KOTA GEDE YOGYAKARTA

Kota Gede also known as Pasar Gede is an area in the Indonesian city of Yogyakarta. One of the old capitals of Mataram, the area now has an archaeological site which contains the remains of the kraton (palace), the royal cemetery, and royal mosque of Mataram, dated from the late 16th and early 17th centuries.

The honorable name of this location in a higher and more respectful level of Javanese language (Kromo) is Pasar Gede.

There are many legends and local tales connects the site to the Mataram palace, however much of the physical remnants of the palace and the capital city are already destroyed. The only parts that remains quite intact are the Kota Gede royal mosque, the royal cemetery (precursor to Imogiri), and a few sections of the original palace walls.

The city lost its prestige when the center of power was shifted to Kartasura near modern Surakarta. The city further lost its political and cultural significance after replaced by Imogiri as the royal cemetery for the sultanates. Later sultanate of Mataram was split between Yogyakarta Sultanate and Surakarta.

The Royal Graveyard holds important graves that trace connections of Mataram with earlier kingdoms, and the placement of the graves within the covered area of the graveyard can be considered as a physical representation of 'silsilah' or genealogy of the rulers and their progenitors. It is guarded and maintained by Juru Kunci who are employed by the two palaces of Yogyakarta and Surakarta.

In mid-twentieth century, Kota Gede became synonymous with silverworks and silver handicrafts, since the area has become the home of silversmith in Yogyakarta. At the time of Indonesian independence in the 1940s, and after considerable promotion and publicity to the silverworks within this locality, Kota Gede gain popularity as the center of Javanese silver handicraft.

During the expansion of Yogyakarta city in the late twentieth century, Kota Gede was absorbed into Yogyakarta and has become merely a suburb within the city.

In the 8th century, the area of Mataram (now is known as Yogyakarta) was the center of Old Mataram Kingdom that ruled the entire Java. This kingdom had an extraordinary prosperity and civilization, so it had the ability to build ancient temples with an extravagant architecture, such as Prambanan Temple and Borobudur Temple. However, in the 10th century, with an unknown reason, the kingdom moved the center of the government to East Java area. The great numbers of citizens left Mataram and gradually this area became a woodland or forest.

Six centuries later, Java was ruled by The Sultanate of Pajang which is centered in Central Java. Sultan Hadiwijaya, who ruled in that time, gave Alas Mentaok (Mentaok Forest), which was very large in area, to Ki Gede Pemanahan for his achievement in defeating the enemy of kingdom. Ki Gede Pemanahan with all of his family and followers moved to Alas Mentaok, a forest that used to be the Old Mataram Kingdom.

The small village that was built by Ki Gede Pemanahan in that forest became prosperous. After the death of Ki Gede Pemanahan, his throne was replaced by his son who was titled Senapati Ingalaga. Under the rule of the wise Senapati, the village turned into a city that was more crowded and prosperous, therefore it is known as Kotagede (a big city). Afterwards, Senapati built an inner fort (cepuri) around the palace and an outer fort (baluwarti) that surrounded the area of ±200 acres. In the outside of these two forts, they are also equipped by a moat that was as wide as a river.

Mean while, in the Sultanate of Pajang there was a power struggle for the king throne after the death of Sultan Hadiwijaya. The crown prince that was known as Pangeran Benawa (Prince Benawa), was shoved aside by Arya Pangiri. Afterwards, Pangeran Benawa asked Senapati for a help since the Arya Pangiri’s government was judged to be unfair and disadvantageous to the people of Pajang. The war started. Arya Pangiri was conquered, but he was forgiven by Senapati. Then, Pangeran Benawa offered the throne of Pajang to Senapati, but he refused the offer politely. A year after, Pangeran Benawa passed away, but he had given a will that said Pajang must be ruled by Senapati. Since then, Senapati became the first king of Islamic Mataram and was entitled Panembahan. He didn’t want to use his title, Sultan, in order to honor Sultan Hadiwijaya and Pangeran Benawa. His palace was located in Kotagede.

Then, Panembahan Senapati expanded the area of Islamic Mataram Kingdom to Pati, Madiun, Kediri, and Pasuruan. Panembahan Senapati passed away in 1601 and was buried in Kotagede next to his father’s tomb. Afterwards, the Islamic Mataram Kingdom conquered almost the entire island of Jave (except Banten and Batavia) and reached the highest prosperity under the rule of the third king, Sultan Agung (the grandson of Panembahan Senapati). In 1613, Sultan Agung moved the central of the kingdom to Karta (next to Plered) and ended the era of Kotagede as a central of Islamic Mataram Kingdom

In the later development, Kotagede remained to be crowded although it was no longer as the capital of the kingdom. Many historical remains such as the cemetery of the kingdom forefathers, Kotagede Mosque, traditional houses with Javanese architecture, the topography of the villages or kampongs that using the ancient city’s system, and the fort ruins can be found in Kotagede.

