Showing posts with label Yogyakarta Tourism. Show all posts
Showing posts with label Yogyakarta Tourism. Show all posts

Tuesday, May 25, 2010

The Palace/Keraton Yogyakarta

The palace court with its grand and elegant Javanese architecture lies in the center of the city. Prince Mangkubumi founded the palace in 1755. The Prince then was called Sri Sultan Hamengkubuwono I and he chose the right location of the compound between Winongo River and Code River. The palace stretches out from north to south. The front yard is called alun-alun Utara (the North Square), and the back yard is called Alun-alun Selatan (the South Square). The layout of the buildings shows that the Palace, the commemorative column and Mount Merapi lie in one line. The palace meeting hall is called Pagelaran, where formal meetings of palace officials are held, while the "Manguntur Tingkil" hall is the place where the Sultan is seated.

The visitors can enjoy the atmosphere of the kraton in former times by visiting the life-size diorama of wedding ceremonies on the palace meeting hall, performed by puppets, which are intentionally arranged to create such an atmosphere. Sets of Javanese musical instruments, antiques and heirlooms have made the palace of Yogyakarta worth to visit. Many sets of gamelan music instruments, antiques, and heirlooms make the palace of Yogyakarta the most interesting tourist attractions in Yogyakarta. The palace of Ngayogyokarto Hadiningrat is now the dwelling place of Sultan Hamengku Buwono X and the family.

West of the palace, there is Water Castle, built in 1758 by the prince, Sultan Hamengkubuwono I. The Water Castle is located in the older part of the city within walking distance from the Bird Market. Part of the pleasure garden and castle is at present no more than an intriguing collection of ruins, pools, arches and underground passages enclosed by massive walls, however, the central courtyard with the nymph-baths has been restored. A number of batik workshops line the avenue leading to the pleasure garden's entrance.

read more...

Prambanan Temple

This is the most famous and also the most magnificent of Central Java's temples or more precisely complex of temples. Situated about 15 kilometers from Yogyakarta, the top of the main shrine is visible from a great distance and rises high above the scattered ruins of the former temples. Prambanan is the masterpiece of Hindu culture of the tenth century. The slim building soaring up to 47 meters makes its beautiful architecture incomparable. Seventeen kilometers east of Yogyakarta, King Balitung Maha Sambu built the Prambanan temple in the middle of the ninth century. Its parapets are adorned with bas-reliefs depicting the famous Ramayana story. This magnificent Shivaite temple derives it name from the village where it is located.

Prambanan Temple is locally known as the Roro Jonggrang Temple, or the Temple of the "Slender Virgin", it is the biggest and most beautiful Hindu temple in Indonesia. The temple complex of Prambanan lies among green fields and villages. It has eight shrines, of which the three main ones are dedicated to Shiva, Vishnu and Brahma. The main temple of Shiva rises to a height of 130 feet and houses the magnificent statue of Shiva's consort, Durga. There are 224 temples in the complex; three of them, the main temples are Brahma Temple in the north, Vishnu Temple in the south, and the biggest among the three which lies between Brahma and Vishnu temples is Shiva Temple (47 meters high).

Two theatres have provided the temple. Enjoy sunrise behind the glory of Prambanan Temple. Visitors should be at the location - in the area of The Open Air Theater and archaeological park of the temple - before sunrise at about 5:00 o'clock in the morning. The First open-air theatre was built on the southern side of the temple in 1960 and the second was built on the western side of the temple in 1988. During full moon evenings in the month from May to October, the Ramayana ballet is performed right here. Perhaps one of the most majestic temples in the South-East Asia, Prambanan attracts many admirers each year from abroad.

read more...

Thursday, May 6, 2010

Kekayon Museum

KEKAYON MUSEUM, TURNING ON THE RECORD OF INDONESIAN HISTORY

The video recording describing the history of Indonesian nation may be seen often, but a recording in the form of a replica accounting for Indonesian history from old time to the independence proclamation is rarely seen, moreover a recording containing the history of the puppet art from the sixth to tenth centuries. Kekayon museum presents the rare recording in the location of its foundation, around 1 kilometer of the East Ring Road.

The museum that describes the history of Indonesian nation as well as the puppet history was founded on 23 July 1990 by Soedjono Prawirohadikusumo, a specialist doctor of mentally sick people. He believed that the art of leather puppet was able to bring someone to understanding of knowledge and manners to come to maturity in the sense that one can transform his knowledge to the next generation.

Entering the yard of the museum, you begin to turn on the recording of the Indonesian history. At the left, front corner of the museum, there is a building complex of the ancient human beings describing the origin of Indonesian people. Not far from it, an Austronesia complex describes the entrance of the new civilization to Indonesia so that agriculture and trading developed, especially thanks to the arrival of Chinese people.

At the front part of the museum, there is Borobudur lion statue, symbolizing the entrance of Hindu Buddha culture in the first - seventh centuries with Borobudur temple being the top of their culture. Water tower complex with the roof forming a temple lies at the right, rear of the museum, describing the triumph of Majapahit that succeeded in uniting almost all Indonesian current areas, even up to the current Malaysia and Thailand.

The symbol of Islam civilization advancement as the next historical scene in Indonesia after the triumph of Hindu Buddha is symbolized by Kudus Tower. Meanwhile, Pancuran Bidadari complex that is located at the left, center of the museum symbolizes the influence of the Dutch nation that colonized Indonesia for 350 years. The two complexes reflect the events taking place in Indonesia in the sixteenth century.

Replica of one scene of leather puppet art development is also made, in the form of Gunungan Kartasura that is located at the left, rear of the museum, describing the completion puppet stories in the eighteenth century by an artist of Surakarta Kingdom named Yododiupro from Kakawin Ramayana to become Serat Ramayana. Baleranu Mangkubumi complex, Japan statue and Proclamation statue symbolize the scene of Indonesian history before the independence.

