PREFACE The Seminar of ‘Warisan Nusantara 2’ (2nd Heritage Archipelago) which is held on December 18, 2012 at the State University of Semarang is an annual or biennial seminar, especially in collaboration with Universiti Malaysia Sabah (UMS) and several universities in Indonesia and Malaysia. The first seminar of ‘Warisan Nusantara 1” (1st Heritage Archipelago) was held in UMS in 2011. The topic of the seminar is "Preservation and Development of the Cultural Archipelago through Arts and Languages". It is organized to open a broader perspectives to all speakers, experts, humanists, and academics from different disciplines to share about the issues related to the topic. Alhamdulillah, this seminar has received a very wide responses from many institutions and individuals. It is noted that there are 138 comparative speakers coming from 45 institutions (universities and other institutions), one keynote speaker, six speakers from five countries: Indonesia, Malaysia, Brunei Darussalam, French, and Japan. They will contribute for the completion of the proceedings of the seminar, as well as the academic accountability for the seminar committee. Hopefully, the proceedings completed in such a short time can satisfy the expectations of its users. Thank you.
Semarang, 17 December 2012 Chairman of the Committee The Seminar of “Warisan Nusantara 2”
Prof. Dr. Tjetjep Rohendi Rohidi, MA
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BOARD EDITOR
1. Prof. Dr. Tjetjep Rohendi Rohidi, MA. 2. Prof. Dr. Fathur Rohman, M.Hum 3. Prof. Madya Dr Ismail Ibrahim 4. Dr. Sri Iswidayati, M.Hum. 5. Dr. Teguh Supriyanto. M.Hum
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DAFTAR ISI
HALAMAN AWAL ....................................................................................
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PREFACE ....................................................................................................
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BOARD EDITOR ........................................................................................
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DAFTAR ISI ................................................................................................
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PEMAKALAH UTAMA BEBERAPA CATATAN DI SEPUTAR WARISAN DAN KONSTRUKSI MASA DEPAN BUDAYA Dr. Jean Couteau (Prancis) — 1 SENI TARI DAN MUSIK SEBAGAI TUMPUAN CITRA BUDAYA BANGSA Prof. Dr. Edi Sedyawati (Universitas Indonesia) — 11 PEMBENTUKAN MOTIF/CORAK DAN HUBUNGANNYA DALAM RUANG LINGKUP KEHIDUPAN MURUT BORNEO UTARA Prof. Madya Ismail Ibrahim, Ph.D. (Universiti Malaysia Sabah) — 17 NUSANTARA: USAHA MENGGALANG IDENTITAS (Melalui Kesadaran Budaya, Perspektif Politik, dan Paradoks Kebudayaan) Prof. Dr. Tjetjep Rohendi Rohidi, MA.(Universitas Negeri Semarang) — 49 HUBUNGAN ANTARMANUSIA INDONESIA DAN BUDAYA YANG MENYANGKUT PRONOMINA PERSONA Takadono Yoshihiro (Jepang) — 57
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PEMAKALAH PENDAMPING BAGIAN A
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MAKALAH PENDAMPING BAGIAN A NAMA JUDUL THE SERIES OF SOLO CUSTOM Ade Novi Nurul Ihsani, M.Pd Prodi Pendidikan Tata Kecantikan WEDDING FOR PRESERVING Jurusan TJP FT UNNES INDONESIA CULTURE
Hal 1
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Agus Cahyana Ariesa Pandanwangi,
NUSANTARA HERITAGE IN PAINTING BY HENDRA GUNAWAN (CASE STUDY : PAINTINGS WITH HUMAN BODY THEME BY HENDRA GUNAWAN)
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Agus Santosa UNPAS
REINTERPRETATION OF ARTISTS’ SOCIAL ACT IN CREATING AESTETHICS AS THE PRODUCT OF SOCIAL PRACTICE: AN ATTEMPT TO CONSERVE TRADITIONAL ART THROUGH CRITICAL THEORY APPROACH
23
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Alvanov Zpalanzani, Bima Nurin Aulia, Irfansyah Fakultas Seni Rupa dan Desain Institut Teknologi Bandung Ananthan A/L Nagu Sharida Binti Shaharudin Jabatan Pendidikan Seni Visual IPG Kampus Sultan Abdul Halim
CULTURE ARTIFACTS VISUAL PRESERVATION AND INNOVATION TOWARDS DIGITAL AGE
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THE ROLE OF SCULPTURE IN THE COMMUNITY OF ORANG ULU SARAWAK
