Get to Know History in the Ambarawa Railway Museum Tourism Object

Ambarawa Railway Museum Tourism Object - The Ambarawa Railway Museum is a train station that has been converted into a museum in Ambarawa, Central Java. In this museum, we will find some of the equipment of the train that once triumphed in ancient times. One of the steam trains with locomotive numbers B 2502 and B 2503 was made by Maschinenfabrik Esslingen, and B 5112 was made by Hannoversche Maschinenbau AG which is still operating as a tourist train in Ambarawa. This jagged steam train is very unique and is one of only three remaining in the world. Two of them are in Switzerland and India. Apart from these unique collections, you can also see various types of steam locomotives from the B, C, and D series to the largest CC types (CC 5029, Schweizerische Lokomotiv und Maschinenfabrik/Swiss Locomotive and Machine Works) in the museum courtyard.

The building and location of the Ambarawa Railway Museum

Ambarawa was originally a military town during the Dutch Colonial Government. King Willem ordered to build of a new train station that would allow the government to transport its soldiers to Semarang. On May 21, 1873, the Ambarawa railway station was built on a land area of ​​127,500 m². It was originally known as Willem I Station.

This station was originally a meeting point between the 1,435 mm wide gauge towards Kedungjati and 1,067 mm towards Yogyakarta via Magelang. It can still be seen that both sides of the railway station were built to accommodate the different widths of the gauge.

The Ambarawa Railway Museum was then established on October 6, 1976, at Ambarawa Station to preserve the steam locomotive which was then in a period of reuse when the 1,435 mm rail line belonging to the State Railway Company was closed. This is an open-air museum located in the station complex.

Ambarawa Railway Museum Tour

This museum serves the Ambarawa-Bedono round trip train, Ambarawa-Tuntang round trip, and the Ambarawa-Tuntang round trip tour train. The Ambarawa-Bedono pp tourist train or better known as the Ambarawa Railway Mountain Tour operates from this museum to Bedono Station which is 35 km away and takes 1 hour to reach the station. This train passes through a jagged rail that only exists here and in Sawahlunto. A panorama of natural beauty such as a green valley between Mount Ungaran and Mount Merbabu can be seen along the way.

The view that can be enjoyed from the Ambarawa-Tuntang train and lorry is no less beautiful. This train departs from the station to Tuntang Station which is about 7 km from the museum. Along the way, you can see a charming landscape of rice fields and fields with the background of Mount Ungaran, Mount Merbabu, and Rawa Pening in the distance. This train has actually been around for a long time but was closed in the 1980s due to damaged infrastructure.

The ticket price for the tourist train is IDR. 0,000 per person, while the IDR lorry. 10,000 per person. IDR car rental price. 3,000,000

Thus a brief review of the Ambarawa Railway Museum, I hope this brief review can be a reference for you to get to know more about the History of the Ambarawa Railway Museum Tourism Object. Hopefully Helpful and Thank you for visiting.

Source

Baca Selengkapnya

History of Batik in Indonesia

The history of Batik in Indonesia originally came from the ancestral heritage of the Javanese people and was closely related to the development of the Majapahit Empire and the spread of Islamic teachings in Java at that time. In some notes, the development of batik was mostly carried out during the Mataram Sultanate era, then continued during the Surakarta Sunanate and Yogyakarta Sultanate eras.

Batik art in Indonesia has been known since the time of the Majapahit Kingdom and continued to grow until the next kingdom and its kings. The art of batik in general was widespread in Indonesia and specifically on the island of Java after the late 18th or early 19th century.

Batik art is the art of drawing on cloth for clothing which became one of the cultures of the royal family in ancient Indonesia. Initially, batik activities were limited to the palace, and batik was produced for clothing for kings and government families, and dignitaries. Because many of the dignitaries lived outside the palace, they brought this batik art from the palace and produced it in their respective places.

Gradually the art of batik was imitated by the common people and then expanded so that it became the work of household women to fill their free time.

The coloring materials used when making batik consist of native Indonesian plants which are made by themselves, including noni tree, Tinggi, soga, and indigo. The soda material is made from ash soda, while the salt is made from mud soil.

BATIK DEVELOPMENT

In its development, the history of batik itself has attracted the attention of officials of the Majapahit Kingdom. At that time also the manufacture of batik has developed. Materials that were originally made of leather and so on have now changed to the white cloth or light-colored cloth. Because it is felt from the white cloth itself the motifs obtained are more durable and can be used for wider utilization.

The motives are not only about animals and plants. But now motifs such as abstract motifs, temple motifs, cloud motifs, wayang beber motifs, and so on, have been used at that time, namely when the Majapahit Kingdom was founded.

The batik motif itself is still not varied. The patterns and motifs are still dominant in the form of plants and animals. The batik craftsmen are also still not too many. At that time making batik was only used as a pleasure for the craftsmen themselves.

