Ilustrasi : Parahyangan Agung Jagatkharta, Pura Terbesar di Jawa Barat
Bogor (Dreamland Library) - Several Kingdoms in the Sunda region that stood in the 8th century 735 AD Establishment of the Sunda Galuh Kingdom Banten-West Java
752 AD - 1045 AD Kingdom of Medang (House of Sailendra)
760 AD The Pallawa letters that have been Indonesian are known by the name Kawi. Since the Dinoyo inscription (760 AD), the Kawi letter has been used in Indonesia, and Sanskrit is no longer used in the inscription, but the Kawi language is used. 771 AD The establishment of the Kingdom of Tulang Bawang Lampung
Jakarta (Dreamland Library) - Located in the Condongcatur area, south of the village of Gebang, Ngemplak District, Sleman Regency, approximately 11 kilometers from the center of Yogyakarta.
The discovery of this Hindu temple began with the discovery of a statue of Ganesha by local residents in November 1936. Based on that discovery, archeologists began to research the possibility of a temple at the location of the statue's discovery.
It is assumed that the Ganesha statue is part of a building. After ascertaining the existence of a temple at that location, further excavation, reconstruction and restoration were carried out, which took place from 1937 to 1939 under the leadership of Van Romondt.
No information about the historical background of Gebang Temple was obtained. It's just that, judging from the existence of phallus, yoni and Ganesha statues, it is certain that Gebang Temple is a Hindu temple. In addition, a high proportion of the legs indicates that the temple was built in the period between 730-800 AD Gebang Temple is a square base building with a size of 5.25 m x 5.25 m with a height of 7.75 m. The basic material used for the construction of the temple is andesite stone. The body of the temple stands on feet about 2 meters high. There is no sculpture at the foot of the temple. The entrance to the room in the body of the temple is located on the east side. On either side of the entrance there is a niche where the statue. In the northern niche there is a statue of Nandiswara while the southern niche is empty. It is said that in the niche there was a Mahakala statue. On the west side (back) there is a niche filled with the Ganesha statue sitting on a yoni with a trunk pointing north. No stairs were found to climb up the hallway at the surface of the temple's feet. Although there are allegations, the ladder is made of easily fragile materials, such as wood, but no definitive information has been obtained about the absence of these stairs. In the body of the temple there is a room. In the middle of the room there is a yoni and phallus, but now the phallus stuck above the yoni is no longer in place. The roof of the temple is arranged with a phallus-shaped peak which is erect on a hall. Source: http://candi.pnri.go.id/jawa_tengah_yogyakarta/gebang/gebang.htm Photo: Special
Jakarta (Dreamland Library) - Sewu Temple is located in Hamlet Bener, Bugisan Village, Prambanan District, Klaten Regency, Central Java Province. From the city of Yogyakarta the distance is about 17 km to Solo.
Sewu Temple is a cluster of temples which is located close to Prambanan Temple, which is approximately 800 meters south of the Rara Jongrang statue.
This temple was estimated to have been built in the 8th century, by order of the rulers of the Mataram Kingdom at that time, namely Rakai Panangkaran (746-784 AD) and Rakai Pikatan who were Hindus.
Although the king was Hindu, the Kingdom of Mataram was under the strong influence of the Buddhist dynasty of Syailendra.
Experts suspect that Sewu Temple is the center of religious activities of Buddhist communities. The allegation is based on the contents of andesite stone inscriptions found in one of the ancillary temples.
The inscription, written in Ancient Malay and dated 792 Saka, is known as the Manjusrigrta Inscription. The inscription tells about the refinement activity called Wajrasana Manjusrigrha in 714 Saka (792 AD). The name Manjusri is also mentioned in the Kelurak Inscription in 782 AD which was found near the Lumbung Temple. Sewu Temple is located next to Prambanan Temple, so currently Sewu Temple is included in the Prambanan Temple tourist area. In the tourist area, there are also Lumbung Temple and Bubrah Temple.
Not far from the area there are also several other temples, namely: Gana Temple, about 300 m to the east, Kulon Temple about 300 m to the west, and Lor Temple about 200 m to the north.
The location of Sewu temple, the largest Buddhist temple after Borobudur temple, with Prambanan temple, which is a Hindu temple, shows that at that time Hindu and Buddhist communities coexisted harmoniously. The name Sewu, which in Javanese means a thousand, indicates that the temples incorporated in the Sewu Temple cluster are quite large in number, although in fact it did not reach 1000 pieces.
Precisely, the Sewu Temple cluster consists of 249 temples, consisting of 1 main temple, 8 clamp temples or intermediate temples, and 240 ancillary temples. The main temple is located in the middle, on all four sides surrounded by flanking temples and perwara temples in a symmetrical arrangement.
