Berkala Arkeologi (E-Journal)
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MATA UANG LOGAM CINA: SALAH SATU SARANA REKONSTRUKSI SEJARAH
No full textCurrency is one of the decisive means of trade and economic activity. This has happened since people began to recognize trade and price. The first societies to recognize and use currency as an official medium of exchange and value standards were Egypt, Greece and China. Chinese trading activities began to penetrate Southeast Asia since the second century BC. One of the artifactual evidence that can help reveal China's trading activities in Indonesia is Chinese coins. The study of Chinese coin inscriptions is an effort to contribute to the provision of new analytical data for the interpretation of historical data in the hope that it can be used to help reconstruct history. This needs to be done because until now, the written data that has been presented and obtained by experts to interpret the activities of trade relations between China and Indonesia in the early days have been based more on Chinese news
ARCA SARASWATI DARI NGANJUK
No full textThe Oudheidkundige Dienst photo collection in Nederlandsch-India contains a bronze statue of Saraswati from Nganjuk. The statue is depicted with the attributes of a harp instrument with a relief of makara. If you look at the statue of Saraswati from Nganjuk, it clearly shows a statue of a goddess and not a musical instrument, even though the character of Dewi Saraswati is a harp instrument. In the context of Hinduism, the Saraswati statue is considered the embodiment of truth or the manifestation of the highest beauty and at the same time depicting the truth of religion and philosophy. Therefore, in this study the author does not only look at the musicology side but also from the archeology side, with the approach of texts related to Saraswati. The depiction of the statue of Saraswati from Nganjuk not only shows the depiction of Saraswati as the goddess of art but as a symbol of the goddess of water as well. Therefore, the statue of Saraswati from Nganjuk shows a symbol of worshiping the goddess Saraswati as the goddess of water and arts
PRASASTI HULUDAYEUH
No full textThe relics of the inscriptions in West Java were found scattered in several places, but until now the number is still small when compared to findings in the areas of Central Java or East Java. The inscription which is the object of this research is a stone inscription which is now located in the middle of a rice field in Huludayeuh block, Cikalahang Village, Kec. Source, Kab. Cirebon, West Java. Based on the name of the place where it was found, we call this inscription the Huludayeuh inscription. This inscription was issued as a sign of warning for the good efforts made by Sri Baduga Maharaja. Considering that the Huludayeuh inscription is related to the effort to commemorate the merits of Sri Baduga Maharaja, it is possible that this inscription was not issued by Sri Baduga Maharaja himself, but by his successor king, King Surawisesa (1521-1535)
CITRA MAJAPAHIT DALAM PERBANDINGAN BABAD DAN KAKAWIN
No full textExperts have assumed that among the many ancient kingdoms in Indonesia, Majapahit is the strongest to leave memories in today's society. The last kingdom of this traditional Hindu-Javanese state was recorded as having fully succeeded in establishing political unity in a large area that had never happened before
KAJIAN TENTANG RANCANG BANGUN BENTENG KOMPENI DI JEPARA
No full textOne of the means of defense dating from the colonial period in Java is the Dutch fortresses, some of which can still be seen today. The existence of these fortresses implied a conflict between community groups in the archipelago against the colonialists, which forced the colonial side to establish various means of defense to counter the people's struggle. Among a number of former Dutch forts in Java, one that can still be seen is a fort located in Jepara. This fort, known as Benteng VOC or Benteng Kompeni, is located in Ujung Batu Village, Jepara District, Jepara Regency, Central Java Province. To be precise, the fort was located at the top of a hill overlooking the Java Sea
POLA ADAPTASI PENGHUNI GUA BUDAYA TOALA
No full textKehidupan penghuni gua Budaya Toala berlangsung sejak Kala Pasca Plestosen hingga awal masehi. Kehidupan Budaya Toala ini berlangsung cukup lama dan mampu bertahan beratus-ratus tahun lamanya. Kehidupan budaya tersebut masih sangat bergantung pada potensi ekologi sumber alam sekitarnya. Hal ini menarik perhatian untuk diungkap lebih dalam, terutama mengenai pola adaptasi yang diterapkan oleh penghuni gua sehingga budaya ini mampu bertahan cukup lama
RAMAYANA IN JAVA A STUDY OF VISUAL ART STYLE TRANSFORMATION
No full textA transformation of a story into a visual form is not a simple thing because there are many factors involved in this process. The major thing faced by an artist is how to get a model for the figure being made. From a general point of view there are two basic ways of transforming a story into a visual form. The first one is that the artist creates a figure based on his or her own imagination and interpretation of the character of a hero described in the story. The second one is that the artist just copies a previous form precisely or with modifications
PROSES PERKEMBANGAN KESENIAN DALAM PERUBAHAN KEBUDAYAAN
No full textKalau kebudayaan diartikan sebagai keseluruhan hasil cipta, rasa dan karsa masyarakat, maka kesenian adalah unsur kebudayaan yang bersumber pada rasa, khususnya rasa keindahan. Rasa estetis inilah yang mendorong budi daya manufiia untuk menciptakan berbagai ragam kesenian guna pennenuhan hidupnya
UPACARA KALANG OBONG (SUATU TINJAUAN ETNO-ARKEOLOGI)
No full textDalam masyarakat Jawa dikenal sekelompok penduduk yang disebut 'Wong Kalang' (Orang Kalang). Orang Kalang banyak yang menjadi pedagang kayu atau petani sukses, sehingga mereka hidup berkecukupan. Orang Kalang mendiami beberapa kota dan daerah tertentu, seperti Tegal Gendu (Kata Gede) Yogyakarta, Petanahan dan Ambal di Kebumen, Pekalongan, Semarang, Walikukun, Madiun, Tulungagung, Surabaya, dan di daerah Banyuwangi