    Pasar Kotagede (Kotagede traditional market)

The city system of Javanese kingdom usually places the palace, the roundabout, and the traditional market on the line that stretches from South to North. The Book of Nagarakertagama that was written in the era of Majapahit Kingdom (14th century), told that this pattern had been used since that time. The traditional market that had been there since the era of Panembahan Senopati, is still exist until now. Every legi morning in Javanese calendar system, sellers, buyers, and trading products are spread all over the market. The building has been renovated, but the position remains the same. If you want to explore Kotagede, you can start it from the traditional market by walking to the South heading the graveyard, the ruins of inner fort, and the fenced banyan tree.

The kingdom forefathers’ graveyard

Walk 100 meters to the South of Kotagede Traditional Market, we can find the graveyard area of the Islamic Mataram Kingdom’s forefathers that is surrounded by a tall and strong wall. The portal to the graveyard area has the feature of Hindu architecture. Each portal has the thick wooden handle and is decorated with beautiful carvings. Some kingdom servants dressing up in traditional Javanese outfit guard the graveyard complex for 24 hours a day.

 We can pass through 3 portals before getting to the last portal that heads to the graveyard area. For getting into the graveyard area, we have to dress up in traditional Javanese outfit (it can be rented there). The visitors are only allowed to enter the graveyard on Sunday, Monday, Thursday, and Friday at 08.00 to 16.00. For honoring the Mataram Kingdom’s forefathers here, the visitors are not allowed to take pictures or bring a camera and wear golden jewelries inside the graveyard. The important people that were buried in here: Sultan Hadiwijaya, Ki Gede Pemanahan, Panembahan Senopati, and their families.

 Kotagede Mosque

 The exploring of Kotagede will not be completed without visiting the Masjid Kotagede (Kotagede Mosque), the oldest mosque in Yogyakarta that is located in the area of the graveyard. Afterwards, you won’t be disappointed walking through the narrow passage way behind the wall around the graveyard area to see the architecture thoroughly and observe the daily activities of the people in Kotagede.

    Traditional House

Right across the graveyard area, we are able to see a Javanese traditional house. However, if you want to walk for 50 meters away to the South, you will be able to see a portal with a low hollow space and a sign that says "cagar budaya" (=cultural preservation). Get into the portal you will see some Kotagede Javanese traditional houses that are still preserved well and truly used as a place to live.

    Kedhaton (The Royal Palace)

Walking to the South a bit, you will see 3 banyan trees located right in the middle of the road. In the middle, there is a small building that is used for keeping the "watu gilang" (a special stone). It is a square-shaped black stone that has some written words on its surface. The written words are arranged in a circle-like shape. It says: ITA MOVENTUR MUNDU S - AINSI VA LE MONDE - ZOO GAAT DE WERELD - COSI VAN IL MONDO. In the outside of the circle, there are some words that say: AD ATERN AMMEMORIAM INFELICS - IN FORTUNA CONSOERTES DIGNI VALETE QUIDSTPERIS INSANI VIDETE IGNARI ET RIDETE, CONTEMNITE VOS CONSTEMTU - IGM (In Glorium Maximam).

    Inside the building, there is also "watu cantheng" (another special stone), three balls that are consist of yellowish stones. The local people had thought the stone "balls" were the toys of Panembahan Senapati. But there is also a possibility that the stones are the bullets of old cannons.

    The ruins of the fort

Panembahan Senopati built the inner fort (cepuri) completed with the moat around the palace, the area covered more or less 400x400 meters. The real ruins of the fort are still seen on the corner of Southwest and Southeast. The wall was 4 feets thick and made of stone blocks. The rest of the moat will be seen on the East, South, and West.

Walking through Kotagede will enrich our knowledge about the history of Islamic Mataram Kingdom that was successful in Java. Furthermore, you can see local people’s daily routines closely. They have been staying inside the strong wall and doing the activities since hundreds years ago.

It is different with other places, the local people are so friendly with the Javanese characteristic, polite, and not too commercial. In Kotagede, you won’t be bothered by the hawkers who like to force people to buy their things. It’s a bit surprising, or pleasing will be the right word. Who miss the hawkers anyway?

tags : kota,gede,yogyakarta,silver's.city,jewerling,craft,java,indonesia,tourisme,recreation,travelling,the,best,spot,iwansky82,the adventure

Prambanan Temple

Prambanan is a ninth century Hindu temple compound in Central Java, Indonesia, dedicated to the Trimurti, the expression of God as the Creator (Brahma), the Sustainer (Vishnu) and the Destroyer (Shiva). The temple compound is located approximately 18 km east of Yogyakarta city on the boundary between Yogyakarta and Central Java province.