Sewu Temple has 4 gates to the outer court, namely on the east, north, west and south sides, each of which is guarded by a pair of Dwarapala statues facing each other. From the outer court to the inner court there are also 4 entrances guarded by a pair of Dwarapala statues, similar to those found at the outer gate. The Dwarapala statue made of solid stone is placed on a square pedestal about 1.2 m high in the position of one knee on his knees, the other leg bent, and one hand holding a mace. Dwarapala statue height reaches around 2.3 m. The main temple or main temple is located in a square area of 40 m2, surrounded by a fence of stone structures as high as 0.85 m. Temple building in the form of polygon with 20 angles with a diameter of 29 m. The building height reaches 30 m with 9 roofs, each of which has a stupa at the top. The body of the temple stands on a shelf as high as about 2.5 m. The foot of the temple is decorated with a floral motif in a vase. To reach the batur surface that forms a corridor, there is a ladder about 2 m wide which is equipped with cheek ladders. The base of the staircase's cheek is decorated with makara, the head of a dragon with its mouth wide open, with a Buddha statue inside. The outer walls of the cheeks of the stairs are decorated with giant Kalpawreksa shapes. Above the doorway there is no Kalamakara, but the walls on the left and right of the doorway are decorated with carved dragon heads with gaping mouths. Different from the one at the base of the staircase's cheek, it is not the Buddha in the dragon's mouth, but a lion. The main temple built of andesite has a main door on the east, so it can be said that this main temple faces east. In addition to the main door, there are 3 other doors, which are facing north, west and south.
All entrances are equipped with viewer booths. The space in the body of the temple is in the shape of a cube with walls made of red bricks. In this room there is an 'asana'. On the outer walls of the body and feet of the temple roof there are niches containing Buddha statues in various positions. Perwara and Apit temples are all located in the outer court. On each side there are a pair of apit temples between the main temple and a row of perwara temples. Each pair of temples is flanked opposite the road that divides the yard leading to the main temple.
Apit temple stands on a batur as high as about 1 m, equipped with a ladder as wide as about 1 m leading to the hallway at the foot surface of the temple. Above the threshold is not decorated with Kalamakara carvings, but some relief panels.
The roof of the temple is in the form of a stupa with a row of small stupas adorning the base. The body wall of the temple is adorned with figures of men dressed in greatness, looking like gods, in a standing position holding a lotus handlebars in his hand. Perwara temples are built each in four rows on the outer side around the main temple and the apit temple. In the deepest series there are 28 buildings, the second row has 44 buildings, the third row has 80 buildings, and the fourth row is 88 buildings.
All ancillary temples, except those in the third row, face outward or back to the main temple. Only those in the third row face inward. Most of the ancillary temples in the ruins are left in the form of stone piles. Source: http://candi.pnri.go.id/jawa_tengah_yogyakarta/sewu/sewu.htm Photo: Special
Jakarta (Dreamland Library) - Located in Kalibening Village, Tirtamani, Sleman Regency, Special Region of Yogyakarta, precisely about 16 km to the east of the city of Yogyakarta. In the Kalasan Inscription it is said that this temple is also called the Kalibening Temple, in accordance with the name of the village where the temple is located.
Not far from Kalasan Temple there is a temple called Candi Sari. The two temples have similarities in the beauty of the building and the fineness of the sculpture. Another distinctive feature found only in the two temples is the use of vajralepa (bajralepa) to coat ornaments and reliefs on the outer walls.
Generally a temple was built by the king or royal authority at his time for various purposes, for example for places of worship, a residence for monks, a royal center or place for religious teaching and learning. Information about the Kalasan Temple is contained in the Kalasan Inscription written in Saka 700 (778 AD). The inscription was written in Sanskrit using the pranagari script.
In the Kalasan Inscription it is explained that the religious advisors of the House of Syailendra had suggested that Maharaja Tejapurnama Panangkarana erect a sacred building to worship the Goddess Tara and a monastery for Buddhist priests. According to the inscription of King Balitung (907 AD), what is meant by Tejapurnama Panangkarana is Rakai Panangkaran, son of King Sanjaya from the Ancient Mataram Kingdom.
Rakai Panangkaran later became the second king of the Ancient Mataram Kingdom. During the period 750-850 AD the northern region of Central Java was controlled by the kings of the Sanjaya dynasty. During the same time period the House of Syailendra was in power in the southern part of Central Java.
The division of power affected the character of the temples that were built in their respective regions at that time. The two Wangsa were finally united through the marriage of Rakai Pikatan Pikatan (838 - 851 AD) with Pramodawardhani, the son of Maharaja Samarattungga from the Syailendra Dynasty. (Source: pnri.go.id)
Ancient Cement Layer The uniqueness of Kalasan Temple is found in its beautiful decoration and fine stone carvings. In addition, ornaments and reliefs on the outer walls are coated with a type of ancient cement called Valjralepa. The use of Valjralepa aims to protect the temple from moss and fungus.
Valjralepa also refines relief carvings and gives a golden color effect to the temple. Valjralepa layer is rarely found in the temples of the Prambanan region. In addition to the Kalasan temple, the temple that uses Valjralepa is the Sari temple. Sari Temple is a series with the construction of the Kalasan temple. Kalasan Temple is a place of worship while Sari Temple functions as a hostel.
Source: http://www.candi.web.id/candi-kalasan/ Photo: Special
Jakarta (Dreamland Library) - Dieng Temple is a collection of temples located at the foot of the Dieng mountains, Wonosobo, Central Java. Dieng Temple area occupies a plain at an altitude of 2000 m above sea level, extending north-south direction around 1900 m with a width of 800 m.
This collection of Hindu temples of Shiva which is estimated to have been built between the end of the 8th century and the beginning of the 9th century is thought to be the oldest temple in Java. Until now no written information has been found about the history of Dieng Temple, but experts estimate that this temple collection was built by order of the kings of the Sanjaya Dynasty.