Entering the room of the museum consisting of 4 parts, you will see collection of various leather puppets owned by Soedjono. There is a collection of the oldest leather puppets, namely wayang purwa or the first leather puppets that were performed since the era of Kediri Kingdom. The available wayang purwa are those made from buffalo skin with and without accessories. Room 1 and 2 are the places to keep the puppet collection.

Room 3 keeps other kinds of puppet, for instance Wayang Madya that existed in Kediri-Majapahit time, telling the time after Bharatayudha war.

Besides, there are gedhog puppets telling the story of Dewi Candrakirana, klithik puppet telling Damarwulan and Minakjinggo, Dupara puppet telling the struggle of Diponegoro and Suluh puppet that tells the struggle of Indonesian people to get the independence.

What is unique is that this museum keeps Wayang Kancil telling the legendary story of a mouse deer that stole cucumber, a puppet story that was adapted to become a famous story among old and young people. There are two kinds of Wayang Golek originating from West Java, and statues of some puppet characters such as Dewi Shinta and Rahwana.

In this museum, you can match your zodiac with the characters in the puppet world and foresee your character through a poster hanging on the wall that you can read clearly. There is another poster describing the war strategies used during Brathayuda war, by both Pandawa and Kurawa, which were successfully implemented to defeat the enemy. Some of the strategies are lobster pincer and elephant strategies.

You do not have to spend much to visit this museum. The entrance ticket is IDR 3,000 and additional IDR 2,000 for guidance book. Before begin your exploration, a guide will explain to you about the history and parts of the museum. Public transportation is easy to find to reach this place.

read more...

Affandi Museum

AFFANDI MUSEUM, VISITING THE PALACE OF A MAESTRO

Visiting Affandi Museum that is located on Jalan Raya Yogyakarta - Solo, or by the west bank of Gajah Wong River, give an opportunity for you to trace all meaningful parts of Affandi's life. You can see the great works when he was alive, the works of other painters that he kept, the vehicles that he used in the past, the house where he used to live and a gallery that now functions as a place to educate gifted children in painting.

The complex of the museum consists of 3 galleries with gallery I as the ticket box and the starting point of your exploration. Gallery I that was personally opened by Affandi in 1962 and was inaugurated in 1974 contains some of his paintings from the early time of his work to the late time of his life. The paintings most of which are sketches and reproductions are placed in two rows - upper and lower - that fill the curved room.

Still in Gallery I, you can see valuable things belonging to Affandi. At one corner of the room, there is a 1976 Colt Gallant car in greenish yellow color that was modified to form a fish, and an old wind-cycle as his means of transportation. The reproduction of the statue of Affandi and her daughter, Kartika, is shown as well.

Entering Gallery II, you will see paintings by different painters, both junior and senior ones. The gallery that was inaugurated in 1988 consists of two floors with paintings that you can see from different angles. The first floor is full of abstract paintings and the second floor contains realist-style paintings.

Gallery III as the next destination is a unique building of which roof resembles banana leaf. The three-stories floor is a multifunction gallery with the first floor functions as an exhibition room as well as the location of "Gajah Wong Gallery" for children who sharpen their painting ability, the second floor functions as paintings treatment and restoration room, and the room underground is utilized to keep painting collections.

There is a tower close to Gallery III where you can see the scenery of the entire museum, Gajah wong River and the hurly-burly of the main street. Walking to the west, you will come to a house with unique architecture where Affandi and his family used to live.

The house was built with the concept of a stage-house with concrete as the main pillars and other poles are from wood. The roof is shingle roof forming banana leaf and the shape of the building is uniquely curving. The ground floor is used for Kafe Loteng where you can buy foods and drinks and the upper floor is personal room of Affandi's.

At the left side of the house, there is a cart functioning as a place for praying. The cart used to be the resting place for Affandi's wife, Maryati. Initially, Maryati wanted a caravan as the ones used by many Americans as a mobile living place. Affandi agreed to the concept but with more Indonesian style, namely a cart.

Before leaving the museum, take a little time to visit the tomb of the maestro who passed away on 23 May 1990. The tomb lays between Gallery I and II. The eternal home of Affandi's lays beside his wife's eternal home. The yard of the homes is decorated by lushness of rose trees.

In order to visit Affandi Museum, you only have to spend IDR 10,000 for domestic tourists and IDR 20,000 for foreign tourists and additional IDR 10,000 for taking photographs.

read more...

Panggung Krapyak

PANGGUNG KRAPYAK, WHERE THE KINGS WENT HUNTING

It was told that Krapyak area, which is now located to the south of Yogyakarta Kingdom, was a dense forest. There were various kinds of wild animals, one of them was deer or in Javanese language it is called menjangan. It is not surprising that this area was used as a place to go hunting by the kings of Mataram.

Raden Mas Jolang who was called Prabu Hanyokrowati, the second king of Islamic Mataram Kingdom and the son of Panembahan Senopati, was one of the kings utilizing the Krapyak Forest as a hunting place. In 1613, he got an accident while hunting and died here. He was buried in Kotagede and was named Panembahan Seda Krapyak (that means the king that died in Krapyak Forest).

The other king who was fond of hunting in Krapyak Forest was Pangeran Mangkubumi (Sultan Hamengku Buwono I). He constructed Panggung Krapyak 140 years after the demise of Prabu Hanyokrowati in this forest. Panggung Krapyak is a historical sign telling that Krapyak area was functioned as a hunting area in the past. If you are interested, you may visit the place by going southwards as far as 3 kilometers from the South Square or Alun-Alun Kidul, passing through Plengkung Gading and D.I Panjaitan Road. When you get there, you will see Panggung Krapyak in the middle of the street.

The architecture of this building is unique. Each side has one door and one window. The door and the window are without shutters. The base of the door and the window is square while the top part is arch as the design of the doors and windows of a mosque. In front of the door, there is one stair in the form of half-rounded.