From the beginning of the history of batik, it eventually spread throughout other kingdoms. Because of the popularity of batik, finally, officials from the Kingdom of Mataram, the Kingdom of Majapahit, the Kingdom of Demak, and the kingdoms that followed made batik a cultural symbol.

But when Islam came and influenced many people, the animal-shaped batik motifs were removed. Because batik cloth in the shape of animals is considered to violate Islamic law. So that the motive has been removed and eliminated. Unless the creation is disguised using other paintings.

Indonesian Batik has become increasingly famous after receiving recognition from UNESCO which decided to Indonesian Batik as a world heritage and one of the humanitarian heritages for oral and non-material culture. This recognition was carried out officially at the UNESCO meeting in Abu Dhabi on October 2, 2009, becoming an important milestone for the existence of Batik in the international world. In a very long span of time, batik was present in the archipelago. Batik has been around since the days of Indonesia's ancestors.

The word batik comes from a combination of two Javanese words: amba, which means 'to write', and point, which means 'point'. Although the word batik comes from the Javanese language, the presence of batik in Java itself is not recorded. G.P. Rouffaer argues that the technique of batik may have been introduced in India or Sri Lanka in the 6th or 7th century. On the other hand, J.L.A. Brandes, a Dutch archaeologist, and F.A. Sutjipto, an Indonesian historian, believe that the batik tradition is native to areas such as Toraja, Flores, Halmahera, and Papua. It should be noted that the region is not an area influenced by Hinduism, but is known to have an ancient tradition of making batik.

If seen from the beginning of the history of batik, began in the 17th century AD. At that time batik was still written and painted only on lower leaves and traditional house boards.

G.P. Rouffaer also reported that the grinning pattern had been known since the 12th century in Kediri, East Java. He concluded that a pattern like this could only be formed by using the canting tool, so he argued that the canting was found in Java around that time. The details of the cloth carvings resembling batik patterns are worn by Prajnaparamita, a statue of the Buddhist goddess of wisdom from East Java in the 13th century. The details of the garments feature an intricate pattern of vines of plants and flowers similar to the traditional Javanese batik patterns that can be found today. This shows that making intricate batik patterns that can only be made with a canting was known in Java as early as the 13th century or even earlier.

Meanwhile, in the legend in Malay literature of the 17th century, Sulalatus Salatin, tells of Admiral Hang Nadim who was ordered by Sultan Mahmud to sail to India in order to get 140 pieces of litter cloth with patterns of 40 types of flowers on each sheet. Unable to fulfill the order, she made the cloth herself. But unfortunately, his ship sank on the way home and he was only able to bring four sheets, which disappointed the Sultan. Then the four pieces of cloth are interpreted as batik.

In European literature, the batik technique was first described in the book History of Java, London, 1817 written by Sir Thomas Stamford Raffles. He had been the British Governor in Java when Napoleon occupied the Netherlands. In 1873 a Dutch merchant, Van Rijekevorsel, gave a piece of the batik he had obtained during a visit to Indonesia to the Ethnic Museum in Rotterdam in the early 19th century. It was then that batik began to reach its golden age. When exhibited at the Exposition Universelle in Paris in 1900, Indonesian batik amazed the public and artists.

Then since industrialization and globalization, which introduced automation techniques, new types of batik emerged, known as stamped batik and printed batik. Traditional batik, which is produced by handwriting techniques using canting and wax, it is called written batik. Hugh Clifford recorded this batik industry to produce rainbow fabrics and teleport fabrics.

In the end, batik is a craft that has high artistic value and has become part of Indonesian culture, especially in Java. Since ancient times, women have made their skills in batik a livelihood. So in the past batik work was exclusively women's work. Until the invention of the "Batik Cap" which allowed men to enter this field. Then there is the phenomenon of coastal batik which has masculine lines that can be seen in the “Mega Mendung” style. For people in this coastal area, batik work is a custom for men.

Speaking of batik traditions, at first batik was a hereditary tradition from the Javanese people. Maybe, sometimes a motif can be identified as coming from a certain family of batik. Some batik may indicate the status of a person. Even today, some traditional batik motifs are only used by the Yogyakarta and Surakarta Palace families. The Cirebon batik is patterned with sea creatures and Chinese influence.

In Indonesian history, batik later became the clothing worn by figures, from the pre-independence period to the present. In the early 1980s, during his foreign diplomacy, President Soeharto said that batik was inherited from Indonesian ancestors, especially the Javanese, which is still worn by various groups and ages.

With the recognition of UNESCO and the establishment of National Batik Day every October 2, Batik is increasingly positioned not only as Indonesian culture but also as the identity and identity of the Indonesian nation.

Technically, Indonesian batik is considered full of symbols and culture that is closely related to the life of the people themselves. That way the original batik from Indonesia cannot be claimed by other countries. Because previously batik had been claimed as the ancestral heritage of other countries.

Indonesian Batik is widely known throughout the world. Not only famous by the Javanese, batik itself has spread to all the islands in Indonesia.