In this Dieng region, an inscription dating to the year 808 AD was found, which is the oldest inscription bearing the ancient Javanese letter, which still exists today. A Syiwa statue found in this area is now stored in the National Museum in Jakarta.
The construction of the Dieng Temple is estimated to take place in two stages. The first phase, which took place between the end of the 7th century to the first quarter of the 8th century, included the construction of Arjuna Temple, Semar Temple, Srikandi Temple and Gatutkaca Temple. The second phase is a continuation of the first stage, which took place until around 780 AD Dieng Temple was first rediscovered in 1814. At that time a British soldier who was traveling to the Dieng area saw a group of temples submerged in a pool of lake water. In 1956, Van Kinsbergen led the effort to drain the lake where the collection of temples was located. Clean-up efforts were continued by the Dutch East Indies government in 1864, followed by recording and shooting by Van Kinsbergen. The overall area of the Dieng Temple complex reaches around 1.8 x 0.8 km2. The temples in the Dieng Temple area are divided into 3 groups and 1 stand-alone temple named after the name of a character in a puppet story adopted from the Mahabarata Book. The three temple groups are the Arjuna Group, the Gatutkaca Group, the Dwarawati Group and one stand-alone temple is the Bima Temple. a. Arjuna group The Arjuna group is located in the middle of the Dieng Temple area, consisting of 4 temples lined up extending north-south. Arjuna Temple is at the southern end, then successively heading north is Srikandi Temple, Sembadra Temple and Puntadewa Temple. Right in front of Arjuna Temple, there is Semar Temple. The four temples in this complex face west, except Semar Temple which faces Arjuna Temple. This temple group can be said to be the most intact compared to other temple groups in the Dieng region.
Arjuna Temple. This temple is similar to the temples in the Gedong Sanga complex. Square base with an area of about 4 m2. The body of the temple stands on a shelf as high as about 1 m. On the west side there are stairs to the entrance to the small room in the body of the temple. The door of the temple is equipped with a kind of viewer room that jutted out about 1 m from the body of the temple. Above the doorway is decorated with Kalamakara carvings. On the outer walls of the north, south and west sides there is a stone structure that protrudes out of the wall, forming the frame of a niche where the statue is. The front of the recesses are decorated with sticky paper patterns. The lower part of the frame is decorated with a pair of dragon heads with open mouths. At the top of the frame is a kalamakara ornament without a lower jaw. On the walls to the left and right of the north building's doorway there is a niche where the statue is placed. At present the two niches are empty. On the walls on the south, west and north sides there are niches where statues are placed. The threshold of the niche is given a frame with a decorative pattern of sticky paper and Kalamakara on it. Frame legs decorated with carved dragon's head with his mouth gaping. Right in the middle of the wall below the niche there is a jaladwara (water channel). The roof of the temple is in the form of a cube, stacking, getting smaller and smaller. The top and top of the roof have been destroyed. On each side of each cube there are niches and in each corner there is a decoration shaped like a rounded pointed crown. Most of the decoration has been damaged. In the middle of the room in the body of the temple there is what looks like a yoni. In the outer corner, attached to the back wall of the temple there is a statue that has been damaged. Semar Temple. This temple is located opposite the Arjuna Temple. The basic plan is a rectangular shape stretching north-south. Batur temple as high as about 50 cm, plain without decoration. The stairs leading to the entrance to the inner chamber of the temple are on the east side. The entrance is not equipped with a viewer booth. The doorway was given a frame with a pattern of sticky paper and dragon's head on the base. Above the doorway there is a Kalamakara without a lower jaw.
On the walls to the left and right of the door there is a small window opening. On the north and south walls of the temple's body there are, respectively, two holes that function as windows, while on the west wall (back) of the temple there are 3 holes. The room in the body of the temple is empty. Limasan-shaped temple roof without decoration. The top of the roof is gone, so its original form is no longer known. It is said that Semar Temple was used as a warehouse to store weapons and worship equipment. Srikandi Temple. This temple is located in the north of Arjuna Temple. Batur temple is about 50 cm high with a cube-shaped base plan. On the east side there is a ladder with a viewer booth. On the north wall there is a sculpture depicting Vishnu, on the east wall depicting Shiva and on the south wall depicting Brahma. Most of the sculpture has been damaged. The roof of the temple has been damaged so that it does not see its original shape anymore. Sembadra Temple. Batur temple as high as about 50 cm with a square plan. In the middle of the south, east and north sides there are parts that jut out, forming niches like a viewer booth. The entrance is located on the west side and, equipped with a viewing booth. The appearance of the viewer booth on the west side and the recesses on the other three sides make the temple's body shape look like a polygon. In the yard there is a stone arranged as a path to the door. At first glance the Sembadra Temple looks like a multi-storey building, because its roof is in the shape of a cube that is almost the same size as its size. The top of the roof has been destroyed, so it does not see its original shape anymore. On all four sides of the roof there are also small niches such as places to put statues. Puntadewa Temple. Like other temples, the size of the Puntadewa Temple is not too big, but this temple looks taller. The body of the temple stands on a stacking structure about 2.5 m high. The stairs leading to the entrance to the inner chamber of the temple are complemented by temple cheeks and made in two tiers, according to the temple batur.
