Pub Date : 2024-06-04DOI: 10.37014/jumantara.v15i1.5046
Tedi Permadi
The Sundanese AKUR community is a community institution with a royal character and makes Paseban Tri Panca Tunggal as the center of its government. They have many manuscripts whose conditions are threatened with damage so that they need to be immediately saved physically and their contents, among others by curative preservation of digital techniques. This study was conducted with a qualitative descriptive method and aims to find out the meaning of sense in manuscript digitization activities in Paseban Tri Panca Tunggal. The approach in this study is an anthropological approach with the researcher as an active participant involved in all activities, from the planning stage to reporting to the supporting institutions. The data used are primary data, namely documents issued by AKUR Sunda, observations, and direct interviews with the extended family of AKUR Sunda. The data review is presented with descriptive techniques based on the classification of data acquisition. The conclusion is that the olah rasa or samadi is a special ritual in the AKUR Sunda Wiwitan belief. This ritual has both vertical and horizontal dimensions, a concrete relationship between humans and their God and humans with fellow God's creations. The offerings sesajen or sarandu are symbols presented in a concrete form of prayer, as an expression of gratitude and a form of request expressed to God as the ruler of the universe.
巽他 AKUR 社区是一个具有皇家性质的社区机构，以 Paseban Tri Panca Tunggal 为政府中心。他们拥有许多手稿，这些手稿的状况濒临损坏，因此需要立即对其进行实物保存和内容保存，其中包括通过数字技术进行治疗性保存。本研究采用定性描述法，旨在找出 Paseban Tri Panca Tunggal 手稿数字化活动中的意义。本研究采用人类学方法，研究人员作为积极参与者参与了从规划阶段到向支持机构报告的所有活动。使用的数据是原始数据，即 AKUR Sunda 发布的文件、观察结果以及与 AKUR Sunda 大家庭的直接访谈。根据数据获取的分类，采用描述性技术对数据进行了审查。结论是，"奥拉拉萨 "或 "萨马迪 "是 AKUR Sunda Wiwitan 信仰中的一种特殊仪式。该仪式具有纵向和横向两个维度，是人类与神以及人类与神的造物之间的具体关系。祭品 "sesajen "或 "sarandu "是以祈祷的具体形式呈现的符号，是向作为宇宙主宰的神表达感激之情和请求的一种形式。
{"title":"Ritual Olah Rasa dalam Pelaksanaan Digitalisasi Manuskrip di Masyarakat AKUR Sunda Wiwitan, Kuningan, Jawa Barat","authors":"Tedi Permadi","doi":"10.37014/jumantara.v15i1.5046","DOIUrl":"https://doi.org/10.37014/jumantara.v15i1.5046","url":null,"abstract":"The Sundanese AKUR community is a community institution with a royal character and makes Paseban Tri Panca Tunggal as the center of its government. They have many manuscripts whose conditions are threatened with damage so that they need to be immediately saved physically and their contents, among others by curative preservation of digital techniques. This study was conducted with a qualitative descriptive method and aims to find out the meaning of sense in manuscript digitization activities in Paseban Tri Panca Tunggal. The approach in this study is an anthropological approach with the researcher as an active participant involved in all activities, from the planning stage to reporting to the supporting institutions. The data used are primary data, namely documents issued by AKUR Sunda, observations, and direct interviews with the extended family of AKUR Sunda. The data review is presented with descriptive techniques based on the classification of data acquisition. The conclusion is that the olah rasa or samadi is a special ritual in the AKUR Sunda Wiwitan belief. This ritual has both vertical and horizontal dimensions, a concrete relationship between humans and their God and humans with fellow God's creations. The offerings sesajen or sarandu are symbols presented in a concrete form of prayer, as an expression of gratitude and a form of request expressed to God as the ruler of the universe.","PeriodicalId":213617,"journal":{"name":"Jumantara: Jurnal Manuskrip Nusantara","volume":"260 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-06-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141386841","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-06-04DOI: 10.37014/jumantara.v15i1.4936
Tio Cahya Sadewa
Landscapes are natural scenery or areas with various forms of the earth's surface (mountains, rice fields, valleys, rivers, and so on) which together constitute a single entity. Many depictions of landscapes are recorded in old literary works. One of the Javanese literary works that records the depiction of landscapes is Serat Rama. Serat Rama is a new Javanese literary work composed by R. Ng. Yasadipura in Surakarta which is derived from the Kakawin Ramayana in Old Javanese. Both texts tell the story of Prabu Rama's journey to rescue his wife, Dewi Sinta, who was kidnapped by Prabu Rahwana in Alengka. During his journey, Prabu Rama has passed through various landscapes accompanied by obstacles and obstacles. This