Batik-patterned clothes are no longer only worn by the Javanese. Now batik cloth itself is considered formal clothing suitable for use in any event. In fact, it's not just people who are aristocrats, young people throughout Indonesia also often wear batik-patterned clothes.

Thank you for visiting the World Travel Blog

Baca Selengkapnya

The history of the construction of the Kujang Monument in Bogor

Bogor Kujang Monument

The towering Kujang Monument is located in a strategic place and is a proud monument to the city of Bogor, West Java, whose shape is taken from a typical Pasundan weapon that has historical meaning and value. Located in the corner of the Botanical Gardens and is an indicator of a place that was once dominated by bemo and Delman is now a "city of millions of angkot (city transportation)"

The Kujang Monument in the city of Bogor is located on Jalan Pajajaran in front of the Botanical Square which is adjacent to the IPB campus or is located in the northeast corner of the Bogor Botanical Gardens. This monument with a height of approximately 25 meters was built on May 4, 1982, on an area of ​​26 meters x 23 meters and was estimated to cost Rp. 80 million This monument, which stands firmly, is one of the symbols of the city of Bogor, as it is in other cities in Indonesia. The ornament in the form of an heirloom cleaver that stands firmly on the Kujang Monument weighs approximately 800 kg with an ornament reaching 7 m high. This heirloom ornament is covered in stainless steel, copper, and brass material.

This monument was inaugurated on June 3, 1982. This place is one of the indicators of the development of the City of Bogor from the "advanced" era to the "ayeuna" era, where currently the place is located in the bustling city of Bogor with the noise of motorized vehicles which are sometimes used as a shadow terminal for city transportation. (angkot) which during the day was hit by "the hot sun of Bogor City", it was different in the 1970-1980s the place was relatively quiet, only IPB students going to college, and the "bucket" sound of bemo engines which were full load with relatively rising roads and bends or the sound of "plaque-plok" the horseshoes towing the wagon. But now, besides being busy, it is also a relatively strategic demo location because besides being busy it is also near the Bogor city gate from the Jagorawi toll road (now there are 2 toll gates in Bogor City), it is also an area for appointments because besides being strategically located it is also close to the Damri terminal to Soekarno Hatta Airport). The name Kujang itself is taken from the name of a traditional Sundanese ethnic heritage weapon which is believed to have supernatural powers.

THE ORIGIN OF THE KUJANG WEAPON

Kujang Weapon

Kujang is one of the traditional weapons of the Sundanese people, which has cultural values ​​that are quite taken into account by cultural observers. Kujang is the only weapon that is only owned by the Sundanese people, and for that let us know more about this one weapon. By still inserting messages; presented not to be praised let alone insulted but presented to be known and corrected. From the title, it already occurred to me that the cleaver is the traditional weapon of West Java province. Why is this weapon known as the Kujang, it is almost similar in shape to a sickle or sickle. However, there are abnormalities in the hollow back. The Kujang heritage itself has been known since the time of the Pajajaran Kingdom in the 14th century AD, during the reign of King Siliwangi. In the past, Kujang could not be separated from the life of the Sundanese people because of its function as agricultural equipment. This statement is contained in the ancient manuscript Sanghyang Siksa Kanda Ng Karesian (1518 AD) as well as oral traditions that developed in several areas, including in the Ranch area, Ciamis.

Evidence that supports the statement that a cleaver is a farming tool can still be seen today in the Baduy, Banten, and Pancer Pangawinan communities in Sukabumi. Other sources state that this weapon was used in the 4th century as a tool for agricultural needs, but in the 9th century AD, the value of the cleaver became sacred. At this time, the cleaver was used as an heirloom weapon by the kings of the Pasundan land. This weapon is believed to have magical powers and is able to give authority and supernatural powers to its owner. Kujang is a weapon full of mystery.

The value of the Kujang as an amulet or amulet first appeared in the history of the Padjadjaran Makukuhan Kingdom. Precisely during the reign of Prabu Kudo Lalean. Since then, the Kujang has been gradually used by the kings and nobles of the Kingdom as a symbol of authority and supernatural powers. One time, Kudo Lalean was doing tapa brata somewhere. Suddenly the prabu got the inspiration to redesign the shape of the Kujang, which had been used as an agricultural tool. Surprisingly, the latest design that was in the mind of the King, the shape is similar to the island of "Djawa Dwipa", which is known as the island of Java today. So, after receiving this inspiration, Prabu Kudo Lalean immediately assigned Mpu Windu Supo, a blacksmith from the royal family. He was asked to make blades like what was in the King's mind. At first, Mpu Windu Supo was upset about the shape of the weapon he had to make. So before doing work, Mpu Windu Supo meditated, observing the King's mind. Finally, an image of the weapon prototype was obtained, as Kudo Lalean had in mind. After his meditation was over, Mpu Windu Supo started his work. With magical touches enriched with spiritual philosophical values, it becomes a weapon that has high power. This is a Kujang that has a unique shape and becomes an object with magical powers. This weapon has 2 striking characteristics. The shape resembles the island of Java and there are 3 holes somewhere on the blade. This is a weapon that in future generations will always be associated with the Padjadjaran Makukuhan Kingdom. The shape of the island of Java itself is a philosophy of the King's ideals, to unite the small kingdoms of Java into one kingdom headed by King Padjadjaran Makukuhan. Meanwhile, the three holes on the knife symbolize the Trimurti, or the three aspects of the Godhead of Hinduism, to which Kudo Lalea also adheres to.