The roof of the temple is similar to the roof of the Sembadra Temple, in the form of a large cube. The top of the roof has also been destroyed, so the original form is no longer visible. On all four sides of the roof there are also small niches such as places to put statues. The door is equipped with a viewer booth and is given a frame decorated with sticky paper motifs. The space in the temple's body is narrow and empty. On the other three sides there is a window whose frame is decorated similar to the one on the door. About half a meter outside the foot of the temple there is a stone arranged around the foot of the temple. In front of the temple there are stones arranged around a square-shaped room. In the middle of the room there are two piles of two round stones with a pointed peak. In the north of the temple there are stones arranged around a rectangular room. In the middle of the room there are two stone shaped like a large crock. b. Gatutkaca group Gatutkaca group also consists of 5 temples, namely Gatutkaca Temple, Setyaki Temple, Nakula Temple, Sadewa Temple, Petruk Temple and Gareng Temple, but currently only buildings that can be seen are Gatutkaca Temple. The remaining four temples are left only the ruins. Gatutkaca Temple. Batur temple as high as about 1 m was made in two layers with a basic square plan. In the middle of the south, east and north sides there are parts that jut out, forming niches like a viewer booth. The entrance is located on the west side and, equipped with a viewing booth. The steps in Batur are protected inside the viewer booth. At a glance the Gatutkaca Temple also looks like a multi-storey building, because the shape of the roof is made the same as the body shape of the temple. The top of the roof has been destroyed, so it does not see its original shape anymore. On all four sides of the roof there are also small niches such as places to put statues. About half a meter outside the foot of the temple there is a stone arranged around the foot of the temple. In the courtyard of the Gatutkaca Temple Complex there are piles of stone ruins of the other four temples that have not been able to be rearranged. c. Dwarawati Group The Dwarawati group consists of 4 temples, namely Dwarawati Temple, Abiyasa Temple, Pandu Temple, and Margasari Temple. However, at the moment there is only one temple that is relatively intact, namely Dwarawati Temple. Dwarawati Temple. The shape of the Dwarawati Temple is similar to that of the Gatutkaca Temple, which has a rectangular base with a viewer on all four sides. The body of the temple stands on a shelf about 50 cm high. Stairs and entrances, which are located on the west side, are currently in a plain, carved state. In the middle of the temple's body wall on the north, east and south sides there is a kind of viewer room that jutted out to form a niche where the statue is placed. The top of the niche is curved and tapered at its peak. The niche is decorated with simple floral motifs. Likewise, the upper side of the wall of the viewer cubicle. The three niches on the temple's body wall are currently empty without statues. At first glance this temple also looks like a multi-storey building, because the shape of the roof is made the same as the body shape of the temple. On all four sides of the roof there are niches where statues are placed. At present, these niches are also empty. The top of the roof is no longer left so that its original form is unknown. In the front yard of the temple there is a stone structure that resembles a phallus and yoni. d. Candi Bima Bima Temple is located alone on a hill. This temple is the largest building among the Dieng Temple collection. The shape is different from the temples in Central Java in general. The foot of the temple has a square floor plan, but because on each side there is a viewer that sticks out a bit, so it's as if the floor plan of the Bima Temple is octagonal. The viewer on the front protrudes about 1.5 m, functioning as the viewer chamber leading to the main chamber in the body of the temple. Viewers on the other three sides form a niche where the statue is placed. At present everything is empty. Not a single statue remains. The shape of the roof of the temple consists of 5 levels, each level follows the curve of its body shape, getting smaller and smaller. Each level is decorated with double padma seams and kudu niches. Kudu is a half-body statue that looks as if it is looking out. This kind of decoration is also found in Kalasan Temple. The top of the roof has been destroyed so that its original shape is unknown. Source: http://candi.pnri.go.id/jawa_tengah_yogyakarta/dieng/dieng.htm
Jakarta (DreamLandLibrary) - Pawon Temple is located in Borobudur Village, Borobudur District, Magelang Regency, Central Java Province. The temple which has another name Brajanalan Temple is about 2 km to the northeast of Borobudur Temple and 1 km to the southeast of Mendut Temple.
The location of Mendut Temple, Pawon Temple and Borobudur Temple in accordance with one straight line underlies the notion of this temple.
In addition, the similarity of sculpture motifs in the three temples also underlies the involvement of the linkages between the three. Poerbatjaraka, even those representing the Pawon temple represent the upa angga (part of) the Borobudur Temple.
The name "Pawon" itself, according to most people, comes from the word pawuan which means a place to store awu (ash). In the room in the body of the Pawon Temple, it was thought to have originally been regarded as a Bodhhisatwa Statue, as a form of respect for King Indra who had received the Bodhisattva status, so the Bodhisattva statue was provided.
In the Central Karang Inscription it was published that the statue was issued wajra (ray). This statement raises suspicions that this statue was made of bronze.
According to Casparis, Pawon Temple is a storage place for the remains of Raja Indra (782 - 812 AD), the father of King Samarrattungga from the Syailendra Dynasty. The name "Pawon" itself, according to most people, comes from the word pawuan which means a place to store awu (ash).
In the room in the body of the Pawon Temple, it was thought to have originally been regarded as a Bodhhisatwa Statue, as a form of respect for King Indra who had received the Bodhisattva status, so the Bodhisattva statue was provided. In the Central Karang Inscription it was published that the statue was issued wajra (ray). This statement raises suspicions that this Bodhisattva statue was made of bronze.
