Pub Date : 2023-03-03DOI: 10.26721/spafajournal.437805191v
Raffy Andrew Garcia Loreto, Guiraldo Fernandez, Leslie Anne Liwanag, Feorillo Petronillo Demeterio
In the Roman Catholic Diocese of Maasin, on the island of Leyte, Philippines, there remain today seven Filipino-Spanish churches. The oldest among these structures was built in the first half of the 17th century, while the newest was built at the closing of the 19th century. As the island of Leyte is proximate to the island of Mindanao, the early Leyteños had been living under the threat of the slave raids from the South that waxed and waned under the colonial Spanish rule. This paper examined how the façade designs of these seven Filipino-Spanish churches interacted with the changing frequencies and intensities of these slave raids. This paper was able to identify two types of façades from waxing slave raids period and another two types of façades from the waning slave raids period. The findings of this paper will contribute to the sparse literature on Philippine ecclesiastical architecture as well as to the Philippine architecture during the Spanish colonial period. Specifically, this will contribute to the deeper understanding on the interaction between the slave raids from the South and Philippine ecclesiastical architecture during the Spanish colonial period. Kasalukuyang may pitong Pilipino-Espanyol na mga simbahan ang Katoliko Romanong Diyosesis ng Maasin sa isla ng Leyte, sa Pilipinas. Noong unang bahagi ng ika-17 na siglo itinatag ang pinakamatanda sa mga estrukturang ito, habang ang pinakabagong estruktura noong huling bahagi ng ika-19 na siglo. Natukoy na kalapit ng isla ng Leyte ang isla ng Mindanao, kaya nanirahan ang mga sinaunang Leyteño sa panahon ng tumindi at humupang banta ng mga pagsalakay mula sa Timog sa ilalim ng kolonyal na pamamahala ng Espanya. Sinuri ng papel na ito kung ano ang naging inter-aksiyon sa pagitan ng mga disenyo ng mga façade ng pitong Pilipino-Espanyol na mga simbahan at ng mga nagbagong dalas at tindi ng mga pagsalakay. Nagawang kilalanin ng papel na ito ang dalawang uri ng mga façade mula sa panahon ng patinding pagsalakay at isa pa mula sa panahon ng pahupang pagsalakay ng mga ito. Maituturing na kontribusyon ng papel ang makapagdagdag sa iilang literatura sa eklesiyastikal na arkitekturang Pilipino, gayundin para sa arkitekturang Pilipino noong panahong kolonyal na Espanyol. Espesipiko na makaaambag ito sa mas malalim na pag-unawa sa naging inter-aksiyon sa pagitan ng mga pagsalakay mula sa Timog at ng eklesiyastikal na arkitekturang Pilipino noong panahong kolonyal na Espanyol.
在菲律宾莱特岛上的马辛罗马天主教教区，至今仍有七座菲律宾-西班牙教堂。这些建筑中最古老的建于17世纪上半叶，而最新的建于19世纪末。由于莱特岛靠近棉兰老岛，早期的Leyteños一直生活在西班牙殖民统治时期，来自南方的奴隶掠夺的威胁下。本文研究了这七个菲律宾-西班牙教堂的立面设计如何与这些奴隶袭击的频率和强度的变化相互作用。本文能够识别出两种来自奴隶掠夺盛期的farade和另外两种来自奴隶掠夺衰退期的farade。本文的发现将有助于菲律宾教会建筑以及西班牙殖民时期菲律宾建筑的稀疏文献。具体来说，这将有助于更深入地了解西班牙殖民时期来自南方的奴隶袭击与菲律宾教会建筑之间的相互作用。Kasalukuyang may pitong philippine - espanyol na mga simbahan ang Katoliko Romanong Diyosesis ng Maasin sa isla ng Leyte, sa philippine as。Noong unang bahagi ing ka-17 na siglo tintinagang pinakamatanda sa mga estrukturang ito, habang ang pinakabagong estruktura Noong huling bahagi ing ka-19 na siglo。Natukoy na kalapit ng isla ng Leyte ang isla ng棉兰老岛，kaya nanirahan ang mga sinaunang Leyteño sa panahon ng tumindi在humupang banta ng mga pagsalakay mula sa timong ilalim ng kolonyal na pamamahala ng espanao。新浪市的一项研究表明，在菲律宾-西班牙人之间存在着一种相互联系，即在菲律宾-西班牙人之间存在着一种联系，即在菲律宾-西班牙人之间存在着一种联系，即在菲律宾-西班牙人之间存在着一种联系。Nagawang kilalanin，画，画，画，画，画，画，画，画，画，画，画，画中文翻译为:中文翻译为:中文翻译为:中文翻译为:中文翻译为:中文翻译为:中文翻译为:中文翻译为:中文翻译为:中文翻译为:中文翻译为:中文翻译为:中文翻译为:中文翻译为:Espesipiko na makaambag to sa mas malalim na pag-unawa sa naging inter- aksiion ion - pagitan ing - pagalakay mula - moong - panahong kolonyal na Espanyol。
{"title":"A Diachronic Analysis of the Façades of the Filipino-Spanish Churches of the Diocese of Maasin in the Context of the Slave Raids from the South | Isang Diyakronikong Pagsusuri ng mga Facade ng Pilipino-Espanyol na Simbahan sa Diyosesis ng Maasin sa Konteksto ng mga Pagsalakay ng Alipin mula sa Timog","authors":"Raffy Andrew Garcia Loreto, Guiraldo Fernandez, Leslie Anne Liwanag, Feorillo Petronillo Demeterio","doi":"10.26721/spafajournal.437805191v","DOIUrl":"https://doi.org/10.26721/spafajournal.437805191v","url":null,"abstract":"In the Roman Catholic Diocese of Maasin, on the island of Leyte, Philippines, there remain today seven Filipino-Spanish churches. The oldest among these structures was built in the first half of the 17th century, while the newest was built at the closing of the 19th century. As the island of Leyte is proximate to the island of Mindanao, the early Leyteños had been living under the threat of the slave raids from the South that waxed and waned under the colonial Spanish rule. This paper examined how the façade designs of these seven Filipino-Spanish churches interacted with the changing frequencies and intensities of these slave raids. This paper was able to identify two types of façades from waxing slave raids period and another two types of façades from the waning slave raids period. The findings of this paper will contribute to the sparse literature on Philippine ecclesiastical architecture as well as to the Philippine architecture during the Spanish colonial period. Specifically, this will contribute to the deeper understanding on the interaction between the slave raids from the South and Philippine ecclesiastical architecture