The three aspects of Divinity point to Brahma, Vishnu, and Shiva. The Hindu Trinity (Trimurti) was also represented by the 3 main kingdoms at that time. These kingdoms include Pengging Wiraradya, which is located in the eastern part of Java; The Kambang Putih Kingdom, located in the northern part of Java, and the Padjadjaran Makukuhan Kingdom, located in the West. The shape of the Kujang developed further in later generations. Different models appeared. As Islamic influence grows in society, the Kujang has undergone a design resembling the Arabic letter “Syin”. This was an attempt by the Pasundan region, namely Prabu Kian Santang, who wanted to convert the Pasundan people to Islam. In the end, Kujang's philosophy, which has Hindu and religious nuances from past cultures, was reinvented in accordance with the philosophy of Islamic teachings. Syin itself is the first letter in the shahada poem (sentence) in which every human being testifies to the One God and the Prophet Muhammad as His messenger. By saying the creed and this intention in the heart, every human being automatically converts to Islam.

The manifestation of Islamic values ​​in the Kujang weapon is to expand the area of ​​the blade which conforms to the shape of the letter Syin. The latest model of Kujang should be able to remind its owner of his loyalty to Islam and its teachings. The five holes on the Kujang have replaced the meaning of the Trimurti. These five holes symbolize the 5 pillars of Islam (pillars of Islam). Since then, the Kujang model describes the combination of the two styles designed by Prabu Kudo Lalean and Prabu Kian Santang. However, the authority of the Kujang as an heirloom weapon that is full of "other powers" and can give certain powers to its owner, remains. In its development, the Kujang weapon was no longer used by kings and nobility. Ordinary people also often use Kujang just like the Kings and nobles.

In Sundanese society, Kujang is often seen on display as a home decoration. It is said that there is some kind of belief related to luck, protection, honor, authority, and others. However, there is one thing that must not be done. Namely displaying Kujang in pairs on the wall with sharp blades facing each other inside. This is a taboo or prohibition. In addition, no one is allowed to take a photo of him standing between the 2 Kujangs in that position. Reportedly, this will cause the death of the person within 1 year, no more but could be less. Bogor "My Tradition" once a week (the plan is every Thursday). This was conveyed by the Mayor of Bogor Diani Budiarto when receiving a visit from the Head of the West Java Batik Foundation Mrs. Sendy Dede Yusuf at the Bogor City Hall. The typical Bogor batik has the motif of drizzling rain, cleavers, and deer. So, the cleaver monument is not just a monument that is the pride of the city of Bogor, but also a cultural symbol that will be further developed at this time. Don't forget about the maintenance of the monument. starting from cleanliness, idle hands, or the chaos of city transportation that sometimes "deliberately stops" at red lights.

It is said so because many believe that in the Kujang there is a magical and sacred power. For most Sundanese people, Kujang is considered not just an ordinary weapon. But a weapon that has "other powers" beyond human reason. Even Sundanese people who do not believe in the existence of other (supernatural) powers behind the Kujang, will definitely treat the Kujang in a special way. At least appreciate the Kujang as a home decoration, even a souvenir. This is where the value of the authority of the Kujang weapon is proven. Kujang does have philosophical values ​​for the ancient Sundanese people. And the process of its creation is very closely related to the need for other powers than a weapon. The origin of the Kujang itself was actually inspired by an agricultural tool. This tool has been widely used from the 4th century to the 7th century AD. At that time the shape was closer to the figure of a sickle or sickle, then in the 9th century, the shape of the Kujang began to take shape as we see it today. Since then, the public's image of Kujang has changed.

Reference: History of the Kujang Monument

Baca Selengkapnya

History of Youth Sculpture Building

Statue of Youth Building-Senayan

The Youth Development Statue or better known as the Pizza Man Statue is a monument located at the Senayan Fountain roundabout, in Jakarta. The monument, which is located not far from the Ratu Plaza shopping center, was made by a sculptor team who are members of the Bureau of Architectural Engineers (ISA) under the leadership of Imam Supardi. The person in charge of implementation is Munir Pamuncak.

The existence of this statue aims to encourage the spirit of development which in essence must be carried out by youth or people who are young at heart. Therefore this statue is named "Sculpture of Youth Building". The statue is placed in the Senayan fountain roundabout because it is practical and strategic. Practical because the place is wide, enough to meet the requirements to install a large and strategic statue because the place is a meeting point from and to all corners of the city of Kebayoran Baru and its surroundings. Apart from that, it is also close to the Senayan sports complex and not far from the People's Consultative Assembly Building.