Batur temple as high as about 1.5 m base square, but the edges are made winding to make 20 angles. Wall decoration with floral designs, such as flowers and tendrils. Slim body shape of Pawon Temple.
The entrance to the room in the body of the temple is located on the west side. Above the doorway there is a Kalamakara ornament without a lower jaw. The stairs to the hall are equipped with stair cheeks with sculptures on the outer walls. The dragon's headdress on the base of the stairs' cheeks has been damaged. The room in the temple's body is currently empty, but on the floor there are visible marks that indicate that there was a statue in that place.
On the front wall of the temple, to the north and south of the entrance, there is a niche containing a sculpture depicting the Kuwera (God of Wealth) in a standing position. The sculptures on the south side of the door have been damaged so that they are no longer visible. The carving on the north door is still relatively intact, only the head part has been destroyed.
On the north and south walls of the temple there is the same relief, which depicts Kinara and Kinari, a pair of human-headed birds, standing flanking a Kalpataru tree that grows in a pot. Around the tree are several money bags. In the sky looked a pair of humans who were flying. At the top of the wall there is a pair of small windows that function as ventilation. Between the two ventilation holes, there is a kumuda sculpture.
The roof of the temple is square-shaped and is decorated with several small dagobas (domes) on each side. The roof top is decorated with a larger dagoba.
Jakarta (DreamLandLibrary) - Baka Temple is located about 3 km to the south of Prambanan Temple or about 19 km to the south of the city of Yogyakarta.
Ratu Baka Temple area, located on a hill with a height of ± 195.97 m above sea level, includes two villages, Sambirejo Village and Dawung Village.
Ratu Baka site is actually not a temple, but the ruins of a kingdom. Therefore, Ratu Baka Temple is often called Ratu Baka Palace.
It was called the Baka Palace, because according to legend the site was the palace of Ratu Baka, Lara Jonggrang's father. The word 'kraton' comes from the word Ka-ra-tu-an which means the royal palace.
It is estimated that the Ratu Baka site was built in the 8th century by the Buddhist Syailendra Dynasty, but was later taken over by the Hindu Mataram kings. The 'owner' transition caused the building of the Palace of Baka to be influenced by Hinduism and Buddhism.
Ratu Baka's palace was first discovered by Dutch archaeologist HJ De Graaf in the 17th century. In 1790 Van Boeckholtz rediscovered the ruins of the ancient building.
His findings were published so that it attracted the interest of scientists such as Makenzie, Junghun, and Brumun who took notes on the site in 1814. In the early 20th century, the site of Ratu Baka was reexamined by FDK Bosch. The results of his research were reported in an article titled Keraton Van Ratoe Boko.
When Mackenzie conducted a study, he found a statue depicting a man and a woman with a head with a hug. And among the pile of stones was also found a stone pillar illustrated by animals, such as elephants, horses and others.
On the site of Ratu Baka, an inscription dating to 792 AD was called the Abhayagiriwihara Inscription. The contents of the inscription underlie allegations that the Kingdom of Ratu Baka was built by Rakai Panangkaran. The Abhayagiriwihara inscription was written using han pranagari, which is one of the characteristics of Buddhist inscriptions.
The inscription stated that Raja Tejapurnama Panangkarana, who was thought to be Rakai Panangkaran, had ordered the construction of the Abhayagiriwihara. The same name is also mentioned in the Kalasan Inscription (779 CE), Prasati Mantyasih (907 CE), and the Central Wanua Inscription III (908 CE). According to experts, the word abhaya means without hagaya or peace, giri means mountain or hill.
Thus, Abhayagiriwihara means a monastery that was built on a peaceful hill. During the Rakai Walaing Pu Kombayoni government, in 898-908, Abhayagiri Wihara changed its name to Kraton Walaing.
Ratu Baka Palace, which occupies a large enough area, consists of several building groups. Most of them are now in ruins.
Gate The entrance gate to the tourist area of Ratu Baka is located on the west side. This group of gates is located in a high enough place, so that from the vehicle parking lot, people have to go up the road for about 100 m. The entrance consists of two gates, the outer gate and the inner gate. The inner gate, which is larger, is the main gate.
The outer gate consists of 3 gates of Paduraksa which run north-south, coinciding facing east. The largest gate, which is the main gate, is located between two gates. The three gates are located on a high terrace, so to get to the terrace of the terrace one must climb two stone steps, each as high as about 2.5 m. The terrace walls are given reinforcement in the form of plaster made of andesite stones. None of the three gates whose roof is still intact, so that its original form is unknown.