paper attempts to answer the problem, namely how is the landscape depicted in Serat Rama and Kakawin Ramayana? By knowing the depiction of landscapes in old literary works, there will be a little picture for today's readers about natural conditions in the past. This paper applies a philological research method with an ecocritical approach. Data collection was done by inventorying the stanzas in Serat Rama and Kakawin Ramayana that describe landscapes to be translated, described, and compared. The depictions of landscapes in Serat Rama and Kakawin Ramayana were sorted into (1) depictions of forests, (2) depictions of mountains, and (3) depictions of waters. The results show that the depiction of landscapes in Kakawin Ramayana appears more detailed and some are still influenced by the Indian natural setting. In Serat Rama, the author tries to depict landscapes by localizing them to suit the Javanese natural setting. There are several names of landscapes that exist in Kakawin Ramayana but are not found in Serat Rama. There are also some differences in mentioning the names of landscapes that arise due to word-cutting errors and different interpretations when recomposing the kakawin.
{"title":"Penggambaran Bentang Alam dalam Serat Rama dan Kakawin Ramayana","authors":"Tio Cahya Sadewa","doi":"10.37014/jumantara.v15i1.4936","DOIUrl":"https://doi.org/10.37014/jumantara.v15i1.4936","url":null,"abstract":"Landscapes are natural scenery or areas with various forms of the earth's surface (mountains, rice fields, valleys, rivers, and so on) which together constitute a single entity. Many depictions of landscapes are recorded in old literary works. One of the Javanese literary works that records the depiction of landscapes is Serat Rama. Serat Rama is a new Javanese literary work composed by R. Ng. Yasadipura in Surakarta which is derived from the Kakawin Ramayana in Old Javanese. Both texts tell the story of Prabu Rama's journey to rescue his wife, Dewi Sinta, who was kidnapped by Prabu Rahwana in Alengka. During his journey, Prabu Rama has passed through various landscapes accompanied by obstacles and obstacles. This paper attempts to answer the problem, namely how is the landscape depicted in Serat Rama and Kakawin Ramayana? By knowing the depiction of landscapes in old literary works, there will be a little picture for today's readers about natural conditions in the past. This paper applies a philological research method with an ecocritical approach. Data collection was done by inventorying the stanzas in Serat Rama and Kakawin Ramayana that describe landscapes to be translated, described, and compared. The depictions of landscapes in Serat Rama and Kakawin Ramayana were sorted into (1) depictions of forests, (2) depictions of mountains, and (3) depictions of waters. The results show that the depiction of landscapes in Kakawin Ramayana appears more detailed and some are still influenced by the Indian natural setting. In Serat Rama, the author tries to depict landscapes by localizing them to suit the Javanese natural setting. There are several names of landscapes that exist in Kakawin Ramayana but are not found in Serat Rama. There are also some differences in mentioning the names of landscapes that arise due to word-cutting errors and different interpretations when recomposing the kakawin.","PeriodicalId":213617,"journal":{"name":"Jumantara: Jurnal Manuskrip Nusantara","volume":"46 8","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-06-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141387718","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-06-04DOI: 10.37014/jumantara.v15i1.4880
B. Santosa
“Being stupid for being too smart” is the opening verse written in Kidung Cowak. A statement with a satirical and sarcastic tone displays an unceremonious irony, delivered by the author as the opening line of his work. This is something that is not commonly found in a work of Kawi literature because almost half of the content is criticism. The author of Kidung Cowak is, by consensus, estimated to be associated with the name of Ida Padanda Sakti Talaga, who is one of Dang Hyang Nirartha’s children. Satire and sarcasm are attempts by the author to emphasize the core of his criticism. Not only does it contain criticism, but the other half of Kidung Cowak also contains various symbols about mystical and esoteric teachings that are still closely related to his criticism delivered in an euphemistic style. In addition to presenting a transcription of Kidung Cowak, this article also provides an in-depth analysis and interpretation of the text using Jürgen Habermas’s critical hermeneutics.