The temple, a UNESCO World Heritage Site, is the largest Hindu temple in Indonesia, and is one of the largest and the most beautiful Hindu temples in Southeast Asia. It is characterized by its tall and pointed architecture, typical of Hindu temple architecture, and by the towering 47m high central building inside a large complex of individual temples. One of the most majestic temples in the Southeast Asia, Prambanan attracts many visitors worldwide

construction

Prambanan is the largest Hindu temple of ancient Java, and the construction of this royal temple was probably started by Rakai Pikatan as the Hindu Sanjaya Dynasty's answer to the Buddhist Sailendra Dynasty's Borobudur and Sewu temples nearby. Historians suggest that the construction of Prambanan probably was meant to mark the return of the Hindu Sanjaya Dynasty to power in Central Java after almost a century of Buddhist Sailendra Dynasty domination. Nevertheless, the construction of this massive Hindu temple signifies that the Medang court had shifted the focus of its patronage from Mahayana Buddhism to Shivaist Hinduism.

A temple was first built at the site around 850 CE by Rakai Pikatan and expanded extensively by King Lokapala and Balitung Maha Sambu the Sanjaya king of the Mataram Kingdom. According to the Shivagrha inscription of 856 CE, the temple was built to honor Lord Shiva and its original name was Shiva-grha (the House of Shiva) or Shiva-laya (the Realm of Shiva). According to Shivagrha inscription, a public water project to change the course of a river near Shivagrha Temple was conducted during the construction of the temple. The river, identified as the Opak River, now runs north to south on the western side of the Prambanan temple compound. Historians suggest that originally the river was curved further to east and was deemed too near to the main temple. The project was done by cutting the river along a north to south axis along the outer wall of the Shivagrha Temple compound. The former river course was filled in and made level to create a wider space for the temple expansion, the space for rows of pervara (complementary) temples.

Some archaeologists propose that the statue of Shiva in the garbhagriha (central chamber) of the main temple was modelled after King Balitung, serving as a depiction of his deified self after death. The present name Prambanan, was derived from the name of Prambanan village where the temple stood, this name probably being the corrupted Javanese pronunciation of "Para Brahman" ("of the brahmins"), doubtless an echo its heyday when the temple was filled with great numbers of brahmins.

The temple compound was expanded by successive Mataram kings such as Daksa and Tulodong with the addition of hundreds of perwara temples around the chief temple. Prambanan served as the royal temple of the Hindu Kingdom of Mataram, with most of the state's religious ceremonies and sacrifices being conducted there. At the height of the Mataram kingdom, scholars estimate that hundreds of brahmins with their disciples lived within the outer wall of the temple compound. The urban center and the court of Mataram were located nearby, somewhere in the Prambanan Plain.

Abandonment

In the 930s, the court was shifted to East Java by Mpu Sindok, who established the Isyana Dynasty. An eruption of Mount Merapi volcano, located north of Prambanan in central Java, or a power struggle probably caused the shift. That marked the beginning of the decline of the temple. It was soon abandoned and began to deteriorate.

The temples themselves collapsed during a major earthquake in the 16th century. Although the temple ceased to be an important center of worship, the ruins scattered around the area were still recognizable and known to the local Javanese people in later times. The statues and the ruins become the theme and the inspiration for the Loro Jonggrang folktale. After the division of Mataram Sultanate in 1755, the temple ruins and the Opak River were used to demarcate the boundary between Yogyakarta and Surakarta (Solo) Sultanates.

Rediscovery

The ruins of Prambanan soon after their discovery.

In 1811 during Britain’s short-lived rule of the Dutch East Indies, Collin Mackenzie, a surveyor in the service of Sir Thomas Stamford Raffles, came upon the temples by chance. Although Sir Thomas subsequently commissioned a full survey of the ruins, they remained neglected for decades, with Dutch residents carting off sculptures as garden ornaments and native villagers using the foundation stones for construction material.

Half-hearted excavations by archaeologists in the 1880s merely facilitated looting. Reconstruction of the compound began in 1918, and proper restoration only in 1930. Efforts at restoration continue to this day. The main building was completed around 1953. Since much of the original stonework has been stolen and reused at remote construction sites, hampering restoration and since a temple can be rebuilt only if at least 75% of the original masonry is available, only the foundations of most of the smaller shrines are now visible with no plans for their reconstruction

contemproray

In the early 1990s the government removed the market that had sprung up near the temple and transformed the surrounding villages and rice paddies into an archaeological park. The park covers a large area, from Yogyakarta-Solo main road in the south, encompassing the whole Prambanan complex, the ruins of Lumbung and Bubrah temples, and as far as the Sewu temple compound in the north. In 1992 the Indonesian government created a State-owned Limited Liability Enterprise (PERSERO) of PT Taman Wisata Candi Borobudur, Prambanan, dan Ratu Boko. This enterprise is the authority for the park management of Borobudur Prambanan Ratu Boko and the surrounding region. Prambanan is one of the most visited tourist attraction in Indonesia.

The open-air and indoor stages on the west side of the temple right across the Opak river, were built to stage the Ramayana ballet. This traditional Javanese dance is the centuries old dance of the Javanese court, performed every full moon night in the Prambanan temple since the 1960s. Since then, Prambanan has become one of the major archaeological and cultural tourism attractions in Indonesia.