About 15 m from the outer gate stands the inner gate or the main gate. This gate consists of 5 paduraksa gates that line parallel to the outer gate. The main gate is flanked by two flanking arches on each side. Although the inner gate consists of five gates, only three stairs are available. Two small clamp staples are not connected to the stairs. The ascending stairs are equipped with stair cheeks with 'ukel' (coil) decorations at the base and giant heads at the top of the stairs' cheeks. The outer walls of the cheeks of the stairs are also decorated with sculptured motifs of flowers and tendrils. The main gate roof is gone so that its original shape is not known, but the roof of the flanking gate is still intact in the form of a pyramid with a peak in the shape of a ratna. Batukapur Temple About 45 m from the first gate, to the northeast, there is a 5x5 m2 foundation built of limestone. It is estimated that the walls and roof of the original building were not made of stone, but rather from other materials which were easily damaged, such as wood and shingles or ordinary tile. Burning temple The burning temple is in the form of a 3m terraced terrace. It is located about 37 m to the northeast of the main gate. The building has a square base with an area of 26 m2. The second terrace is narrower than the first terrace, so it forms a corridor around the second terrace. The surface of the upper terrace or second terrace is a lawn. The second wall of the terraces is reinforced with a sheet stone sheet pile. On the west side there is a stone staircase equipped with stair cheeks. In the center of the second terrace is a square well with a size of 4X4 m2 which is used as a cremation site. In the southeast corner of the burning temple there is an old well that is said to be a source of holy water. Paseban Paseban is a Javanese word meaning place to face the king (seba = facing). This building is located about 45 m to the south of the limestone. Paseban is a terrace built of andesite stone with a height of 1.5 m, width 7 m and length 38 m, stretching north-south direction. The stairs going up to the Paseban floor are located on the west side. In various places on the surface of the floor found 20 piles of foundations on which to anchor building poles) and 4 grooves that are thought to be the former site of a parapet. Pendapa About 20 m from paseban, south of the gate, there is a 3 m high stone wall which encloses a land with a length of 40 m and a width of 30 m. On the north, west and south sides of the fence there is an entrance in the form of a paduraksa gate (roofed gate). In some places on the outside of the wall there are drains, called jaladwara. Jaladwara is also found in the temples of Banyuniba and Barabudhur. Within the stone fence there are two terraces which were built using andesite stones. Along the edge of the wall and between the two terraces there is a stone floored alley. The first terrace called pendapa, shaped like a square stage as high as 1.46 m, with an area of 20 m2. In Javanese, pendapa means a living room or a stretch of roofed floor which is generally located at the front of the house. The stairs going up to the pendapa are on the northeast and northwest sides. On the surface of the pendapa floor there are 24 stone pedestals. The second stone, called 'pringgitan' is located south of the pendapa. Pringgitan means indoor or sitting room. This pringgitan also has a rectangular shape with an area of 20 X 6 m. On the surface of the pringgitan floor, 12 stones were found. Place of worship Outside the pendapa wall, to the southeast, there is a stone terrace that is still intact. At the end there are 3 small temples which are used as a place of worship. The building in the middle, which is larger than its two flanking temples, is a place to worship Lord Vishnu. The two temples flanking it, respectively, are places of worship for Shiva and Brahma. Keputren Keputren which means the place where the daughters live is located east of the pendapa. The environment of the Keputren with an area of 31 X 8 m is limited by a 2 m high stone fence, but most of the stone fence has collapsed. The entrance, in the form of a paduraksa gate with Kalamakara decoration above the threshold, is located on the east and west sides. The environment is divided by a stone wall which has a connecting door. In the first environment there are 3 square-shaped ponds. One is square, larger than the other two ponds. Two longer ponds form a rectangle stretching north-south. In the environment adjacent to where the three square ponds above are located, there are 8 circular ponds lined up in 3 rows. Cave
On the hillside where the Ratu Baka region is located, there are two caves, called Gua Lanang and Gua Wadon (male and female caves). Lanang Cave which is located in the northeast of 'Paseban' is a square tunnel with a height of 1.3 m, width 3.7 m and 2.9 m deep. Inside the cave, each on the left, right and back sides, there are niche like cubicles. On the cave wall there is a sculpture shaped like a rectangular frame. Mackenzie found a statue in front of the Lanang Cave.
Wadon Cave which is located about 20 m to the southeast of 'Paseban' is smaller than Lanang Cave, which is 1.3 m high, 3 wide and 1, 7 m deep. At the back of the cave there is a niche like a booth.
Jakarta (Dreamland Library) - Located about 3 km to the south of the Prambanan Temple or about 19 km to the south of the city of Yogyakarta. Ratu Boko Temple area is located on a hill with a height of ± 195.97 m above sea level, covering two villages, Sambirejo Village and Dawung Village.
Ratu Boko site is actually not a temple, but the ruins of a kingdom. Therefore, Ratu Boko Temple is often called Ratu Boko Palace. It is called the Boko Palace, because according to legend the site is the palace of Ratu Boko, Lara Jonggrang's father. The word 'kraton' comes from the word Ka-ra-tu-an which means the royal palace. It is estimated that the Ratu Boko site was built in the 8th century by the House of Syailendra
Ratu Boko's palace was first discovered by Dutch archaeologist HJ De Graaf in the 17th century. In 1790 Van Boeckholtz rediscovered the ruins of the ancient building. His findings were published so that it attracted the interest of scientists such as Makenzie, Junghun, and Brumun who took notes on the site in 1814. At the beginning of the 20th century, the site of Ratu Baka was scrutinized by FDK Bosch. The results of his research were reported in an article titled Keraton Van Ratoe Boko.
When Mackenzie conducted a study, he found a statue depicting a man and a woman with a head with a hug. And among the pile of stones was also found a stone pillar illustrated by animals, such as elephants, horses and others.