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Andre Indrawan ISI Yogyakarta
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Anitasa Dewi Universitas Al-Azhar Indonesia
THE MAWLID READING TRADITION AS THE SELAWATAN PESANTREN AND ITS STRUCTURAL TRANSFORMATION TO THE VARIETY OF MUSICAL PERFORMANCE FORMS IN YOGYAKARTA SPECIAL PROVINCE PEK CUN TRADITION AS CULTURAL EXPRESSIONS OF THE CHINESE COMMUNITY IN TANGERANG
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Aprilia Seni Rupa, FBS Unnes
THE EXISTENCE OF TRADITIONAL WOVEN BAMBOO CRAFTS TOWARDS MODERN INSDUSTRY
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9
Arini Arumsari Program Studi Kriya Tekstil dan Mode STISI Telkom
INFLUENCE OF DUTCH CULTURE IN BATIK THROUGH COLONIALIZATION (ART NOUVEAU STYLE IN BUKETAN PATTERN OF BATIK)
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5
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Atiek Zahrulianingdyah
TJP-FT-UNNES
EFFORTS TO PRESERVE THE ARCHIPELAGO HERITAGE FOOD THROUGH EARLY CHILDHOOD EDUCATION
97
BLORANESE ART EXPRESSIONS THROUGH BARONGAN TRADITIONAL PERFORMANCE THE COMPARATIVE STUDY OF NUSANTARA HERITAGE VISUALIZATION ARTS CONCEPT AND MEANING: CASE STUDY MASK OF CIREBONINDONESIA AND MASK OF NOHJAPAN
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Atip Nurharini
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Ayoeningsih Dyah Woelandari, Agus Listiani STSI Bandung
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Djawahir Muhammad UNNES
GAMBANG SEMARANG HYBRIDA PROCESS 'MULTI ETHNIC' - 'MULTIKULTURAL’ (STUDY ETHNOHISTORIOGRAFI)
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Fajar Ciptandi Biranul Anas Zaman Dian Widiawati Dosen STISI Telkom Bandung/Mahasiswa Magister Desain Institut Teknologi Bandung
EXPERIMENTS ON KENAF FIBRE THROUGH LOCAL EMPOWERMENT TO CREATE IDENTIFIABLE TEXTILE CRAFTS AND APPLICATIONS OF EFFECTIVE COMMUNICATION THEORY (CASE STUDY: LAREN DISTRICT, LAMONGAN REGENCY, EAST JAVA, INDONESIA)
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Farid Abdullah UPI bandung
SEMIOTIC STUDY OF PARANG RUSAK BARONG AS A FORBIDDEN PATTERN IN SULTAN HAMENGKU BUWANA VIII PERIOD (1921-1939) AS DIGNIFIED KING
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Faridah Sahari University Malaysia Sarawak Fatmahwati A* Balai Bahasa Provinsi Riau Kementerian Pendidikan Nasional Indonesia
INDIGENOUS CRAFT OF ORANG ULU
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INHERITANCE OF VALUES OF LOCAL WISDOM IN GURINDAM 12: YOUTHS CHARACTER DEVELOPMENT EFFORTS
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Fatmahwaty Agnes S. Azarja, July Hidayat, JurusanDesain Interior, UPH
THE HYBRID DESIGN OF CHINESE PERANAKAN OF TJONG A FIE MANSION IN MEDAN AS REPRESENTATION OF DIALOGUE VALUE AMONG DIFFERENCES
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Hafiz Aziz Ahmad Institut Teknologi Bandung
PERSONAL EXPERIENCES AS STORYTELLING RESOURCES AND
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Hanisa Hassan, Biranul Anas Zaman, Imam Santosa, Institut Teknologi Bandung
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Herwandi Fakultas Ilmu Budaya Univ. Andalas
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Husen Hendriyana Seni Rupa STSI Bandung
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I Ngurah Suryawan Fakultas Sastra Universitas Negeri Papua I Wayan Seriyoga Parta, Fine Art Department Gorontalo State University
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CULTURAL EXPRESSIONS RELIGION TRANSFORMATION AND EVOLUTION IN TRADITIONAL MALAY ATTIRE IN MALAYSIA THE TRADITIONAL HOUSE (RUMAH GADANG) THE NEGLECTED CULTURAL HERITAGE OF MINANGAKABAU ASPECTS OF LOCALITY ON THE LIMAN DECORATIVE MOTIFS AS AN AESTHETIC ELEMENT OF BALUWARTI IN KRATON CIREBON (MAPPING OF INFLUENCE ELEMENTS DIMENSIONS AND CULTURAL BACKGROUND OF THE ASSESSMENT OF LIMAN DECORATIVE MOTIF IN KRATON CIREBON) MAMBESAK AND THE DYNAMICS OF PAPUAN IDENTITIES 1970-1980
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THE SCILPTURE TRANSFORMATION OF BALI (THE DEVELOPMENT OF TRADITIONAL ART TO THE MODERN ART) THE AFFECTATION OF THE VARIETY OF FOREIGN ORNAMENT TO THE DEVELOPMENT OF MODERN ORNAMENT ART IN BALI