during the Spanish colonial period. Kasalukuyang may pitong Pilipino-Espanyol na mga simbahan ang Katoliko Romanong Diyosesis ng Maasin sa isla ng Leyte, sa Pilipinas. Noong unang bahagi ng ika-17 na siglo itinatag ang pinakamatanda sa mga estrukturang ito, habang ang pinakabagong estruktura noong huling bahagi ng ika-19 na siglo. Natukoy na kalapit ng isla ng Leyte ang isla ng Mindanao, kaya nanirahan ang mga sinaunang Leyteño sa panahon ng tumindi at humupang banta ng mga pagsalakay mula sa Timog sa ilalim ng kolonyal na pamamahala ng Espanya. Sinuri ng papel na ito kung ano ang naging inter-aksiyon sa pagitan ng mga disenyo ng mga façade ng pitong Pilipino-Espanyol na mga simbahan at ng mga nagbagong dalas at tindi ng mga pagsalakay. Nagawang kilalanin ng papel na ito ang dalawang uri ng mga façade mula sa panahon ng patinding pagsalakay at isa pa mula sa panahon ng pahupang pagsalakay ng mga ito. Maituturing na kontribusyon ng papel ang makapagdagdag sa iilang literatura sa eklesiyastikal na arkitekturang Pilipino, gayundin para sa arkitekturang Pilipino noong panahong kolonyal na Espanyol. Espesipiko na makaaambag ito sa mas malalim na pag-unawa sa naging inter-aksiyon sa pagitan ng mga pagsalakay mula sa Timog at ng eklesiyastikal na arkitekturang Pilipino noong panahong kolonyal na Espanyol.","PeriodicalId":36552,"journal":{"name":"SPAFA Journal","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-03-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134946158","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 : 2022-12-08DOI: 10.26721/spafajournal.us2f62doi4
Saran Suebsantiwongse
Scholars have long debated the form and functions of Borobudur, whether it is a maṇḍala, a stūpa or both. Two Buddhist maṇḍalas have tentatively been assigned to the structure, namely the Vajradhātumaṇḍala and the Mahākaruṇagarbhadhātumaṇḍala. But as the concurrence between the structural and iconographical details of the monument and the textual evidence are yet to be matched precisely, research on the exact nature of Borobudur is still current more than a century after its re-discovery in modern times. Recapping and building on different scholarly views to date, this paper presents yet another interpretation, insights into, and possible functions of this ancient megastructure. Para sarjana telah lama bardebat tentang bentuk dan fungsi Borobudur: apakah itu merupakan sebuah maṇḍala, stūpa, atau keduanya. Untuk sementara, dua maṇḍala buddhist telah dinisbatkan kepada struktur tersebut, yaitu Vajradhātumaṇḍala dan Mahākaruṇagarbhadhātumaṇdala. Tetapi, karena kesesuaian antara detail struktur dan ikonografis monumen serta bukti tekstualnya belum dicocokkan dengan tepat, penelitian tentang sifat persis Borobudur berlangsung lebih dari satu abad sejak penemuannya di era modern. Merangkum dan membangun dari berbagai pendapat hingga saat ini, makalah ini menyajikan interpretasi lain, wawasan, dan kemungkinan fungsi-fungsi lain bagunan megastruktur kuno ini.
{"title":"Cosmos Encapsulated: The Maṇḍala-stūpa of Borobudur–its Polysemic Form and Functions | Cosmos yang terangkum: Maṇḍala-stūpa Borobudur, bentuk polisemi dan fungsinya","authors":"Saran Suebsantiwongse","doi":"10.26721/spafajournal.us2f62doi4","DOIUrl":"https://doi.org/10.26721/spafajournal.us2f62doi4","url":null,"abstract":"Scholars have long debated the form and functions of Borobudur, whether it is a maṇḍala, a stūpa or both. Two Buddhist maṇḍalas have tentatively been assigned to the structure, namely the Vajradhātumaṇḍala and the Mahākaruṇagarbhadhātumaṇḍala. But as the concurrence between the structural and iconographical details of the monument and the textual evidence are yet to be matched precisely, research on the exact nature of Borobudur is still current more than a century after its re-discovery in modern times. Recapping and building on different scholarly views to date, this paper presents yet another interpretation, insights into, and possible functions of this ancient megastructure.\u0000 \u0000Para sarjana telah lama bardebat tentang bentuk dan fungsi Borobudur: apakah itu merupakan sebuah maṇḍala, stūpa, atau keduanya. Untuk sementara, dua maṇḍala buddhist telah dinisbatkan kepada struktur tersebut, yaitu Vajradhātumaṇḍala dan Mahākaruṇagarbhadhātumaṇdala. Tetapi, karena kesesuaian antara detail struktur dan ikonografis monumen serta bukti tekstualnya belum dicocokkan dengan tepat, penelitian tentang sifat persis Borobudur berlangsung lebih dari satu abad sejak penemuannya di era modern. Merangkum dan membangun dari berbagai pendapat hingga saat ini, makalah ini menyajikan interpretasi lain, wawasan, dan kemungkinan fungsi-fungsi lain bagunan megastruktur kuno ini.","PeriodicalId":36552,"journal":{"name":"SPAFA Journal","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-12-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46328407","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 : 2022-08-31DOI: 10.26721/spafa.6cmwn6om9y
Pei-Lin Yu, Thanik Lertcharnrit, George S. Smith, William Chapman, Rasmi Shoocongdej, Ashley Deng-Yu Chen