After the reconstruction of the main temples in 1990s, Prambanan once again reclaim its status as an important religious center for Hindu rituals and ceremonies in Java. The religious significance revival of Prambanan was due to Balinese and Javanese Hindu communities in Yogyakarta and Central Java that annually perform their sacred ceremonies in Prambanan, such as Galungan, Tawur Kesanga, and Nyepi.

The temple was damaged during the May 2006 Java earthquake. Early photos suggested that although the complex was structurally intact, the damage was significant. Large pieces of debris, including carvings, were scattered over the ground. The temple was closed to visitors until the damage could be fully assessed. Eventually, the head of Yogyakarta Archaeological Conservation Agency stated that it would take months to identify the precise extent of the damage.[However, some weeks later in 2006 the site was re-opened for visitors. In 2008, 856,029 Indonesian visitors and 114,951 foreign visitors has visited Prambanan. In 6 January 2009 the reconstruction of Nandi temple finished.As of 2009, the interior of most of the temples remains off-limits for safety reasons.

The temple compound

The Prambanan compound also known as Loro Jonggrang complex, named after the popular legend of Loro Jonggrang. There are 237 temples in this Shivaite temple complex, either big or small. But the majority of them have deteriorated; what is left are only scattered stones. The Prambanan temple complex consists of three zones; first the outer zone, second the middle zone that contains hundreds of small temples, and third the holiest inner zone that contains eight main temples and eight small shrines.

The Hindu temple complex at Prambanan is based on a square plan that contains a total of three zone yards, each of which is surrounded by four walls pierced by four large gates. The outer zone is a large space marked by a rectangular wall. The outermost walled perimieter, which originally measured about 390 metres per side, was oriented in the northeast, southwest direction. However, except for its southern gate, not much else of this enclosure has survived down to the present. The original function is unknown; possibilities are that it was a sacred park, or priests' boarding school (ashram). The supporting buildings for the temple complex were made from organic material; as a consequence no remains occur.

Pervara temple

The two walled perimeters that surround the remaining two yards to the interior are oriented to the four cardinal points. The second yard's walled perimeter, which measures about 225 metres per side, surrounds a terraced area that consists of four rows containing 40, 48, 56, and 64pervara temples. Respectively, each with a height of 14 metres and measuring 6 metres x 6 metres at the base, or 224 structures in total. The sixteen temples located at the corners of the rows face two directions; the remaining 208 structures open to only one of the four cardinal directions.

The middle zone consists of four rows of 224 individual small shrines. There are great numbers of these temples, but most of them are still in ruins and only some have been reconstructed. These concentric rows of temples were made in identical design. Each row towards the center is slightly elevated. These shrines are called "Candi Perwara" guardian or complementary temples, the additional buildings of the main temple. Some believed it was offered to the king as a sign of submission. The Perwara are arranged in four rows around the central temples, some believed it has something to do with four castes, made according to the rank of the people allowed to enter them; the row nearest to the central compound was accessible to the priests only, the other three were reserved for the nobles, the knights, and the simple people respectively. While another believed that the four rows of Perwara has nothing to do with four castes, it just simply made as meditation place for priests and as worship place for devotees

Shiva temple

The inner zone or central compound is the holiest among the three zones. Its the square elevated platform surrounded by square stone wall with stone gates on each four cardinal points. This holiest compound is assembled of eight main shrines or candi. The three main shrines, called Trimurti ("three forms"), are dedicated to the three gods: Brahma the Creator, Vishnu the Keeper, and Shiva the Destroyer.

The Shiva temple is the tallest and largest structure in Prambanan Loro Jonggrang complex, it measures 47 metres tall and 34 metres wide. The Shiva temple encircled with galleries adorned with bas-reliefs telling the story of Ramayana carved on the inner walls of the balustrades. To follow the story accordingly, visitors must enter from the east side and began to perform pradakshina or circumambulating clockwise. The bas-reliefs of Ramayana continued to Brahma temple galleries.

The Shiva shrine located at the center and contains five chambers, four small chambers in every cardinal direction and one bigger main chamber in central part of the temple. The east chamber connect to central chamber that houses the largest temple in Prambanan, a three meter high statue of Shiva Mahadeva (the Supreme God). The statue bears Lakçana (attributes or symbol) of Shiva such as skull and sickle (crescent) at the crown, and third eye on the forehead, also four hands that holds Shiva's symbols: a prayer beads, feather duster, and trisula (trident). Some historians believe that the depiction of Shiva as Mahadeva also meant to personify king Balitung as the reincarnation of Shiva. So, when he died, a temple was built to commemorate him as Shiva. The statue of Shiva stands on lotus pad on Yoni pedestal that bears the carving of Nāga serpents on north side of pedestal.

The other three smaller chambers contain statues of Hindu Gods related to Shiva; his consort Durga, the rishi Agastya, and Ganesha, his son. Statue of Agastya occupy the south chamber, the west chamber houses the statue of Ganesha, while the north chamber contains the statue of Durga Mahisasuramardini depicting Durga as the slayer of Bull demon. The shrine of Durga is also called the temple of Lara Jonggrang (Javanese: slender virgin), after a Javanese legend of princess Lara Jonggrang.

