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Friday, July 2, 2010
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Saturday, January 16, 2010
THE DAYAK ETHNIC GROUP
Variety of the enthnic group that live in 13.000 island in Indonesia became one of the potentials for the valuable tour high and became the attraction of the tourists, especially foreign. Because, each ethnic group had the lifestyle, art and the culture separately, among them the Dayak Ethnic Group that lived in the Borneo Island.
The Dayak ethnic group was divided into the ethnic group’s, in part: Dayak Tunjung, Dayak Bahau, Dayak Benuaq, Dayak Modang, Dayak Penihing, Dayak Busang, Dayak Muddy, Dayak Ohong, Dayak Bentian, Dayak Kenyah, Dayak Punan, Dayak Basap, and Kayan. They lived spread all over the Kalimantan corner of the island, from urban areas to the countryside in the jungle.
Like the Dayak Punan Ethnic Group that lived in the jungle all over East Kalimantan from the Bulungan area, Berau to Kutai. They lived in small groups in stone caves and trees. Whereas the Basap Ethnic Group according to the story was the descendants of chinese who married the Punan ethnic group. They lived in the Bontang subdistrict territory and Sangkulirang. The Kayan ethnic group came from Central Kalimantan, this ethnic group often was also mentioned with the Biaju ethnic group. They lived in the Long Iram area, Long Bagun and Muara Wahau of the sub district.
The Dayak ethnic group occupied the unique house that was known with the Lamin term. The Lamin from of the traditional house from each Dayak Ethic Group generally far is not different,. Lamin is usually established appeared to the side of the river. With the form of the foundation of the building take the form of rectangular. It was long that Lamin was that reached 200 meter un a wide manner between 20 and 25 meter.
In the page around Lamin was gotten measuring wood statues big that was the statue of the ancestore’s dedication (blang). Lamin had the shape of the house on stilts (Had the cellar) by making use of the roof of the form of the saddle. High the cellar was that reaced 4 meter. To rise onto Lamin was used the ladder that was made from the tree trunk that notch formed undakan and this ladder could be moved or lowered. That was meant to anticipate the threat of the enemy’s attack or the wild animal.
Initially, many families that lived in rooms inside occopied Lamin, but the habit has increasingly faded in the current period. The front, took the form of the functioning long veranda as the place of the implementation of the marriage ceremony, gave birth, the death, the party, etc. of the harvest. Behind this veranda was gotten the big row of rooms. 5 head of household occopied each room.
Lamin the noble’s residence and the head of the tradition usually are full of decorations or beautiful carved from the pole, the wall to the peak of the roof. The ornament to the peak of the roof was that stuck up trough to 3 or 4 meter. The Lamin wall of property or the head of the tradition of the noble was made from the plank, where as Lamin belonging to the normal community was only made from bark. The Dayak ethnic group had various musical intrument, both took the form of the musical intrument reaped, struck and blew. In the everyday life of the musical intrument also was utilized by intentions as well as the worship and praised to that had the power, was good towards spirits and human.
The Implement Musik
The Dayak Ethnic Group had the special characteristics in the musical field. The famous musical intrument, among them : Gendang, Genikng ( the big gong was made dependent like the Gong in Java), Gong ( the musical instrument from the round iron of the diameter 50-60 cm). Glunikng ( the musical instrument was made from ulin wood resembled saron in Java), Jatung Tutup ( the big drum measuring 3 meter the diameter 50 cm), Jatung Ulang ( the mul inssicatrument from wood that had the shape of Gambang had 12 key ).
Kadire ( the wind instrument was made from pelapah the stick of bananas and had 5 bamboo pipes tat were read out by making a fool of air to the cavity in the mouth to produce the voice dengung ), Klentangan ( the musical instrument struck consisted six small gongs were compiled according to the tone like bonang in Java). Sampe ( a kind of string guitar totalled 3 or 4 wit the decoration or ukiran specific the Dayak ethnic group), Suliikng ( the wind instrument that was made from Bamboo). Taraai ( the small gong that was hung ), Uding or Uring ( one kecapi that was made from bamboo or the stick of coconut like genggong in Bali or Karinding West Java.
Dance
Dance art that was had by the Dayak ethnic group very beautiful and captured, like Gantar Dance, the dance that depicted the movement of the person buried rice. The stick depicted the pounder’s wood whereas bamboo as well as the seeds inside depicted the rice seed and his forum. This dance quite famous and often was served in the guest reception and the other agendas. This dance was not only known by the Dayak Tunjung ethnic group but also was known by Dayak Benuaq ethnic group. This dance could be divided into three versions that is the Gantar Rayatn dance, the Gantar Busai and the Gantar Kusak.
- Kancet Papatai Dance/the war dance, this dance told all about a Dayak Kenyah hero waged war against his enemy. This movement of the dance was very lively, agile, was full of the spirit and sometimes had taken part in by the scream of the dancer. In the Kancet Pepatay dance, the dancer utilised traditional clothes of the Dayak Kenyah etnhic group was equipped with the war like the sword, the shield and battledress. This dance was accompanied with the song of the Sack of the nail and only made use of the musical instrument until.
- Kancet Ledo Dance/the Gong Dance, the dance that depicted a girl like rice that sway soft was blown by the wind. This dance was brought by a women by using traditional clothes of the Dayak Kenyah ethnic group and to his two hands held the enggang series of birds tail feathers. Usually this dance is danced on a gong, so as Kanced Ledo was acknowledged also as the Gong Dance.
- Kancet Lasem Dance, the dance that depicted the everyday life of Enggang birds, birds that were honored by the Dayak Kenyah ethnic group because of being regarded as the sign and heroism of grandeur.
- Leleng Dance, this dance told how a girl was named the along forest that wiil be combined forcibly by his parents with the young man who was not loved by him. The Along forest had finally escaped into the forest. This Dayak Kenyah dance of the ethnic group’s girl was danced by being accomppanied the Leleng song.
- Hudoq Dance, this dance receive the strength in overcoming the disturbance of the pest of the crop vandal and hope for was given by the fertility so that the yield many. The dancer made use of the wood mask that resembled the wild animal as well as made use of the bananas leaves or the coconut leaves as the cover of the dancer’s body.
- Hudoq Kita Dance, the dance for the ceremony welcomed the year planted and extend gratitude to the god who gave the good yield.
- Serumpai Dance of the ethnic group’s Dayak Benuaq dance was carried out to refuse the plague of illness and treat and the person who was bitten by the mad dog. Mentioned the Serumpai dance was because of the dance accompanied the Serumpai musical instrument (a kind of bamboo flute).
- Belian Bawo Dance in the Belian Bawo Ceremony aimed at refusing the illness, treated the person was sick, paid the eagle et cetera. After being changed in to the dance, this dance was often served in the agendas and the other artistic agenda of thr guest recipient. This dance was ethnic group’s Dayak Benuaq dance.
- Kuyang Dance a Belian dance from the Dayak Benuaq ethnic group to expel ghosts who guarded big tress and high in order to not disturb humankind or the person that cut down this tree.