This report presents a summary of introduction to the workshop and lecture series on cultural heritage and tourism organized by the authors with financial and logistic support from Silpakorn University’s Faculty of Archaeology. It provides a short description of workshop background, speakers and their abstracts as publicly disseminated on a webpage of the Department of Archaeology, Silpakorn University. รายงานนี้เป็นการสรุปเกี่ยวกับโครงการประชุมเชิงปฏิบัติการและชุดการบรรยายเกี่ยวกับการท่องเที่ยวมรดกวัฒนธรรม ซึ่งจัดเตรียมโดยผู้เขียนทั้งสาม ทั้งนี้โดยได้รับการสนับสนุนด้านเงินทุนและสถานที่จากคณะโบราณคดี มหาวิทยาลัยศิลปากร รายงานนี้นำเสนอที่มาหรือภูมิหลังของโครงการประชุมเชิงปฏิบัติการ วิทยากร และบทคัดย่อการบรรยายที่เผยแพร่ผ่านเว็บเพจของภาควิชาโบราณคดี คณะโบราณคดี มหาวิทยาลัยศิลปากร
{"title":"Report for Lecture Series: Archaeology, Public Engagement and Cultural Heritage Tourism, Faculty of Archaeology, Silpakorn University, Bangkok, Thailand | รายงานเรื่องชุดการบรรยายในหัวข้อ “โบราณคดี การมีส่วนร่วมของสาธารณะ และการท่องเที่ยวมรดกวัฒนธรรม” จัดโดยคณะโบราณคดี มหาวิทยาลัยศิลปากร กรุงเทพฯ","authors":"Pei-Lin Yu, Thanik Lertcharnrit, George S. Smith, William Chapman, Rasmi Shoocongdej, Ashley Deng-Yu Chen","doi":"10.26721/spafa.6cmwn6om9y","DOIUrl":"https://doi.org/10.26721/spafa.6cmwn6om9y","url":null,"abstract":"This report presents a summary of introduction to the workshop and lecture series on cultural heritage and tourism organized by the authors with financial and logistic support from Silpakorn University’s Faculty of Archaeology. It provides a short description of workshop background, speakers and their abstracts as publicly disseminated on a webpage of the Department of Archaeology, Silpakorn University. \u0000รายงานนี้เป็นการสรุปเกี่ยวกับโครงการประชุมเชิงปฏิบัติการและชุดการบรรยายเกี่ยวกับการท่องเที่ยวมรดกวัฒนธรรม ซึ่งจัดเตรียมโดยผู้เขียนทั้งสาม ทั้งนี้โดยได้รับการสนับสนุนด้านเงินทุนและสถานที่จากคณะโบราณคดี มหาวิทยาลัยศิลปากร รายงานนี้นำเสนอที่มาหรือภูมิหลังของโครงการประชุมเชิงปฏิบัติการ วิทยากร และบทคัดย่อการบรรยายที่เผยแพร่ผ่านเว็บเพจของภาควิชาโบราณคดี คณะโบราณคดี มหาวิทยาลัยศิลปากร","PeriodicalId":36552,"journal":{"name":"SPAFA Journal","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-08-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48768413","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 : 2022-05-02DOI: 10.26721/spafajournal.q790t38g6i
Aditya Bayu Perdana, Kemas Ridwan Kurniawan
This paper focuses on the architectural order of ancient Javanese temples. Contemporary writings often use a tripartite order to conceptualize Javanese temple architecture, which divide the edifice into three parts consisting of head, body, and feet. However, the overgeneralized nature of the order does not accurately represent the complexities of Javanese temples which contain diverse architectural elements. This has made discussion of Javanese temple architectural traits somewhat limited and undetailed. Further, the textual basis of this order is questionable. The concept has not been found in authentic Old Javanese source and only attested in modern sources as a conjecture. To support more nuanced discussion of Javanese temple architecture, the author proposes an alternative architecture order, dubbed the “vāstu order”. This order is created using an architectural-historical research method in analyzing historical architectural treatise and samples of Javanese temple. Samples are limited to Hindu temples from the Mataram era (8-11th centuries). Comparison that the authors have conducted find that the elevation of all samples can visually divided into seven parts of the vāstu order: upapīṭha, adhiṣṭhāna, pada, prastara, gala, śikhara, and stūpi. However, further inspection (using the temple’s head as an example) shows that each part has an unusual or even unprecedented architectural elaboration from the supposed Indian protype. This observation contributes to the notion that Javanese temples shows a complex amalgamation of various Indian architectural elements into a distinct creative form. This study demonstrates that a conceptual shift from the conventional tripartite order into a more refined vāstu order permitted more detailed observations in various architectural elements of Javanese temples. Applying and testing the vāstu order to other temples would perhaps yield a more robust architectural order that is useful in revealing the nature of Javanese temple architecture and its position within the web of cultural exchange between India and Southeast Asia. Tulisan ini berfokus pada tatanan (order) arsitektural candi Jawa. Tulisan kontemporer kerap menelaah arsitektur candi menggunakan tatanan triparti, yang membagi tampak candi ke dalam tiga bagian: badan, kepala, dan kaki. Meski umum digunakan, tatanan sederhana ini tidak merefleksikan secara akurat kompleksitas candi yang memiliki banyak elemen arsitektural. Akibatnya, upaya untuk menjabarkan ciri arsitektural candi cenderung terbatas dan tidak rinci. Dasar tekstual dari tatanan triparti juga dapat dipertanyakan. Konsep ini hanya ditemukan pada sumber modern dalam bentuk dugaan, dan belum ditemukan dalam sumber Jawa Kuno asli. Dalam rangka mendukung diskusi candi yang lebih rinci dan berbobot, penulis mengusulkan sebuah sistem tatanan baru, yang penulis sebut sebagai “tatanan vāstu.” Tatanan ini disusun menggunakan metode riset arsitektural-historis untuk menganalisis sastra arsitektural d