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THE CONSTRUCTION OF INDONESIAN IMAGES AT THE WORLD EXPOSITION CASE STUDY: 1988 WORLD EXPO BRISBANE BEAUTY APPEARANCE OF INDONESIAN WOMEN IN SOCIAL MEDIA AS THE NATIONAL HERITAGE MENGGAMBAR KREATIF PADA ANAK USIA DINI : SEBUAH KAJIAN DALAM WILAYAH KAJIAN KESEIMBANGAN OTAK KANAN DAN OTAK KIRI
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I Wayan Suardana, Fine Art Department Indonesian Art Institute of Denpasar)
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Indah Tjahjawulan ; Setiawan Sabana; Priyanto Institut Teknologi Bandung
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Ira Wirasari, Yasraf A.Piliang STISI TELKOM
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Kamsidjo Budi Utomo FBS UNNES
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Kiki Rizky Soetisna Putri Visual Artist and Lecturer STISI Telkom Komarudin Kudiya Program Doktor Ilmu Seni Rupa dan Desain, Sekolah Pascasarjana ITB
MUSEUM AND THE RISE OF ASIA
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REVITALIZATION OF ORNAMENTS OF BATIK OF CIREBON KRATON IN NEW CREATIVE DESIGN (A VISUAL EXPERIMENT APPROACH)
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Lilis lestari STKW SURABAYA
PERSPECTIVE ON COMMUNITY RESPONSE
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TOWARD RITUAL CEREMONIES OF INDIGENOUS RATEP IN THE VILLAGE OF PAKONDANG, SUMENEP DISTRICT YOGYAKARTA AND SURAKARTA DANCE MOVEMENTS IN MANGKUNAGARAN DANCING STYLE
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Malarsih Fakultas Bahasa dan Seni, Universitas Negeri Semarang
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Maria Krisnawati, Dosen TJP Fakultas Teknik Universitas Negeri Semarang
YOGYAKARTA AND SURAKARTA DANCE MOVEMENTS IN MANGKUNAGARAN DANCING STYLE
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Maspuri Universitas Lancang Kuning Riau (UNILAK)
THE RULE OF ART IN MAINTAINING VALUES AS A GUIDE OF LIFE IN MENUMBAI LEBAH TRADITION AT PETALANGAN MALAY COMMUNITY OF RIAU
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Martono, FBS UNY
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Mohammad Kanzunnudin Fakultas Keguruandan Ilmu Pendidikan Universitas Muria Kudus
PRESERVATION AND DEVELOPMENT OF CRAFT THROUGH OF CULTURAL ARTS EDUCATION IN SCHOOLS ELEMENTARY SCHOOL DEPARTMENT TEACHER TRAINING AND EDUCATIONAL FACULTY MURIA KUDUS UNIVERSITY
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Mohd Zaki Bin Mohd Fadil Wan Samiati Andriana bt W Mohamad Daud Mursyidah Zainal Abidin Asrul Asshadi B Mohamad Morni Universiti Teknologi MARA, Sarawak
SAPE – THE MUSICAL INSTRUMENT OF ORANG ULU THE ASPECT OF SYMBOLIC AND PHILOSOPHY
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Muhammad Badiran, M.Pd Seni Rupa Unimed Muhammad Ihsan, Agus Sachari FSRD ITB
MULTILINGUAL AS A SOURCE OF LEARNING ARTS EDUCATION HYBRID METHOD: A METHOD OF TRANSFERRING DESIGN FROM DESIGNERS TO TRADITIONAL CRAFTSMEN DECODING POSTER WORKS OF THE FINAL PROJECT 2000-2012 OF THE ARTS STUDENTS OF UNNES: AN IDENTIFICATION OF CODE AND INTERWOVEN CODE
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THE CHARACTERISTICS AND BENEFITS OF DRAWING EXPRESSION FOR EARLY AGES CHILDREN
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Mujiyono FBS UNNES
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Murni Indriyati
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STUDY IN ART EDUCATION
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Nik Hassan Shuhaimi Nik A Rahman Mohamad Zain Musa Zuliskandar Ramli Universiti Kebangsaan Malaysia Niken Wirasanti Jurusan Arkeologi Fak Ilmu Budaya UGM
BUDDHISM IN MALAYSIA : ORIGIN AND DEVELOPMENT
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THE ARTWORK OF KARMAWIBHANGGA RELIEFS: A MEDIUM OF COMMUNICATION IN THE CONTEXTS OF SPACE AND TIME ILLUSTRATION TRADITION OF THE OLD JAVANESE MANUSCRIPT AS ANCIENT NUSANTARA HERITAGE DIVERSIFICATION OF PROCESSED FOOD BASED LOCAL ROOTS FLOUR EFFORTS CONSERVATION AS SNACK TRADITIONAL “ EVALUATION OF SUSTAINABLE DESIGN PRINCIPLES IN VERNACULAR ARCHITECTURE, CASE STUDY: BATAK-TOBA TRADITIONAL DWELLINGS.