- The Dance Pecuk this dance Quinine depicted the Dayak Kenyah move of the ethnic group that moved from the Apo Kayan area (Kab. Bulungan) to the area Long Fresh (Kab. Kutai West) that took up time for years.
- Datun Dance was the dance with the ethnic group’s Dayak Kenyah girl with the number must not, might 10 as far as 20 people.
- Ngerangkau Dance was the traditional dance in the matter of the deathfrom the Dayak Tunjung ethnic group and Benuaq.
This dance utilised the equipment of the rice pounder that was pound in an orderly fashion in the horizontal position so as to cause the certain rhythm.
-Baraga Bagantar Dance, initially Baraga Bagantar was the diamond ceremony to treat the baby by requesting help from Nayun Gantar. Now the Dayak Benuaq ethnic group arranges this cerremony to a dance.
SCULPTURE & STATUE
The Dayak Sculpture of the ethnic Group’s statue quite unique, took the pattern and the motive of nature like plants, the animal as well as forms that they believed as the spirit from gods, for example Naang Brang, the Lih Pen, Deing Wung Loh, et cetera. Because of that statue functioned as:
a. Ajimat statue, was made by wood that it was considered to refuse the illness or cured the person was sick.
b. Completeness of the Ceremoney Statue was the small statue was made from wood, bamboo or sticky rice flour for equipmentof the traditional ceremony like pelas the year, kuangkai, and the other party of the tradition.
c. Statue of the Ceremony Implement, for example to be the statue blontang that was made from ulin wood is as high as 2-4 meter his underside was planted 1 meter.
HANDICRAFT
Some Dayak result of the ethnic Group’s handicraft that quite beautiful and interesting, in part:
1. Perisai/Kelembit, the defence implement in warfare was, made from minor wood be not easy to break. The front was decorated ukiran made use of the black colour white. The motive that was used, that is: Enggang (the Tebengaang Necklace), the Dragon/the Dog (the Aso Necklace) and the Mask (the Undo Necklace).
2. Ulap Doyo, was clothe from leaves fibre doyo this was results of diligence that only were made by the ethnic group’s Dayak Benuaq Women lived in the Isuy the Cape. The corp doyo, resembled pandanus was gotten in the Isuy Cape. His leaves fibre was strong and could be made the thread wove. Fabric cloth was made clothes, the cap or the wall decoration.
3. Anjat, was the implement have the shape of like the bag that was made from the rattan cane work and had two or three sangkutan. Anjat is usually used to place loads when going on a trip.
4. Bening Aban, was the implementto carry the child that only was met to the ethnic group’s Dayak Kenyah community. This implement was made from wood that usually is illustrated with ukiran or was covered with the beads embroidery as well as coins.
5. Sumpitan, was the normal implement was use to go hunting or wage war that was known by almost all the Dayak ethnic group in Kalimantan. This implement was made from wood ulin or the like that had the shape of the long stick that was given the small hole to put the blowpipe child. The Sumpitan was supplemented with a spear eye that was tied close on the end but also was supplemented with the blowpipe child as well as his forum (a magnifying glass).
6. Seraung, was the wide hat was used to work in the paddy-field. But, currently often was processed seraung-seraung the small measurement for the domestic decoration.
7. Mandau, was the traditional weapon specific the Dayak Ethnic Group that resembled the sword was made from the iron with the hundle from wood or bones. Before the oroduction was presceeded ritual the tradition.
8. Manik, was spesific beads diligence of the Dayak Ethnic Group was made clothes, the hat decoration /seraung and clear aban.
The Dayak ethnic group was divided into the ethnic group’s, in part: Dayak Tunjung, Dayak Bahau, Dayak Benuaq, Dayak Modang, Dayak Penihing, Dayak Busang, Dayak Muddy, Dayak Ohong, Dayak Bentian, Dayak Kenyah, Dayak Punan, Dayak Basap, and Kayan. They lived spread all over the Kalimantan corner of the island, from urban areas to the countryside in the jungle.
Like the Dayak Punan Ethnic Group that lived in the jungle all over East Kalimantan from the Bulungan area, Berau to Kutai. They lived in small groups in stone caves and trees. Whereas the Basap Ethnic Group according to the story was the descendants of chinese who married the Punan ethnic group. They lived in the Bontang subdistrict territory and Sangkulirang. The Kayan ethnic group came from Central Kalimantan, this ethnic group often was also mentioned with the Biaju ethnic group. They lived in the Long Iram area, Long Bagun and Muara Wahau of the sub district.
The Dayak ethnic group occupied the unique house that was known with the Lamin term. The Lamin from of the traditional house from each Dayak Ethic Group generally far is not different,. Lamin is usually established appeared to the side of the river. With the form of the foundation of the building take the form of rectangular. It was long that Lamin was that reached 200 meter un a wide manner between 20 and 25 meter.
In the page around Lamin was gotten measuring wood statues big that was the statue of the ancestore’s dedication (blang). Lamin had the shape of the house on stilts (Had the cellar) by making use of the roof of the form of the saddle. High the cellar was that reaced 4 meter. To rise onto Lamin was used the ladder that was made from the tree trunk that notch formed undakan and this ladder could be moved or lowered. That was meant to anticipate the threat of the enemy’s attack or the wild animal.
Initially, many families that lived in rooms inside occopied Lamin, but the habit has increasingly faded in the current period. The front, took the form of the functioning long veranda as the place of the implementation of the marriage ceremony, gave birth, the death, the party, etc. of the harvest. Behind this veranda was gotten the big row of rooms. 5 head of household occopied each room.
Lamin the noble’s residence and the head of the tradition usually are full of decorations or beautiful carved from the pole, the wall to the peak of the roof. The ornament to the peak of the roof was that stuck up trough to 3 or 4 meter. The Lamin wall of property or the head of the tradition of the noble was made from the plank, where as Lamin belonging to the normal community was only made from bark. The Dayak ethnic group had various musical intrument, both took the form of the musical intrument reaped, struck and blew. In the everyday life of the musical intrument also was utilized by intentions as well as the worship and praised to that had the power, was good towards spirits and human.
The Implement Musik
The Dayak Ethnic Group had the special characteristics in the musical field. The famous musical intrument, among them : Gendang, Genikng ( the big gong was made dependent like the Gong in Java), Gong ( the musical instrument from the round iron of the diameter 50-60 cm). Glunikng ( the musical instrument was made from ulin wood resembled saron in Java), Jatung Tutup ( the big drum measuring 3 meter the diameter 50 cm), Jatung Ulang ( the mul inssicatrument from wood that had the shape of Gambang had 12 key ).
Kadire ( the wind instrument was made from pelapah the stick of bananas and had 5 bamboo pipes tat were read out by making a fool of air to the cavity in the mouth to produce the voice dengung ), Klentangan ( the musical instrument struck consisted six small gongs were compiled according to the tone like bonang in Java). Sampe ( a kind of string guitar totalled 3 or 4 wit the decoration or ukiran specific the Dayak ethnic group), Suliikng ( the wind instrument that was made from Bamboo). Taraai ( the small gong that was hung ), Uding or Uring ( one kecapi that was made from bamboo or the stick of coconut like genggong in Bali or Karinding West Java.