{"title":"Vāstu Order as an Alternative Concept for Analysing Javanese Temple Architecture | Tatanan Vāstu sebagai Konsep Alternatif untuk Menelaah Arsitektur Candi Jawa","authors":"Aditya Bayu Perdana, Kemas Ridwan Kurniawan","doi":"10.26721/spafajournal.q790t38g6i","DOIUrl":"https://doi.org/10.26721/spafajournal.q790t38g6i","url":null,"abstract":"This paper focuses on the architectural order of ancient Javanese temples. Contemporary writings often use a tripartite order to conceptualize Javanese temple architecture, which divide the edifice into three parts consisting of head, body, and feet. However, the overgeneralized nature of the order does not accurately represent the complexities of Javanese temples which contain diverse architectural elements. This has made discussion of Javanese temple architectural traits somewhat limited and undetailed. Further, the textual basis of this order is questionable. The concept has not been found in authentic Old Javanese source and only attested in modern sources as a conjecture. To support more nuanced discussion of Javanese temple architecture, the author proposes an alternative architecture order, dubbed the “vāstu order”. This order is created using an architectural-historical research method in analyzing historical architectural treatise and samples of Javanese temple. Samples are limited to Hindu temples from the Mataram era (8-11th centuries).\u0000 \u0000Comparison that the authors have conducted find that the elevation of all samples can visually divided into seven parts of the vāstu order: upapīṭha, adhiṣṭhāna, pada, prastara, gala, śikhara, and stūpi. However, further inspection (using the temple’s head as an example) shows that each part has an unusual or even unprecedented architectural elaboration from the supposed Indian protype. This observation contributes to the notion that Javanese temples shows a complex amalgamation of various Indian architectural elements into a distinct creative form. This study demonstrates that a conceptual shift from the conventional tripartite order into a more refined vāstu order permitted more detailed observations in various architectural elements of Javanese temples. Applying and testing the vāstu order to other temples would perhaps yield a more robust architectural order that is useful in revealing the nature of Javanese temple architecture and its position within the web of cultural exchange between India and Southeast Asia.\u0000 \u0000Tulisan ini berfokus pada tatanan (order) arsitektural candi Jawa. Tulisan kontemporer kerap menelaah arsitektur candi menggunakan tatanan triparti, yang membagi tampak candi ke dalam tiga bagian: badan, kepala, dan kaki. Meski umum digunakan, tatanan sederhana ini tidak merefleksikan secara akurat kompleksitas candi yang memiliki banyak elemen arsitektural. Akibatnya, upaya untuk menjabarkan ciri arsitektural candi cenderung terbatas dan tidak rinci. Dasar tekstual dari tatanan triparti juga dapat dipertanyakan. Konsep ini hanya ditemukan pada sumber modern dalam bentuk dugaan, dan belum ditemukan dalam sumber Jawa Kuno asli. Dalam rangka mendukung diskusi candi yang lebih rinci dan berbobot, penulis mengusulkan sebuah sistem tatanan baru, yang penulis sebut sebagai “tatanan vāstu.” Tatanan ini disusun menggunakan metode riset arsitektural-historis untuk menganalisis sastra arsitektural d","PeriodicalId":36552,"journal":{"name":"SPAFA Journal","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-05-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49048628","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}
Sigale-gale is a life-sized wooden puppet carved in the likeness of a human male. It is used during burial rituals and in modern Sigale-gale dance performances in the Toba Batak community, Samosir, North Sumatra. The traditional myth of sigale-gale has become folklore which depicts the making of a wooden statue in human form given to Raja Rahat who is ill because his favorite son Manggale died in the battle. The sigale-gale is used by the community as well in funeral ceremonies for the dead who have died childless. In contemporary practice sigale-gale has been reconceived as public performance mostly for tourists. The sigale-gale thus now functions differently socially and culturally, moving from the mythological towards the worldly. The sigale-gale dance was originally only accompanied by the music of sordam but mostly now by a mixed ensemble comprised of taganing, gong, and suling. A performance can include five to seven dancers (panortor). Sigale-gale also vary in size from human dimensions as well as smaller or even bigger. Sigale-gale in its new forms represents an effort to sustain the cultural values of the Toba Batak. Patung sigale-gale terbuat dari kayu yang dipahat menyerupai manusia (laki-laki) digunakan saat ritual pemakaman dan dalam pertunjukan tari sigale-gale baru di masyarakat Batak Toba, Samosir, Sumatera Utara. Mitos keberadaan sigale-gale menjadi folklore yang menceritakan pembuatan patung kayu menyerupai manusia dipersembahkan kepada Raja Rahat yang sakit karena anaknya tewas di medan pertempuran. Sigale-gale digunakan pada upacara kematian yang tidak memiliki keturunan. Dalam perkembangannya, sigale-gale menjadi seni pertunjukan untuk menghibur wisatawan. Fungsi sigale-gale secara sosial budaya menjadi berbeda, yakni dari sakral ke profan. Awalnya sigale-gale hanya diiringi musik Sordam dan Sabangunan, tetapi di masa kini pertunjukan sigale-gale diiringi musik gondang, gong dan suling. Pertunjukan sigale-gale terdapat panortor lima sampai tujuh orang. Ukuran patung sigale-gale bervariasi, ada yang tinggi seukuran manusia ada juga yang memiliki ukuran tubuh lebih kecil ataupun lebih besar. Unsur pertunjukan terdiri dari: Sigale-gale, musik dan tor-tor (tari). Sigale-gale dalam bentuk baru merupakan upaya pelestarian nilai-nilai budaya masyarakat Batak Toba.
