrace is empty, with its sides bordered by stones that are thought to once support a wooden construction. On the second terrace stand the two temples called Barong or “Sari Sosro Gedug”. Uniquely, the two temples are almost identical and both have no entrance. Each side shows similarity in decorative pattern and variations. Each of the temple bodies sits on a base of three steps, and has four niches, one on every side. Every niche, decorated by a makara motif in the form of barong is believed to once house a statue. The temple’s roof is of three ornamented tiers resembling those on the Ijo temple.

Based on the form and types of decorative patterns and the findings of Sri and Laksmi statues, it is believed that this temple is of Hindu origin and was built in the IXth century. These marvelously located temples must have been much revered and were part of a sacred complex of terraces of which they were the crowns.

From afar the Barong temple resembles a twin building because of its similar main temples. There is a serene view of the valley at the south and west of the temple, with blocks of yellow and green rice fields. To the southwest, the dark, tiny Banyunibo temple is visible.

At 50m to the north of the Barong temple lies the Dawangsari site, which is an array of andesite stones sprawled at the plane of the hill. The blocks of rocks are poor in motifs and decorations. It is thought that the site was part of a destroyed stupa. The Dawangsari site seems to be Buddhist, although situated near the Hindu temple of Barong.

The temle is called Barong because of the Barong head ornament on the entrance gate of the complex. According to the locals, remnants of accessories and decorative objects, incuding an inscription on gold plate, were found in the main temples at the beginning of the restoration.

Source: Situs-Situs Marjinal Jogja (Sanctuaires Retrouvés/ Sites Out of Sight) - M. Rizky Sasono, Jean-Pascal Elbaz, Agung 'Leak' Kurniawan (Enrique indonesia, Yogyakarta: 1997).

18:08

Makna Filosofis Kain Bermotif pada Bregada Prajurit Keraton Yogyakarta

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Selain dibedakan atas warna, kain yang digunakan untuk bahan dan perlengkapan busana prajurit juga menggunakan motif tertentu, diantaranya batik, lurik, atau cindhe.

Batik digunakan oleh para Manggala, Wadana Ageng, Pandhega (Bupati enem), Panewu Bugis juga mengenakan kain batik. Prajurit lain yang mengenakan adalah Surakarsa dan Miji Jager.

Penggunaan batik (yang rumit dan relatif mahal dibanding dengan kain polos) untuk para pimpinan menunjukkan adanya hirarki secara simbolik. Kain batik dengan ragam hiasnya yang bervariasi tersebut memiliki lebih banyak makna daripada sekedar kain polos.

Lurik dikenakan sebagai baju luar untuk pasukan-pasukan Jagakarya, Ketanggung, Mantrijero, Miji Jager, Patangpuluh, dan Langenastra, baik untukLurah Parentah maupun untuk Prajurit Jajar.

Kain lurik bukanlah kain semahal batik dan filosofisnya juga tidak sesarat kain batik. Kain ini cenderung digunakan untuk pakaian sehari-hari seperti surjan atau pranakan. Oleh karena itu, makna kain ini cenderung kepada kesederhanaan, kesetiaan dan kejujuran.

Motif lurik yang digunakan sebagai pakaian seragam prajurit kraton dinamakan Lurik Ginggang yang berarti renggang karena antara lajur warna yang sama diisi oleh lajur warna yang lain. Namun makna yang lebih dalam lagi adalah kesetiaan prajurit kepada rajanya, serta hubungan antar prajurit jangan sampai ada kerenggangan.

Warna lurik yang mendekati abu-abu (abu = awu Jw.) melambangkan kasih sayang dan restu raja terhadap prajurit laksana abu yang tidak dapat dibakar api. Meskipun demikian, terdapat motif lurik yang berbeda di antara pasukan-pasukan tersebut. Dalam hal ini, perbedaan motif dapat dianggap bermakna indentitas.

Motif cindhe digunakan untuk celana panji-panji, lonthong (misalnya untuk manggala, prajurit Ketanggung, prajurit Patangpuluh, dan prajurit Mantrijero), serta bara (misalnya untuk Manggala, Prajurit Patangpuluh, Mantrijero).