Brahma dan Vishnu temple

The two other main shrines are that of Vishnu on the north side of Shiva shrine, and the one of Brahma on the south. Both temple facing east and each contain only one large chamber, each dedicated to respected gods; Brahma temple contains the statue of Brahma and Vishnu temple houses the statue of Vishnu. Brahma and Vishnu temple measures 20 metres wide and 33 metres tall.

Vahana temple

The other three shrine in front of three main temples is dedicated to vehicle (vahana) of the respective gods - the bull Nandi for Shiva, the sacred swan Hamsa for Brahma, and Vishnu's Eagle Garuda. Precisely in front of Shiva temple stands Nandi temple which contains a statue of Nandi bull, the vehicle (vahana) of Lord Shiva. Besides it, there is also other statues, the statue of Chandra the god of moon and Surya the god of sun. Chandra stands on his carriage pulled by 10 horses, and the statue of Surya also standing on a carriage pulled by 7 horses. Facing Brahma temple is the temple of Hamsa or Angsa (sacred swan). In the chamber of this temple contains no statue. But it seems likely that there was once a statue of the sacred swan, vehicle of god Brahma. In front of Vishnu temple is the temple dedicated for Garuda, however just like the Hamsa temple, Garuda temple contains no statue. Probably this temple once contains the statue of Garuda, the vehicle of Vishnu. Garuda holds important role for Indonesia, which serves as the national symbol of Indonesia, also to the airline Garuda Indonesia.

Between these row of main temple, on north and south side stands two Candi Apit. Beside these 8 main temples, there's also 8 smaller shrines; 4 Candi Kelir on four cardinal direction of the entrance, and 4 Candi Patok on four corner

Architecture

The architecture of Prambanan temple follows the typical Hindu architecture traditions based on Vastu Shastra. The temple design incorporated mandala temple plan arrangements and also the typical high towering spires of Hindu temples. Prambanan was originally named Shivagrha and dedicated to god Shiva. The temple was designed to mimic Meru, the holy mountain the abode of Hindu gods, and the home of Shiva. The whole temple complex is a model of Hindu universe according to Hindu cosmology and the layers of Loka.

Just like Borobudur, Prambanan also recognize the hierarchy of the temple zones, spanned from the less holy to the holiest realms. Each Hindu and Buddhist concepts has their own terms, but the concept's essentials is identical. Either the compound site plan (horizontally) or the temple structure (vertically) are consists of three zones

Bhurloka (in Buddhism: Kāmadhātu), the lowest realm of common mortals; humans, animals also demons. Where humans still binded by their lust, desire and unholy way of life. The outer courtyard and the foot (base) part of each temples is symbolized the realm of bhurloka.

Bhuvarloka (in Buddhism: Rupadhatu), the middle realm of holy people, rishis, ascetics, and lesser gods. People here began to see the light of truth. The middle courtyard and the body of each temples is symbolized the realm of bhuvarloka.

Svarloka (in Buddhism: Arupadhatu), the highest and holiest realm of gods, also known as svargaloka. The inner courtyard and the roof of each temples is symbolized the realm of svarloka. The roof of the Prambanan temples is adorned and crowned with ratna (sanskrit: jewel), the shape of Prambanan ratna took the altered form of vajra that represent diamond. In ancient Java temple architecture, ratna is Hindu counterpart of Buddhist stupa, and served as the temple's pinnacle.

During the restoration, a well which contains pripih (stone casket) was discovered under the center of the Shiva temple. The main temple has a well of 5.75 m depth in which a stone casket was found on top a pile of charcoal, earth and remains of burned animal bones. Sheets of gold leaves with the inscription Varuna (god of the sea) and Parvata (god of the mountains) were found here. The stone casket contained sheets of copper mixed with charcoal, ashes and earth, 20 coins, jewels, glass, pieces of gold and silver leaves, seashells and 12 gold leaves (5 of which in the shape of a turtle, Nāga serpent, padma, altar and egg).

Ramayana  and krishnayana

The temple is adorned with panels of narrative bas-reliefs telling the story of Hindu epic; Ramayana and Krishnayana. The narrative bas-relief panels was carved along the inner balustrades wall on the gallery around the three main temples.

The narrative panels on the balustrade read from left to right. The story started from east entrance where visitors turn left and moving around the temple gallery in clockwise direction. This conforms with pradaksina, the ritual of circumambulation performed by pilgrims who move in a clockwise direction while keeping the sanctuary to their right. The story of Ramayana started on Shiva temple balustrade and continued to Brahma temple. On the balustrades in Vishnu temple there is series of bas-relief panels depict Krishnayana, the story of lord Krishna.

The bas-relief of Ramayana illustrate how Sita, the wife of Rama, is abducted by Ravana. The monkey king Hanuman brings his army to help Rama and rescue Sita. This story is also shown by the Ramayana Ballet, regularly performed at full moon at Trimurti open air theatre in west side of the illuminated Prambanan complex.