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BENCHMARKING TEST OF THE KUSUMADINATA SUNDANESE INTERVAL TO DISSECT THE SLENDRO BALINESS OF THE PRE 1934 OF 29 A.M. JONES SELECTIVE COLLECTION OF AFRICAN XYLOPHONES RED AND WHITE IN THE PERSPECTIVE CULTURE OF JAVA
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MODERN ART IN BORNEO A COMPARATIVE ANALYSIS OF ITS MOVEMENT AND PROGRESSION IN BRUNEI, SABAH AND SARAWAK FRAMING NUSANTARA CLASSICAL HISTORY THROUGH VIRTUAL REALITY
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Nuning Y Damayanti FSRD ITB
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Octavianti Paramita Dosen TJP Fakultas Teknik
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Phebe Valencia Universitas Pelita Harapan
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Priadi Dwi Hardjito Fakultas Seni Rupa dan Desain – ITB
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Purwanto. FBS UNNES
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Rahah Haji Hasan UNIMAS
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Rahina Nugrahani UNNES
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Restu Lanjari FBS Unnes
THE PRACTICE OF STATE POLITICS AND ITS IMPLICATIONS ON THE REGULATION OF LOCAL ARTS
554
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Sandra Herlina UAI Jakarta
RELIGIOUS TOURISM TO THE JAPANESE CEMETERY TPU PERTAMBURAN JAKARTA AS THE JAPANESE
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RELIGIOUS EXPRESSION 53
Saptariana Jurusan Teknologi Jasa dan Produksi Fakultas Teknik UNNES
FOOD MENU OF FOOD IN INDONESIA AS A NATION OF CULTURAL EXPRESSION
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Sicilia Sawitri FT UNNES
INDONESIAN TRADITIONAL COSTUMES AS HAUTE COUTURE INSPIRATION
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Siti Kusumawati FSRD ITB
590
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Slamet Subiyantoro dan Aniek Hindrayani FKIP UNS Surakarta
DISSECTING THE ACT OF WATER RESOURCES AND WASTE MANAGEMENT ACT AS A RESCUER BEACH NUSANTARA PRESERVATION AND DEVELOPMENT OF JAVANESE CLASSICAL BATIK THROUGH LORO BLONYO ART CRAFT TRADITION
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Sri Iswidayati FBS UNNES
A STUDY OF R.A. KOSASIH’S INDONESIAN COMICS: A SEMIOTIC APPROACH
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Sri Ningsih UMS, Sabah
ANALYSIS AND ACCESSORIES COSTUME SUMAZAU ETHNIC KADAZAN IN SABAH
629
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Sri Verayanti R. SMA YPE Semarang
DESIGN OF WARAK SOUVENIR WITH CLAY MEDIA (A LEARNING BASED LOCAL CULTURE FOR STUDENTS OF YPE SENIOR HIGH SCHOOL SEMARANG)
656
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Syakir Jurusan Seni Rupa FBS Unnes Semarang
AESTHETIC EXPRESSIONS BATIK SEMARANGAN A REFLECTION OF CULTURE AND THE SEARCH FOR IDENTITY
667
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Tessa Eka Darmayanti Fakultas Seni Rupa dan Desain Universitas Kristen Maranatha
679
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Triyanto FBS Unnes
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Tuti Tarwiyah Adi S. UNJ JAKARTA
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Wadiyo Universitas Negeri Semarang
THE IMPACT OF MULTI CULTURAL CONTEX INTO MESJID AGUNG BANTEN INTERIOR DESIGN (PRESENT DAY – BANTEN, WEST JAVA, INDONESIA) WARAK NGENDOG: LOCAL CREATIVITY IN DUGDERAN RITUAL TRADITION PRACTICED IN SEMARANG CHARACTER EDUCATION FOR EARLY CHILDHOOD THROUGH CULTURE: AN EFFORT OF DEVELOPING CHILD INTELLIGENCES AND PRESERVING CULTURE USING SONGS EMPOWERING SOCIETY TO CREATE CHILDREN’S SONGS AS A
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Wanda Listiani, HeddyShri Ahimsa-Putra, GR LonoLastoroSimatupang, Yasraf Amir Piliang STSI Bandung
DELIBERATE EFFORT TO FULFILL THE NEED OF EDUCATIVE SONGS ETNOESTETIKA FASHION HARAJUTIK BANDUNG
713
PEMAKALAH PENDAMPING B
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PEMAKALAH PENDAMPING BAGIAN B NAMA JUDUL TAJAU DAN PERANANNYA DALAM Abd Hakim Mohad Universiti Malaysia Sabah, Malaysia PELESTARIAN BUDAYA MASYARAKAT MURUT TAHOL RANGKAIAN UPACARA Ade Novi Nurul Ihsani, M.Pd Prodi Pendidikan Tata Kecantikan PERNIKAHAN ADAT SOLO SEBAGAI Jurusan TJP FT UNNES UPAYA PELESTARIAN BUDAYA INDONESIA TRADISI PEK CUN SEBAGAI Anitasa Dewi Universitas Al-Azhar Indonesia EKSPRESI BUDAYA MASYARAKAT CINA DI TANGERANG SENI KERAJINAN BATIK DENGAN Aruman, MA ISI Yogyakarta MEDIA KAYU DUSUN KRÈBÈT PEMBANGUNAN WARISAN DI Asyaari Muhamad Academy of Language Study SEPANJANG LALUAN PENARIKAN: Universiti Teknologi MARA REALITI DAN IMIGINASI
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Azman Che Mat Ahmad Nazuki@Marzuki Yaakub Nur Hafizah Ahmad Tajuddin Academy of Language Study Universiti Teknologi MARA
SENI MENTERJEMAH POLA TAMYĪZ DALAM TAFSIR ABDULLAH BASMEIH
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Azman Che Mat Ahmad Fakrulazizi Abu Bakar Nur Syikri Harun Academy of Language Study Universiti Teknologi MARA
PERSEPSI PEMINAT SENI TERHADAP KALIGRAFI ISLAM
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Bima Slamet Raharja Jurusan Sastra Nusantara Prodi Sastra Jawa Fakultas Ilmu Budaya Universitas Gadjah Mada
“KOLEKSI-KOLEKSI EMAS” WAYANG KULIT PURWA GAYA YOGYAKARTA YASAN KEPANGERANAN (ERA SULTAN HAMENGKU BUWANA VII-VIII): Penelusuran Ragam Dan Varian Melalui Dokumentasi Dan Re-Inventarisasi Sebagai Upaya Penyelamatan Warisan Budaya
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Bramantijo, STKW Surabaya.