Cindhe sendiri merupakan motif tekstil pengaruh dari India. Penggunaan motif ini dapat bermakna teknis sebagai aksen dari kain-kain polos dan batik. Motif ini biasanya berdasar warna merah. Penggunaan warna ini cenderung kepada makna keberanian yang disandang oleh para prajurit.

Sumber : Buku Prajurit Kraton Yogyakarta, Filososfi dan Nilai Budaya yang Terkandung di dalamnya, Dinas Pariwisata dan Kebudayaan Yogyakarta, 2008.

10:06

Watugudig, King Boko’s Resting Place

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The Watugudig site is located 2km to the south of the Prambanan, at the Watugudig hamlet, village of Bokoharjo, Prambanan district. To reach it, turn right (south) at the Prambanan junction on the Jogjakarta-Solo highway, going to the direction of Piyungan for 2km. At the foot of the hill of Ratu Boko there is a litte road turning right with signpost indicating the site. The location is 50m from the road.

Watugudig is a group of umpak or pole sitting with variuos dimensions, the largest being 80cm in diameter. This group of umpaks is made of andesite rocks, scaterred on an area of about 200m sq. The form of umpak is like a Javanese gong, with a protruding part in the middle. There are about 40 umpaks, and it is thought that there are still many others burried.
From the spreading of the umpaks, it is likely that the place was a pendopo (hall) with wooden pillar and roof, which are now vanished. Fro the similarty of pattern on the umpaks found in near locations, these are believed to date from the VIIIth-IXth century, at the epoch of the Ratu Boko palace.

Watugudig means “wound stones”, reffering to the stones’ abscess-resembling appearance. The locals believe that they are the ruins of a resting place for the King Boko of the nearby palace.

Source: Situs-Situs Marjinal Jogja (Sanctuaires Retrouvés/ Sites Out of Sight) - M. Rizky Sasono, Jean-Pascal Elbaz, Agung 'Leak' Kurniawan (Enrique indonesia, Yogyakarta: 1997).

09:58

Candi Banyunibo, The Mith of Gold in the “Valley of Dripping Water”

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From Jogjakarta, take the highway that goes to Solo, then turn rigt (to the south) at the Prambanan intersction to the direction of Piyungan. After three kilometers you will find a signpost indicating the temples of Banyunibo, Barong, and Ratu Boko. Take the left (east) turn anf follow the directions to the Cepit hamlet, Bokoharjo village. The temple stands in the middle of rice fields, 150m to the hills. It is accessible by most kinds of public transport, especially the bus, from Jogjakarta: get off at the Prambanan intersection and take a minibus to the direction of Piyungan until the Barong intersection; you can walk remaining 1.5km or take a motorbike-taxi (ojek). A fee is collected upon entrance.

From after the Banyunibo temple resembles a small dark building among puzzle pieces of rice fields. Light in dimensions (15.3x14.25m at the base, 15.3m in height), the temple is harmonious in form. There is a watersout (jaladwra) on each corner of the temple. The north, east, and south sides of the temple’s main sanctuary have niches that must have housed statues, which have never been found. The outside walls are decorated with Buddhist notifs representing the Dhyanis Budha (Ratnasambhava, Amoghasiddhi, and Vairochana). Six secondary temples in the form of stupas, not yet reconstructed, stand to the east and the south of the main temple.

From the style of its statues and its architecture, this temple is believed to date from the IXth century and is of the Buddhist origin although found near Hindu fragments. 100m from the temple, on the plateau, villagers find walls of white stone across which they make openings. Half of the houses in the village seenm to be built on archeological remains.

Like all others sacred places, Banyunibo is often used as a place of meditation and contemplation. The name of Banyunibo means ‘dripping water’. It is said that once there was a river carrying gold that ran from the top of the hill. The keeper of the temple, Bapak Kardi, told that many of the village’s elder had heard that the river running from the Boko hill and crosses the Banyunibo hill carried gold. Mediums have often ‘seen’ an immense mass of gold under the temple.

Source: Situs-Situs Marjinal Jogja (Sanctuaires Retrouvés/ Sites Out of Sight) - M. Rizky Sasono, Jean-Pascal Elbaz, Agung 'Leak' Kurniawan (Enrique indonesia, Yogyakarta: 1997).