On the site of Ratu Boko found an inscription dating to 792 AD called the Abhayagiriwihara Inscription. The contents of the inscription underlie allegations that the Kingdom of Ratu Boko was built by Rakai Panangkaran. The Abhayagiriwihara inscription was written using pranagari script. The inscription stated that Raja Tejapurnama Panangkarana, who was thought to be Rakai Panangkaran, had ordered the construction of the Abhayagiriwihara. The same name is also mentioned in the Kalasan Inscription (779 CE), Prasati Mantyasih (907 CE), and the Central Wanua Inscription III (908 CE).
According to experts, the word abhaya means without hagaya or peace, giri means mountain or hill. Thus, Abhayagiriwihara means a monastery that was built on a peaceful hill. During the Rakai Walaing Pu Kombayoni government, in 898-908, Abhayagiri Wihara changed its name to Kraton Walaing. Ratu Boko Palace which occupies a large enough area consists of several building groups. Most of them are now in ruins.
Gate The entrance gate to the Ratu Boko tourist area is located on the west side. This group of gates is located in a high enough place, so that from the vehicle parking lot, people have to go up the road for about 100 m. The entrance consists of two gates, the outer gate and the inner gate. The inner gate, which is larger, is the main gate.
Reference: candi.pnri.go.id Source: http://www.candi.web.id/candi-ratu-boko/ Photo: Special
Jakarta (DreamLandLibrary) - Literacy / Letters, based on written evidence contained in the inscriptions of the 5th Century AD, it appears that the Indonesian people have known Pallawa letters and Sanskrit.
The Pallawa letters that have been Indonesian are known by the name Kawi. Since the Dinoyo inscription (760 AD), the Kawi letter has been used in Indonesia, and Sanskrit is no longer used in the inscription, but the Kawi language is used. Dinoyo inscription is closely related to the Temple of the Clown in Malang.
Professor J.G. de Casparis from the Netherlands, a paleographer or literary historian, said that the hanacaraka script was divided into five main periods, namely: The Pallawa Script The Pallawa Script comes from South India. This type of script began to be used around the 4th century and the 5th century AD. One proof of the use of this type of script in the archipelago is the discovery of the Yupa inscription in Kutai, East Kalimantan. This script is also used in Java, namely in the Tatar Sundha in the Tarumanegara Inscription written around 450 AD in the land of Java itself, this script is used in the Tuk Mas Inscription and the Canggal Inscription. The Pallawa script is the mother of all scripts in the archipelago, including the hanacaraka script. If you pay attention, the Pallawa script is rectangular in shape. In English, this case is referred to as box head or square head-mark letters. Although the Pallawa script has been used since the 4th century, the original Nusantara language has not been written in this script.
Kawi Wiwitan script The difference between the Kawi Wiwitan script and the Pallawa script is mainly in the style.
The Pallawa script is known as one of the monumental scripts, the script used for writing on stone inscriptions.
The Kawi Wiwitan script is mainly used for writing on the palm leaf, therefore the form is more cursive. This script was used between the years 750 AD to 925 AD Inscriptions written using this script are very large in number, approximately 1/3 of all inscriptions found on the island of Java. For example in the Plumpang inscription (in the Salatiga area) which was more or less written in the year 750 AD This inscription is still written in Sanskrit.
Aksara Kawi Pungkasan About after the year 925, the center of power on the island of Java was in the area of East Java. This transfer of power also affects the type of character used. The usage period of the Kawi Pungkasan script is approximately from 925 AD to 1250 AD. Actually, the Kawi Pungkasan script is not too much different from the Kawi Wiwitan script, but the style has become somewhat different. On the other hand, the style of script used in East Java before the year 925 AD has also been different from the style of script used in Central Java. So this difference is not only a difference in time, but also in a different place.
At that time four different styles of characters could be distinguished, namely; 1) Wet Javanese Kawi Script in 910-950 AD; 2) the Javanese Kawi Wetanan script during the era of King Airlangga in 1019-1042 AD; 3) Kawi Javanese Script Wetanan Terminated approximately in the year 1100-1200 AD; 4) Upright scripts (quadrate script) are still in the kingdom period Ended in 1050-1220 AD Majapahit script In the history of the Archipelago in the period between 1250-1450 AD, marked by the dominance of the Majapahit Kingdom in East Java. The Majapahit script also shows the influence of the writing style in the horizontal and the shape is more beautiful with a semi-calligraphic style. The main example of this writing style is found in the Singhasari Inscription which is estimated in 1351 AD The writing style of the Majapahit style is approaching the modern style.
Post Majapahit Script After Majapahit era, which according to history began in 1479 until the end of the 16th century or early 17th century AD, was a dark period in the history of Javanese script. Because after that until the beginning of the 17th century AD, almost no evidence was found for the use of Javanese script, suddenly the Javanese script became a modern form.
However, inscriptions were also found to be a missing link between the Hanacaraka script from the ancient Javanese era and the Buddhist script which is still used today in Java, especially around Mount Merapi and Mount Merbabu until the 18th century. This inscription is called the Ngadoman Inscription which was found in the Salatiga area. However, the oldest examples of Buddhist script used are from West Java and are found in texts that describe Kakawin Arjunawiwaha and Kunjarakarna. The Emergence of the New Hanacaraka Scriptures After the Majapahit era, the era of Islam and also the era of Western Colonialism in the land of Java. This era appears the first manuscript manuscripts that have used the new Hanacaraka script. These manuscripts are not only written on palm leaves (palm or palm) anymore, but also on paper and in the form of a book or codex (kondheks). These manuscripts were found in the north coast of Java and were brought to Europe in the 16th or 17th century.