Panggung Krapyak is divided into two floors. The ground floor functions as an entrance while the first floor functions as a hunting place. The two floors were connected by a wooden ladder that could be positioned in southwest and southeast parts of this building to enable the king to ascend it. Now, the ladder is not available so that we cannot access the first floor.

This building describes the comfort that the king obtained, even when he went hunting. The high building provides feeling of comfort and secure for the king; he should not have to worry to be attacked by wild animals while looking out the targets. The first floor is also a secure, wide, open place that is bordered with hollow walls of medium height. There might be the roof on the building but it disappears now.

In addition to functioning as a hunting place, some people tell that Panggung Krapyak also functioned as defending post of the Kingdom. From this place, the movement of the enemies from south direction could be detected to tell the Yogyakarta Kingdom if there would be an attack. Some soldiers were on guard in this post.

To the east of the stage, there is a pond that local people call it umbul. Unfortunately, the condition of the pond is not that good.

Visiting Panggung Krapyak means visiting one of the important buildings of Yogyakarta Kingdom. Panggung Krapyak is located in the imaginary line of Yogyakarta, connecting the Merapi Mountain, Tugu Jogja, Yogyakarta Kingdom, Panggung Krapyak and the South Ocean.

read more...

Tugu Jogja

TUGU JOGJA, THE MOST POPULAR LANDMARK IN YOGYAKARTA

Tugu Jogja is the most popular landmark of Yogyakarta. This monument is located right in the center of the crossroad between the Mangkubumi, Soedirman, A.M. Sangaji and Diponegoro roads. The Tugu Jogja that is almost 3 centuries old has a very deep meaning and it keeps some history records of Yogyakarta.

Tugu Jogja was built around one year after the construction of Yogyakarta Kingdom. At the early time of its construction, it clearly described the philosophy of the unity of God's creatures that means the spirit of togetherness of lay people and authorities to fight colonials. In Javanese term, the spirit of togetherness is called golong gilig that is clearly described in the construction of the monument: the pole is of gilig (cylinder) form and the top part is golong (rounded). This monument was known as Tugu Golong-Gilig.

In details, the monument was originally constructed in the form of a cylindrical pole with conical form upwards. The base is an encircling fence while the top is rounded. The preliminary height of the monument was 25 meters.

Everything changed when on Monday, 10 June 1867, a big earthquake in Yogyakarta ruined the monument. The collapse of the monument was the transition time when the unity was not really reflected on the monument.

The situation changed totally when in 1889 the Dutch government renovated the monument. The monument was constructed as a square with each side being decorated with a kind of inscription containing the names of people who were involved in the renovation. The top portion is no longer rounded but a pointed cone. The height of the monument is also lower, namely 15 meters. Since then, this monument was also called as De Witt Paal or Tugu Pal Putih (white pole monument).

The renovation of the monument was actually the tactic used by the Dutch colonial to erase the philosophy of togetherness between lay people and the king. Learning from the result of the struggle afterwards, however, the effort did not seem to be successful.

If we want to look at the monument satisfactorily while remembering its philosophical meaning, there are benches facing the monument on the corner of Mangkubumi Street. At 05:00 a.m. - 06:00 a.m. is the right time since the air is still fresh and not much passerby yet. Occasionally, the newspaper boy will greet us politely while riding his bicycle to go to the distribution office of the biggest local newspaper, the Kedaulatan Rakyat.

In the evening, we find the seller of gudeg (traditional menu cooked from young jackfruit) at the corner of Diponegoro Road. The gudeg sold here is delicious at reasonable price. You may have it in crossed-legs seating arrangement while looking at the view of the Tugu Jogja that is bathed with lights.

Being so identical of the Tugu Jogja to Yogyakarta makes many university students from outside of Yogyakarta to express their happiness after the graduation day by hugging and kissing the Tugu Jogja. That may also express their love to Yogyakarta that they will about to leave soon and at the same time say their promise to return to this city.

read more...

Sasmitaloka Museum

"My sons, Indonesian soldiers, you are not soldiers of fortune, but the ones with ideology, who are willing to struggle and to face danger for the glory of your country. Trust it and believe it, that the independence of a nation that is built upon a pile of ruins of thousands of souls and wealth of its people and nation, will never be able to be destroyed by anyone, no body!" (General Sudirman)


THE LIFE OF THE GURU

Bantarbarang village of Rembang Sub-District, Purbalingga Regency, Banyumas Residence witnessed the birth of little baby on Monday, 24 January 1916. His cries initiated the birth of a great character in the revolution of Indonesia. His father, Karsid Kartawiraji and Siyem, his mother, who gave birth to their children named him Sudirman. His step father, Raden Cokro Sunaryo, added 'Raden' in front of the name Sudirman.

After his formal education in Taman Siswa, he continued his study to HIK Muhammadiyah Solo. In 1934, Raden Sudirman who was active in Islamic Boy Scout Organization, Hizbul Wathon, became a headmaster in Muhammadiyah elementary school in Cilacap. Being a headmaster, he was open, was willing to listen to others' opinion and always gave solution to problems existing among teachers. Apart from being a headmaster, he also taught in Muhammadiyah Junior High School in Cilacap.

THE ROAD TO BECOME A GENERAL

Military career of Pak Dirman (his familiar address during the guerilla) started when he joined a training of PETA (Pembela Tanah Air / Country Defender) soldier officers in Bogor. After the training, he was then appointed a Daidancho (Commander of Daidan, equals to a battalion) in Banyumas.

Several months after the proclamation of Indonesian independence on 17 August 1945, Japanese troop was compelled by the Allied Forces to hand over the weapons to Indonesian soldiers. The unwillingness of Japan to hand over the country inventory caused them to shoot each other and took many victims from both sides. However, it did not happen in Banyumas. Thanks to the wisdom of Mr. Dirman (he was appointed the Commander of Division V/Banyumas with his title as a Major) in the meeting, there is no bloodshed in the process of weapons hand over. Due to his services and achievement, Pak Dirman who was tenacious, soft in speaking and fatherly in protecting his subordinates, was appointed as Commander of TKR (Tentara Keamanan Rakyat / People's Security Army) on 12 November 1945 and was inaugurated on 18 December 1945 by the President.