Dance
Dance art that was had by the Dayak ethnic group very beautiful and captured, like Gantar Dance, the dance that depicted the movement of the person buried rice. The stick depicted the pounder’s wood whereas bamboo as well as the seeds inside depicted the rice seed and his forum. This dance quite famous and often was served in the guest reception and the other agendas. This dance was not only known by the Dayak Tunjung ethnic group but also was known by Dayak Benuaq ethnic group. This dance could be divided into three versions that is the Gantar Rayatn dance, the Gantar Busai and the Gantar Kusak.
- Kancet Papatai Dance/the war dance, this dance told all about a Dayak Kenyah hero waged war against his enemy. This movement of the dance was very lively, agile, was full of the spirit and sometimes had taken part in by the scream of the dancer. In the Kancet Pepatay dance, the dancer utilised traditional clothes of the Dayak Kenyah etnhic group was equipped with the war like the sword, the shield and battledress. This dance was accompanied with the song of the Sack of the nail and only made use of the musical instrument until.
- Kancet Ledo Dance/the Gong Dance, the dance that depicted a girl like rice that sway soft was blown by the wind. This dance was brought by a women by using traditional clothes of the Dayak Kenyah ethnic group and to his two hands held the enggang series of birds tail feathers. Usually this dance is danced on a gong, so as Kanced Ledo was acknowledged also as the Gong Dance.
- Kancet Lasem Dance, the dance that depicted the everyday life of Enggang birds, birds that were honored by the Dayak Kenyah ethnic group because of being regarded as the sign and heroism of grandeur.
- Leleng Dance, this dance told how a girl was named the along forest that wiil be combined forcibly by his parents with the young man who was not loved by him. The Along forest had finally escaped into the forest. This Dayak Kenyah dance of the ethnic group’s girl was danced by being accomppanied the Leleng song.
- Hudoq Dance, this dance receive the strength in overcoming the disturbance of the pest of the crop vandal and hope for was given by the fertility so that the yield many. The dancer made use of the wood mask that resembled the wild animal as well as made use of the bananas leaves or the coconut leaves as the cover of the dancer’s body.
- Hudoq Kita Dance, the dance for the ceremony welcomed the year planted and extend gratitude to the god who gave the good yield.
- Serumpai Dance of the ethnic group’s Dayak Benuaq dance was carried out to refuse the plague of illness and treat and the person who was bitten by the mad dog. Mentioned the Serumpai dance was because of the dance accompanied the Serumpai musical instrument (a kind of bamboo flute).
- Belian Bawo Dance in the Belian Bawo Ceremony aimed at refusing the illness, treated the person was sick, paid the eagle et cetera. After being changed in to the dance, this dance was often served in the agendas and the other artistic agenda of thr guest recipient. This dance was ethnic group’s Dayak Benuaq dance.
- Kuyang Dance a Belian dance from the Dayak Benuaq ethnic group to expel ghosts who guarded big tress and high in order to not disturb humankind or the person that cut down this tree.
- The Dance Pecuk this dance Quinine depicted the Dayak Kenyah move of the ethnic group that moved from the Apo Kayan area (Kab. Bulungan) to the area Long Fresh (Kab. Kutai West) that took up time for years.
- Datun Dance was the dance with the ethnic group’s Dayak Kenyah girl with the number must not, might 10 as far as 20 people.
- Ngerangkau Dance was the traditional dance in the matter of the deathfrom the Dayak Tunjung ethnic group and Benuaq.
This dance utilised the equipment of the rice pounder that was pound in an orderly fashion in the horizontal position so as to cause the certain rhythm.
-Baraga Bagantar Dance, initially Baraga Bagantar was the diamond ceremony to treat the baby by requesting help from Nayun Gantar. Now the Dayak Benuaq ethnic group arranges this cerremony to a dance.
SCULPTURE & STATUE
The Dayak Sculpture of the ethnic Group’s statue quite unique, took the pattern and the motive of nature like plants, the animal as well as forms that they believed as the spirit from gods, for example Naang Brang, the Lih Pen, Deing Wung Loh, et cetera. Because of that statue functioned as:
a. Ajimat statue, was made by wood that it was considered to refuse the illness or cured the person was sick.
b. Completeness of the Ceremoney Statue was the small statue was made from wood, bamboo or sticky rice flour for equipmentof the traditional ceremony like pelas the year, kuangkai, and the other party of the tradition.
c. Statue of the Ceremony Implement, for example to be the statue blontang that was made from ulin wood is as high as 2-4 meter his underside was planted 1 meter.
HANDICRAFT
Some Dayak result of the ethnic Group’s handicraft that quite beautiful and interesting, in part:
1. Perisai/Kelembit, the defence implement in warfare was, made from minor wood be not easy to break. The front was decorated ukiran made use of the black colour white. The motive that was used, that is: Enggang (the Tebengaang Necklace), the Dragon/the Dog (the Aso Necklace) and the Mask (the Undo Necklace).
2. Ulap Doyo, was clothe from leaves fibre doyo this was results of diligence that only were made by the ethnic group’s Dayak Benuaq Women lived in the Isuy the Cape. The corp doyo, resembled pandanus was gotten in the Isuy Cape. His leaves fibre was strong and could be made the thread wove. Fabric cloth was made clothes, the cap or the wall decoration.
3. Anjat, was the implement have the shape of like the bag that was made from the rattan cane work and had two or three sangkutan. Anjat is usually used to place loads when going on a trip.
4. Bening Aban, was the implementto carry the child that only was met to the ethnic group’s Dayak Kenyah community. This implement was made from wood that usually is illustrated with ukiran or was covered with the beads embroidery as well as coins.
5. Sumpitan, was the normal implement was use to go hunting or wage war that was known by almost all the Dayak ethnic group in Kalimantan. This implement was made from wood ulin or the like that had the shape of the long stick that was given the small hole to put the blowpipe child. The Sumpitan was supplemented with a spear eye that was tied close on the end but also was supplemented with the blowpipe child as well as his forum (a magnifying glass).
6. Seraung, was the wide hat was used to work in the paddy-field. But, currently often was processed seraung-seraung the small measurement for the domestic decoration.
7. Mandau, was the traditional weapon specific the Dayak Ethnic Group that resembled the sword was made from the iron with the hundle from wood or bones. Before the oroduction was presceeded ritual the tradition.
8. Manik, was spesific beads diligence of the Dayak Ethnic Group was made clothes, the hat decoration /seraung and clear aban.
Thursday, January 14, 2010
SILVER DILIGENCE BURNT FROM KOTA GEDE
For the lover of silver diligence, kota Gede already did not can be heard again foreign, because this area became centers of silver diligence burnt. Various model sorts and the kind were produced craftsmen, from jewellery to things of the house decoration.