{"title":"Menjadi Bodoh Karena Terlalu Pintar: Kritik dan Mistisisme dalam Kidung Cowak","authors":"B. Santosa","doi":"10.37014/jumantara.v15i1.4880","DOIUrl":"https://doi.org/10.37014/jumantara.v15i1.4880","url":null,"abstract":"“Being stupid for being too smart” is the opening verse written in Kidung Cowak. A statement with a satirical and sarcastic tone displays an unceremonious irony, delivered by the author as the opening line of his work. This is something that is not commonly found in a work of Kawi literature because almost half of the content is criticism. The author of Kidung Cowak is, by consensus, estimated to be associated with the name of Ida Padanda Sakti Talaga, who is one of Dang Hyang Nirartha’s children. Satire and sarcasm are attempts by the author to emphasize the core of his criticism. Not only does it contain criticism, but the other half of Kidung Cowak also contains various symbols about mystical and esoteric teachings that are still closely related to his criticism delivered in an euphemistic style. In addition to presenting a transcription of Kidung Cowak, this article also provides an in-depth analysis and interpretation of the text using Jürgen Habermas’s critical hermeneutics.","PeriodicalId":213617,"journal":{"name":"Jumantara: Jurnal Manuskrip Nusantara","volume":"203 4","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-06-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141387311","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-06-04DOI: 10.37014/jumantara.v15i1.5029
Riqko Nur Ardi Windayanto, W. Santoso
This article aims to map the social production theory conceptually by Janet Wolff and its application in philological studies by taking the Hikayat Indraputra as an example of an object of analysis. Conceptually and analytically social production theory covers the aesthetic codes that set the literature, the ideology, the cultural production aspects, and the meaning as optional discussion. In this theory, the manuscript which consists of literature text is understood as a social product or collective product so that the analysis relates the text and manuscript, the text and context, and the textological analysis and codicological analysis. Methodologically this theory is applied, especially, by using the dialectical method that by Wolff is built on historical materialism. Manuscripts and texts are very diverse. Therefore, using this theory requires certain adjustments to the manuscripts and texts to be studied so that the theory is not applied haphazardly. Ultimately, with its broad concept offering, this theory can be used to carry out one of the tasks in philological studies, namely interpreting or interpreting edited text, and continuously developing the philological studies.
{"title":"Produksi Sosial dalam Peta Pemikiran Janet Wolff dan Contoh Penerapannya dalam Kajian Filologi","authors":"Riqko Nur Ardi Windayanto, W. Santoso","doi":"10.37014/jumantara.v15i1.5029","DOIUrl":"https://doi.org/10.37014/jumantara.v15i1.5029","url":null,"abstract":"This article aims to map the social production theory conceptually by Janet Wolff and its application in philological studies by taking the Hikayat Indraputra as an example of an object of analysis. Conceptually and analytically social production theory covers the aesthetic codes that set the literature, the ideology, the cultural production aspects, and the meaning as optional discussion. In this theory, the manuscript which consists of literature text is understood as a social product or collective product so that the analysis relates the text and manuscript, the text and context, and the textological analysis and codicological analysis. Methodologically this theory is applied, especially, by using the dialectical method that by Wolff is built on historical materialism. Manuscripts and texts are very diverse. Therefore, using this theory requires certain adjustments to the manuscripts and texts to be studied so that the theory is not applied haphazardly. Ultimately, with its broad concept offering, this theory can be used to carry out one of the tasks in philological studies, namely interpreting or interpreting edited text, and continuously developing the philological studies.","PeriodicalId":213617,"journal":{"name":"Jumantara: Jurnal Manuskrip Nusantara","volume":"21 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-06-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141387498","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-06-04DOI: 10.37014/jumantara.v15i1.5037
Hady Prastya
The bias of the print tradition in Sundanese society is still colored by the assumption that the script on Sundanese lontar has a different form from the script on gebang leaves. In fact, Sundanese script, both in gebang and lontar, is essentially the same. Therefore, this paper will discuss the two codices used in the ancient Sundanese tradition, namely gebang and lontar, and try to prove that these two codices are connected and have continuity. The approach used is philological studies with an emphasis on the use of codicological steps. Because the script is also closely related, a paleographic approach is also used, so that a general picture of the tradition of writing texts in Sunda in the past can be seen. The latest Sundanese script, the Sundanese Baku script, is also mentioned as a comparison, and hopefully an improvement.