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Daulat Saragi FBS Universitas Negeri Medan
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Dwi Budi Harto, Seni Rupa FBS UNNES Edy Tri Sulistyo UNS
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Eko Sugiarto Mahasiswa S2 Pendidikan Seni, Program Pascasarjana ,Unnes
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I Wayan Sudana, (Jurusan Teknik Kriya Fakultas Teknik Universitas Negeri Gorontalo) Jajang Supriyadi Mahasiswa Program PascaSarjana (S3) Institut Teknologi Bandung
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Karta Jayadi Fakukltas Seni dan Desain Universitas Negeri Makassar
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Lois Denissa Program Studi DoktorIlmuSenidanDesain InstitutTeknologi Bandung Melina Surya Dewi InsitutKesenian Jakarta
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Melkhior Duha Ketua BPWN Nias
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Mohamad Zaini Alif FSRD, ITB Bandung
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Muhammad Abi Sofian Abdul Halim UniversitiTeknologi MARA
MURAL SEBAGAI MEDIA KUMUNIKASI KONTEMPORER BAGI SENI TRADISI AKSIOLOGI SENI PATUNG BATAK, KEARIFAN LOKAL YANG TERABAIKAN DAN TERSINGKIRKAN “REBUT BALUNG [ T A N P A ] ISI” WARISAN KESENIAN NUSANTARA IDENTIFIKASI DAN IMPLEMENTASI PITUTUR LUHUR (BUDI PEKERTI) TEMBANG PANGKUR SEBAGAI UPAYA PELESTARIAN BUDAYA JAWA DAN PENANAMAN PENDIDIKAN KARAKTER BAGI GENERASI MUDA. CONTEMPORARY DEPICTION OF WAYANG : Visual Transformation of ‘Wayang’ As a Sensational Cultural Phenomenon POTENSI DAN PERMASALAHAN DALAM PELESTARIAN SENI KERAJINAN GERABAH TRADISIONAL GORONTALO POLA DAN DISPOSISI MENTALKULTURAL PERUPA DALAM PRAKTEK SENI RUPA KONTEMPORER INDONESIA 19902010 STRATEGI ADAPTIF TRADISI TAUTAU (PATUNG ARWAH) SEBAGAI WARISAN LELUHUR SUKU TORAJA STRATEGI ADAPTIF TRADISI TAUTAU (PATUNG ARWAH) SEBAGAI WARISAN LELUHUR SUKU TORAJA SEBUAH PRANATA KARNAVAL DIBANGUN DI KOTA JEMBER Studi Kasus Jember Fashion Carnaval
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MENINGKATAN IDE DAN GERAK TARI KREATIF MELALUI BELAJAR BERBASIS BERFIKIRK REATIF DAN BERMAIN PERAN SELAYANG PANDANG MENDIRIKAN RUMAH ADAT NIAS TIPE LARAGA
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SISTEM TATA NILAI DALAM MAINAN DAN PERMAINAN RAKYAT SEBAGAI WARISAN BUDAYA DI INDONESIA INDUSTRI KRAF MALAYSIA: PENDEKATAN INOVASI PRODUK DIKALANGAN USAHAWAN KRAF DIDALAM MEMAJUKAN
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Muksin FSRD ITB
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Mulyanto Dosen Prodi.Pendidikan Senirupa FKIP UNS Surakarta
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Musnin Misdih & Ismail Ibrahim, Universiti Malaysia Sabah
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Riama Maslan Sihombing Mahasiswa S3 ITB
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Rosini Binti Jonit UniversitiTeknologi MARA
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Roslina Bt Rawi Program Pascasiswazah Seni Universiti Pendidikan Sultan Idris, MALAYSIA Sam Mukhtar Chaniago, UNJ
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Sandie Gunara Universitas Pendidikan Indonesia
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Senja Aprela Agustin, Sepuluh Nopember Institute of Technology Sudartomo Macaryus FKIP Universitas Sarjanawiyata Tamansiswa Yogyakarta Sugihastuti Universitas Gadjah Mada Sunarto FBS Unnes
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PERNIAGAAN LOCAL MEDIUM (Indigenous Materials) IN THE ARTWORKS AN EFFORT TO REALIZE OF INDONESIAN CHARACTERISTICS MODEL PENGEMBANGAN DESAIN BATIK CABUT: STUDI KASUS DI PILANG SRAGEN
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REPRESENTASI PEREMPUAN PADA DESAIN KEMASAN KIRANTI
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TAYUB JALANAN: Subseni Tradisional Jawa
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Sundawati Tisnasari, Ahmad Supena, dan Diana Tustiantina Universitas Sultan Ageng Tirtayasa
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Udi Utomo
PENGEMBANGAN MODEL
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GERAK TARI PERUBATAN TRADISI BARASIK & MENTERA SUKU KAUMBISAYA SABAH KEBAYA DAN VISUALISASI KOSTUM SOSOK IBU PADA MEDIA WAYANG, BUKU DAN IKLAN PADA ERA KOLONIAL HINGGA AWAL KEMERDEKAAN INDONESIA. PELESTARIAN SENI NUSANTARA MALAYSIA DAN INDONESIA: SATU STUDI BANDING SOSIALISASI KEMAHIRAN UKIRAN KAYU DALAM KELUARGA ABDUL RAHMAN BIN CHE LONG DI BESUT TERENGGANU. PENELITIAN DAN PENGEMBANGAN TES BAKU UKMP “UJI KEMAHIRAN MENYIMAK PEMAHAMAN” Analisis Kemahiran Menyimak SiswaSekolah Dasar dengan Tes Baku UKMP (Test of Competence on Listening Comprehension) di Indonesia. UPACARA ADAT NGAROT SEBAGAI WARISAN BUDAYA LOKAL 1