Pak Dirman was only 29 years old by that time but he was capable of being a leader who took quick decision with direct, firm follow up. He succeeded in incorporating various forces into Indonesian army, so that on 3 June 1947 he retained his General rank after TKR changed into TRI before finally it became APRI.

The road that General Sudirman took to sit in the highest position in APRI on 3 June 1947 was going through wars; from the independence war against Japan to pushing back the Allied Forces from Ambarawa (Palagan Ambarawa) to Semarang on 15 December 1945. After his position as a general, he did not just do nothing. He was carried on a sedan chair when he was ill while leading guerilla war against the Dutch troop. He set tactics for Military Aggression I and Military Aggression II at different places. This marathon travel as far as 1,000 kilometers for six months ended with the signing of Roem Royen Agreement. The Great Commander finally returned to Yogyakarta on 10 July 1949.

THE HISTORY OF THE GURU'S HOME

The house located on Jalan Bintaran Wetan No.3 Yogyakarta is the house where General Sudirman used to live and it now becomes Sasmitaloka museum of the Great Commander General Sudirman. Sasmitaloka in Javanese language means the place to remember, to commemorate. This museum is the place to commemorate services and sacrifices of General Sudirman.

This building that was constructed during the Dutch Indian government in 1890 has very long history. At the early time of its foundation, this historical building was meant for a finance officer of Paku Alam VII castle, Mr Winschenk. During Japanese colony this building was vacant and the goods were confiscated. In the independence time of the Republic of Indonesia, this building was used as the camp for Tukul Company of Suharto Battalion. Since 18 December 1945 until 19 December 1948 this became official residence of General Sudirman when he became the Highest Commander of TKR. Then, during the Dutch Aggression II it was used by the Dutch colony as the Camp of IVG T Brigade and after the sovereignty of the Republic of Indonesia on 17 December 1949, was used as the office of Yogyakarta Military Command, then dormitory for XII Infantry Regiment and invalid people respectively. On 17 June 1968 it was used as Infantry Central Museum until it was inaugurated as the Museum of Sasmitaloka General Sudirman on 30 August 1982.

EXPLORING SASMITALOKA

Entering Sasmitaloka museum from the north gate, visitors will see the inscription of the Great General Sudirman. In the front yard of the main building there is a monument of the Great General Sudirman. The monument is in the shape of a statue of Pak Dirman who is riding the horse with the writing on four sides as described earlier. On the northern part of the monument there is a machine gun and cannon on its southern side.

The main building has three doors in the front part and one door connecting to the hall at the back part. The main building consists of six rooms connecting one to each other. The front part is guest room. In the room where General Sudirman welcome his official guests there are six chairs and one table, one set each in the north part and the southern part. In between those two rooms there is a medal given to General Sudirman. At the back of the room, there is a living room that is located at the center of the main building that also functions as the room for guest room of General Sudirman family. In the living room there are two sets of chair and an old radio owned by General Sudirman. In the north part of the living room, visitors may enter the working room that is located in the west part connecting to the sleeping room in the east. In the working room, there are confiscated weapons and the weapons that General Sudirman used. In this room, YogYES stops a while to read the writing written by Buya Hamka about General Sudirman. In the south of the living room there is a General Sudirman's sleeping room that is adjacent to his daughters' sleeping room in the west. The hall that functions as dining room as well as the play ground where he plays and chats with his daughters is located to the east of the living room. The main building is arranged similarly to the condition when General Sudirman and his family were living there.

In the north wing of the main building there is a building with three rooms. The front room is secretarial room to keep chairs and table used by Lieutenant Colonel Sudirman when he was promoted to be the Highest Commander of TKR. Secretarial room is connected with Palagan Ambarawa room in the eastern part. In this room, there are weapons confiscated from Japanese soldiers that were used to fight against the Allied Forces in Palagan Ambarawa, and English weapons that were taken away in the war, and diorama of Palagan Ambarawa war. In the east of the room there is Panti Rapih room. There is a diorama in this room describing the room where General Sudirman was hospitalized in Panti Rapih hospital. There are also some equipments utilized during his treatment.

After seeing Panti Rapih room, visitors can see Sobo and Pacitan rooms, which are located at the eastern part of the building at the south wing of the main building. In this room there are simple weapons that they use during their guerrilla. The unity of the army and citizens was realized in their willingness to give their belongings to retain Indonesian independence. Adjacent to this room, at the west part, there is a diorama room of the guerilla. There are three dioramas picturing the commencement of the guerilla and the difficult struggle that they had to undergo to coordinate with the troops in local areas. There is also the sedan chair on which General Sudirman was carried during the guerilla. Next to it is the clothing room. One of the clothes collections that was always worn by General Sudirman is the wool mantel. In between diorama room and clothing room there is an alley on which wall hang some letters written by General Sudirman. Photographs of what General Sudirman did before guerilla until his demise and two sets of Pak Dirman's official clothes can be seen in photo and documentation room that is located at the west part of the building.

THE GREAT HERO IS GONE

17 August 1949 was a special day when the Independence Day was celebrated in Gedung Agung Yogyakarta after the return of Soekarno-Hatta from Bangka on 6 July 1949 and General Sudirman from his guerilla on 10 July 1949.

Based on the Round Table Conference on 27 December in Den Haag, Netherlands officially handed over the sovereignty of the Republic of Indonesia. Unfortunately, the Great General Sudirman could not see further result of his struggle. Tuberculosis virus gnawing his lungs after going in and out of forests for months finally defeated him. On 29 January 1950, the Great General died in a place provided for retired soldiers in Badakan, Magelang. He was then buried in the funeral for the patriots in Semaki, Yogyakarta.