{"title":"Budaya Aksara Kawi Sunda","authors":"Hady Prastya","doi":"10.37014/jumantara.v15i1.5037","DOIUrl":"https://doi.org/10.37014/jumantara.v15i1.5037","url":null,"abstract":"The bias of the print tradition in Sundanese society is still colored by the assumption that the script on Sundanese lontar has a different form from the script on gebang leaves. In fact, Sundanese script, both in gebang and lontar, is essentially the same. Therefore, this paper will discuss the two codices used in the ancient Sundanese tradition, namely gebang and lontar, and try to prove that these two codices are connected and have continuity. The approach used is philological studies with an emphasis on the use of codicological steps. Because the script is also closely related, a paleographic approach is also used, so that a general picture of the tradition of writing texts in Sunda in the past can be seen. The latest Sundanese script, the Sundanese Baku script, is also mentioned as a comparison, and hopefully an improvement.","PeriodicalId":213617,"journal":{"name":"Jumantara: Jurnal Manuskrip Nusantara","volume":"1 4","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-06-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141388074","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-11-30DOI: 10.37014/jumantara.v14i2.4759
Ghis Nggar Dwiadmojo
Research on aspects of the manuscript, including the illustrations, has been carried out by many researchers. This is important because it is considered to be able to reveal the contents of a text more thoroughly. The manuscript with code 9 L 197, collection of the National Library of Indonesia, is one of the lontar manuscripts originating from the Merapi Merbabu scriptoria which has many illustrations. The purpose of this research is to describe and reveal the meaning of illustrations in manuscript 9 L 197 based on reading the supporting text. The approach used is the philological and image semiological approach of Roland Barthes. The results of the study show that the text in manuscript 9 L 197 was copied using the Buda script and Javanese language. The text in this manuscript are Pagrahanan, Palilindon, and Respatikalpa. This manuscript contains 89 illustrations. Based on their shape, these 89 illustrations can be classified into four groups, namely illustrations in the form of human (I), illustrations in the form of animal (II), illustrations in the form of mythological creature (III), and illustrations in the form of inanimate object (IV). Based on the reading of the supporting texts, except for subgroup Ic, it can be concluded that the purpose of illustrations in this manuscript aims to achieve salvation. The salvation includes being loved, survived from wild animals, survived from fights, survived from crop failure due to pests, survived from disease, survived from unsold trade, survived from love spells, survived by worshiping Brahma and Vishnu, salvation on food and housing, salvation related with kecubung plant (Datura metel) and betel leaf (Piper betle linn).