Beautiful, pretty and elegant. Very appropriate as souvenir or the present for the family in the house. When viewing his process of the production. Who the idea one million precious silver burnt that only was produced by means of and equipment that very traditional, neverthelessthe expertise craftsman might not be it was considered trifling. Skills and the spiritof art that was had craftsman that for generations from the ancestors who were not had the other area. Therefore their work delivered silver diligence bumt famous down to the foreign countries. Moreover since several years set silver diligence burnt the Big City has cleared to the foreign export market, among them: the United States, Japan and Italia.
Apart from resultso of beautiful diligence and pretty, cultural the silver craftsman burnt that had special attraction for tourists. Many tourists who came to the Big City only wanted to see the procedure of the silver craftsman there. You were interested? Please come there. The location of Kota Gede did not be far from the Yogyakarta center of the city, only around five kilometer. Could be followed by the person’s car or or the public’s trasport.
Upon arrival at there, could travel by the pedicab or andong for the circle because there had 115 craftsment, spread from the Great mosque to the palace Mataram Islam. During in the trip towards Kota Gede should not missed many pan-the aroma that could be enjoyed along the road. Old buildings that hat the high value of architecture art were in right-left the road, among them: the Palace Gate and the Complex of Kota Gede Grave. This building as history proof there had stood the Kingdom Mataram Islam.
According to the history, diligence in Kota Gede took place since the royal time hundreds of years. The craftsman made the furniture and jewellery to satisfy the requirement for the king and relatives of the palace. Since then the life of the community had there made his life from results of silver diligence dependent burnt.
Beautiful, pretty and elegant. Very appropriate as souvenir or the present for the family in the house. When viewing his process of the production. Who the idea one million precious silver burnt that only was produced by means of and equipment that very traditional, neverthelessthe expertise craftsman might not be it was considered trifling. Skills and the spiritof art that was had craftsman that for generations from the ancestors who were not had the other area. Therefore their work delivered silver diligence bumt famous down to the foreign countries. Moreover since several years set silver diligence burnt the Big City has cleared to the foreign export market, among them: the United States, Japan and Italia.
Apart from resultso of beautiful diligence and pretty, cultural the silver craftsman burnt that had special attraction for tourists. Many tourists who came to the Big City only wanted to see the procedure of the silver craftsman there. You were interested? Please come there. The location of Kota Gede did not be far from the Yogyakarta center of the city, only around five kilometer. Could be followed by the person’s car or or the public’s trasport.
Upon arrival at there, could travel by the pedicab or andong for the circle because there had 115 craftsment, spread from the Great mosque to the palace Mataram Islam. During in the trip towards Kota Gede should not missed many pan-the aroma that could be enjoyed along the road. Old buildings that hat the high value of architecture art were in right-left the road, among them: the Palace Gate and the Complex of Kota Gede Grave. This building as history proof there had stood the Kingdom Mataram Islam.
According to the history, diligence in Kota Gede took place since the royal time hundreds of years. The craftsman made the furniture and jewellery to satisfy the requirement for the king and relatives of the palace. Since then the life of the community had there made his life from results of silver diligence dependent burnt.
Wednesday, January 13, 2010
SUMEDANG TOFU
Sumedang Tofu was made from this soybean very famous, had the specific characteristics of his form of the very small box, and tasted deliciuos and crispy. Apart from for the side dish, Sumedang tofu agreed as the friend’s loyal snack during in the trip.
The Sumedang name was taken from the area of the food origin the first time being produced, namely the Sumedang Regency that was located, 45 kilometer next east the Bandung City, the West Javanese capital of the Province.
When want to bought Sumedang tofu, might not very distant came to the Sumedang City, Because now many sellers go out entered the village in several cities in Java, like Jakarta, Surabaya, Semarang, yogyakarta or Cirebon. Moreover almost in each bus terminal and the station of the train could be met the traveling salesmen of Sumedang tofu.
In general the traveling salesman sold tofu by means of being packed in plastic coutained 10 seeds tofu that had cooked and been ready to be eaten. His price was relatively cheap 1.000 per the pocket. The slice tofu small boxes as big as thumb of the adult, one seed immediately could digest. Delicious and crispy. Usually in the pocket of plastic were enclosed two to three raw chili seeds and a little salt.
The specific characteristics of form and the feeling tofu this Sumedang that distinguished him with tofu from the other area. The matter that delivered the Sumedang name famous all the countries.
The process of the production Sumedang tofu far was not different to the production tofu from the other area. At first the soybean was soaked during two hours were afterwards rolled. The soybean that has been soft that mixed water and was stirred. Further was boiled approximately 5 minutes by making use of fire that quite hot. The batter was furthemore poured in the barrel and was given the seed, was afterwards put into the edition or was pressed for 3 minutes. Tofu had been aneen ready to be marketed.
THE TIONGKOK EXPATRIATE
Overturned by fame tofu this Sumedang origin had the history trip that quit long. The initiator of the idea of the production Sumedang tofu the first time was a Hokian origin expatriate, the Tiongkok mainland ( China ) was named Ong Kino. He left this native village left home to the Sundanese land to pitfate.
Ong Kino began selling efforts of the chip of the pith from cassava at the edge of the road. As the strong businessman and persevering from the switching chip of cassava to tofu. “ His origin grandfather sold chip of the pith was made from cassava at the edge of the road and in 1917 begin made tofu,” said Ong Kim’s shark alias Ukim ( 64 ) the Ong Kino grandchild.
Ong Kino diligently produced tofu although the soybean raw material very limited because allocated by the Japanese government at that time had the power in Indonesia. The limitations and equipment of the raw material that very simple, so as the production tofu Ong Kino still a little. His marketing was then limited in the market and the village around his house that up until now is occupied by the Ukim family in the Road on April 11 the number 53 in the Sumedang city ( previously was named the Road of the field of the bat, the Kaler city District ).
According to the Ukim story, when his grandfather arrived in Sumedang, the city situation was still being quiet. It did not yet have the praved road and did not yet have public transport. The inhabitant’s house at that point was still having the shape of the stage and the Sumedang city did not yet wake up as is now the case. Owing to Ong Kino perseverence, the production of tofu went flowing although with all of his limitations. The mill at that time is still using the stone, unlike now has used the machine.
Entered in 1955 the production of tofu Ong Kino experienced the progress quite fast since oplet entered the Sumedang city. The area of the sale widened to the terminal and the other area outside the Sumedang city. When efforts to know him began to be developing Ong Kino felt Ong kino has been tired and handed over these efforts to his child was named Ong Bung keng ( 1901-1993 ). Ong Kino came home to Hokian chose to finish his life in his birth village.
On the hands of Ong Bung keng, efforts of tofu then developing fast and succeeded in maintaining the special characteristics of tofu his product that was given the label Bung keng tofu ( took the name of Ong Bung keng ). The name Bung keng tofu has at that time begun to be know.
At the beginning the Ong Kino year cleared the production of tofu, the official’s Sumedang circle, including the Sumedang Regent was interested. They predicted tha Ong Kino efforts would advance. And true efforts of tofu that developing fast and became the pioneer Sumedang tofu that now famous. Ong Kino placed te business foundations for the Sumedang community. He gave the example in made good tofu.
