Yogya always in the Hearth

In years gone by, batik was known as a unique pattern of textile and used a wax-resist dyeing technique. According to its etymology, batik is one of the Indonesian folklore because it is built from the Javanese word “tik” which means to drop, to dot or spot and it was recorded for the first time in English word in Dutch trade record in 1641 (Solyom 1984, 40). Traditional batik was usually worn only by the royal family because it was very expensive and related with a person’s social status. There are several patterns of traditional batik and it contains a lot of meaning inside its motif which are related to Javanese philosophy of life and the Javanese worn batik in traditional ceremonies (Djoemena 1986, 10-12). In modern ways, batik term is also used for applying traditional batik pattern although it does not use a traditional technique of batik making (Wikipedia, 2009). A simplification in modern batik industry makes it affordable to wear by any level of society and its patterns inspired many textile patterns in the world.

Yogyakarta Palace is not only home to the king and his family, but also becomes the flame guard of Javanese culture. In this place you can learn from seeing directly on how culture still preserved in the the pace development of the world.

Keraton Kasultanan Ngayogyakarta Hadiningrat or now better known by the name of Yogyakarta Palace is the center of Javanese culture living museum that is in the Special Region Yogykarta (Daerah Istimewa Yogyakarta). Not just becomes the place to live for the king and his family, the palace is also a main direction of cultural development of Java, as well as the flame guard of the culture. At this place tourists can learn and see directly on how the Javanese culture continues to live and be preserved. Yogyakarta Palace was built by Pangeran Mangkubumi (Prince Mangkubumi )in 1755, several months after the signing of the Perjanjian Giyanti (the Agreement Giyanti). Banyan forest (Hutan Beringin) was chosen as the place for building the palace because the land was between two rivers that were considered good and protected from possible flooding. Although already hundreds of years old and were damaged by the massive earthquake in 1867, Yogyakarta Palace buildings still stand firmly and well maintained.

Ramayana ballet is an art performance that is so beautiful, admiring and it is difficult to compare. This performance is able to unite various Javanese arts such as dance, drama and music on one stage and one momentum to present the Ramayana story, a legendary epos written by Walmiki in Sanskrit language.

Ramayana story presented in this performance is similar to that engraved on Prambanan temple. As people tell, Ramayana story that is engraved on the most beautiful Hindu temple is similar to the story in oral tradition in India. The long and straining story is summarized in four scenes, namely the kidnapping of Shinta, Anoman’s mission to Alengka, the death of Kumbakarna or Rahwana, and the meeting of Rama-Shinta.

The entire story is presented in a series of dance movements done by beautiful dancers accompanied by gamelan music. You are invited to really plunge into the story and observe each movement of the dancers to know the coarse of the story. There is no dialog among the dancers. The only storyteller is the sinden or the female singer who describes the coarse of the story through Javanes songs with her typical voice.

Visiting Affandi Museum that is located on Jalan Raya Yogyakarta – Solo, or by the west bank of Gajah Wong River, give an opportunity for you to trace all meaningful parts of Affandi’s life. You can see the great works when he was alive, the works of other painters that he kept, the vehicles that he used in the past, the house where he used to live and a gallery that now functions as a place to educate gifted children in painting.

The complex of the museum consists of 3 galleries with gallery I as the ticket box and the starting point of your exploration. Gallery I that was personally opened by Affandi in 1962 and was inaugurated in 1974 contains some of his paintings from the early time of his work to the late time of his life. The paintings most of which are sketches and reproductions are placed in two rows – upper and lower – that fill the curved room.

Still in Gallery I, you can see valuable things belonging to Affandi. At one corner of the room, there is a 1976 Colt Gallant car in greenish yellow color that was modified to form a fish, and an old wind-cycle as his means of transportation. The reproduction of the statue of Affandi and her daughter, Kartika, is shown as well.

Entering Gallery II, you will see paintings by different painters, both junior and senior ones. The gallery that was inaugurated in 1988 consists of two floors with paintings that you can see from different angles. The first floor is full of abstract paintings and the second floor contains realist-style paintings.

Gallery III as the next destination is a unique building of which roof resembles banana leaf. The three-stories floor is a multifunction gallery with the first floor functions as an exhibition room as well as the location of “Gajah Wong Gallery” for children who sharpen their painting ability, the second floor functions as paintings treatment and restoration room, and the room underground is utilized to keep painting collections.

There is a tower close to Gallery III where you can see the scenery of the entire museum, Gajah wong River and the hurly-burly of the main street. Walking to the west, you will come to a house with unique architecture where Affandi and his family used to live.

The house was built with the concept of a stage-house with concrete as the main pillars and other poles are from wood. The roof is shingle roof forming banana leaf and the shape of the building is uniquely curving. The ground floor is used for Kafe Loteng where you can buy foods and drinks and the upper floor is personal room of Affandi’s.

At the left side of the house, there is a cart functioning as a place for praying. The cart used to be the resting place for Affandi’s wife, Maryati. Initially, Maryati wanted a caravan as the ones used by many Americans as a mobile living place. Affandi agreed to the concept but with more Indonesian style, namely a cart.

Before leaving the museum, take a little time to visit the tomb of the maestro who passed away on 23 May 1990. The tomb lays between Gallery I and II. The eternal home of Affandi’s lays beside his wife’s eternal home. The yard of the homes is decorated by lushness of rose trees.

Please find our tour package here : http://sekaracala-jagaditha.com/yogya-dieng-4-days-3-nights/

 

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