许多研究人员都对手稿的各个方面（包括插图）进行了研究。这一点非常重要，因为它被认为能够更全面地揭示文本内容。印度尼西亚国家图书馆收藏的代码为 9 L 197 的手稿是源于 Merapi Merbabu scriptoria 的长篇手稿之一，其中有许多插图。本研究的目的是在阅读辅助文本的基础上，描述和揭示 9 L 197 号手稿中插图的含义。采用的方法是罗兰-巴特的语言学和图像符号学方法。研究结果表明，手稿 9 L 197 中的文字是用布达文字和爪哇语抄写的。这份手稿中的文字是帕格拉哈南（Pagrahanan）、帕里林顿（Palilindon）和雷斯帕提卡尔帕（Respatikalpa）。这份手稿包含 89 幅插图。根据插图的形状，这 89 幅插图可分为四组，即人类形态插图（I）、动物形态插图（II）、神话生物形态插图（III）和无生命物体形态插图（IV）。根据对辅助文本的阅读，除了 Ic 子组之外，可以得出结论：手稿中插图的目的是为了获得拯救。救赎包括被爱、从野兽手中幸存、从斗殴中幸存、从虫害导致的作物歉收中幸存、从疾病中幸存、从滞销中幸存、从爱情咒语中幸存、通过崇拜梵天和毗湿奴而幸存、在食物和住房方面的救赎、与曼陀罗（Datura metel）和槟榔叶（Piper betle linn）有关的救赎。
{"title":"Mencapai Keselamatan dengan Perlindungan Dewa dan Rajah: Kajian Ilustrasi Lontar Merapi Merbabu (9 L 197)","authors":"Ghis Nggar Dwiadmojo","doi":"10.37014/jumantara.v14i2.4759","DOIUrl":"https://doi.org/10.37014/jumantara.v14i2.4759","url":null,"abstract":"Research on aspects of the manuscript, including the illustrations, has been carried out by many researchers. This is important because it is considered to be able to reveal the contents of a text more thoroughly. The manuscript with code 9 L 197, collection of the National Library of Indonesia, is one of the lontar manuscripts originating from the Merapi Merbabu scriptoria which has many illustrations. The purpose of this research is to describe and reveal the meaning of illustrations in manuscript 9 L 197 based on reading the supporting text. The approach used is the philological and image semiological approach of Roland Barthes. The results of the study show that the text in manuscript 9 L 197 was copied using the Buda script and Javanese language. The text in this manuscript are Pagrahanan, Palilindon, and Respatikalpa. This manuscript contains 89 illustrations. Based on their shape, these 89 illustrations can be classified into four groups, namely illustrations in the form of human (I), illustrations in the form of animal (II), illustrations in the form of mythological creature (III), and illustrations in the form of inanimate object (IV). Based on the reading of the supporting texts, except for subgroup Ic, it can be concluded that the purpose of illustrations in this manuscript aims to achieve salvation. The salvation includes being loved, survived from wild animals, survived from fights, survived from crop failure due to pests, survived from disease, survived from unsold trade, survived from love spells, survived by worshiping Brahma and Vishnu, salvation on food and housing, salvation related with kecubung plant (Datura metel) and betel leaf (Piper betle linn).","PeriodicalId":213617,"journal":{"name":"Jumantara: Jurnal Manuskrip Nusantara","volume":"246 ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-11-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139205087","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article discusses the archives of the land purchase and sale act belonging to Bupati Sumedang Pangeran Aria Soeria Atmadja. The land purchase and sale act was written on May 3, 1915, in Conggeang, Sumedang. The archive is part of the collection of the Library of the Yayasan Nadzir Wakaf Pangeran Sumedang. It was written using the Cacarakan script in the Sundanese language. The writing style of the Cacarakan script contained in the archives is unique, with some characters having two different writing models. In addition, there are peculiarities and uniqueness in the archives that can only be found in the land purchase and sale act archive. To identify the characters and uncover the uniqueness contained in the archive, this research will apply the method of philological research with a manuscript study (codicology) approach. By using the codicology method, the consistency of writing the Cacarakan script, uniqueness, and peculiarities contained in the 1915 land purchase and sale act belonging to Bupati Sumedang Pangeran Aria Soeria Atmadja can be revealed.