Manufacturing History

This statue is made of reinforced concrete with cement mortar and the outside is covered with terrazzo material. Work began in July 1971 and was inaugurated in March 1972. Originally it was planned that the inauguration would take place at the commemoration of Youth Pledge Day, 28 October 1971, but at that time the statue had not yet been completed, so the inauguration was delayed several months. The entire funding for making the statue is provided by the oil company currently named Pertamina. At that time the highest leader, Ibnu Sutowo, also played a role.

Named Youth Builds because the statue depicts a young man carrying a torch with a fiery passion. From a distance this statue looks naked, the lines of the veins and lumps of muscle are accentuated to support the expression of the movement of the youth figure. The meaning of the torch is as a tool of light and in a philosophical sense is to illuminate the dark heart and soul. It is hoped that young people will take an important role in nation-building. Active participation in advancing the homeland is needed because it is through the hands of youth that the ideals and hopes for the future lie. This statue is quite tall. Efforts to maintain it are carried out by the DKI Jakarta Provincial Government, including through the Plantation Service and the Fire Service to 'bathe' the statue.

Baca Selengkapnya

History of the Statue of Arjuna Wijaya

Arjuna Wijaya Statue

Hello friends, if you live in Jakarta, you will often see the Arjuna Wijaya statue which is at the intersection of Jalan MH Thamrin and Jalan Medan Merdeka, right in front of the Indosat building, do you know why this statue was made?

The Arjuna Wijaya Statue or also called the Arjuna Wiwaha Statue or the Asta Brata Statue is a monument in the form of a chariot statue with a copper fountain located at the junction of Jalan MH Thamrin and Jalan Medan Merdeka. The designer of the Arjuna Wijaya Statue is an Indonesian sculptor from Tabanan, Bali, Nyoman Nuarta. This statue was built around 1987, after the state visit of Indonesian President Soeharto from Turkey. The process of making the Arjuna Wijaya Statue was carried out by around 40 artists and the work was carried out in Bandung, West Java.

The Arjuna Wijaya statue depicts a scene in the classic Mahabharata story, where two figures from the Pandawa camp, namely Arjuna holding a bow and Batara Kresna who is a coachman, are riding a chariot headed by an eagle pulled by eight horses which symbolize the eight philosophies of leadership "Asta Brata ". The two of them are depicted in a combat situation against Adipati Karna who comes from the Kaurava camp.

Sculpture Making Background

According to Nyoman Nuarta, the construction of the Arjuna Wijaya statue was motivated by President Soeharto's state visit to Turkey in 1987, where he saw many monuments explaining stories of Turkey's past on the streets of his protocol. President Soeharto realized that he could not find this on the main roads in Jakarta, so he initiated the construction of a monument containing Indonesian philosophy. Through Nyoman Nuarta, finally, the story of the Baratayuda War was used as the idea behind the statue's final form.

"Arjuna Wijaya" itself means "Victory of Arjuna", which tells of his victory in defending his truth and courage, a symbol of appreciation for his warrior qualities. The Arjuna Wijaya statue is a statue which is a symbol that the law must be upheld indiscriminately. This is motivated by one episode in the Bharatayuddha story where Arjuna fights against Adipati Karna who is his own brother. According to Nyoman Nuarta, in the Mahabharata epic, Arjuna was initially hesitant because it was his own brother who he was fighting, but he had to make a decision for the good of more people, he had to defeat Adipati Karna who stood on the side of the Kauravas.

The eight horses pulling the chariot symbolize the eight leadership philosophies according to the universe, which is called "Asta Brata" namely: Kisma (earth), Surya (sun), Agni (fire), Kartika (star), Baruna (ocean), Samirana ( wind), Tirta (rain), and Candra (moon). The appearance of the Asta Brata horses has become a distinct feature of the Arjuna Wijaya Statue, where some of the horse statues show the shape of complete body parts, but some parts of the body are transparent. This shape has become the main attraction for visitors who want to count the number of Asta Brata horses. According to Nyoman Nuarta, the actual number of Asta Brata horse statues is eight, whereas the transparent ones are shadows of the Asta Brata horses.

According to Nyoman Nuarta, the Arjuna Wijaya statue cost around 290 to 300 million rupiahs in price adjustments in 1987. This statue was renovated in early October 2014 and re-opened by DKI Jakarta Governor Basuki Tjahaja Purnama on January 11, 2015, accompanied by Nyoman Nuarta and the board of directors of Bank OCBC as the party carrying out the renovation. The statue underwent the addition of a horse's motion shadow, repairs to the fountain installation, and a place to pose at the front of the statue.

Baca Selengkapnya

Bali Great Besakih Temple Tourism Object

Bali Great Besakih Temple Tourism Object - Besakih Temple is the largest of the temples on the island of Bali which offers beautiful views of every temple in this largest temple complex. Besakih Temple is located in Besakih village, Rendang sub-district, Karangasem Regency, Bali. The Besakih Temple complex consists of 1 Central Temple (Besakih Penataran Agung Temple) and 18 Companion Temples (1 Basukian Temple and 17 Other Temples).