09:46

Candi Sari, The Amazing Decoration of the Tara Monastery

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This temple is located in the Candi Sari hamlet, village of Tirtomartani, Kalasan district. It is very easy to reach this passionate site, whether or not you have a vehicle. It is exactly on the 15th km of the jogjakarta-Solo highway, at the left (north) side of the road in front of a restaurant (Ayam Goreng), just after a telecommunication office. The temple is 50m from the street. A fee is collected at the entrance.

The restoration of this temple, taking place in the 1929-1930, succeeded to bring back its splendor. Situated near Candi Kalasan and also of Buddhist origin, it is agreed to be of the same age (between the VIIIth and IXth century). Its architecture, however, is completely different. Rectangular in base (17.3x30m), the 17m-tall edifice of andesite is constituted of three cells divided i two tiers by what used to be a wooden plank (the spot of the beams are still visible). The presence of the upper tiers and tracers of use indicated that the temple was a place abode. It is often presented as a Buddhist monastery that is part of a larger complex. The base of the building, as well as the doors, has disappeared, and the roof, although damaged, retains three stupas and numerous niches decorated with kala-makara.

Windows are built around the temple, with the exeption of the west side because of the Buddha and Bodhisattva statues (unfortunately gone, but the footings remain) that must have stood on the three cells. The temple is decorated with talent: there are 36 large figures (12 on the west and 8 on the other three sides) represented in relief on the exterior walls, still covered with stucco (vajralepa), but some of the figures are difficult to recognize: half-gods, Naga kings, masculine and feminine divinities following the Tribangga rules, some of which are reminiscent of Tara, the bodhisattva consecrated at Kalasan. Notice the Kinara-Kinari (bird-angles) near the windows and the elephant friezes at each side of the door, also the two guardian statues of Dwarpala and Gupala at the entry.

It is said that temple, or the sanctuary to be exact, was inhabited by two women, Nyai Copati and Nyai Nyowati, who guard it against human and natural destruction. Visitors from places like Jogjakarta, Solo, Boyolali bring offerings of flowers and incenses for the two guardians.

Source: Situs-Situs Marjinal Jogja (Sanctuaires Retrouvés/ Sites Out of Sight) - M. Rizky Sasono, Jean-Pascal Elbaz, Agung 'Leak' Kurniawan (Enrique indonesia, Yogyakarta: 1997).

19:08

Makna Filosofis Nama-nama Bregada Prajurit Keraton Yogyakarta (2)

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Prajurit Nyutra

Nama Nyutra berasal kata dasar sutra mendapatkan awalan N. Kata sutra dalam bahasa Kawi berarti 1) 'unggul', 2) lulungidan (ketajaman), 3) 'pipingitan/'sinengker’(Winter, K.F., 1928, 233,266); sedang dalam bahasa Jawa Baru berarti 'bahan kain yang halus'; sedangkan awalan N- berarti 'tindakan aktif sehubungan dengan sutra'.

Prajurit Nyutra merupakan prajurit pengawal pribadi Sri Sultan. Prajurit ini merupakan kesayangan raja, selalu dekat dengan raja. Secara filosofis Nyutra bermakna pasukan yang halus seperti halusnya sutera yang menjaga mendampingi keamanan raja, tetapi mempunyai ketajaman rasa dan ketrampilan yang unggul. Itulah sebabnya prajurit Nyutra ini mempunyai persenjataan yang lengkap (tombak, towok dan tameng, senapan serta panah/jemparing). Sebelum masa Hamengku Buwono IX, anggota Prajurit Nyutradiwajibkan harus bisa menari.

Panji-panji/bendera/klebet/dwaja prajurit Nyutra adalah Podhang Ngingsep Sari dan Padma-sri-kresna. Podhang Ngingsep Sari untuk Prajurit Nyutra Merah, berbentuk empat persegi panjang dengan warna dasar kuning, di tengahnya adalah lingkaran dengan warna merah. Padma-sri-kresna untuk Prajurit Nyutra Hitam berbentuk empat persegi panjang dengan warna dasar kuning, di tengahnya adalah lingkaran dengan warna hitam.

Podhang Ngingsep Sari berasal dari kata podhang berarti 'kepodang (jenis burung dengan bulu warna kuning indah keemasan)', ngingsep = 'mengisap', dan sari = 'inti, sari'. Secara filosofis Nyutra Merah bermakna pasukan yang selalu memegang teguh pada keluhuran.