Sigale-gale是一个真人大小的木制木偶，雕刻成男性的样子。在北苏门答腊岛萨莫西尔的Toba Batak社区，它被用于葬礼仪式和现代Sigale-gale舞蹈表演。传统的sigale-gale神话已经成为民间传说，描述了为拉贾·拉哈特(Raja Rahat)制作人形木制雕像的故事，拉贾·拉哈特因为他最喜欢的儿子曼格尔(Manggale)在战斗中丧生而生病。这个社区也在葬礼上为那些没有孩子的死者举行葬礼。在当代实践中，sigale-gale已被重新定义为主要面向游客的公共表演。因此，现在的sigale-gale在社会和文化上的作用不同了，从神话走向了现实。风舞最初只配奏乐，但现在大多是由塔琴、锣和苏陵组成的混合合奏。一场演出可以包括五到七名舞者(全景)。Sigale-gale的大小也与人体大小不同，有的更小，有的更大。新形式的Sigale-gale代表了维持Toba Batak文化价值的努力。Patung sigale-gale terbuat dari kayu yang dipahat menyerupai manusia (laki-laki) digunakan saat ritual pemakaman dan dalam pertunjukan tari sigale-gale baru di masyarakat Batak Toba, Samosir，苏门答腊北部。mios keberadaan sigel -gale menjadi folklore yang menmenitakan pembuatan patung kayu menyerupai manusia dipersembahkan kepada Raja Rahat yang sakit karena anaknya tewas di medan pertempuran。Sigale-gale digunakan pada upacara kematian yang tidak memoriliki keturunan。Dalam perkembangannya, siggle -gale menjadi seni pertunjukan untuk menghibur wisatawan。真菌sigale-gale secara social budaya menjadi berbeda, yakni dari sakral ke profan。Awalnya sigale-gale hanya diiringi music Sordam dan Sabangunan, tetapi di masa kini pertunjukan sigale-gale diiringi music gondang, gong dan suling。Pertunjukan sigle -gale terdapat panortor lima sampai tujuh orang。(1)新疆新疆自治区自治区自治区自治区自治区自治区自治区自治区自治区自治区自治区自治区自治区自治区自治区自治区自治区自治区自治区自治区自治区自治区。Unsur pertunjukan terdiri dari: Sigale-gale, musik dan - tor-tor (tari)。这是巴塔克。巴塔克。巴塔克。巴塔克。
{"title":"Sigale-gale samosir: from the sacred to the secular | Sigale-gale samosir: dari yang sakral menjadi sekular","authors":"Rosta Minawati, Enrico Alamo","doi":"10.26721/m831hks88i","DOIUrl":"https://doi.org/10.26721/m831hks88i","url":null,"abstract":"Sigale-gale is a life-sized wooden puppet carved in the likeness of a human male. It is used during burial rituals and in modern Sigale-gale dance performances in the Toba Batak community, Samosir, North Sumatra. The traditional myth of sigale-gale has become folklore which depicts the making of a wooden statue in human form given to Raja Rahat who is ill because his favorite son Manggale died in the battle. The sigale-gale is used by the community as well in funeral ceremonies for the dead who have died childless. In contemporary practice sigale-gale has been reconceived as public performance mostly for tourists. The sigale-gale thus now functions differently socially and culturally, moving from the mythological towards the worldly. The sigale-gale dance was originally only accompanied by the music of sordam but mostly now by a mixed ensemble comprised of taganing, gong, and suling. A performance can include five to seven dancers (panortor). Sigale-gale also vary in size from human dimensions as well as smaller or even bigger. Sigale-gale in its new forms represents an effort to sustain the cultural values of the Toba Batak. Patung sigale-gale terbuat dari kayu yang dipahat menyerupai manusia (laki-laki) digunakan saat ritual pemakaman dan dalam pertunjukan tari sigale-gale baru di masyarakat Batak Toba, Samosir, Sumatera Utara. Mitos keberadaan sigale-gale menjadi folklore yang menceritakan pembuatan patung kayu menyerupai manusia dipersembahkan kepada Raja Rahat yang sakit karena anaknya tewas di medan pertempuran. Sigale-gale digunakan pada upacara kematian yang tidak memiliki keturunan. Dalam perkembangannya, sigale-gale menjadi seni pertunjukan untuk menghibur wisatawan. Fungsi sigale-gale secara sosial budaya menjadi berbeda, yakni dari sakral ke profan. Awalnya sigale-gale hanya diiringi musik Sordam dan Sabangunan, tetapi di masa kini pertunjukan sigale-gale diiringi musik gondang, gong dan suling. Pertunjukan sigale-gale terdapat panortor lima sampai tujuh orang. Ukuran patung sigale-gale bervariasi, ada yang tinggi seukuran manusia ada juga yang memiliki ukuran tubuh lebih kecil ataupun lebih besar. Unsur pertunjukan terdiri dari: Sigale-gale, musik dan tor-tor (tari). Sigale-gale dalam bentuk baru merupakan upaya pelestarian nilai-nilai budaya masyarakat Batak Toba.","PeriodicalId":36552,"journal":{"name":"SPAFA Journal","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-01-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48373428","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 : 2022-01-01DOI: 10.26721/spafajournal.hw783q0010
Aditya Bayu Perdana, K. Kurniawan
This paper focuses on the architectural order of ancient Javanese temples. Contemporary writings often use a tripartite order to conceptualize Javanese temple architecture, which divide the edifice into three parts consisting of head, body, and feet. However, the overgeneralized nature of the order does not accurately represent the complexities of Javanese temples which contain diverse architectural elements. This has made discussion of Javanese temple architectural traits somewhat limited and undetailed. Further, the textual basis of this order is questionable. The concept has not been found in authentic Old Javanese source and only attested in modern sources as a conjecture. To support more nuanced discussion of Javanese temple architecture, the author proposes an alternative architecture order, dubbed the “vāstu order”. This order is created using an architectural-historical research method in analyzing historical architectural treatise and samples of Javanese temple. Samples are limited to Hindu temples from the Mataram era (8-11th centuries). Comparison that the authors have conducted find that the elevation of all samples can visually divided into seven parts of the vāstu order: upapīṭha, adhiṣṭhāna, pada, prastara, gala, śikhara, and stūpi. However, further inspection (using the temple’s head as an example) shows that each part has an unusual or even unprecedented architectural elaboration from the supposed Indian protype. This observation contributes to the notion that Javanese temples shows a complex amalgamation of various Indian architectural elements into a distinct creative form. This study demonstrates that a conceptual shift from the conventional tripartite order into a more refined vāstu order permitted more detailed observations in various architectural elements of Javanese temples. Applying and testing the vāstu order to other temples would perhaps yield a more robust architectural order that is useful in revealing the nature of Javanese temple architecture and its position within the web of cultural exchange between India and Southeast Asia. Tulisan ini berfokus pada tatanan (order) arsitektural candi Jawa. Tulisan kontemporer kerap menelaah arsitektur candi menggunakan tatanan triparti, yang membagi tampak candi ke dalam tiga bagian: badan, kepala, dan kaki. Meski umum digunakan, tatanan sederhana ini tidak merefleksikan secara akurat kompleksitas candi yang memiliki banyak elemen arsitektural. Akibatnya, upaya untuk menjabarkan ciri arsitektural candi cenderung terbatas dan tidak rinci. Dasar tekstual dari tatanan triparti juga dapat dipertanyakan. Konsep ini hanya ditemukan pada sumber modern dalam bentuk dugaan, dan belum ditemukan dalam sumber Jawa Kuno asli. Dalam rangka mendukung diskusi candi yang lebih rinci dan berbobot, penulis mengusulkan sebuah sistem tatanan baru, yang penulis sebut sebagai “tatanan vāstu.” Tatanan ini disusun menggunakan metode riset arsitektural-historis untuk menganalisis sastra arsitektural dan s