The name Besakih comes from the word "Basuki", taken from the word "Wasuki" which means safety in Sanskrit. Meanwhile, in Samudramanthana mythology, the name "Besuki" actually refers to the "Naga Besukian", who inhabits Mount Agung, a volcano in Bali.

The Besakih Temple complex is considered a holy place since ancient times. Based on ancient inscription records from 1007 AD. It is known that since the 15th century, Besakih is considered the center of Hindu temples on the Island of the Gods of Bali.

The existence of Pura Agung Besakih, is not only a place of worship of God Almighty, according to Hindu Dharma beliefs, the largest on the island of Bali, but it has a background connection with the meaning of Mount Agung. The highest mountain on the island of Bali is believed to be the center of the Rule of the Spirit Realm, the Realm of the Gods, who is God's messenger for the island of Bali and its surroundings. So it is appropriate that on the southwestern slopes of Mount Agung a building for the sanctity of mankind, Besakih Temple, which has a philosophical meaning, is made.

Access to The Great Besakih Temple Tour

To go to the Besakih Temple Tourism Object, if you are from Kuta, it takes about 2 hours to arrive at Besakih Temple. You can simply head east towards Sanur, then follow the coastal path, which connects to the Kusamba Bypass at Tohpati. Then head north until you find a road sign for Besakih and after a few kilometers turn north.

If you are from Klungkung, you can use public transportation such as Bemo and small public buses that will take you to Besakih from Klungkung. Bemos often leave early in the morning and it is advisable to change bemos at Rendang, midway between Klungkung and Besakih.

If you are from north Denpasar by car the distance you will take is around 25 kilometers. However, if you are from the east of Bali such as in Tirta Gangga, Candidasa, or Amed, you can reach Besakih by taking the smaller inland road from Karangasem. This path will take you to the intersection between Besakih and Klungkung in Rendang, then turn right to reach Besakih Temple. During your one-hour drive, you will enjoy beautiful views on your way through forests, villages, and rice fields.

Thus the information regarding the Besakih Temple Tourism Object, all information from this article is taken from various sources.

Baca Selengkapnya

History of the Fatahillah Museum in Jakarta

Fatahilah Museum in the Old City of Jakarta

Jakarta as the capital of the Republic of Indonesia has kept a very long history, even going back to prehistoric times. We can still study and enjoy this historical journey until now at the Fatahillah Museum, which is located in the Old City Area, or to be precise at Jalan Taman Fatahillah No. 2, West Jakarta. Here you can explore various historical relics of the city of Jakarta from prehistoric times, the heyday of the Sunda Kelapa port, the colonial era, to the post-independence period.

The Fatahillah Museum, also known as the Jakarta History Museum or the Batavia Museum, is a museum located at Jalan Taman Fatahillah No. 2, West Jakarta with an area of ​​more than 1,300 square meters. This building used to be a City Hall (Dutch: Stadhuis) which was built in 1707-1710 by order of Governor General Johan van Hoorn. The building resembles the Dam Palace in Amsterdam, consisting of the main building with two wings on the east and west and a side building used as an office, a courtroom, and dungeons used as a prison. On March 30, 1974, this building was inaugurated as the Fatahillah Museum.

The City of Batavia in 1770

The architecture of the building is in a 17th-century neoclassical style with three floors painted in earthen yellow, and door and window frames made of dark green teak wood. The main roof has a compass direction. The museum has an area of ​​more than 1,300 square meters. Yard with block arrangement, and a pond decorated with several old trees.

The objects that can be found in this museum include historical journeys of Jakarta, replicas of the remains of the Tarumanegara and Pajajaran eras, results of archaeological excavations in Jakarta, antique furniture from the 17th to 19th centuries, which is a blend of European, People's Republic of China, and Indonesian. There are also ceramics, pottery, and stone inscriptions. These collections are found in various rooms, such as the Jakarta Prehistoric Room, the Tarumanegara Room, the Jayakarta Room, the Fatahillah Room, the Sultan Agung Room, and the MH Thamrin Room.

There are also various collections on Betawi culture, numismatics, and pedicabs. Even now there is also a statue of the god Hermes (according to Greek mythology, the god of luck and protection for merchants) which was previously located at the Harmoni intersection, and the Si Jagur cannon which is considered to have magical powers. In addition, at the Fatahillah Museum, there is also a former dungeon that was once used during the Dutch colonial era.

In 1937, the Oud Batavia Foundation submitted plans to establish a museum on the history of Batavia, the foundation then bought the warehouse of the Geo Wehry & Co company which was located east of Kali Besar to be precise on Jl. Great North Gate No. 27 (now the Puppet museum) and rebuilt as the Oud Batavia Museum. The Old Batavia Museum was opened to the public in 1939.