The Great Commander is also a common human being. He has home and family to protect. Through this visualization, the museum tells more about the life of General Sudirman as a husband and father, and the highest leader in military. A general that never surrendered to colonies, even to the illness he suffered. Entering the museum seems like entering channel of time when the Great General Sudirman spent his days as a Leader.

read more...

Kasongan

KASONGAN, HUNTING CERAMICS IN KUNDI COMMUNITY

In the Dutch colonial time, in one of the areas at the southern part of Yogyakarta there was a shocking and even threatening occurrence with the finding of a dead horse owned by a Dutch detective on a rice field of a villager. Being afraid of punishment, the villager gave up his land ownership and did not acknowledge his land anymore. This was followed by other villagers. This given up land was then possessed by people of other village. Having no more fields to cultivate, the local people ended up with becoming ceramics craftsmen to make toys and kitchen sets until now. This was revealed in an interview by Prof. Gustami at all with local elders in 1980s.

It is that area that we know it as Kasongan until present time; a village in Kajen hamlet that is situated in low mountains with limestone soil. It takes 15-20 minutes drive from the city center.

Kasongan village is the dwelling place of kundis, which means earthenware jugs and later refers to people who make any earthenware jug-like as kitchen tools and ornaments.

"Beginning from our ancestor's habit to knead clay that turns out not to break when it is united, and begin to make some functions for kid toys and kitchen tools. The habit was then descended to current generation," said Giman, one of the workers in Loro Blonyo workshop.

Visiting Kasongan village, the tourists will be welcomed warmly by local inhabitants. They may have a look the showroom crowded with ceramic handicrafts. If they are interested in seeing the ceramics making, tourists can visit some ceramic galleries that produce the special handicrafts at site. The processes are material kneading, shaping, drying that takes 2-4 days and burning before finally being finished using wall paint or roof-tile paint.

Working collectively, a gallery is usually a family business run from generation to the next generation. Even though ceramics making is now involving neighbors of surrounding dwelling place of the gallery owner, the family is still responsible for material selection and production monitoring.

TOUCH OF MODERN DESIGN

At the beginning, these ceramics did not have style at all. The legend of the dead horse, however, inspired the craftsmen to create horse motifs on many products, especially the horses carrying earthenware goods or roof-tiles complete with bamboo basket placed on the horseback, in addition to frog, rooster and elephant motifs.

The entering modern influence and culture from outside through various media and the first introduction of Kasongan to public by Sapto Hudoyo around 1971-1972 with artistic and commercial touch and commercially sold in major scale by Sahid Keramik around 1980s enables tourists to see various ceramic motifs. Tourists can even order motifs to their like such as peacock, dragon, rose and others. The types of self production include so many forms. They do not only make kid toys (sounding toys, frog, and money box) and kitchen tools (kuali, pengaron, kendil, dandang, kekep, and others). Entering the gate of Kasongan village, you will see ceramics galleries that sell ornamental items alongside the street. The forms and functions have varied, from small ashtray to flower vase as high as one's shoulder. The ornamental goods either have functions or merely as ornament.

LORO BLONYO CERAMIC STATUE

One of famous ceramic displays is statue of a couple sitting in polite position. This statue is named Loro Blonyo at the first time by Loro Blonyo gallery owned by Walujo. This statue is adopted from a bridal couple owned by Yogyakarta Kingdom. In Javanese language, Loro means two or a couple, while Blonyo means to be made over through bathing and making up. "The real meaning of Loro Blonyo, however, is still in question among craftsmen in Kasongan," Giman said.

The existing belief of Loro Blonyo statue that brings luck and perpetual family life when located at home, as Giman told YogYES, brings positive impact on the sales of this statue. Some foreigners place order of special statues in certain forms such as dancer, guitar player, models and others. The clothes are not standard Javanese anymore; special clothes of some countries are adopted; statues in Balinese and Thailand clothes are found most. Some ceramic galleries sell this statue in different styles.

TOURISM VILLAGE

Since the end of the twentieth century, after economy crisis hit Indonesia, tourists may find other products other than earthenware goods. The entering of new comers who open galleries in Kasongan is one of the influences. They sell local products such as handicrafts from coconut tree, dried plants or shellfish. "Business catches up with trend and development, looking at opportunities," Giman adds. Earthenware goods, however, are main means of livelihood of local community. "We have the gift for that; furthermore we have no other skills. Most of us do not finish Senior High School. Only few of them," he adds.

Ceramic handicrafts with various forms and modern as well as artistic motifs and other handicrafts are magnets of Kasongan at present time. Kasongan is a tourism place full of stories and beautiful goods resulted from skillful hands of local community to knead clay.

Two months after the quake, many galleries in Kasongan begin to actively revive although some of them are still in reconstruction stage. By far, there is no more fear of both owners and workers. Local community expects tourists to visit Kasongan as they did before the quake.

read more...

Kotagede

KOTAGEDE, ENCHANTMENT OF AN OLD CITY

The victory of Ki Gede Pemanahan over Arya Penangsang who was in opposition to the King of Pajang was the beginning of the foundation of Mataram Islam Kingdom. Thanks to Ki Ageng Pemanahan who helped Pajang, the King of Pajang rewarded him a forest named Mentaok where he built Mataram Islam Kingdom in 1575 with his people called mentawisan.

AN OLD CITY AS CENTER OF SILVER HANDICRAFTS

Located around 10 kilometers at the southeastern part of Yogyakarta city center, the area is now well known as Kotagede as the center of silver handicrafts in Yogyakarta. Keeping around 170 old buildings built in 1700 to 1930, "Kotagede is not only named Silver City but an Old Capital City" as Achmad Charris Zubair, a Kotagede cultural observer, said.