本文主要研究爪哇古代寺庙的建筑秩序。当代著作经常使用三位一体的顺序来概念化爪哇寺庙建筑，将建筑物分为头，身体和脚三部分。然而，这种过于概括的性质并不能准确地反映爪哇寺庙的复杂性，因为爪哇寺庙包含了多种建筑元素。这使得对爪哇寺庙建筑特征的讨论有些局限和不详细。此外，这一命令的文本基础值得怀疑。这个概念没有在真实的古爪哇语来源中找到，只有在现代来源中作为猜想得到证实。为了支持对爪哇寺庙建筑进行更细致入微的讨论，作者提出了另一种建筑顺序，称为“vāstu顺序”。这个顺序是用建筑历史研究的方法来分析历史建筑论文和爪哇寺庙的样本。样本仅限于马塔兰时代(8-11世纪)的印度教寺庙。作者进行的比较发现，所有样本的海拔可以直观地分为vāstu顺序的七个部分:upapīṭha, adhiṣṭhāna, pada, prastara, gala， śikhara和stūpi。然而，进一步的检查(以寺庙的头部为例)表明，每个部分都有一个不同寻常的，甚至是前所未有的建筑精致，从所谓的印度原型。这一观察有助于爪哇寺庙表现出各种印度建筑元素的复杂融合，形成一种独特的创造性形式。这项研究表明，从传统的三方秩序到更精细的vāstu秩序的概念转变，允许对爪哇寺庙的各种建筑元素进行更详细的观察。将vāstu秩序应用和测试到其他寺庙中，可能会产生一个更强大的建筑秩序，这有助于揭示爪哇寺庙建筑的本质及其在印度和东南亚之间的文化交流网络中的地位。图里桑尼berfocus帕达塔塔南(秩序)建筑candi爪哇。图里桑kontemporer kerap menelaah arsitekturr candi menggunakan tatanan triparti，杨membagi tampak candi ke dalam tiga bagian: badan, kepala, dan kaki。Meski umum digunakan, tatanan sederhana ini tidak merefleksikan secara akurat kompleksitas candi yang memiliki banyak元素建筑。秋叶宫，秋叶宫，秋叶宫，秋叶宫，秋叶宫，秋叶宫，秋叶宫，秋叶宫，秋叶宫。Dasar tekstual dari tatanan triparti juga dapat dipertanyakan。Konsep ini handya ditemukan padadsumber现代dalam bentuk dugaan, dan belum ditemukan dalam sumber java Kuno asli。Dalam rangka mendukung diskusi candi yang lebih rincii dan berbobot, penulis mengusulkan sebuah system tatanan baru, yang penulis sebut sebagai " tatanan vāstu。"Tatanan ini disusun mongunakan的方法是对建筑文化历史的研究。Sampel terbatas pada candi Hindu dari era Mataram Kuno (abad 8-11 M). Perbandingan yang penulis lakukan menunjukkan bahwa semua Sampel candi dapat dibagi secara visual ke dalam tujuh bagian yang dimiliki tatanan vāstu: upapīṭha, adhiṣṭhāna, pada, prastara, gala， śikhara, dan stūpi。Namun begitu, peremeriksaan lebih jauh (menggunakan kepala candi sebagai contoh) menunjukkan bahwa tiap bagian memiliki精心设计的建筑yang cuup berbeda dengan elements印度yang diduga sebagai purwarupa。Pengamatan ini memperkuat pendapat bahwa arsitektur candi java menunjukkan percampuran kompleks berbagai elements arsitual India menjadi suatu gubahan tersendiri。Kajian ini juga menunjukkan bahwa penggunaan系统tatanan berbasis vāstu, alih-alih三方分析，menungkinkan penjabaran元素arsitekturr candi secara lebih rinchi。不丹不丹不丹不丹不丹不丹不丹不丹不丹不丹不丹不丹不丹不丹不丹不丹不丹不丹不丹不丹不丹不丹不丹不丹不丹不丹不丹不丹不丹不丹不丹
{"title":"The Vāstu Order as an Alternative Concept for Analysing Javanese Temple Architecture | Tatanan Vāstu sebagai Konsep Alternatif untuk Menelaah Arsitektur Candi Jawa","authors":"Aditya Bayu Perdana, K. Kurniawan","doi":"10.26721/spafajournal.hw783q0010","DOIUrl":"https://doi.org/10.26721/spafajournal.hw783q0010","url":null,"abstract":"This paper focuses on the architectural order of ancient Javanese temples. Contemporary writings often use a tripartite order to conceptualize Javanese temple architecture, which divide the edifice into three parts consisting of head, body, and feet. However, the overgeneralized nature of the order does not accurately represent the complexities of Javanese temples which contain diverse architectural elements. This has made discussion of Javanese temple architectural traits somewhat limited and undetailed. Further, the textual basis of this order is questionable. The concept has not been found in authentic Old Javanese source and only attested in modern sources as a conjecture. To support more nuanced discussion of Javanese temple architecture, the author proposes an alternative architecture order, dubbed the “vāstu order”. This order is created using an architectural-historical research method in analyzing historical architectural treatise and samples of Javanese temple. Samples are limited to Hindu temples from the Mataram era (8-11th centuries). Comparison that the authors have conducted find that the elevation of all samples can visually divided into seven parts of the vāstu order: upapīṭha, adhiṣṭhāna, pada, prastara, gala, śikhara, and stūpi. However, further inspection (using the temple’s head as an example) shows that each part has an unusual or even unprecedented architectural elaboration from the supposed Indian protype. This observation contributes to the notion that Javanese temples shows a complex amalgamation of various Indian architectural elements into a distinct creative form. This study demonstrates that a conceptual shift from the conventional tripartite order into a more refined vāstu order permitted more detailed observations in various architectural elements of Javanese temples. Applying and testing the vāstu order to other temples would perhaps yield a more robust architectural order that is useful in revealing the nature of Javanese temple architecture and its position within the web of cultural exchange between India and Southeast Asia. Tulisan ini berfokus pada tatanan (order) arsitektural candi Jawa. Tulisan kontemporer kerap menelaah arsitektur candi menggunakan tatanan triparti, yang membagi tampak candi ke dalam tiga bagian: badan, kepala, dan kaki. Meski umum digunakan, tatanan sederhana ini tidak merefleksikan secara akurat kompleksitas candi yang memiliki banyak elemen arsitektural. Akibatnya, upaya untuk menjabarkan ciri arsitektural candi cenderung terbatas dan tidak rinci. Dasar tekstual dari tatanan triparti juga dapat dipertanyakan. Konsep ini hanya ditemukan pada sumber modern dalam bentuk dugaan, dan belum ditemukan dalam sumber Jawa Kuno asli. Dalam rangka mendukung diskusi candi yang lebih rinci dan berbobot, penulis mengusulkan sebuah sistem tatanan baru, yang penulis sebut sebagai “tatanan vāstu.” Tatanan ini disusun menggunakan metode riset arsitektural-historis untuk menganalisis sastra arsitektural dan s","PeriodicalId":36552,"journal":{"name":"SPAFA Journal","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69082048","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 : 2021-11-11DOI: 10.26721/spafajournal.2021.v5.690