Lokapalas ,Brahmin and devatas

On the other side of narrative panels, the temple wall along the gallery were adorned with the statues and reliefs of devatas and brahmin sages. The figure of lokapalas, the celestial guardians of directions can be found in Shiva temple. The brahmin sage editors of veda were carved on Brahma temple wall, while in Vishnu temple the figures of a male deities devatas flanked by two apsaras

The loro jonggrang legend

The popular legend of Loro Jonggrang is what connects the site of the Ratu Boko Palace, the origin of the Durga statue in northern cell/chamber of the main shrine, and the origin of the Sewu temple temple complex nearby. The legend tells of the story about Prince Bandung Bondowoso who fell in love with Princess Loro Jonggrang, the daughter of King Boko. But the princess rejected his proposal of marriage because Bandung Bondowoso had killed King Boko and ruled her kingdom. Bandung Bondowoso insisted on the union, and finally Loro Jonggrang was forced to agree for a union in marriage, but she posed one impossible condition: Bandung must build her a thousand temples in only one night.

The Prince entered into meditation and conjured up a multitude of spirits (demons) from the earth. Helped by supernatural beings, he succeeded in building 999 temples. When the prince was about to complete the condition, the princess woke her palace maids and ordered the women of the village to begin pounding rice and set a fire in the east of the temple, attempting to make the prince and the spirits believe that the sun was about to rise. As the cocks began to crow, fooled by the light and the sounds of morning time, the supernatural helpers fled back into the ground. The prince was furious about the trick and in revenge he cursed Loro Jonggrang to stone. She became the last and the most beautiful of the thousand statues. According to the traditions, the unfinished thousandth temple created by the demons become the Sewu temple compounds nearby (Sewu means "thousands" in Javanese), and the Princess is the image of Durga in the north cell of the Shiva temple at Prambanan, which is still known as Loro Jonggrang or Slender Virgin

The Prambanan Plain span between southern slopes of Merapi volcano in the north and Sewu mountain range in the south, near the present border Yogyakarta province and Klaten Regency, Central Java. Apart from the Lara Jonggrang complex, Prambanan plain, valley and hills around it is the location of some of the earliest Buddhist temples in Indonesia. Not far to the north are found the ruins of Bubrah temple, Lumbung temple, and Sewu temple. Further east are found Plaosan temple. To the west are found Kalasan temple and Sari temple, further to the west are Sambisari temple. While to the south the Ratu Boko compounds on higher ground. The discoveries of archaeological sites scattered only a few miles away suggested that this area was an important religious, political, and urban center.

North of the Lara Jongrang complex

Candi Lumbung. Buddhist-style, consisting of one main temple surrounded by 16 smaller ones.

Candi Bubrah. Buddhist temple still in ruins.

Sewu. Buddhist temple complex, older than Roro Jonggrang. A main sanctuary surrounded by many smaller temples. Well preserved guardian statues, replicas of which stand in the central courtyard at the Jogja Kraton.

Candi Morangan. Hindu temple complex buried several meters under volcanic ashes, located northwest from Prambanan.

Other temple The prambanan

Candi Plaosan in Prambanan (9th century).

Candi Plaosan. Buddhist, probably 9th century. Thought to have been built by a Hindu king for his Buddhist queen. Two main temples with reliefs of Boddhisatva and Tara. Also rows of slender stupas.

South of the Lara Jongrang complex

Ratu Boko. Complex of fortified gates, bathing pools, and elevated walled stone enclosure, all located on top of the hill.

Sajiwan. Buddhist temple decorated with reliefs concerning education. The base and staircase are decorated with animal fables.

Banyunibo. A Buddhist temple with unique design of roof.

Candi Barong. A Hindu temple complex with large stepped stone courtyard. Located on the slope of the hill.

Candi Ijo. A cluster of Hindu temple located near the top of Ijo hill. The main temple houses a large lingam and yoni.

Arca Bugisan. Seven Buddha and bodhisattva statues, some collapsed, representing different poses and expressions.

West of the Lara Jongrang complex

Kalasan. 8th century Buddhist temple built in commemoration of the marriage of a king and his princess bride, ornamented with finely carved reliefs.

Sari. Once a sanctuary for Buddhist priests. 8th century. Nine stupas at the top with two rooms beneath, each believed to be places for priests to meditate.

Sambisari. 9th century Hindu temple discovered in 1966, once buried 6.5 metres under volcanic ash. The main temple houses a linga and yoni, and the wall surround it displayed the images of Agastya, Durga, and Ganesha.

Gebang. A small Hindu temple discovered in 1937 located near the Yogyakarta northern ring-road. The temple display the statue of Ganesha and interesting carving of faces on the roof section.

Candi Gana. Rich in statues, bas-reliefs and sculpted stones. Frequent representations of children or dwarfs with raised hands. Located in the middle of housing complex. Under restoration since 1997.

Candi Kedulan. Discovered in 1994 by sand diggers, 4m deep. Square base of main temple visible. Secondary temples not yet fully excavated.