The Sumedang name was taken from the area of the food origin the first time being produced, namely the Sumedang Regency that was located, 45 kilometer next east the Bandung City, the West Javanese capital of the Province.
When want to bought Sumedang tofu, might not very distant came to the Sumedang City, Because now many sellers go out entered the village in several cities in Java, like Jakarta, Surabaya, Semarang, yogyakarta or Cirebon. Moreover almost in each bus terminal and the station of the train could be met the traveling salesmen of Sumedang tofu.
In general the traveling salesman sold tofu by means of being packed in plastic coutained 10 seeds tofu that had cooked and been ready to be eaten. His price was relatively cheap 1.000 per the pocket. The slice tofu small boxes as big as thumb of the adult, one seed immediately could digest. Delicious and crispy. Usually in the pocket of plastic were enclosed two to three raw chili seeds and a little salt.
The specific characteristics of form and the feeling tofu this Sumedang that distinguished him with tofu from the other area. The matter that delivered the Sumedang name famous all the countries.
The process of the production Sumedang tofu far was not different to the production tofu from the other area. At first the soybean was soaked during two hours were afterwards rolled. The soybean that has been soft that mixed water and was stirred. Further was boiled approximately 5 minutes by making use of fire that quite hot. The batter was furthemore poured in the barrel and was given the seed, was afterwards put into the edition or was pressed for 3 minutes. Tofu had been aneen ready to be marketed.
THE TIONGKOK EXPATRIATE
Overturned by fame tofu this Sumedang origin had the history trip that quit long. The initiator of the idea of the production Sumedang tofu the first time was a Hokian origin expatriate, the Tiongkok mainland ( China ) was named Ong Kino. He left this native village left home to the Sundanese land to pitfate.
Ong Kino began selling efforts of the chip of the pith from cassava at the edge of the road. As the strong businessman and persevering from the switching chip of cassava to tofu. “ His origin grandfather sold chip of the pith was made from cassava at the edge of the road and in 1917 begin made tofu,” said Ong Kim’s shark alias Ukim ( 64 ) the Ong Kino grandchild.
Ong Kino diligently produced tofu although the soybean raw material very limited because allocated by the Japanese government at that time had the power in Indonesia. The limitations and equipment of the raw material that very simple, so as the production tofu Ong Kino still a little. His marketing was then limited in the market and the village around his house that up until now is occupied by the Ukim family in the Road on April 11 the number 53 in the Sumedang city ( previously was named the Road of the field of the bat, the Kaler city District ).
According to the Ukim story, when his grandfather arrived in Sumedang, the city situation was still being quiet. It did not yet have the praved road and did not yet have public transport. The inhabitant’s house at that point was still having the shape of the stage and the Sumedang city did not yet wake up as is now the case. Owing to Ong Kino perseverence, the production of tofu went flowing although with all of his limitations. The mill at that time is still using the stone, unlike now has used the machine.
Entered in 1955 the production of tofu Ong Kino experienced the progress quite fast since oplet entered the Sumedang city. The area of the sale widened to the terminal and the other area outside the Sumedang city. When efforts to know him began to be developing Ong Kino felt Ong kino has been tired and handed over these efforts to his child was named Ong Bung keng ( 1901-1993 ). Ong Kino came home to Hokian chose to finish his life in his birth village.
On the hands of Ong Bung keng, efforts of tofu then developing fast and succeeded in maintaining the special characteristics of tofu his product that was given the label Bung keng tofu ( took the name of Ong Bung keng ). The name Bung keng tofu has at that time begun to be know.
At the beginning the Ong Kino year cleared the production of tofu, the official’s Sumedang circle, including the Sumedang Regent was interested. They predicted tha Ong Kino efforts would advance. And true efforts of tofu that developing fast and became the pioneer Sumedang tofu that now famous. Ong Kino placed te business foundations for the Sumedang community. He gave the example in made good tofu.
Monday, January 11, 2010
YOGYAKARTA PALACE OF CASTLE
The Yogyakarta palace was one of the Kingdoms in Java that until this still exist, was led by a king was named Sri Sultan Hamengku Buwono X. So, already the descendants to 10 of the firts king of Sri Sultan Hamengku Buwono I.for his authority territory, the Indonesian government made Yogyakarta the Special Area.
The Yogyakarta Special District existence ( DIY ) that still was maintaining Javanese culture had the historic value high and the attraction for tourists who visited there. For example, the Taman Sari or also was know with the term of the water Palace ( Water Kasteel ). Acknowledged as the Water Palace because the Taman Sari in got up on the false ocean.
In the taman Sari, previously King Yogyakarta finishe the time to hold the government, the palace of the defense at the same time the place for fun enterteined the heart with the queen, the wife and his family's member of the misstress.
The Taman Sari occupied the area measuring 10 hectare was built during 1756 was finished in 1765 really Yogyakarta First King Sri Sultan Hamengku Buwono I. that interesting, relief's of Taman Sari is nuance religious and told about the chinese combination, Europe, Hindu, Buddha and Islamof the dtyle of architecture. Did not miss also the wall of the building and the wall of the gate way told about the lime, sand, the red stone, white the egg and the young coconut juice.
Most important parts that could be seen in the Taman sari complex that was places the first king Sri Sultan Hamengku Buwono I, like: the Kenanga Island Palace, the Panembung Island, the round Mosque, the Great Gateway, the stage Gateway, the Whip building, and the Pool of the Bthing place, the Building of the meeting of the King with the south Nyi Roro Kidul ruler and plengkung Segaran of sea.
Pool of Bathing Place-three available pools of the bathing place in the Taman Sari complex had the name separetely, namely the Umbul Kawitan pool of the bathing place, that was utilized where bathing the king’s sons and daughters. The second pool of the bathing place was named Umbul Pamuncar that only for the wife and the third Pool of the bathing place of the king, were namely special Umbul Panguras used by the king.
Twins’s building-twin’s four building that was in the Taman Sari complex was mentioned by the name of Pecaosan ( the guarding ) and Paseban ( the place of the substitute for clothes ) the servant after undertaking the task of the guarding. Other four building used as played Gamelan if the king to sit in Gapura Panggung.
The meeting building- A Part that did not lose interesting and still the armature namely the meeting building between the king and the south Nyi Roro Kidul ruler of sea.
The Whip bilding-between the Umbul Pamuncar Pool of the bathing place and umbul Panguras had a building that named the whip. In the building so palace heirlooms in kept.
The Kenanga island – On The North had a small island that hill land. There had building that was acknowledged as the kenanga island palace. The kenanga name was taken from two kenanga trees available there. In this place of Sri Sultan HB until III had occopied him.
The round mosque – Next west the Kenanga island palace was gotten a unique mosque. His foudation had the shape of the circle with the diameter 25 meter, depth to 5 meter, the ridge that apparently in the surface of the land. Had two floor and in the middle had the Gumuling Well ( the place of ritual ablution ). The first floor the place and the floor of the queen’s prayers two places of the king’s prayers. The Taman Sari mosque was know also with the round mosque term.