Padma-sri-kresna berasal dari tiga kata bahasa Sansekerta, yaitu: "padma" berarti 'bunga teratai', "sri" berarti 'cahaya, indah', dan "kresna" yang berarti 'hitam'. Secara filosofis Nyutra Hitam bermakna pasukan yang selalu membasmi kejahatan, seperti Sri Kresna sebagai titisan Dewa Wisnu.

Prajurit Ketanggung

Nama Ketanggung berasal kata dasar "tanggung" mendapatkan awalan ke-. Kata "tanggung" berarti 'beban, berat". Sedangkan ke- di sini sebagai penyangatan 'sangat'. Secara filosofis Ketanggung bermakna pasukan dengan tanggung jawab yang sangat berat. Hal ini ditunjukkan dengan adanya Puliyer (Wirawicitra / Wirawredhatama / Operwachmester).

Panji-panji/bendera/klebet/dwaja prajurit Ketanggung adalah Cakra-swandana, berbentuk empat persegi panjang dengan warna dasar hitam, di tengahnya adalah gambar bintang bersegi enam dengan warna putih.

Cakra-swandana berasal dari bahasa Sansekerta "cakra" (senjata berbentuk roda bergerigi) dan kata Kawi "swandana" yang berarti 'kendaraan/kereta'. Secara filosofis Ketanggung bermakna pasukan yang membawa senjata cakra yang dahsyat yang akan membuat porak poranda musuh.

Prajurit Mantrijero

Nama Mantrijero berasal kata "mantri" dan "jero". Kata "mantri" berasal dari bahasa Sansekerta yang berarti 'juru bicara, menteri, jabatan di atas bupati dan memiliki wewenang dalam salah satu struktur pemerintahan'. Sedangkan “jero" berarti 'dalam'.

Secara harfiah kata Mantrijero berarti 'juru bicara atau menteri di dalam' Secara filosofis Mantrijero bermakna pasukan yang mempunyai wewenang ikut ambil bagian dalam memutuskan segala sesuatu hal dalam lingkungan Kraton (pemutus perkara).

Panji-panji/bendera/klebet/dwaja prajurit Mantrijero adalah Purnamasidhi, berbentuk empat persegi panjang dengan warna dasar hitam, di tengahnya adalah lingkaran dengan warna putih. Purnamasidhi berasal dari kata Sansekerta, yaitu "purnama" berarti 'bulan penuh' dan kata "siddhi" yang berarti 'sempurna'. Secara filosofis Purnamasidhi bermakna pasukan yang diharapkan selalu memberikan cahaya dalam kegelapan.

Prajurit Bugis

Nama Bugis berasal kata bahasa Bugis. Prajurit Bugis sebelum masa Hamengku Buwono IX bertugas di Kepatihan sebagai pengawal Pepatih Dalem. Semenjak zaman Hamengku Buwono IX ditarik menjadi satu dengan prajurit kraton, dan dalam upacara Garebeg bertugas sebagai pengawal gunungan. Secara filosofis Prajurit Bugis bermakna pasukan yang kuat, seperti sejarah awal mula yang berasal dari Bugis, Sulawesi.

Panji-panji/bendera/klebet/dwaja prajurit Bugis adalah Wulan-dadari, berbentuk empat persegi panjang dengan warna dasar hitam, di tengahnya adalah lingkaran dengan warna kuning emas. Wulan-dadari berasal dari kata "wulan" berarti 'bulan' dan "dadari" berarti 'mekar, muncul timbul'.

Secara filosofis bermakna pasukan yang diharapkan selalu memberikan penerangan dalam kegelapan, ibarat berfungsi seperti munculnya bulan dalam malam yang gelap yang menggantikan fungsi matahari.

Prajurit Surakarsa

Nama Surakarsa berasal dari kata sura dan karsa. Kata "sura" berasal dan bahasa Sansekerta berarti 'berani', sedangkan "karsa" berarti 'kehendak'. Dahulu Prajurit Surakarsa bertugas sebagai pengawal Pangeran Adipati Anom / 'Putra Mahkota'; bukan bagian dari kesatuan prajurit kraton.