KONSERVASI PERIBAHASA SEBAGAI WARISAN NUSANTARA SHAMANISME: FENOMENA RELIGIUS DALAM SENI PERTUNJUKAN (DI) NUSANTARA POTRET GRAFITI SEBAGAI LOKALITASMASYARAKAT DI DAERAH PESISIR PANTAI PELABUHAN RATU
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FBS Unnes
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Wahyu Tri Atmojo Jurusan Seni Rupa FBS Unimed Yanty Hardi Saputra, Setiawan Sabana, PriyantoSunarto, Achmad Syarief Yosef Adityanto Aji Mahasiswa S3 Pascasarjana ISI Yogyakarta Yostiani Noor Asmi Harini
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Zuliskandar Ramli, Nik Hassan Shuhaimi Nik Abdul Rahman & Mohamad Zain Musa
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Zainuddin Zakaria Fakulti Pengurusan Perniagaan UiTM
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Eko Haryanto, UNNES
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Edi Puryanto Universitas Negeri Jakarta Lilly Setiono & Setiawan Sabana ITB Christine Claudia Lukman FSRD ITB
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PEMANFAATAN INSTRUMEN MUSIK TRADISIONAL ANGKLUNG UNTUK MENINGKATKAN KUALITAS PEMBELAJARAN ANSAMBEL MUSIK DI SD/MI PENCIPTAAN BATIK BATAK BUKU HARIAN BERGAMBAR SEBAGAI SEBUAH ALTERNATIF BAGI ANAK UNTUK DAPAT BERTUTUR SECARA VISUAL BEKSAN BANDABAYA, PENERUS DAN PENEGUH WARISAN BUDAYA NUSANTARA TRANSFORMASI FOLKLOR LISAN NINIANTEHKE NOVEL DONGENG NINIANTEH KARYA A.S. KESUMA PULAU KELUMPANG SEBAGAI SALAH SATU PUSAT PENGELUAR MANIK KACA INDO-PASIFIK DI MALAYSIA THE INFLUENCE OF PRODUCTION ELEMENTSIN CREATING COMPETITIVE ADVANTAGE IN THE MALAYSIAN CREATIVE INDUSTRY DESIGN ORNAMENTAL PATTERN OF JAVANESE SINGLE CHAIR ON THE 17Th UNTIL THE 20Th CENTURY BAHASA SEBAGAI PEMBENTUK IDENTITAS
PERAN BAHASA RUPA UNTUK MENGANALISIS ASPEK BERCERITA DARI CERITA BERGAMBAR YANG DIGUNAKAN DALAM SASTRA TIONGHOA PERANAKAN
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BUDDHISM IN MALAYSIA : ORIGIN AND DEVELOPMENT
Nik Hassan Shuhaimi Nik Abd. Rahman, Mohamad Zain Musa & Zuliskandar Ramli INSTITUT ALAM DAN TAMADUN MELAYU UNIVERSITI KEBANGSAAN MALAYSIA
Abstract The study of Buddhist Heritage in Malaysia by using data from arehaeology and Classical Malay Literature indicates that Buddhist religion originated during the 6th century AD. Their heritage can be traced to Kedah, Perlis, Perak, Kelantan and Sarawak. Heritage types include Buddhist images, candi, inscriptions and votive tablets. Among the inscriptions are Sungai Mas Inscription, Cherok To’kun Inscription, Bukit Meriam Inscription and others. They can be dated to the 6th / 7th century AD and written in Sanskrit. The images include Buddha images, Avalokitesvara and Hariti. One of the most interesting features of the Avalokiesvara images found in Perak is the tiger skin clothing the image. It can be assumed that this kind of iconography was related to the Srivijaya iconography. The Candi are found in many parts of the Bujang Valley and in Santubong. Among them are Site 32 in Sungai Mas, Site 21/22 Pengkalan Bujang, Site 17 Bukit Pendiat and Site 10, Bujang Valley. The votive tablets were fount in Ulu Kelantan in Bukit Choras and in Perlis. All the Buddhist heritages indicate that Buddhism was adopted by the people living in those areas around 6th century AD. However, trade relationship with India developed several centuries before that about 2/3 centuries before Christian era. However, Buddhism was finally adopted as the religion of the kingdom by the 6th century AD, on the west coast of the Malay Peninsula and Sarawak. Before that, it was probable that the persons chosen to lead the people were only chiefs but only after Buddhism became the state religion and the status of the area became kingdoms that the chief elevated themselves to the status of kings. Thus it can be assumed that the society was responsible for choosing which
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religion they should adopt. Normally, the person responsible for choosing the religion was the chief. Buddhism was chosen to be the religion of Sri Lanka, Myanmmar, Thailand, Malaysia, Sumatera and China as early as the 6th century AD. After the 10th century AD, Hindu became the chief religion of Kedah. Finally, the Bhairava Cult ended Buddhism and Hinduism in Malaysia. In the 13th / 14th century AD, Islamic religion became dominant in Malaysia.