本文讨论的是属于苏美当-潘格兰-阿里亚-索里亚-阿特玛贾（Bupati Sumedang Pangeran Aria Soeria Atmadja）的土地买卖法案档案。该土地买卖法案于 1915 年 5 月 3 日在苏美当的聪江（Conggeang）写成。该档案是 Yayasan Nadzir Wakaf Pangeran Sumedang 图书馆收藏的一部分。它是用巽他语的卡卡拉干字体书写的。档案中的卡卡拉干字体书写风格独特，有些字符有两种不同的书写模式。此外，档案中还有只有在土地买卖法档案中才能找到的特殊性和独特性。为了识别档案中的字符并发掘其独特性，本研究将采用手稿研究（编纂学）的文字学研究方法。通过使用编纂学方法，可以揭示 1915 年属于 Bupati Sumedang Pangeran Aria Soeria Atmadja 的土地买卖契约中的卡卡拉干文字书写的一致性、独特性和特殊性。
{"title":"Aksara Cacarakan pada Arsip Akta Jual Beli Tanah Milik Bupati Sumedang Pangeran Aria Soeria Atmadja","authors":"Ery Giana Fitriatno, Titin Nurhayati Ma’mun, Ikhwan Ikhwan","doi":"10.37014/jumantara.v14i2.2882","DOIUrl":"https://doi.org/10.37014/jumantara.v14i2.2882","url":null,"abstract":"This article discusses the archives of the land purchase and sale act belonging to Bupati Sumedang Pangeran Aria Soeria Atmadja. The land purchase and sale act was written on May 3, 1915, in Conggeang, Sumedang. The archive is part of the collection of the Library of the Yayasan Nadzir Wakaf Pangeran Sumedang. It was written using the Cacarakan script in the Sundanese language. The writing style of the Cacarakan script contained in the archives is unique, with some characters having two different writing models. In addition, there are peculiarities and uniqueness in the archives that can only be found in the land purchase and sale act archive. To identify the characters and uncover the uniqueness contained in the archive, this research will apply the method of philological research with a manuscript study (codicology) approach. By using the codicology method, the consistency of writing the Cacarakan script, uniqueness, and peculiarities contained in the 1915 land purchase and sale act belonging to Bupati Sumedang Pangeran Aria Soeria Atmadja can be revealed.","PeriodicalId":213617,"journal":{"name":"Jumantara: Jurnal Manuskrip Nusantara","volume":"41 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-11-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139198243","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Panji’s literary works in Java became a form of sign or pasemon in Javanese culture. Many of the narratives in Panji’s texts relate to Javanese traditional historiography. This research will focus on the story about Putri Wandhan in the Panji Jayalengkara Angreni text and the Babad texts. This study uses a comparative literary method and considers that Putri Wandhan’s narrative in the Panji Jayalengkara Angreni text contains a collective memory of history in the past. The emergence of the narrative about Putri Wandhan in Panji Jayalengkara Angreni and other Javanese literature is due to the contact of the Javanese and East Indonesian people in the past. In this study it was found that the story of Putri Wandhan describes the efforts of Javanese poets in the past to show the superiority of the Javanese kingdoms. In addition, this story is also a pasemon of the political life of the kingdoms in Java in the past. The story of the concubine from Wandhan in Panji Jayalengkara Angreni is an attempt to describe the superiority of the Javanese kings and an effort to honor their ancestors.
{"title":"Selir Wandhan dalam Panji Jayalengkara Angreni: Tinjauan Sastra Bandingan Teks Panji dan Babad","authors":"Naufal Anggito Yudhistira, Priscila Fitriasih Limbong, Rias Antho Rahmi Suhardjo","doi":"10.37014/jumantara.v14i2.3282","DOIUrl":"https://doi.org/10.37014/jumantara.v14i2.3282","url":null,"abstract":"Panji’s literary works in Java became a form of sign or pasemon in Javanese culture. Many of the narratives in Panji’s texts relate to Javanese traditional historiography. This research will focus on the story about Putri Wandhan in the Panji Jayalengkara Angreni text and the Babad texts. This study uses a comparative literary method and considers that Putri Wandhan’s narrative in the Panji Jayalengkara Angreni text contains a collective memory of history in the past. The emergence of the narrative about Putri Wandhan in Panji Jayalengkara Angreni and other Javanese literature is due to the contact of the Javanese and East Indonesian people in the past. In this study it was found that the story of Putri Wandhan describes the efforts of Javanese poets in the past to show the superiority of the Javanese kingdoms. In addition, this story is also a pasemon of the political life of the kingdoms in Java in the past. The story of the concubine from Wandhan in Panji Jayalengkara Angreni is an attempt to describe the superiority of the Javanese kings and an effort to honor their ancestors.","PeriodicalId":213617,"journal":{"name":"Jumantara: Jurnal Manuskrip Nusantara","volume":"11 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-11-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139198063","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-11-30DOI: 10.37014/jumantara.v14i2.4086