Secara filosofis Surakarsa bermakna pasukan yang pemberani dengan tujuan selalu menjaga keselamatan putra mahkota. Sejak masa Hamengku Buwono IX, pasukan ini dijadikan satu dengan prajurit kraton dan dalam upacara Garebeg mendapat tugas mengawal Gunungan pada bagian belakang (Yudodiprojo, 1995).

Panji-panji/bendera/klebet/dwaja prajurit Surakarsa adalah Pareanom, berbentuk empat persegi panjang dengan warna dasar hijau, di tengahnya adalah lingkaran dengan warna kuning.

Pareanom berasal dari kata "pare" (tanaman merambat berwarna hijau yang buahnya jika masih muda berwarna hijau kekuning-kuningan), dan kata "anom" berarti 'muda'. Secara filosofis Pareanom bermakna pasukan yang selalu bersemangat dengan jiwa muda.

Sumber : Buku Prajurit Kraton Yogyakarta, Filososfi dan Nilai Budaya yang Terkandung di dalamnya, Dinas Pariwisata dan Kebudayaan Yogyakarta, 2008.
18:51

Makna Filosofis Nama-nama Bregada Prajurit Keraton Yogyakarta (1)

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Prajurit Kraton Yogyakarta saat ini terdiri atas 10 bregada. Perbedaan antar bregada yang satu dengan yang lain ditentukan menurut atribut panji-panji (bendera), busana, dan kelengkapannya.

Nama-nama bregada/ pasukan itu adalah Prajurit Wirabraja, Prajurit Dhaeng, Prajurit Patangpuluh, Prajurit Jagakarya, Prajurit Prawiratama, Prajurit Nyutra, Prajurit Ketanggung, Prajurit Mantrijero, Prajurit Bugis, dan Prajurit Surakarsa.

Semua nama bregada prajurit, mode atribut panji-panji, warna busana, dan kelengkapan dalam prajurit Kraton Yogyakarta mempunyai makna filosofis. Berikut akan diberikan analisis makna filosofis atas nama, mode jenis panji-panji, dan warna busana itu.

Prajurit Wirobrojo

Nama Wirabraja berasal dari kata wira berarti 'berani' dan braja berarti 'tajam', kedua kata itu berasal dari bahasa Sansekerta. Secara filosofis Wirabraja bermakna suatu prajurit yang sangat berani dalam melawan musuh dan tajam serta peka panca inderanya. Dalam setiap keadaan ia akan selalu peka. Dalam membela kebenaran ia akan pantang menyerah, pantang mundur sebelum musuh dapat dikalahkan.

Dengan nama kuno dari bahasa Sansekerta secara filosofis diharapkan agar kandungan maknanya mempunyai daya magis yang memberi jiwa kepada seluruh anggota pasukan ini.

Panji-panji/bendera/klebet/dwaja prajurit Wirabraja adalah Gula-klapa, berbentuk empat persegi panjang dengan warna dasar putih, pada setiap sudut dihias dengan centhung berwarna merah seperti ujung cabai merah (kuku Bima). Di tengahnya adalah segi empat berwarna merah dengan pada bagian tengahnya adalah segi delapan berwarna putih.

Gula-klapa berasal dari kata 'gula' dan 'kelapa'. Yang dimaksud di sini adalah gula Jawa yang terbuat dari nira pohon kelapa yang berwarna merah; sedangkan 'kelapa' berwarna putih. Secara filosofis bermakna pasukan yang berani membela kesucian/kebenaran.

Prajurit Dhaeng

Nama Dhaeng berasal dari bahasa Makasar sebagai sebutan gelar bangsawan di Makasar. Secara filosofis Dhaeng bermakna prajurit elit yang gagah berani seperti prajurit Makasar pada waktu dahulu dalam melawan Belanda.

Menurut sejarah, prajurit Dhaeng adalah prajurit yang didatangkan oleh Belanda guna memperkuat bala tentara R.M. Said. R.M. Said kemudian berselisih dengan P. Mangkubumi. Padahal kedua tokoh ini semula bersekutu melawan Belanda. Puncak atas perselisihan itu adalah perceraian R.M. Said dengan istrinya.