Dioramas inside the Fatahilah Museum

At the time of independence, this museum turned into the Old Djakarta Museum under the auspices of the LKI (Indonesian Cultural Institute), and then in 1968, the "Old Djakarta Museum" was handed over to the Regional Government of DKI Jakarta. The Governor of DKI Jakarta at that time, Ali Sadikin, then inaugurated this building to become the Jakarta History Museum on March 30, 1974.

To improve its performance and appearance, the Jakarta History Museum since 1999 has been determined to make this museum not just a place to treat and exhibit objects from the Batavian period, but also to be a place for all people, both Indonesian and foreign, children, adults and even for people with disabilities to add knowledge and experience and can be enjoyed as a place of recreation. For this reason, the Jakarta History Museum tries to provide information about the long history of the city of Jakarta, from prehistoric times to the present in a more recreational form. In addition, through its exhibition system, the Jakarta History Museum tries to describe "Jakarta as a Cultural Meeting Center" from various ethnic groups, both from within and outside Indonesia, and the history of the city of Jakarta as a whole. The Jakarta History Museum also always tries to organize recreational activities so as to stimulate visitors to be attracted to Jakarta and increase awareness of the importance of cultural heritage.

The Jakarta History Museum building was built in 1620 by Governor General Jan Pieterszoon Coen as the second city hall building in 1626 (the first town hall was built in 1620 near East Kalibesar). According to historical records, this building only had one story, and the construction of the second level was carried out later. In 1648 the condition of the building was very bad. Jakarta's soil is very unstable and the weight of the building causes it to descend from the ground. An easy solution by the Dutch government was not to change the existing foundation but to raise the floor by about 2 feet (56 cm). According to a report, 5 cells under the building were built in 1649. In 1665 the main building was widened by adding one room each on the West and East sides. After that, several repairs and changes were made to the Stadhuis building and the prisons until they became the form we see today.

Apart from being used as a Stadhuis, this building is also used as a "Raad van Justitie" (court council). From 1925-1942, this building was used as the West Java Provincial Government Office and from 1942-1945 it was used as the logistics collection office for Dai Nippon. In 1952 this building became the headquarters of the City Military Command (KMK) I, then it was changed back to KODIM 0503 West Jakarta. In 1968, this building was handed over to the Regional Government of DKI Jakarta, then it was inaugurated as the Jakarta History Museum on March 30, 1974.

As is common in Europe, the city hall building is equipped with a field called “stadhuisplein”. According to a painting made by a VOC employee ''' Johannes Rach'' who came from ''Denmark'', in the middle of the field there is a fountain which is the only source of water for the local community. The water comes from Pancoran Glodok which is connected by a pipe to Stadhuiplein. In 1972, excavations were carried out on the field and found the foundation of a fountain complete with its pipes. So with historical evidence, it can be rebuilt according to Johannes Rach's drawings, then a fountain is created in the middle of Fatahillah Park. In 1973 the Regional Government of DKI Jakarta re-functioned the park by giving it a new name, namely '''Taman Fatahillah''' to commemorate the commander Fatahillah who founded the city of Jakarta.

Based on archaeological excavations, there is evidence that the first settlements in Jakarta were located on the banks of the Ciliwung river. This settlement is thought to have originated in 2500 BC (the Neolithic Period). The first written evidence found is the Tugu inscription issued by King Tarumanegara in the 5th century. Inscriptions are evidence of religious activities at that time. In the next period around the 12th century, this area was under the rule of the Sunda kingdom with its famous port of Sunda Kelapa port.

It was during this period that a trade agreement was held between the Portuguese and the Sundanese king. In the 17th century trade with foreign parties expanded, and the port of Sunda Kelapa changed to Jayakarta (1527) and then became Batavia (1619). In 1942 the Japanese seized power from the hands of the Dutch and ruled Indonesia until 1945.

Its treasury totals 23,500 pieces originating from the legacy of the Old Jakarta Museum (Oud Batavia Museum), the result of procurement efforts by the DKI Jakarta Government and donations from individuals and institutions. Consists of a variety of materials both of the same kind and mixtures, including metal, stone, wood, glass, crystal, pottery, ceramics, porcelain, cloth, leather, paper, and bone. Among the collections that should be known to the public are Cannon Si Jagur, sketches, statues of Hermes, execution swords, filing cabinets, paintings of the Dutch East Indies Governor General of the VOC in 1602-1942, round tables with a diameter of 2.25 meters without a connection, tools of prehistoric society, inscriptions and weapon.

The collections on display amount to more than 500 pieces, and the others are stored in storage (storage room). Some of the collections are more than 1,500 years old, especially the collections of prehistoric people's living tools such as stone axes, square pickaxes, and earthenware jugs. The heritage collections of the Old Jakarta Museum date back to the 18th and 19th centuries such as chairs, tables, filing cabinets, beds, and weapons. Periodically rotation is carried out so that all collections can be enjoyed by visitors. To enrich the treasury of museum collections, it opens opportunities for individuals and institutions to lend or donate their collections to the Jakarta History Museum.