Introduction This study is based on the evidence derived from the archaeological heritage and literary Malay classical sources. The archaeological heritage comprises the inscriptions, Buddhist images, votive tablets and trade product’s and literary Malay classical sources include the Sejarah Melayu and Hikayat Merong Mahawangsa. It will also focuss on the statement of I Ching in 671AD. According to this study, it is apparent that the beginning of Buddhism in Malaysia was about 5th /6th century AD. Nevertheless, the people of Southeast Asia including Malaysia had been trading with India at least about 2nd/3rd centuries before the Christian era. This is based on the development of trade and effective sea-faring. We can confirm this fact by relating to the discoveries of trade products such as beads from India found in Kuala Selinsing (Perak) and Dongsong drums and bells from Vietnam together with beads from India. They were discovered in Gaung (Terengganu), Batu Buruk (Terengganu), Muar (Johor), Tembeling (Pahang) and Klang (Selangor).
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Dong Son Bell (Kampung Gaung, Besut
Dong Son Bell (Kampung Pencu, Johor
However, by the end of 10th century AD Buddhism was replaced by Hinduism on the basis of candi architecture and images. By the 12th/13th century, Bhairava Cult became popular among the rulers of Kedah if we refer to the Sejarah Melayu and Hikayat Merong Mahawangsa. The influence came from Padang Lawas (Sumatera).
Statue of Adityavarman
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The Inscriptional Evidence Evidence from inscriptions indicate that the beginning of Buddhism in Malaysia was from 5th/6th century AD and developed to the 10th century AD. The inscriptions can be dated to the early part of Buddhism 5th/6th century AD. They were found in :
(i)
Sungai Mas (1979) – Sg. Mas 1
(ii)
Cherok To’kun (Bukit Mertajam)
(iii)
Bukit Choras (Bujang Valley : Site 1)
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(iv)
Bukit Meriam
(v)
Bujang Valley : Site 2
(vi)
Bujang Valley : Site 10
(vii)
Site 21/22
(viii) Site 32 (2007) Sg. Mas 2
Scholars who have studied them believed that they were produced during the 5th/6th to 7th centuries AD. They were related to Buddhism. According to J.G. Casparis (1956), they were Buddhist Formula, ”ye te mantra”. The Sungai Mas (1) inscription can be transcribed as follows : ”ajanac-ciyate karmma janmanah kara (nam) (jhanan) ciyate ke (ramma) karmmabhav (n-na) jayata” The second most important, discovery was the Inscription of Bukit Choaras. Quaritch-Wales labelled it as Site 1. The discovery is important because it is the northen most part of the Bujang Valley. It is near to Sungai Sala. The exact wording of the inscription was ”ye dhaamma hetu (prabhavva hetun-tesan) tathagato hyavadat – tesam can yo nirodho evam vadi mahasramanah” It has been observed that the letters of some of the words have been changed to old Javanese such as ha, na and tha.
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The inscription from Cherok To’kun (Bukit Mertajam) was very interesting. It was about a personality by the name of Buddhagupta going on an expedition to Redearth Land. Again it was a Buddhist inscription. Another inscription from Bukit Meriam (Seberang Prai) was discovered by James Low in 1840’s. On the inscription was a stupa of the Gupta period with 7 ’cattras’. On the right hand side of the cattra, the wording was as follows ”... nac-citaye karmma janmanah karma karama” It can be dated to 5th/6th century AD. There is the inscription in Pallava-Granatha from Site 2 : Bujang Valley. The inscription contains the following : balani dasa catvari vaisaradyani yanica astadasa ca Buddhanama dharmma avenika hi ye ye pratitya samutpanna na te kecitsva bhavannah ye evabhava na vidyantena tesam – sambhavati kvacit janite ye imam kotim-akotim jagatas-samam tasya kotim gatam jnanam sarvva diharmmesu varttate
It can be dated to the 7th century AD.
Another inscription is from Site 10 written on golden adn silver cakra. It can transcribed as follows : ’sarva-apaya-jaha’ (a) moghadarsi gardhahasti vajra unclear script unclear script samantabhadra bodhisatwa
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From Site 21/22 came four words trascribed on bricks. The inscriptions are as follows : (a) tra (b) tra (c) ta (d) ta The Site 32 provides us with another inscription. It is also a Buddhist mantra and can be dated to the 5th/6th century AD. The latest discovery was from Sungai Batu. It was read by Nasha (personal communication). It can be dated to the 7th century AD.