Istri R.M. Said adalah putri Hamengku Buwono I. Pada waktu memulangkan istrinya, R.M. Said (P. Mangkunegara) khawatir jika nanti Hamengku Buwono I marah. Guna menjaga hal yang tidak diinginkan, kepulangan sang mantan istri, Kanjeng Ratu Bendara diminta agar diiringkan oleh pasukan pilihan, yaitu prajurit Dhaeng.

Setelah sampai di Kraton Yogyakarta, justru disambut dengan baik. Prajurit Dhaeng diterima dengan tangan terbuka, disambut dengan baik. Atas keramahtamahan itu prajurit Dhaeng kemudian tidak mau pulang ke Surakarta. Mereka kemudian mengabdi dengan setia kepada Hamengku Buwono I. Laskar Dhaengkemudian oleh Hamengku Buwono I diganti menjadi Bregada Dhaeng.

Panji-panji/bendera/klebet/dwaja prajurit Dhaeng adalah Bahningsari, berbentuk empat persegi panjang dengan warna dasar putih, di tengahnya adalah bintang segi delapan berwarna merah.

Bahningsari berasal dari kata bahasa Sansekerta bahningberarti 'api' dan sari berarti 'indah / inti'. Secara filosofis bermakna pasukan yang keberaniannya tidak pernah menyerah seperti semangat inti api yang tidak pernah kunjung padam.

Prajurit Patangpuluh

Mengenai asal usul nama Patangpuluh sampai sekarang belum ada rujukan yang dapat menjelaskan secara memuaskan. Nama Patangpuluh tidak ada hubungannya dengan jumlah anggota bregada.

Panji-panji/bendera/klebet/dwaja prajurit Patangpuluh adalah Cakragora, berbentuk empat persegi panjang dengan warna dasar hitam, di tengahnya adalah bintang segi enam berwarna merah.

Cakragora berasal dari kata bahasa Sansekerta "cakra" 'senjata berbentuk roda bergerigi' dan "gora", juga dari bahasa Sansekerta berarti 'dahsyat, menakutkan'. Secara filosofis bermakna pasukan yang mempunyai kekuatan yang sangat luar biasa, sehingga segala musuh seperti apa pun akan bisa terkalahkan.

Prajurit Jagakarya

Prajurit Jagakarya berasal kata jaga dan karya. Kata 'jaga' berasal bahasa Sansekerta berarti 'menjaga', sedangkan 'karya' dari bahasa Kawi berarti 'tugas, pekerjaan'. Secara filosofis Jagakarya bermakna 'pasukan yang mengemban tugas selalu menjaga dan mengamankan jalannya pelaksanaan pemerintahan dalam kerajaan'.

Panji-panji/bendera/klebet/dwaja prajurit Jagakarya adalah Papasan, berbentuk empat persegi panjang dengan warna dasar merah, di tengahnya adalah lingkaran dengan warna hijau.

Papasan berasal dari kata nama tumbuhan atau burung papasan. Pendapat lain Papasan berasal dari kata dasar 'papas' menjadi 'amapas" yang berarti 'menghancurkan' (Wojowasito, 1977:190). Secara filosofis Papasan bermakna pasukan pemberani yang dapat menghancurkan musuh dengan semangat yang teguh.

Prajurit Prawiratama

Nama Prawiratama berasal kata prawira dan tama. Kata 'prawira' berasal dari bahasa Kawi berarti 'berani, perwira', 'prajurit', sedangkan "tama" atau "utama" bahasa Sansekerta yang berarti 'utama, lebih'; dalam bahasa Kawi berarti 'ahli, pandai'. Secara filosofis Prawiratama bermakna pasukan yang pemberani dan pandai dalam setiap tindakan, selalu bijak walau dalam suasana perang.

Panji-panji/bendera/klebet/dwaja Prajurit Prawiratama adalah Geniroga, berbentuk empat persegi panjang dengan warna dasar hitam, di tengahnya adalah lingkaran dengan warna merah. Geniroga berasal dari kata 'geni' berarti 'api', dan kata Sansekerta 'roga' berarti 'sakit'. Secara filosofis bermakna pasukan yang diharapkan dapat selalu mengalahkan musuh dengan mudah.