Entering Kotagede from the north through Gedong Kuning, a small street framed with classical buildings along both sides look like an exotic opening for tourists after going through the gate.

Since entering Kotagede area, tourists begin to enjoy various kinds silver handicrafts at various prices sold at the front part of local people's house functioning as the gallery at the same time. Most of the houses are in traditional Javanese architecture called Joglo.

Silver handicraft is a culture descended by the ancestor to the next generations. Initially, handicrafts in Kotagede were made of gold, silver and copper. By the coarse of time, however, silver is most preferred. For the reason, craftsmen make more silver handicrafts until today. This handicraft is exported to foreign countries, mainly to Europe. Order is usually increasing by the year end.

Please drop by at the gallery to see various kinds of handicraft, ranging from jewelry, silver ornament and utensils that are made with artistic touch of Kotagede silversmiths. Warm smile and greeting are pleasant reception to begin the exploration through Kotagede.

THE TOMB OF OLD MATARAM KINGDOM FOUNDER

To the south village, there is a traditional market named Pasar Gede. Even though the architecture of the building is simple, the traditional market built in Panembahan Senopati time has been one of economy activities of mentawisan community. For this reason, Kotagede used to be known as Pasar Gede or Sargede.

Around 50 meters south of Pasar Gede on Masjid Besar Street, there is a gate with long fort protecting one of Mataraman triumph sites in the past that is still well taken cared of. Some banyan trees with long hanging roots telling its old age looks like the guardians of the sacred place. Passing through the second gate there is two-meter high wall with passages on both sides that cuts off the view of the third gate as the entrance to Masjid Agung (The Great Mosque) complex.

At the center of the complex, there is a Great Mosque surrounded by the houses of the court servants. The mosque was built by Sultan Agung with his local people - most of them were Hindus and Buddhists - so that much of the architecture adopted typical Hindu and Buddha architecture. One of it is the mosque gate that is carved like vihara. Most of the wooden carvings at each corner of the mosque are of Hindu and Buddha style. This is unique to the mosque. There is also a pulpit with unique carving in the mosque as tribute from Palembang Regent to Sultan Agung.

To the south of the mosque there is tomb complex of the predecessors of Mataram Kingdom and their families that used to be dwelling place of Ki Ageng Pemanahan.

Passing through the second gate there is a complex functioning as border as well as connecting line to the tomb and Sendang Saliran (place for bathing). There are office, warehose, bangsal pengapit lor (north framing hall) and bangsal pengapit kidul (south framing hall) in this complex.

To the west of the complex there is a gate leading to the tomb complex. Entering this complex, tourists must wear Javenese traditional clothes and say prayer before opening the tomb gate. Passing by around 720 tombs, tourists will be led to the main building where the Court Big Family was buried. Some of the predecessors are Nyai Ageng Nis and Pangeran Djoyo Prono who were grandparents of Panembahan Senopati, Ki Gede Pemanahan (the father of Panembahan Senopati), Panembahan Senopati and Kyai Wonoboyo Mangir, the son in law as well as enemy of Panembahan Senopati whose tomb is unique because part of it is outside the complex. The story tells that Kyai Ageng Mangir was killed by Panembahan Senopati with his head being bumped to the stone functioning as the throne of Panembahan Senopati. The stone is seen 100 meters away to the south of the mosque.

Muji, one of the court servants, tells YogYES that visitors usually say prayer in each tomb of the King to ask for blessing, safety and success.

Meanwhile, to the south of the tomb there is a place for bathing that is divided into Sendang Kakung for men and Sendang Putri for women. "Bathing in this place can cure some illness and gift of success and prosperity," Muji adds.

KALANG HOUSE

After religious visit to the tomb, visitors may visit one of the old houses built by the late Pawiro Suwarno, who was a rich entrepreneur in Kotagede, in 1920s. This house is well known as Rumah Kalang (Kalang House). Kalang are people invited by the King to become carvers of court jewelries.

The uniqueness of this Kalang House is unification of Javanese and European elements, namely joglo as the main building that is located at the back part and European model for the front part. This European building tends to be of baroque shape with Corinthian and Doric styles. The joglo building, especially the hall is not open as the joglo of Javanese house anymore; it is modified as being closed. Green and yellow colors of the relief are not Javanese colors anymore. The presence of colorful glasses as the mosaics connecting the pillars shows that this joglo has received other touch.

This house with mixture of Javanese and European styles now belongs to Ansor family and it is located 300 meters north of Pasar Gede. While enjoying the architecture beauty of the past time, tourists can buy silver handicrafts carved by skillful hands and enjoy delicious meals in Ansor family's house as the biggest silver gallery in Kotagede and a restaurant without changing the original shape of the house.

SPECIAL CUISINES AND MENUS

Talking about delicious meals, it is not complete yet before trying special menu of Kotagede, namely Sate Karang. This name is given after the name of the village that is Karang Village, where Prapto sells this food from evening till night. This is sweet, grilled beef with two uniqueness. First uniqueness is the choice of three sauces, namely peanut sauce, ketchup sauce and kocor sauce. Kocor sauce is chili sauce like the sweet sauce for rujak (mixed fruits). The second uniqueness is the beras kencur beverage (made of rice and greater galingale).

Before leaving Kotagede, do not forget to buy kipo, special food of Kotagede, made from rice flour and filled with sweet coconut grates, shaped as big as human fingers and served on banana leaf.

read more...

Malioboro

MALIOBORO, NOSTALGIA IN SOUVENIRS PARADISE

Stretching on imaginary poles connecting Yogyakarta Sultan Palace, Tugu and the peak of Merapi Mountain, this street forms trading locality after Sri Sultan Hamengku Buwono I developed means of trading through traditional market since 1758. After 248 years, the place still persists as a trading area; it even becomes the icon of Yogyakarta, known as Malioboro.

Located around 800 meters from Yogyakarta Sultan Palace, this place was always crowded with flowers each time the Palace held ceremonies. Malioboro that in Sanskrit means bouquet serves as a basis for naming this street.