Article from www.wikipidia.com

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Pangandaran Beach

Pangandaran Beach

Small mainland peninsula with a national park with beaches and stunning scenery to rival the beaches of Bali on the south coast of Java. Pangandaran is one of Java's best-kept secrets as far as international tourists are concerned, but has been extremely popular with locals for along, long time. A small fishing town, it possesses one of Java's finest beaches and Pangandaran Nature Reserve teems with wild buffalo, barking deer and monkeys.

 The people are very friendly, this combined with the idealize surroundings make this a great place to spend a few days relaxing island-style. Pangandaran is halfway between Bandung and Yogya, about 5 hours by bus from Bandung and 8 hours from Jakarta.

This is the second beach resort area on the Indian Ocean after Pelabuhan Ratu. The site is 223 from Bandung and 400km from Jakarta. The trip by car or bus is recommendable because the road conditions are good. However, if we prefer to take the train, get into Bandung-Yogyakarta Express train and get off at the Banjar railroad station about 4 hours later. From here it will be another 50 km by bus to Pangandaran. 

The beach is called Penanjung, where most of the cottages and hotels are located, however, of modest ratings. Nothing luxurious should be expected. Pangandaran is especially of interest to nature lovers, as there is a wildlife reserve in the vicinity where wild birds and other indigenous animals live about freely to be enjoyed by visitors. In Pangandaran visitors will like fine white beaches, blue ocean and fine seafood. Twelve kilometers before arriving at Pangandaran visitors will see a huge rock on the beach, which is called Karang Nini.

Another place of special interest for nature lovers is a forest Conservation Park, close to the camping ground, which has basic facilities suitable for the younger set. Somewhat further out, west of Pangandaran, driving 23 km on the way to Parigi, lays Batu Hiu, meaning Shark's Rock, a coastal rock that has the shark shape

tags : "Pangandaran,beach,grand,canyon,ciamis,wes,java,indonesia,tourisme,recreation,travelling,the,best,spot,iwansky82,the adventure

KUDA KEPANG

KUDA KEPANG OF THE ANOTHER TRADITION FROM JAVA

Kuda Lumping (literally flat horse; also known as Jaran Kepang in Javanese) is a traditional Javanese dance depicting a group of horsemen. Dancers "ride" horses made from woven bamboo and decorated with colorful paints and cloth. Generally, the dance portrays troops riding horses, but another type of Kuda Lumping performance also incorporates trances and magic tricks. When the "possessed" dancer is performing the dance in trance conditions, he can display unusual abilities, such as eating glass and resistance to the effects of whipping or hot coals. Although the dance is native to Java, Indonesia, it also performed by Javanese immigrants in Suriname, Malaysia and Singapore.

 he origin of Kuda Lumping is uncertain. Two main hypotheses have been proposed. The first suggests that Kuda Lumping may have arisen out of Diponegoro's war against the Dutch colonial forces, as a ritual reenactment of battles. The second argues that it is based on Mataram-era troops riding against the Dutch. Kuda Lumping is known under different names in different areas. While Kuda Lumping is the most common name in West Java, in Central Java it is known as Jaran Kepang; in Bali, it is known as Sang Hyang Jaran.In Bali Sanghyang dance refer to the type of dance involving trance by spirit identified as hyang. Kuda Lumping may be performed in celebration of a special event, such as a boy's circumcision or rite of passage.It may also be performed as entertainment, in a busker style. It is generally performed in a cordoned-off area, with the audience separated from the dancers. Kuda Lumping is traditionally performed by a group of men drawn from the local community; this group can number from 2 to The performers mount rattan horses and dance while traditional instruments such as the angklung, gongs, and dog-dog drums are played. This portion of the performance ends when a dancer enters a trance, which is traditionally said to be caused by spirit possession.In Sang Hyang Jaran,

the audience may participate by forming a chorus and singing. During their trances, the dancers may pretend to eat grass or drink water, while another performer or shaman uses a whip to direct them. In some performances, dancers may walk on coals or eat glass or fire, which can cause various injuries. The dancers also interact with the audience; in busker performances they may ask for money. In some areas the dancers serve as oracles to deliver prophecies. After awakening from their trances, performers claim not to remember anything done while performing Dancers perform using rattan horses, generally colourful and decorated with beads and sequins. Adults use larger horses than children. Children's horses may also be cut from bamboo mats.

Performers wear colorful clothes and may occasionally dress as soldiers. The costume may also include small bells strung around the ankle. In comparison to the shaman, the dancers' costumes are more feminized. Henry Spiller suggests that Kuda Lumping represents spiritual power and masculine virility, which is "wild and uncontrolled ... yet ultimately a good thing".Max Richter notes that the erratic movements of the "feminized" dancers may "draw on ideas about the subordinate 'irrational' female", while the slower, more deliberate movements of the shaman "may be seen as masculine and potent".