Sumber : Buku Prajurit Kraton Yogyakarta, Filososfi dan Nilai Budaya yang Terkandung di dalamnya, Dinas Pariwisata dan Kebudayaan Yogyakarta, 2008.
09:43

Candi Plaosan, A Wonderful Assemble of Temples in the Middle of Rice Fields

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The complex is located to the east of Prambanan, in the Plaosan hamlet, village of Bugisan, Prambanan district, Klaten. To visit it you have to take the Jogjakarta-Solo highway, passing in front of the Prambanan temples, turn left (north), follow the road for for 2km. Take the right turn after a signpost indicating the temples, pass in front of the SPSP office and you will arrive at an intersection. Continue straight ahead and after 300m you will reach Plaosan Lor. You will be required to pay a contribution to enter. Plaosan Kidul is at the other side of the road, several meters to the south.

The Plaosan complex, 400x270m large, is constituted of a principal group and two sub-complexes at the north and the south. The first, Plaosan Lor, has two square courtyards, each containing a temple in a form similar to Candi Sari. Secondary temples and stupas, 58 of each, arranged in three tiers forming a rectangular complex, surround these courtyards. A specimen of each was reconstructed in 1941 and the two doors in 1945 and 1948. The second sub-complex, Plaosan Kidul, has one temple, 69 stupas and 18 secondary temples.

Plaosan like Prambanan and Sewu, makes an enormous complex of which we can, unfortunately, only approximate the function. Plaosan seems to have been a creation of a princess in the Sailendra dynasti, of Buddhist confession, who was married to a king of the Mataram dynasti, a Shivaist. The temple is thus the result of the pious cooperation and dates from the middle of the IXth century. An entourage has recently been discovered and you can see a fragment below, at the left side of the road about 20m away.

The two temples of the Plaosan Lor are oriented to the west and the doors that open to the ric fields are guarded by two large statues of Dwarpala that has always been sacred by the local villagers. The structure of the two sanctuaries is similar to that of the Sari temple; it has three chambers, each containing a statue on a plinth and we can observe the traces of an upward flight of stairs. By entering the first 9the one on the south side you will reach the central chamber whose altar is composed of two stone statues (boddhisattvas) surrounding an empty plinth, on which probably stood a Buddha in metal (bronze or silver).

At each side of this chamber, doors lead to other chambers containing representations of Dhyanis Buddha, Buddhist divinity of the Mahayana that has the task of saving all living creatures. The two statues are in lower level than of the center and has the right leg bent, delicately posed on a lotus, giving the impression of symbolizing the accessibilty of the bodhisattvas to its disciples. You will notice the extraordinary richness of the statue’s details, sitting on a lotus bed with other flowers jutting out from it, the number of gems representations of donators, priests, and pilgrims. A pasage enables a circumnavigation of the temple and you will see bas-reliefs representing bodhisattvas.

We reach the second temple, similar in form and motif, by a door in the entourage (at the north). Unfortunately, the statues of the second temple are in worse condition. Plaosan is made of andesite stones, while its enclosure and secondary temples are of white stones. Don’t miss the recently reconstructed stone terrace surrounded by secondary temples. The terrace is the base of third temple that undoubtedly was built of wood (the presence of pillar plinths). Numerous examples of the Javanese statuary art are present: Buddha, bodhisattvas, indo-Buddhist divinities, and so forth. Plaosan Kidul, discovered in 1941, stands in a state of ruins on the south side of the road and is undoubtedly an integral part of the complex.

Continuing to the north, you will see a series of modern buildings that are the Office of Archeological Services. The vast assemble of stones and statues are visible behind the railings belong to the complex, but also to other temples in the region.

Due to the presence of the courtyards, the local villagers believe that the rulers of the kingdom used the place as an area of cocklfighting. Until today they often hear the cries of the fighting cocks as well as the noise of the audience.

Source: Situs-Situs Marjinal Jogja (Sanctuaires Retrouvés/ Sites Out of Sight) - M. Rizky Sasono, Jean-Pascal Elbaz, Agung 'Leak' Kurniawan (Enrique indonesia, Yogyakarta: 1997).

09:36

Parangkusumo Beach, The Kingdom of the Queen of the South Sea

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The Parangtritis and Parangkusumo beaches are about 27km tp the south of Jogjakarta. These beaches are very close to one another but the first is much better known and more often visited. Geographically these beaches are but the border with the Indian ocean, but for the Javanese people they have a significantly more important role. Like Merapi, these beaches have a major symbolic and mistic role. The ocean, Kraton, Merapi from in fact a perfect line, from the south to the north, which undoubtedly ,marked the spirit of the men who inhabit the place.