W. Yoo, Jung Gon Kim, K. Kang, Yeon-Kwon Yoo
Colour is a primary characteristic of visual perception and a very important characteristic to describe cultural heritage works in a variety of shapes, sizes and materials. To quantify colours, portable colorimeters are often carried and used for measuring colour of interest. Spatial resolution of colorimeters is manufacturer and model dependent and typically worse than 3 - 10 mm in diameter. The colour measurement has to be done on site at the time of interest. It poses very significant limitations in colorimetric characterization of cultural heritages. In this paper, the possibility of extraction of colour information from digital photographs, scanned images and video files using customized image processing/analysis software (PicMan) was investigated for cultural heritage characterization applications. As colour information extraction examples, a commercial Gouache paint colour card, a digital photograph, a portrait of a Korean scholar of Joseon Dynasty and a severely deteriorated old medical text book before and after restoration were examined. Colour information from various digital images was successfully extracted from points and regions of interest in RGB, HSV, L*a*b*, Munsell colour and hexadecimal colour code formats. The spatial resolution of colour information extraction is as small as a single pixel in a digital image.
{"title":"Extraction of Colour Information from Digital Images Towards Cultural Heritage Characterisation Applications","authors":"W. Yoo, Jung Gon Kim, K. Kang, Yeon-Kwon Yoo","doi":"10.26721/spafajournal.2021.v5.690","DOIUrl":"https://doi.org/10.26721/spafajournal.2021.v5.690","url":null,"abstract":"Colour is a primary characteristic of visual perception and a very important characteristic to describe cultural heritage works in a variety of shapes, sizes and materials. To quantify colours, portable colorimeters are often carried and used for measuring colour of interest. Spatial resolution of colorimeters is manufacturer and model dependent and typically worse than 3 - 10 mm in diameter. The colour measurement has to be done on site at the time of interest. It poses very significant limitations in colorimetric characterization of cultural heritages. In this paper, the possibility of extraction of colour information from digital photographs, scanned images and video files using customized image processing/analysis software (PicMan) was investigated for cultural heritage characterization applications. As colour information extraction examples, a commercial Gouache paint colour card, a digital photograph, a portrait of a Korean scholar of Joseon Dynasty and a severely deteriorated old medical text book before and after restoration were examined. Colour information from various digital images was successfully extracted from points and regions of interest in RGB, HSV, L*a*b*, Munsell colour and hexadecimal colour code formats. The spatial resolution of colour information extraction is as small as a single pixel in a digital image.","PeriodicalId":36552,"journal":{"name":"SPAFA Journal","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-11-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48652271","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 : 2021-11-11DOI: 10.26721/spafajournal.2021.v5.684
Suryatman, Fakhri, B. Hakim, Yinika L. Perston, Ratno Sardi, Kimberlee Newman, Hasanuddin, Muhammad Nur, K. Muda
Since the recent discovery of Late Pleistocene rock art in Island Southeast Asia was announced, evidence for symbolic behaviour in the region has become a focus of international archaeological interest. South Sulawesi is one region that hold much evidence for this important human activity. In addition to the cave paintings, several engraved stone artefacts have also been recovered in the same area, nearly all of which date back to the Late Pleistocene. However, while cave use by ‘hunter-gatherer’ societies continued into the Holocene period, archaeological evidence for symbolic expression during this Toalean period is extremely rare. Here, we report for the first time on engraved stone artefacts from the Middle Holocene period, associated with six human burials. Of ten incised artefacts recovered, eight are stone flakes and two are stone plaquettes, all made of hematite material. Our study suggests that unlike comparative Pleistocene engraved stones, the incisions on the Cappalombo artefacts are more likely the result of use-wear that occurs from producing red pigment powder than portable artworks. As no Toalean-age cave art has yet been identified, it is suspected that pigment powder was applied to the corpses as part of a burial practice or perhaps smeared on the body of the person/s performing the ceremony itself as part of a symbolic ritualistic activity. Sejak penemuan gambar cadas Pleistosen Akhir terbaru diumumkan di Pulau Asia Tenggara, bukti perilaku simbolis di wilayah tersebut telah menjadi fokus kajian arkeologis internasional. Sulawesi Selatan adalah salah satu wilayah yang menyimpan banyak bukti aktivitas manusia yang penting ini. Selain lukisan gua, beberapa artefak batu berukir juga telah ditemukan di daerah yang sama, hampir semuanya berasal dari Pleistosen Akhir. Namun, ketika penggunaan gua oleh masyarakat 'pemburu-pengumpul' berlanjut hingga periode Holosen, bukti arkeologis untuk ekspresi simbolis selama periode Toalean ini sangat langka. Di sini, kami melaporkan untuk pertama kalinya tentang artefak batu berukir dari periode Holosen Tengah, yang terkait dengan enam penguburan manusia. Dari sepuluh artefak gores yang ditemukan, delapan berupa serpihan batu dan dua berupa plakat batu, semuanya terbuat dari bahan hematit. Studi kami menunjukkan bahwa tidak seperti batu terukir Pleistosen, sayatan pada artefak Cappalombo lebih mungkin hasil dari penggunaan yang terjadi dari memproduksi bubuk pigmen merah daripada karya seni portabel. Karena seni gua periode Toalean belum dapat diidentifikasi, diduga bubuk pigmen dioleskan pada mayat sebagai bagian dari praktik penguburan atau mungkin dioleskan pada tubuh orang yang melakukan upacara itu sendiri sebagai bagian dari aktifitas ritual simbolis.