Muhammad Heno Wijayanto, I. M. Suparta
Aji Saraswati (AS) is a text that contains guidelines for literacy rituals in the Shivaist tradition in Indonesia. In general, the majority of known AS texts originate from the Shivaism tradition in Bali, while the Javanese tradition is not yet widely known. This research discusses AS texts originating from the Javanese tradition, especially the Merapi-Merbabu scriptorium collection. The AS text originating from the Merapi-Merbabu scriptorium is a collection of fragments originating from the hipograms of the text Bhima Swarga (BhS). The aim of this research is to apply intertextuality studies between AS MM texts and BhS as their hypograms. The intertextuality study was then carried out by functional analysis based on the sequences in the hypograms text which were transformed into AS MM text. This research uses a qualitative approach. Philological work steps such as inventory, description, text comparison, text edition, and translation are carried out in this study to produce text editions that can be understood by the wider community. Rifattere's theory of intertextuality (expansion and conversion) and Pradotokusumo (modification and excerpt) is used in this study to determine the hypogrammatic phenomena in AS MM text from hipogram text. The results of this study are that there are eight text sequences that are transformed into AS MM text. The eight transformed sequences include: (1) Position of Goddess Saraswati; (2) Physiological elements (3) Trikaya Paramartha's association with aspects of manuscript production; (4) Position of vowel or swara characters; (5) The essence of the aspect of duality; (6) The Reality of Om Awighnamastu; (7) Literacy ritual spells; and (8) God's association with fire. The entire transformation sequence of hypograms text into AS MM text is a transformation from narrative prose text in strict form to mantra text. The text of the spell in AS MM is used in literacy rituals in the Merapi-Merbabu scriptorium environment.
Aji Saraswati（AS）是一部包含印度尼西亚湿婆教传统扫盲仪式指南的文本。一般来说，已知的 AS 文本大多源自巴厘岛湿婆教传统，而爪哇传统尚未广为人知。本研究讨论了源自爪哇传统的 AS 文本，尤其是 Merapi-Merbabu scriptorium 藏品。源于 Merapi-Merbabu scriptorium 的 AS 文本是源于文本 Bhima Swarga（BhS）的 hipograms 的碎片集。本研究的目的是将 AS MM 文本与 BhS 之间的互文性研究作为它们的下划线。然后，根据转换为 AS MM 文本的hypograms 文本中的序列进行功能分析，从而开展互文性研究。本研究采用定性方法。在本研究中，进行了语文学工作步骤，如清点、描述、文本比较、文本版本和翻译，以制作出能为更广泛群体所理解的文本版本。本研究采用了里法特雷的互文性（扩展和转换）理论和 Pradotokusumo（修改和摘录）理论，从 hipogram 文本中确定 AS MM 文本中的虚词现象。研究结果表明，有八个文本序列被转换为 AS MM 文本。这八个转换序列包括(1) 萨拉斯瓦蒂女神的位置；(2) 生理元素；(3) Trikaya Paramartha 与手稿制作方面的关联；(4) 韵母或 Swara 字符的位置；(5) 二元性方面的本质；(6) Om Awighnamastu 的现实；(7) 识字仪式咒语；(8) 神与火的关联。从 hypograms 文本到《AS MM》文本的整个转换序列是从严格形式的叙事散文文本到咒语文本的转换。AS MM 中的咒语文本用于默拉皮-默巴布经堂环境中的扫盲仪式。
{"title":"Aji Saraswati Merapi-Merbabu: Transformasi Teks Bhimaswarga Sebagai Panduan Ritual Literasi di Gunung Lawu Abad Ke-16","authors":"Muhammad Heno Wijayanto, I. M. Suparta","doi":"10.37014/jumantara.v14i2.4086","DOIUrl":"https://doi.org/10.37014/jumantara.v14i2.4086","url":null,"abstract":"Aji Saraswati (AS) is a text that contains guidelines for literacy rituals in the Shivaist tradition in Indonesia. In general, the majority of known AS texts originate from the Shivaism tradition in Bali, while the Javanese tradition is not yet widely known. This research discusses AS texts originating from the Javanese tradition, especially the Merapi-Merbabu scriptorium collection. The AS text originating from the Merapi-Merbabu scriptorium is a collection of fragments originating from the hipograms of the text Bhima Swarga (BhS). The aim of this research is to apply intertextuality studies between AS MM texts and BhS as their hypograms. The intertextuality study was then carried out by functional analysis based on the sequences in the hypograms text which were transformed into AS MM text. This research uses a qualitative approach. Philological work steps such as inventory, description, text comparison, text edition, and translation are carried out in this study to produce text editions that can be