The Parangtritis beach is very easily accessible by all kinds of transport from the city. To reach the littoral composing the described site3s you will jave to pay a contribution.

To discover Parangkusumo, go for 1km after the booths and turn right (south); a sign will announce the beach. From the main road youn can reach the beach on motorbike or on foot. In the immediate surroundings you can also see the Sentono and Pemancingan hills.

Parangkusumo is located to the west of Parangtritis. It is a beaches of black sand and dunes that change with the wind. This site is one of three sacred places in the region with the Kraton and Mount Merapi. For ceremonies on the first of the Javanese month Suro (the Javanese New Year) and quite regularly during the year, offerings from the Kraton fore Nyi Roro Kidul, Queen of the South Seas, are made here. Off holidays, it is common to see people meditating on the beach to ask a favor or simply to pay homage to the one living in the waves, Nyi Roro Kidul.

Source: Situs-Situs Marjinal Jogja (Sanctuaires Retrouvés/ Sites Out of Sight) - M. Rizky Sasono, Jean-Pascal Elbaz, Agung 'Leak' Kurniawan (Enrique indonesia, Yogyakarta: 1997).
09:28

Ambarketawang, The Ruins of Hamengku Buwono I

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The ruins of the Ambarketawang palace can be reached by the road that leads from Jogjakarta to Wates. At the 5th kilometer, or at the intersection after the Restaurant “Mbok Berek”, turn left (south) and follow the road for about 500m. A signpost to the ruoins stands 50m from it. The location can be reached by public transport up to the intersectiion and the rest can be covered on foot. Administratively the site is in the village of Ambarketawang, Gamping district, Sleman regency.

The ruins of the palace Of the Prince Mangkubumi—better known under the name Hamengku Buwono I (1749-1792)—dates from the XVIIIth century. What remains of the palace are a pendopo (reception hall) of 9x6m, 5m in height, oriented to the west, and walls at the south west sides, at some places reaching 2.5m high. The location, charmingly nestled in the middle of the plantation and coconut trees, is so shaded that the walls are covered with moss. Nearby, 50m from the pendopo, inside a house, we can see a piece of thick wall, supposedly a remnant of the palace’s stables.

A little further, 180m to the west of the pendopo, there are other ruins of walls and barriers, now an integral part of the house of a villager. The wall were used by the guards (demang) of the palace and the place is until now called Kademangan. According to reseachers, the remains of the palace of Hamengku Buwono I are not limited to the three ruins but spread throughout the village of Ambarketawang.

The palace is also mentioned in the Giyanti Treaty (1755) when the Mataram kingdom was divided in two: Kasunanan (Solo) and Kasultanan (Jogjakarta). Although the two families of the Mataram fought the same enemy, the Dutch, their internal quarrels were stronger. Ambarketawang was thus the first palace of the branch to be constructed by Hamengku Buwono I, after he left Kartosuro. Finally, 50m at the east of the pavilion, we can see an old well, 1.5 in diameter and 2m deep.

The well is believed to posess a particular virtue. It is said that, in the 1970s, many disabled persons went there to be healed. The first case was that of invalid villagers who asked to be taken to the well to tkae a bath. He was accompanied by a number of people wanting to wash at the same time. Great was their surprise at seeing the invalid not only walking but also running as if possessed. The same thing happened to a becak driver who was paralyzed after an accident. After washing himself with the water he regained his ability to walk.

Before this miracles, the inhabitants of the village witnessed one night a blinding light descending from the sky towards the well. During the Javanese month of Sapar, the villagers hold a cewremony called Bekakak, which consists of sacrificing a made-of-food wedding couple. The couple represents the devotion to the King, referring to the servants of the palace who remained loyal to Hamengku Buwono I to death.

Source: Situs-Situs Marjinal Jogja (Sanctuaires Retrouvés/ Sites Out of Sight) - M. Rizky Sasono, Jean-Pascal Elbaz, Agung 'Leak' Kurniawan (Enrique indonesia, Yogyakarta: 1997).

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