Batu Bata bertulis dengan perkataan ‘tra’, Tapak 21/22, Pengkalan Bujang, Lembah Bujang
Batu Bata bertulis dengan perkataan ‘ta’, Tapak 21/22, Pengkalan Bujang, Lembah Bujang
The Buddhist Images The Buddhist images comprise Buddha, Avalokitesvara, Hariti, Bodhisattva of various forms, and Hindu images such as Linga and Durga triumphant over Mahisasura, Ganesa etc. Chronologically the Buddhist images appear to belong to the period between the 5th to the 10th centuries AD. Eventhough the inscriptions can be dated to the early phase of the history of the Bujang Valley, the dates of the images can be placed from the 5th to the 10th centuries AD. The oldest Buddiest images the standing Buddha from Site
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16A. It is influenced by the Sarnath school. The Mudra of the image is similar to the images from Sarnath, Kansher, and Ajanta but not the standing posture which was unpopular in Kanhari and Aganta. However, the uttarasanga is very close to the Buddhapad images, Southern India and Cambodia.
Thus it is in line with the style prevalent during that time in Southeast Asia. Among the images which can be scribed to this period are the Hariti from Sungai Mas, the Buddha head from Sungai Mas and the hand of Buddha from Site 32.
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The next phase of the development of Buddhist art in Malaysia can be deduced from the images from Site 21/22 (Pengkalan Bujang).
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The influence must have come from the Cola art. We can confirm this by looking at the facial features. This must be related to the Cola attack in 1025. Besides the influence from the Colas the images of Buddhist sculptures in Malaysia were influenced by the Srivijaya religious practised, namely clothing the Avalokitesvara images from Perak can be included in this category. Among the best example in the Jalong Bronze and others.
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All the images show independent styles different from the Indian images. The best examples are the Dvaravati, Thai and Cambodia styles of Buddhist art. They developed independently just like the Srivijaya style, the Avalokitesvara with tiger skin.
The images of Hindu also point to local genius. The society led by the king will choose what image to pray to and how to present it. In the case of the Bujang Valley, there is the example of Durga triumphant over Mahisasura found in Sungai Batu Estate.
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There was also the Ganesa image and Linga found in various parts of the Bujang River. Also, there was the practice of putting stone reliquary. The most developed was the one found at Site 8. The content of the stone reliquary comprises the following :
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The Candi of the Bujang Valley representing the Buddhist period can be seen from the following sites : (i) Site 21/22
(ii) Site 17, Bukit Pendiat
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(iii)Site 32, Sungai Mas The Hindus candi are as follows : (i) Site 5, Sg. Batu
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(ii)Site 8, Sungai Merbok
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(iii)
Site 11, Bujang Valley
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(iv) Site 16, Bujang Valley
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(v) Site 19, Bujang Valley
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(vi)
Site 50, Bendang Dalam
(vii)
Site 31, Permatang Pasir
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All the Hindu candis can be dated to the period after 10th century AD in view of the fact that Hindu came after Buddhist. Another evidence for Buddhism was the discovery of votive tablets from various sites in the northern state of Malaysia such as Kurong, Batang (Perlis) and Gua Berhala (Perlis) and also Gua Chawas (Kelantan).
The classification has been based on the work of Coedes (1926). He classified them as Type II. Lamb on the other hand classified the votive tablets from Perlis as five types for Kurong Batang and II types for Gua Berhala (1964). Adi Taha (2007) who discovered the tablets in Ulu Kelantan (Gua Chawas) has classified them into 7 types. According to Coedes (1926), the type II tablet may be dated to about 10th century AD based on Negeri alphabet in Java. However, O’Connor (1974) argues for 8th – 10th centuries AD. But Lamb (1964) considers 12th century as a possible date. Adi Taha dated his finds to the 15th century AD (2007). All the votive tablets types have been found all over Southern Thailand. They must have certain links. Votive Tablets
Chawas type 1 Buddha Vanirocana and ashata maha Bodhisattva (eight great bodhisattvas)
Chawas type 1 Buddha Vanirocana and ashata maha Bodhisattva (eight great bodhisattvas)
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Chawas type 4a and 4b Bodhisattva Avalokitesvara, with twelve arms, standing in the Tribhanga posture
Chawas type 5a and 5b Bodhisattva Avalokitesvara giving blessings
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Chawas type 6 Buddha Amithaba medatitng
Chawas type 7 Buddha on a lotus throne preaching the dharma
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Conclusion From the archeological evidence it is apparent that Buddhism was only accepted and practised in Malaysia from 5th century AD onwards till the 10th century AD. The centre of Buddhism in the Malay Peninsula on the west coast was Sungai Mas (Kedah). However, the whole of the west coast of the Malay Peninsula was dotted with Malay Buddhist kingdoms and one of them was as Chieh-cha visited by I Ching in 671 AD and Gangganegara in Perak and Vijayapura in Santubong (Sarawak). There were also other kingdoms in the Peninsula Thailand on the basis of the archaeological evidence found in Takuapa and other parts of Peninsula Thailand (west coast). However by the tenth century AD, Hinduism was dominant in the Malay Peninsula and probably Sarawak. This Hinduism became more Tantric with the practice of Bhairava Cult as interpreted from the Hikayat Merong Mahawangsa and the evidence from Padang Lawas the incarnation of Adityavarman as Bhairava. By the 13th century AD Malaysia accepted Islam as the religion on the evidence of Terengganu Stone. But from Sri Lanka to Myanmmar, Thailand to China Buddhism is the accepted religion.
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