The tunnel – In the south of the round mosque was gotten the tunnel along 25 kilometer that pointed in Parang kusumo ( the south sea coast ). This tunnel it seems reportedly as preparations for the rescue if warfare happening.
The Panembung island - the Panembung island was gotten next south the Kenanga island Palace. The name of the island was matched the function, as the meditating place of the king asked the lord of the lord. A building occopied a plain field on the false ocean. To reach this island must go through the tunnel along 200 meter. An amount of ventilation was placed along on the tunnel in the form of the house joglo lined up the row with the inhabitant’s house around it. This tunnel was renovated in Sri Sultan HB IX government period without the change and his sacred value in the authenticity.
Physical Transformation
If being paid close attention to, all the available building in the Taman Sari complex had the meaning and the meaning that were enough in. Especially related relations between the life of humankind as the creature and the lord of the lord. As the round form of the mosque building had two storeys took the form of the path, one floor on water and one floor more under water. This had the meaning Sangkan paraning dumadi ( the origin from all available ).
Even so five ladders in the middle of the mosque symbolized daily prayers. Was seen from his ladder composition, namely four ladders below and joined in was forming the pyramid, as well as one ladder connected te peak of the pyramid with the upper floor of the part mosque, had the meaning as the spiritual Javanese concept sedulur papat siji pancer ( sedulur flat limo pancer ).
The well of available Gumuling in the mosque had the function as the place of ritual ablution at the same time being used by the meditating king in the kejawen conduct. More again distant, also was made the place of the meeting between the king and the south Nyi Roro kidul ruler of sea magically.
There fore, the round mosque existence showed the Javanese culture capacity penetrated everything in himself as well as united him that is Islam culture with Javanese culture that expressed the characteristics of Hindu culture and available Buddha beforehand. Because that of the Taman Sari was also acknowledged as the Islam Garden or the Heaven Garden because of containing the symbol the symbol physical transformation.
The Taman Sari that was built in the king’s first period, had the function as the place of the king for fun to entertain the heart with the queen, his wives, children and the family’s other member of the mistress the other function as the complete place of the defense with this secret path to escape when from time to time was urged by the enemy’s attack. The Taman Sari also became the centre of all of the government’s activities, so as to be known also by the water Kasteel term or the water palace.
The Yogyakarta Special District existence ( DIY ) that still was maintaining Javanese culture had the historic value high and the attraction for tourists who visited there. For example, the Taman Sari or also was know with the term of the water Palace ( Water Kasteel ). Acknowledged as the Water Palace because the Taman Sari in got up on the false ocean.
In the taman Sari, previously King Yogyakarta finishe the time to hold the government, the palace of the defense at the same time the place for fun enterteined the heart with the queen, the wife and his family's member of the misstress.
The Taman Sari occupied the area measuring 10 hectare was built during 1756 was finished in 1765 really Yogyakarta First King Sri Sultan Hamengku Buwono I. that interesting, relief's of Taman Sari is nuance religious and told about the chinese combination, Europe, Hindu, Buddha and Islamof the dtyle of architecture. Did not miss also the wall of the building and the wall of the gate way told about the lime, sand, the red stone, white the egg and the young coconut juice.
Most important parts that could be seen in the Taman sari complex that was places the first king Sri Sultan Hamengku Buwono I, like: the Kenanga Island Palace, the Panembung Island, the round Mosque, the Great Gateway, the stage Gateway, the Whip building, and the Pool of the Bthing place, the Building of the meeting of the King with the south Nyi Roro Kidul ruler and plengkung Segaran of sea.
Pool of Bathing Place-three available pools of the bathing place in the Taman Sari complex had the name separetely, namely the Umbul Kawitan pool of the bathing place, that was utilized where bathing the king’s sons and daughters. The second pool of the bathing place was named Umbul Pamuncar that only for the wife and the third Pool of the bathing place of the king, were namely special Umbul Panguras used by the king.
Twins’s building-twin’s four building that was in the Taman Sari complex was mentioned by the name of Pecaosan ( the guarding ) and Paseban ( the place of the substitute for clothes ) the servant after undertaking the task of the guarding. Other four building used as played Gamelan if the king to sit in Gapura Panggung.
The meeting building- A Part that did not lose interesting and still the armature namely the meeting building between the king and the south Nyi Roro Kidul ruler of sea.
The Whip bilding-between the Umbul Pamuncar Pool of the bathing place and umbul Panguras had a building that named the whip. In the building so palace heirlooms in kept.
The Kenanga island – On The North had a small island that hill land. There had building that was acknowledged as the kenanga island palace. The kenanga name was taken from two kenanga trees available there. In this place of Sri Sultan HB until III had occopied him.
The round mosque – Next west the Kenanga island palace was gotten a unique mosque. His foudation had the shape of the circle with the diameter 25 meter, depth to 5 meter, the ridge that apparently in the surface of the land. Had two floor and in the middle had the Gumuling Well ( the place of ritual ablution ). The first floor the place and the floor of the queen’s prayers two places of the king’s prayers. The Taman Sari mosque was know also with the round mosque term.
The tunnel – In the south of the round mosque was gotten the tunnel along 25 kilometer that pointed in Parang kusumo ( the south sea coast ). This tunnel it seems reportedly as preparations for the rescue if warfare happening.
The Panembung island - the Panembung island was gotten next south the Kenanga island Palace. The name of the island was matched the function, as the meditating place of the king asked the lord of the lord. A building occopied a plain field on the false ocean. To reach this island must go through the tunnel along 200 meter. An amount of ventilation was placed along on the tunnel in the form of the house joglo lined up the row with the inhabitant’s house around it. This tunnel was renovated in Sri Sultan HB IX government period without the change and his sacred value in the authenticity.
Physical Transformation
If being paid close attention to, all the available building in the Taman Sari complex had the meaning and the meaning that were enough in. Especially related relations between the life of humankind as the creature and the lord of the lord. As the round form of the mosque building had two storeys took the form of the path, one floor on water and one floor more under water. This had the meaning Sangkan paraning dumadi ( the origin from all available ).
Even so five ladders in the middle of the mosque symbolized daily prayers. Was seen from his ladder composition, namely four ladders below and joined in was forming the pyramid, as well as one ladder connected te peak of the pyramid with the upper floor of the part mosque, had the meaning as the spiritual Javanese concept sedulur papat siji pancer ( sedulur flat limo pancer ).
The well of available Gumuling in the mosque had the function as the place of ritual ablution at the same time being used by the meditating king in the kejawen conduct. More again distant, also was made the place of the meeting between the king and the south Nyi Roro kidul ruler of sea magically.
There fore, the round mosque existence showed the Javanese culture capacity penetrated everything in himself as well as united him that is Islam culture with Javanese culture that expressed the characteristics of Hindu culture and available Buddha beforehand. Because that of the Taman Sari was also acknowledged as the Islam Garden or the Heaven Garden because of containing the symbol the symbol physical transformation.