Framed by shops, offices, restaurants, star hotels and historical buildings, the street that once functioned as struggling center during the second Dutch military aggression in 1948 was once a place of wandering for the artists joining together in Persada Studi Klub (PSK) community led by Umbul Landu Paranggi since 1970s to around the end of 1990s.

SOUVENIRS PARADISE

Enjoying shopping experience, hunting exclusive souvenirs of Jogja, tourists may walk on foot along the arcades of Malioboro Street. There are many vendors selling their merchandises, ranging from such local handicrafts as batik, rattan ornament, leather puppet, bamboo handicrafts (key holder, ornament lamp, and others) as well as blangkon (Javanese / Jogjanese traditional cap) and silver goods to general little things that you may find in other trading places. Along the arcade, tourists will not only enjoy shopping peacefully on sunny or rainy days but they also enjoy bargaining prices. If they are good at bargaining and have good luck, they will end up buying at third quarter or even half of the prices offered.

Do not forget to save energy. There is still one big traditional market tourists must visit. Well known as Pasar Beringharjo, this market provides complete traditional products in addition to similar goods sold along the arcade of Malioboro Street. In addition to local products of Jogja, products from neighboring areas such as Pekalongan batik and Solo batik are available. There are many choices of hand made batik, printed batik, window curtain with unique motifs and batik bed sheet. This place will satisfy the desire of buying unique goods at reasonable price.

Please make sure that you are not cheated by the offered prices. Usually, the vendors will increase the prices for tourists.

VREDEBURG FORT AND GEDUNG AGUNG

At the end of this "bouquet" street, tourists can drop by at Vredeburg Fort that is located across Gedung Agung. This fort was the Dutch protection basis from possible attacks by Yogyakarta Kingdom troops. Similar to other forts, this place built in 1765 is high, square walls confining the area inside with one monitoring tower in each of the four corners for patrolling purpose. From the tower at the southern part, YogYES took the opportunity to enjoy sceneries of the Sultan Palace and other historical buildings.

MALIOBORO CROSS-LEGGED FOOD VENDORS (LESEHAN, JAVANESE LANGUAGE)

When the sun sets in the west and at the same time the lights along the street and the arcade add more beauty to Malioboro, food sellers begin to set the cross-legged eating place. Special menu of Jogja such as Gudeg and Pecel Lele are served in addition to oriental cuisines and sea food as well as Padang cuisine of West Sumatra. The street singers will sing hit songs and memory songs for some small change.

For tourists who are going to try menus served along Malioboro Street, please do not hesitate to check the price list and confirm it to the seller to prevent illogical charge.

Visiting Yogyakarta, the city known as "The Javanese Culture Living Museum" will not be complete unless you pay a visit to the street that keeps various stories of Indonesian Nation struggle and crowded with various souvenirs. It is paradise for history lovers and souvenirs hunters.

read more...

Plaosan Temple

PLAOSAN TEMPLE, THE TWIN TEMPLE IN YOGYAKARTA

After visiting Prambanan temple, you should not rush to your hotel, because close to the beautiful Hindu temple, you can also see other interesting temples. Moving 1 kilometer northwards, you will find Plaosan Temple; a temple constructed by Rakai Pikatan for her wife, Pramudyawardani. The architect of the temple that is located in Bugisan village of Prambanan sub-district is combination of Hindu and Buddha.

Plaosan complex is divided into 2 groups, namely the North Plaosan Temple and the South Plaosan Temple. Both of the temples have square terrace that is encircled by wall, a pillbox for meditation at the west part and dome on other side. Because of that similarity, the appearance of both temples are the same when they are seen from distant so that Plaosan temple is also called the twin temples.

The North Plaosan Temple has middle courtyard encircled by wall with the entrance at the west side. In the middle of the courtyard, there is a hall as wide as 21.62 m x 19 m. At the eastern part of the hall, there are 3 altars, namely north, east and south altars. The pictures of Amitbha, Ratnasambhava, Vairochana, and Aksobya are at the east altar. Samantabadhara statue and Ksitigarba figure is at the north altar, while Manjusri picture is at the west alter.

The South Plaosan temple also has a hall at the center that is encircled by 8 small temples that is divided into 2 ranks and each rank consists of 4 temples. There also pictures of Tathagata Amitbha, Vajrapani with vajra attribute at the utpala and Pranjaparamita who was considered "the mother of all Buddha". Some other pictures can still be found but not at their original places. Manujri figure that according to a Dutch scientist named Krom is significant can also be seen.

Part of this bas relief has unique picture of man and woman. There is a man described as sitting cross-legged with worshipping hands and a figure of a man with vara mudra and vse at his leg encircled by six smaller men. A woman is described as standing with vara mudra hands, while there are book, pallet, and vase around her. Krom explains that figures of those man and woman are descriptions of supporting patron from two monasteries.

The entire complex of Plaosan temple has 116 ancillary domes and 50 ancillary temples. Ancillary domes can be seen on each side of the main temple, as can smaller ancillary temples. Walking northwards, you can see open building called Mandapa. Two inscriptions can also be found; they are the inscription on gold coin at the north of the main temple and an inscription written on a stone in the first line of the ancillary temples.

One of the characteristics of Plaosan temple is the smooth surface of the terrace. Krom explains that such a terrace is different from other temples of the same time. To his opinion, it is related to the function of a temple by that time that is predicted to keep canonical texts owned by Buddhist monks. Other prediction by Dutch scientists, if the number of monks in that area is small then the terrace might be used as a place for Buddhists to pray.