By keeping abreast of developments in the dynamics of society who want change so as not to sink into a static and boring atmosphere, and supported by policies contained in the museum's vision and mission, regarding the organization of a museum that is oriented towards community service interests, the permanent exhibition system for the Jakarta History Museum is carried out chronologically. the history of Jakarta, and Jakarta as a cultural meeting center of various ethnic groups both from within and from outside Indonesia. To display stories based on Jakarta's historical chronology in the form of displays, collections related to history are needed and supported graphically using photographs. , drawings and sketches, maps, and explanatory labels to make it easy to understand in relation to historical factors and the historical background of Jakarta.

While the presentation of cultural nuances is also packaged artistically where it can be seen that there is a process of cultural interaction between ethnic groups. The arrangement is adjusted in the most effective way possible to live up to the existing cultures so as to invite community participation. The layout of the permanent exhibition of the Jakarta History Museum is carried out in a planned, gradual, schematic, and artistic manner, so as to create comfort and add insight to visitors.

Reference: Wikipedia

Baca Selengkapnya

History of the Statue of Heroes or the Farmer's Monument

Hero Statue

The hero statue or also called the farmer's monument is a statue made of bronze with the figure of a man with a hat and a woman located near Gambir station, Jakarta. This statue was made by two famous sculptors in Russia, Matvey Manizer and Ossip Manizer, as a gift from the Soviet Union government for its friendship with Indonesia. The meaning of the building varies in terms of symbol and history.

In appearance, the peasant monument is solid black in color and made of bronze with the figure of a woman, in a bun and wearing a kebaya, providing food supplies to the figure of a man standing upright wearing a caping, a hat commonly used by the Indonesian peasantry with a full long-barreled weapon with a dagger. This statue depicts a family that went to fight for freedom. On the pedestal of the statue is written "Only a Nation that Can Appreciate Its Heroes Can Become a Great Nation"

The reasons for making the Tugu Tani statue from a historical perspective are different, but there are two versions of the background to the making of this statue. The first, the statue of the peasant monument was made with inspiration when Soekarno visited the Soviet Union in 1922. At that time, there was an upheaval in Russia between those who were pro-Russian imperial system and the communists. This reminded him of the situation in Indonesia. He was also looking for a sculptor to make a monument to honor the struggle of the farm workers in the G 30 SPKI movement.

Meanwhile, another version says the origins of the construction of the farmer's monument are related to the claim of the West Irian region, not about the communist movement in Indonesia. In a book it is stated that Sukarno wanted a farmer's monument to be made to commemorate the struggle of the Indonesian people in defending West Irian which had been controlled by the Dutch until 1963.

Meanwhile, the process of making the statue to resemble a farmer and a woman was obtained from Manizer's trip when he visited Indonesia in 1960. At that time, he heard a story about a mother who supports her child to fight for her country, and reminds her child never to leave her parents. Returning to the Soviet Union, he and his colleagues made the statue as a memento.

Interpretation

The style of the symbol of communism in making this statue can be seen from the humble and submissive female figure, while the man puffs out his chest, is athletic, and has a heroic posture. The appearance of a farmer dressed as a soldier, complete with a gun pointing upwards is a strong element that represents the ideology of the communists. The statue of the peasant monument was proposed to be demolished considering the history and meaning contained in it because everything related to communism was considered sensitive and taboo. However, this request was denied because the statue is a meaningful symbol of the history of the ideological struggle of the Indonesian people.

Baca Selengkapnya

Central Maluku Natsepa Beach Tourism Object

Maluku Natsepa Beach Tourism Object - Natsepa Beach is a beach tourist attraction located in Central Maluku, this beach is not too far from the city of Ambon making it easier for tourists to visit it. Natsepa Beach offers natural scenery around the beach which is quite beautiful so it gives a comfortable and pleasant impression for visitors to unwind. The stretch of clean white sand and the calm waves make the Natsepa Beach Tourism Area look even more enchanting. In addition, the trees that grow around the beach make this Maluku tourist area feel cooler. The Natsepa Beach Tourism Object is known for having a wide enough size and beautiful white sand. To arrive at the location, visitors can use public transportation with the Suli route and of course, it is very possible if visitors to use private vehicles, be it two-wheeled or four-wheeled vehicles.

So, besides being able to enjoy the beautiful natural scenery, at the Natsepa Maluku Beach Tourism Object, visitors can also enjoy culinary offerings that you may not have found in other tourist attractions, namely Rujak Natsepa or also called Rujak Suli which is a food that has long been popular among the public. Ambon City. To feel the pleasure of this typical Maluku rujak, you only need to spend IDR. 5,000/portion, is cheap enough.

This is a glimpse of the Maluku Natsepa Beach Tourism Object, hopefully, it can make a reference for those of you who want to visit this Maluku beach tourist attraction, all information regarding the Natsepa Beach Tourism Area is summarized from various sources. Hopefully, this is useful, and welcome to visit the Exotic Natsepa Beach Tourism Object.

Baca Selengkapnya