The Taman Sari that was built in the king’s first period, had the function as the place of the king for fun to entertain the heart with the queen, his wives, children and the family’s other member of the mistress the other function as the complete place of the defense with this secret path to escape when from time to time was urged by the enemy’s attack. The Taman Sari also became the centre of all of the government’s activities, so as to be known also by the water Kasteel term or the water palace.
Thursday, January 7, 2010
BARONG KERIS DANCE FROM BALI
Apart from the nature tour that really enchanted, the Balinese island also was varied cultural art that had an interest taken in him by the domestic and foreign tourists. Like the Barong and kris dance that normally are displayed in Batubulan the Gianyar Regency. The dance barong was a dance show with the Kebyar accompaniment of the gong, the traditional Balinese musical orchestra that depicted figh between “Good evil” opposed “Bad evil”.
Barong was the creature mythology had the shape of the giant’s lion, described the service. Whereas the Rangda was great horrifying was played a bad female noose had a hair-raising face with the long nail and two long breasts dangled, depicted evil.
The dance barong was packedin five show rounds. Preceeded with gending the opening and in stage emerged Barong and monkey was being in the luxuriant forest. Afterwards came three people wore mask that depicted was making the monkey and finally fought, where the monkey could cut off the nose one of them.
After the opener scene ended,entered the first round. In the stage appeared two dancers. They were the follower of the Rangda was looking for Kunti follower of the Goddess that was in the trip met Patih.
The second round, the Kunti followers of the Goddess arrived. One the followers of the Rangda changed to the devil (a kind of Rangda) and put the bad spirit to the Kunti follower of the Goddess who caused them to be able to become angry. Both of them met Patih and together appeared before the Kunti Goddess.
The third round, emerged the kunti Gooddess and his child were named Sahadewa. The Kunti goddess promised to Rangda to hand over Sahadewa as casualties. In fact the Kunti Goddess not until the heart sacrificed his child to the Rangda. But the devil ( a kind of Rangda ) put the bad spirit to the Kunti Goddess who caused him to be able to became angry and intended sacrified his child as well as ordered Patih to throw Sahadewa into the forest away. And Patih did not escape from the bad spirit by the devil into the forest and binding Sahadewa in front of the palace the Rangda.
The fourth round, descended the Siwa God and gave the permanence to Sahadewa without the Rangda foreknowledge. Afterwarsd the frame work came to lacerated and killed Sahadewa. But, Sahadewa could not be killed because of having immunity that was given by the Siwa God. The incident made the Rangda surrender to Sahadewa and ask to be rescued in order to be able to enter heaven. Sahadewa granted the request and the Rangda also finally entered heaven.
The fifth round, Kalika was a follower of the Rangda appeared before Sahadewa but was refused. This refusal caused the fight between Kalika that changed the shape became the wild boar and Sahadewa. In the fight of the wild boar lost and changed the shape still becomes birds. But the efforts were in vain because continue to be able to not overcome Sahadewa. Finally birds that too returned to the shape originally as the Rangda. Although could be overcome, but Sahadewa could not kill the Rangda who had the supernatural powers. And so Sahadewa the had finally changed the shape became Barong to be able to kill the Rangda. But, efforts that too was not successful. The struggle “Goo Evil” opposed “Bad Evil” took place continued eternal.
Finally the Barong followers in an armed manner the intent kris helped waged war on the Rangda. However, not any could overcome the Rangda’s supernatural powers. In this dance show, Barong was played by two male dancers, a person played the head part Barong and the foreleg, as well as a dancer still play the back leg part and the tail.
Barong that had the shape of the animal mythology this plenty of his sorts, there are those that his head had the shape of the head of the lion, the tiger, the male wild boar ( bangkal ), the elephant, the ox or keket. Keket by Balinese was regarded as the King of the forest who was mentioned also by the name of Banaspati King.
The dance barong with or without the act, always was preceeded with the demontration of the show that was accompanied with the different gamelan like the Kebyar Gong gamelan, the Babarongan gamelan, and the Batel gamelan.
The show was displayed every day in a studio that named Sahadewa. He studio building resembled the hall with the seat had a capacity of 300 visitors. The show was opened for the public was begun in the morning around struck 09.30 WIT ( Indonesian Time Middle ).
Barong was the creature mythology had the shape of the giant’s lion, described the service. Whereas the Rangda was great horrifying was played a bad female noose had a hair-raising face with the long nail and two long breasts dangled, depicted evil.
The dance barong was packedin five show rounds. Preceeded with gending the opening and in stage emerged Barong and monkey was being in the luxuriant forest. Afterwards came three people wore mask that depicted was making the monkey and finally fought, where the monkey could cut off the nose one of them.
After the opener scene ended,entered the first round. In the stage appeared two dancers. They were the follower of the Rangda was looking for Kunti follower of the Goddess that was in the trip met Patih.
The second round, the Kunti followers of the Goddess arrived. One the followers of the Rangda changed to the devil (a kind of Rangda) and put the bad spirit to the Kunti follower of the Goddess who caused them to be able to become angry. Both of them met Patih and together appeared before the Kunti Goddess.
The third round, emerged the kunti Gooddess and his child were named Sahadewa. The Kunti goddess promised to Rangda to hand over Sahadewa as casualties. In fact the Kunti Goddess not until the heart sacrificed his child to the Rangda. But the devil ( a kind of Rangda ) put the bad spirit to the Kunti Goddess who caused him to be able to became angry and intended sacrified his child as well as ordered Patih to throw Sahadewa into the forest away. And Patih did not escape from the bad spirit by the devil into the forest and binding Sahadewa in front of the palace the Rangda.
The fourth round, descended the Siwa God and gave the permanence to Sahadewa without the Rangda foreknowledge. Afterwarsd the frame work came to lacerated and killed Sahadewa. But, Sahadewa could not be killed because of having immunity that was given by the Siwa God. The incident made the Rangda surrender to Sahadewa and ask to be rescued in order to be able to enter heaven. Sahadewa granted the request and the Rangda also finally entered heaven.
The fifth round, Kalika was a follower of the Rangda appeared before Sahadewa but was refused. This refusal caused the fight between Kalika that changed the shape became the wild boar and Sahadewa. In the fight of the wild boar lost and changed the shape still becomes birds. But the efforts were in vain because continue to be able to not overcome Sahadewa. Finally birds that too returned to the shape originally as the Rangda. Although could be overcome, but Sahadewa could not kill the Rangda who had the supernatural powers. And so Sahadewa the had finally changed the shape became Barong to be able to kill the Rangda. But, efforts that too was not successful. The struggle “Goo Evil” opposed “Bad Evil” took place continued eternal.
Finally the Barong followers in an armed manner the intent kris helped waged war on the Rangda. However, not any could overcome the Rangda’s supernatural powers. In this dance show, Barong was played by two male dancers, a person played the head part Barong and the foreleg, as well as a dancer still play the back leg part and the tail.