The form of the new Hanacaraka script is different from the previous one like the Majapahit script. The main difference is called additional serifs in the Hanacaraka stone script. These early Hanacaraka characters are all similar in shape from western Banten to Bali. However, in the end some regions did not use the hanacaraka script and pindhah used the pegon and the hanacaraka style script which became the standard of Durakarta. But of all the characters, Balinese script whose form remained the same until the 20th century. Pallawa script is used in the archipelago from the 4th century to approximately the 8th century. Then the Kawi Wiwitan script was used from the 8th century to the 10th century, especially in Central Java [2]. source: http://sanggarseo.blogspot.com/2011/03/sejarah-dan-arti-huruf-aksara-jawa.html http://rozieqien.blogspot.com/2009/04/sejarah-aksara-jawa-legenda-hanacaraka.html [1] Anonimousc. 2009. Hanacaraka Saka Wikipedia, Free Encyclopedia Ing Basa Java. Http: //www.wikipedia.com. Accessed February 12, 2009 Pg. 3 [2] Anonimousc. 2009. Hanacaraka Saka Wikipedia, Free Encyclopedia Ing Basa Java. Http: //www.wikipedia.com. Accessed February 12, 2009 Pages 3-5
A. Prof. Dr. Poerbacaraka Previously Javanese did not recognize letters. The communication tools used are verbal and with one another there are differences, so if it is not within the scope of one's own village to make communication difficult. Then came new knowledge namely the Palawa letter which is now in its development known as the Javanese letter. And that indicates that the Indian civilization is more advanced than the Javanese with the alleged origin of the letter. B. Palaography Study (science of ancient letters) Javanese letters experienced a development that was quite tiring so that it finally became what it is today. The division of development is as follows;
The first Palawa letter, used before 700 AD, supporting evidence is the Tugu inscription in Bogor
The last Palawa letter, from the VII century to the middle VIII century, supporting evidence is the Canggu inscription in Kedu Magelang.
The first Old Javanese letter, used in 750 to 925 AD, supporting evidence is Polengan inscription, Kalasan Yogyakarta. This means that in the last VII century, the Palawa Letters had been rivaled by the emergence of the first Old Javanese Letters. This does not mean there are no two letters! but there are some Palawa Letters that have shifted their form and pronunciation, and so on, the letters and letters of Palawa are disappearing and completely depleted before the middle of VIII century. One easy example, many people now use the letter r in their handwriting using an out of place R.
The last Old Javanese letter, used in the year 925-1250 AD supporting evidence is the Airlangga inscription.
Old Javanese letters under the Majapahit Government, used in 1250-1450 AD, supporting evidence is Singosari & Malang inscriptions, and ron-tal (ron = tal leaf = palm tree) or also often called KONTARARARAR LONTAR fiber.
The new Javanese letters, used in 1500-present, supporting evidence is the BONANG book. This letter was tolerated during the Demak Government which was supported by most of the saints in this land of Java.
4. Kahuripan * Airlangga (1019-1045), established an empire in the Medang ruins * (Airlangga later split the Kingdom of Kahuripan into two: Janggala and Kadiri)
5. Strange * (genealogy of Janggala kings until 1116)
6. Attend * (The genealogy of the Kadiri kings is unknown until 1116) * Kameswara (1116-1135), reunited Kadiri and Panjalu * Jayabaya (1135-1159) * Rakai Sirikan (1159-1169) * Sri Aryeswara (1169-1171) * Sri Candra (1171-1182) * Kertajaya (1182-1222)
7. Singhasari * Tunggul Ametung (1222) was killed by Ken Arok. * Ken Arok (1222-1227) * Anusapati (1227-1248) * Tohjaya (1248) * Ranggawuni (Wisnuwardhana) (1248-1254) * Kertanagara (1254-1292)
8. Majapahit * Raden Wijaya (Kertarajasa Jayawardhana) (1293-1309) * Jayanagara (1309-1328) * Tribhuwana Wijayatunggadewi (1328-1350) * Hayam Wuruk (Rajasanagara) (1350-1389) * Wikramawardhana (1390-1428) * Suhita (1429-1447) * Dyah Kertawijaya (1447-1451) * Rajasawardhana (1451-1453) * Girishawardhana (1456-1466) * Singhawikramawardhana (Suraprabhawa) (1466-1474) * Girindrawardhana Dyah Wijayakarana (1468-1478) * Singawardhana Dyah Wijayakusuma (according to Pararaton being King Majapahit for 4 months before dying suddenly) (? - 1486) * Girindrawardhana Dyah Ranawijaya alias Bhre Kertabumi (allegedly as Brawijaya, according to Tome Pires's Book of Pararaton and Suma Oriental by 1513) (1474-1519)
9. Demak * Raden Broken (1478 - 1518) * Pati Unus (1518 - 1521) * Sultan Trenggono (1521 - 1546) * Sunan Prawoto (1546 - 1561) 10. Sultanate of Pajang * Jaka Tingkir, titled Sultan Hadiwijoyo (1549 - 1582) * Arya Pangiri, titled Sultan Ngawantipuro (1583 - 1586) * Prince Benawa, titled Sultan Prabuwijoyo (1586 - 1587)
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