 However, he considers this secondary to the conflicts of science versus magic, and good versus bad. He also notes that it serves as a way for young boys to release energy in a non-violent manner Kuda Lumping is widely popular. But, individual observer opinions vary. Some view it as being related to Satan and thus evil, while others see it as being a good influence. A shift in meaning, from a mainly spiritual ritual to entertainment, has been noted. Kuda Lumping has been used as the basis for a dangdut song of the same name tags : "kuda,kepang",of,another,tradition,from,java,indonesian,culture,iwansky82,the adventure

THE EXOCTIC REOG PONOROGO

Reog is a traditional Indonesian dance form. There are many types of Reogs in Indonesia, but the most notable ones are Reog Ponorogo (East Java) and Reog Sunda (West Java). Although both share a similar name, there is no connection nor similar theme among these traditions. Reog Ponorogo seems to be the kind of dance that demonstrate physical strength and extravagant lion-peafowl mask and costumes, while Reog Sunda is a lot more like a traditional musical comedy and dance.

   

reog is a traditional dance that become the main identity for Ponorogo Regency. Reog National Festival is held every years along the anniversary of Ponorogo regency and Grebeg Suro celebration. Reog dance is also staged full moon nightly in paseban, Ponorogo town square. Reog told about the struggle for a prince who will propose to a beautiful princess. Reog Ponorogo tells the story of a mythical battle between the King of Ponorogo and the magical lion-like creature called Singa Barong. Singa Barong is a large mask usually made of tiger's or leopard's head skin, upon the mask attached a large fan adorned with peafowl  feathers. The Singa Barong mask was notoriously heavy, the dancer of Singo Barong bear the mask about 30 – 40 kg weight and supported by the strength of their teeth

The leading figures in Reog Ponorogo performance includes:

   1. Klono Sewandono, A men in regal attire wearing mask in proud and pompous dance, play the role as the King of Ponorogo

   2. Bujang Anom, rough youthful men wearing red mask, they performed acrobatic dances and sometimes also involved trance.

   3. Jatil, the youthful handsome horsemen riding horses made of weaved bamboo, similar to Kuda Lumping dance. Today Jatil usually performed by female dancers.

   4. Warok, played as Singa Barong, the mythical creature. The one that allowed to performed this mask dance is called warok. A warok is the hororary title of local hero or strongman of the village that possessed both exceptional spiritual and phyisical strength. The dance itself is demonstration of phyisical strength of the dancers.

Reog Ponorogo usually consists of three sets of dances; each dance is performed by several dancers:

   1. The first dance is the opening dance, performed by Bujang Anom, male dancers wearing black costumes. The costume describe rough men with intimidating moustache and other masculinity symbols.

   2. The second dance is the Jaran Kepang dance performed by Jatil; it is originally performed by a gemblak, a handsome and youthful teenage boy wearing colourful costumes. Today the female dancers were usually played this role.

   3. The third dance is the main attraction of the show; it is performed by all the Reog dancers. The warok as the main male dancer, wearing a large and heavy lion mask, dances in the centre of the stage while the other dancers dance around him. To demonstrate the warok's extraordinary strength Jatil or female dancers riding on top of lion mask and being carried around.

The dance describe Klono Sewandono the king of Ponorogo on his journey to Kediri to seek the hands of Princess Songgo Langit. On his journey he was attacked by a vicious monster called Singa Barong, a mythical lion with peacock on its head. Historians trace the origin of Reog Ponorogo as the satire on the incompetence of Majapahit  rulers during the end of the empire. It describe the innate Ponorogo liberty and its opposition on centralist Majapahit rule. The lion represent the king of Majapahit while the peafowl represent the queen, it was suggested that the king was incompetent and always being controlled by his queen. The beautiful, youthful and almost effeminate horsemen describe the Majapahit cavalry that have lost their manliness.

 Reog Ponorogo dancers traditionally performed in a trance state. Reog Ponorogo displays the traditional Kejawen Javanese spiritual teaching. Next to physical requirement, the dancers—especially the Warok—required to follow strict rules, rituals and exercises, both physical and spiritual. One of the requirement is abstinence, warok is prohibited to indulged and involved in sexual relationship with women, yet having sex with boy age eight to fifteen is allowed. The boy lover is called Gemblak and usually kept by Warok in their household under the agreement and compensation to the boy's family. Warok can be married with a woman as their wive, but they may kept a gemblak too. This led to Warok-Gemblakan relationship that similar to pederastic tradition of ancient Greece. Anybody who is in touch with the traditional way of life in Ponorogo, knows that there are these older men called warok who, instead of having sex with their wives, have sex with younger boys. What Warok and Gemblak did is homosexual act, yet they never identify themself as homosexuals.

Today this Warok-Gemblakan practice is discouraged by local religious authorities and being shunned through public moral opposition. As the result today Reog Ponorogo performance rarely features Gemblak boys to performed as Jatil horsemen, their position were replaced by girls. Although today this practice might probably still survived and done in discreet manner.

article from wikidia

tags : the,exoctic,reog,ponorogo,tradition,from,java,indonesian,culture,iwansky82,the adventure