Barong that had the shape of the animal mythology this plenty of his sorts, there are those that his head had the shape of the head of the lion, the tiger, the male wild boar ( bangkal ), the elephant, the ox or keket. Keket by Balinese was regarded as the King of the forest who was mentioned also by the name of Banaspati King.
The dance barong with or without the act, always was preceeded with the demontration of the show that was accompanied with the different gamelan like the Kebyar Gong gamelan, the Babarongan gamelan, and the Batel gamelan.
The show was displayed every day in a studio that named Sahadewa. He studio building resembled the hall with the seat had a capacity of 300 visitors. The show was opened for the public was begun in the morning around struck 09.30 WIT ( Indonesian Time Middle ).
Tuesday, January 5, 2010
KERIS ONE MILLION MEANINGS
The date of 1 Suro was the Javanese beginning of the year that coincided on December 18 2009 for some Javanese communities that still believe in, had the meaning that very important to welcome the life in the future. Because of that the night of the change in the year was celebrated in a ritual ceremony. Like the night tirakatan did not sleep for a night, tasyakuran and cleaned the heirloom object. In several areas,like the palace environment of kesunanan Surakarta and the Yogyakarta Sultanate, ritual ceremony was like that carried out on large scale, among them kirap the weapon of the heirloom of the circle of the palace.
The heirloom object that tills at this time still highly respected his existence was the Keris. The Keris was the ancient bladed weapon was used to defend himself from the enemy’s attack or kill the enemy. This weapon was often used in the royal time. In the sruggle period against Dutch Colonizers and Japan still many heroes that relied on the keris capability, among them Prince Diponegoro. More over President first RI, Ir Soekarno was seen often held the keris in each one of his working visits.
The heirloom keris it was considered had the capability not only was made from element, the steel, nickel and the meteor stone of the iron, but his production methods. The manufacturer of the keris was acknoledged as empu. For the keris that had high knowledge like Empu Gandring in the story Ken Arok ( The Singosari Kingdom ). It seems, Empu Gandring when making the keris not through the process of the burning of the iron or used equipment like the hammer, but only made use of his finger massage. Owing to the supernatural power that was owned, the iron that gave a massage that became thin and was formed to the keris.
An Empu before making the keris, before carry out the fast and meditate to ask the Lord of the Lord so that the keris that was made by him has the magical strength.
HIGHEST SELLING PRICE
In the current period, the keris no longer has a function of as the bladed weapon defending it self or killed the enemy. His function more as the collection or talisman that was believed in caused the magical strength, like the authority, Nevertheless, many people when hunting the keris to get the keris was hundreds of years that had been used by the ancient kings old. The keris like that was very high he thought and had the high selling price reached billions Rupiah.
The fucntion of the keris that from before hand to now still was remaining was as Javanese accessories of traditional clothes. Because that was not wrong if the keris was occasionally identified with the Javanese culture. Like the ritual ceremony in the palace of Kasunanan Solo and Kasultanan Yogyakarta. Even so in the Javanese ceremony of the marriage of the tradition. A groom used the Jawi Jangkep fashion ( The Javanese fashion complete ) that is batik cloth, bride clothes, headdress ( Kuluk ) and in behind must slip the keris. The meaning as the symbol “kejantanan” or manhood contained this. If a groom the hindered was present in the wedding ceremony, then the keris could be made his representative. The keris it was decorated the jasmine rose that was put a necklace on to reminded the person in order to not have the wild character, emotional, arbitrarilyand wanted to win personally. Each keris must have the framework to facilitate brought him.
Keris relation s with framework or usual was acknowledged as the sarong, had the philosophical meaning as close relations, joined to achieve the living harmony in the world. Then was born philosophical “Manunggaling Kawulo Gusti” the King’s unification with his people, the perfect human unification with has creator, the people’s unification with his leader, so as the life always safe, peace,peaceful, happy, and healthy prosperous. Apart from honored mutually one with that other, each one must also know him self to work in accordance with the portion and his function . nevertheless, the meaning that in from the keris weapon as the natinal cultural work of artthat contains various aspects in the Javanese life of the community generally, currently was threatened by his development of his aspect of the culture not all that had an interest taken in him that the aspect of the legend and Magical.
The heirloom object that tills at this time still highly respected his existence was the Keris. The Keris was the ancient bladed weapon was used to defend himself from the enemy’s attack or kill the enemy. This weapon was often used in the royal time. In the sruggle period against Dutch Colonizers and Japan still many heroes that relied on the keris capability, among them Prince Diponegoro. More over President first RI, Ir Soekarno was seen often held the keris in each one of his working visits.
The heirloom keris it was considered had the capability not only was made from element, the steel, nickel and the meteor stone of the iron, but his production methods. The manufacturer of the keris was acknoledged as empu. For the keris that had high knowledge like Empu Gandring in the story Ken Arok ( The Singosari Kingdom ). It seems, Empu Gandring when making the keris not through the process of the burning of the iron or used equipment like the hammer, but only made use of his finger massage. Owing to the supernatural power that was owned, the iron that gave a massage that became thin and was formed to the keris.
An Empu before making the keris, before carry out the fast and meditate to ask the Lord of the Lord so that the keris that was made by him has the magical strength.
HIGHEST SELLING PRICE
In the current period, the keris no longer has a function of as the bladed weapon defending it self or killed the enemy. His function more as the collection or talisman that was believed in caused the magical strength, like the authority, Nevertheless, many people when hunting the keris to get the keris was hundreds of years that had been used by the ancient kings old. The keris like that was very high he thought and had the high selling price reached billions Rupiah.
The fucntion of the keris that from before hand to now still was remaining was as Javanese accessories of traditional clothes. Because that was not wrong if the keris was occasionally identified with the Javanese culture. Like the ritual ceremony in the palace of Kasunanan Solo and Kasultanan Yogyakarta. Even so in the Javanese ceremony of the marriage of the tradition. A groom used the Jawi Jangkep fashion ( The Javanese fashion complete ) that is batik cloth, bride clothes, headdress ( Kuluk ) and in behind must slip the keris. The meaning as the symbol “kejantanan” or manhood contained this. If a groom the hindered was present in the wedding ceremony, then the keris could be made his representative. The keris it was decorated the jasmine rose that was put a necklace on to reminded the person in order to not have the wild character, emotional, arbitrarilyand wanted to win personally. Each keris must have the framework to facilitate brought him.
Keris relation s with framework or usual was acknowledged as the sarong, had the philosophical meaning as close relations, joined to achieve the living harmony in the world. Then was born philosophical “Manunggaling Kawulo Gusti” the King’s unification with his people, the perfect human unification with has creator, the people’s unification with his leader, so as the life always safe, peace,peaceful, happy, and healthy prosperous. Apart from honored mutually one with that other, each one must also know him self to work in accordance with the portion and his function . nevertheless, the meaning that in from the keris weapon as the natinal cultural work of artthat contains various aspects in the Javanese life of the community generally, currently was threatened by his development of his aspect of the culture not all that had an interest taken in him that the aspect of the legend and Magical.
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