If you go around the temple complex, you will notice that the complex of Plaosan temple is wide. That can also be noticed from long fence stretching 460 meters from north to south and 290 meters from west to east. There is also moat inside stretching as long as 440 meters from north to south and 270 meters from west to east. The moat can be seen by walking eastwards through the middle part of this historical building.PLAOSAN TEMPLE, THE TWIN TEMPLE IN YOGYAKARTA
After visiting Prambanan temple, you should not rush to your hotel, because close to the beautiful Hindu temple, you can also see other interesting temples. Moving 1 kilometer northwards, you will find Plaosan Temple; a temple constructed by Rakai Pikatan for her wife, Pramudyawardani. The architect of the temple that is located in Bugisan village of Prambanan sub-district is combination of Hindu and Buddha.

Plaosan complex is divided into 2 groups, namely the North Plaosan Temple and the South Plaosan Temple. Both of the temples have square terrace that is encircled by wall, a pillbox for meditation at the west part and dome on other side. Because of that similarity, the appearance of both temples are the same when they are seen from distant so that Plaosan temple is also called the twin temples.

The North Plaosan Temple has middle courtyard encircled by wall with the entrance at the west side. In the middle of the courtyard, there is a hall as wide as 21.62 m x 19 m. At the eastern part of the hall, there are 3 altars, namely north, east and south altars. The pictures of Amitbha, Ratnasambhava, Vairochana, and Aksobya are at the east altar. Samantabadhara statue and Ksitigarba figure is at the north altar, while Manjusri picture is at the west alter.

The South Plaosan temple also has a hall at the center that is encircled by 8 small temples that is divided into 2 ranks and each rank consists of 4 temples. There also pictures of Tathagata Amitbha, Vajrapani with vajra attribute at the utpala and Pranjaparamita who was considered "the mother of all Buddha". Some other pictures can still be found but not at their original places. Manujri figure that according to a Dutch scientist named Krom is significant can also be seen.

Part of this bas relief has unique picture of man and woman. There is a man described as sitting cross-legged with worshipping hands and a figure of a man with vara mudra and vse at his leg encircled by six smaller men. A woman is described as standing with vara mudra hands, while there are book, pallet, and vase around her. Krom explains that figures of those man and woman are descriptions of supporting patron from two monasteries.

The entire complex of Plaosan temple has 116 ancillary domes and 50 ancillary temples. Ancillary domes can be seen on each side of the main temple, as can smaller ancillary temples. Walking northwards, you can see open building called Mandapa. Two inscriptions can also be found; they are the inscription on gold coin at the north of the main temple and an inscription written on a stone in the first line of the ancillary temples.

One of the characteristics of Plaosan temple is the smooth surface of the terrace. Krom explains that such a terrace is different from other temples of the same time. To his opinion, it is related to the function of a temple by that time that is predicted to keep canonical texts owned by Buddhist monks. Other prediction by Dutch scientists, if the number of monks in that area is small then the terrace might be used as a place for Buddhists to pray.

If you go around the temple complex, you will notice that the complex of Plaosan temple is wide. That can also be noticed from long fence stretching 460 meters from north to south and 290 meters from west to east. There is also moat inside stretching as long as 440 meters from north to south and 270 meters from west to east. The moat can be seen by walking eastwards through the middle part of this historical building.

read more...

Tara Temple

TARA TEMPLE, THE OLDEST BUDDHISM INHERITANCE IN YOGYAKARTA

Most people will mention Borobudur when talking about Buddhism temples. Whereas, there are many other Buddhism temples in Yogyakarta; one of them that is closely related to Borobudur is Tara temple. This temple that is located in Kalibening village in Kalasan was built by the same person who conceptualized Borobudur temple, namely Rakai Panangkaran. Since it is located in Kalasan area, this temple is popular with the name of Kalasan temple.

Completed in 778 AD, Tara temple becomes the oldest Buddhism temple in Yogyakarta. This temple that is situated close to Yogya-Solo Street was a present of the marriage of Pancapana of Sanjaya dynasty to Dyah Pramudya Wardhani of Syailendra dynasty. In addition to a marriage present, the temple was also realization of the kings' proposal to build another holy temple for goddess Tara and a monastery for the monks.

Tara temple is a building in the form of a cube with the size of each side of 45 meters and 34 meters high. Vertically, this temple consists of three parts, namely temple foot, temple body and temple roof. The foot of the temple is a building on square stones and a wide stone. On this part, there is a stair with makara ornament at the end. Meanwhile, around the temple foot there are ornaments of climbing plants that come out from pots.

The body of the temple protrudes at the central side. At the outer surface of the temple body, a hollow is ornamented with a standing goddess holding lotus. In southeast part, there is a small room with throne ornamented with the motif of a lion standing on an elephant's back. The room can be accessed from the other room at the east side.

The roof of the temple is octagonal and consists of two stories. An effigy describing Buddha is located in the first story while on the second story there is a statue describing Yani Buddha. The top of the temple is a square symbolizing Semeru summit with ornaments of domes. At the interface of the temple body and the roof, there is a flower ornament of a dwarf named Gana.

If you observe the temple in detail, you will also find beautiful relief on its surface; for example, relief of tree of god and cloud and the dwellers of the heaven producing sounds. The dwellers of the heaven hold rebab (two-stringed music instrument), shell, and camara. There are also ornaments of flowers, leaves and climbing plants. Relief at Tara temple is typical since they are coated with special cement called Brajalepha, made from sap of certain tree.

Around the temple, there are 52 domes as high as around 4.6 meters. Even though those domes are not intact anymore, since some parts are missing, you can still enjoy them. Visiting this temple of which construction history is known from Candi inscription in Panagari letters, you will acknowledge the greatness of Rakai Panangkaran who even had the opportunity to build a holy building in Thailand.

This temple also proves that in the past there was an effort to unite people of different religions. The proof is that Panangkaran who was a Hindu built the Tara temple in response to the proposal of Buddhism monks to be presented to Pancapana who is also a Buddhist. This temple is also one of the holy buildings that inspired Atisha, a Buddhist from India who once visited Borobodur and spread Buddhism to Tibet.

read more...