understood by the wider community. Rifattere's theory of intertextuality (expansion and conversion) and Pradotokusumo (modification and excerpt) is used in this study to determine the hypogrammatic phenomena in AS MM text from hipogram text. The results of this study are that there are eight text sequences that are transformed into AS MM text. The eight transformed sequences include: (1) Position of Goddess Saraswati; (2) Physiological elements (3) Trikaya Paramartha's association with aspects of manuscript production; (4) Position of vowel or swara characters; (5) The essence of the aspect of duality; (6) The Reality of Om Awighnamastu; (7) Literacy ritual spells; and (8) God's association with fire. The entire transformation sequence of hypograms text into AS MM text is a transformation from narrative prose text in strict form to mantra text. The text of the spell in AS MM is used in literacy rituals in the Merapi-Merbabu scriptorium environment.","PeriodicalId":213617,"journal":{"name":"Jumantara: Jurnal Manuskrip Nusantara","volume":"25 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-11-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139198410","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-11-30DOI: 10.37014/jumantara.v14i2.3521
A. Aini
The historical traces of the spread of Islam throughout the archipelago cannot be separated from the existence of ancient manuscripts, which are one of Indonesia's assets. This paper discusses the study of manuscripts in the form of mushafs of the Qur'an in a village in Jombang district, namely Rejoagung Village. The problem that will be answered in this article is regarding the physical characteristics of the manuscripts of the Al-Qur'an in Rejoagung Village and the idiosyncratic aspects of their textology. Some of the things that the author will examine are the forms of rasm, dabt, and the verse numbering system. The method used is the single manuscript method with critical editions in the study of ancient manuscripts. The result of this research is that this manuscript has a different idiosyncratic style from the Mushaf Al-Qur'an manuscripts in Indonesia. Rasm used is a mixture of usmani and imla'i. The verse termination system does not adhere to a Kufah school of thought, which is familiar in the copying of the Qur'an in the archipelago. This shows that the copyist applied idiosyncrasy in the process of copying. Follow-up research is needed to obtain a description of the different patterns of the process of copying the Al-Qur'an mushaf from various ancient manuscripts spread across Nusantara.
{"title":"Idiosinkrasi Manuskrip Mushaf Al-Qur'an di Desa Rejoagung Ngoro Jombang","authors":"A. Aini","doi":"10.37014/jumantara.v14i2.3521","DOIUrl":"https://doi.org/10.37014/jumantara.v14i2.3521","url":null,"abstract":"The historical traces of the spread of Islam throughout the archipelago cannot be separated from the existence of ancient manuscripts, which are one of Indonesia's assets. This paper discusses the study of manuscripts in the form of mushafs of the Qur'an in a village in Jombang district, namely Rejoagung Village. The problem that will be answered in this article is regarding the physical characteristics of the manuscripts of the Al-Qur'an in Rejoagung Village and the idiosyncratic aspects of their textology. Some of the things that the author will examine are the forms of rasm, dabt, and the verse numbering system. The method used is the single manuscript method with critical editions in the study of ancient manuscripts. The result of this research is that this manuscript has a different idiosyncratic style from the Mushaf Al-Qur'an manuscripts in Indonesia. Rasm used is a mixture of usmani and imla'i. The verse termination system does not adhere to a Kufah school of thought, which is familiar in the copying of the Qur'an in the archipelago. This shows that the copyist applied idiosyncrasy in the process of copying. Follow-up research is needed to obtain a description of the different patterns of the process of copying the Al-Qur'an mushaf from various ancient manuscripts spread across Nusantara.","PeriodicalId":213617,"journal":{"name":"Jumantara: Jurnal Manuskrip Nusantara","volume":"21 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-11-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139207447","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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