{"title":"Incised stone artefact in the context of Middle Holocene burials at Cappalombo 1, South Sulawesi, Indonesia | Artefak batu bergores dalam konteks penguburan Holosen Tengah di Situs Cappalombo 1, Sulawesi Selatan, Indonesia","authors":"Suryatman, Fakhri, B. Hakim, Yinika L. Perston, Ratno Sardi, Kimberlee Newman, Hasanuddin, Muhammad Nur, K. Muda","doi":"10.26721/spafajournal.2021.v5.684","DOIUrl":"https://doi.org/10.26721/spafajournal.2021.v5.684","url":null,"abstract":"Since the recent discovery of Late Pleistocene rock art in Island Southeast Asia was announced, evidence for symbolic behaviour in the region has become a focus of international archaeological interest. South Sulawesi is one region that hold much evidence for this important human activity. In addition to the cave paintings, several engraved stone artefacts have also been recovered in the same area, nearly all of which date back to the Late Pleistocene. However, while cave use by ‘hunter-gatherer’ societies continued into the Holocene period, archaeological evidence for symbolic expression during this Toalean period is extremely rare. Here, we report for the first time on engraved stone artefacts from the Middle Holocene period, associated with six human burials. Of ten incised artefacts recovered, eight are stone flakes and two are stone plaquettes, all made of hematite material. Our study suggests that unlike comparative Pleistocene engraved stones, the incisions on the Cappalombo artefacts are more likely the result of use-wear that occurs from producing red pigment powder than portable artworks. As no Toalean-age cave art has yet been identified, it is suspected that pigment powder was applied to the corpses as part of a burial practice or perhaps smeared on the body of the person/s performing the ceremony itself as part of a symbolic ritualistic activity. Sejak penemuan gambar cadas Pleistosen Akhir terbaru diumumkan di Pulau Asia Tenggara, bukti perilaku simbolis di wilayah tersebut telah menjadi fokus kajian arkeologis internasional. Sulawesi Selatan adalah salah satu wilayah yang menyimpan banyak bukti aktivitas manusia yang penting ini. Selain lukisan gua, beberapa artefak batu berukir juga telah ditemukan di daerah yang sama, hampir semuanya berasal dari Pleistosen Akhir. Namun, ketika penggunaan gua oleh masyarakat 'pemburu-pengumpul' berlanjut hingga periode Holosen, bukti arkeologis untuk ekspresi simbolis selama periode Toalean ini sangat langka. Di sini, kami melaporkan untuk pertama kalinya tentang artefak batu berukir dari periode Holosen Tengah, yang terkait dengan enam penguburan manusia. Dari sepuluh artefak gores yang ditemukan, delapan berupa serpihan batu dan dua berupa plakat batu, semuanya terbuat dari bahan hematit. Studi kami menunjukkan bahwa tidak seperti batu terukir Pleistosen, sayatan pada artefak Cappalombo lebih mungkin hasil dari penggunaan yang terjadi dari memproduksi bubuk pigmen merah daripada karya seni portabel. Karena seni gua periode Toalean belum dapat diidentifikasi, diduga bubuk pigmen dioleskan pada mayat sebagai bagian dari praktik penguburan atau mungkin dioleskan pada tubuh orang yang melakukan upacara itu sendiri sebagai bagian dari aktifitas ritual simbolis.","PeriodicalId":36552,"journal":{"name":"SPAFA Journal","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-11-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47812908","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 : 2021-08-26DOI: 10.26721/spafajournal.2021.v5.680
Alan Darmawan
Previous studies of mak yong theatre in Indonesia looked at the art form as a given tradition, and described its elements and performance structure. Such an approach is inadequate to investigate mak yong in the current social and cultural context. State institutions, the local government, communities, performers, and other agents have revived and constantly (re)shaped mak yong theatre and its presentation as a commodified Malay identity marker. Heritage formation, local identity politics, and tourist festivals promoted mak yong as a revived traditional form of theatre practice, an intangible heritage, and a stage performance. So how should the above aspects be approached and the social processes that shape them disentangled? This article examines the relevance of multidisciplinary approaches and demonstrates how the perspectives of anthropology, heritage studies, and philology work in studying mak yong and its current production in the Riau Islands. Kajian terdahulu tentang teater mak yong di Indonesia umumnya melihat kesenian ini sebagai tradisi yang “demikian adanya”, dan mendeskripsikan elemen dan struktur pertunjukannya. Pendekatan semacam ini tidak lagi memadai untuk menelaah mak yong dalam konteks sosial dan budaya saat ini. Mak yong disajikan sebagai tradisi yang dibangkitkan kembali dan senantiasa dibentuk ulang oleh lembaga negara, pemerintah lokal, komunitas, aktor, dan pelaku-pelaku lainnya, sebagai satu di antara penanda identitas Melayu yang dikomodifikasi. Pelembagaan warisan budaya, politik identitas lokal, dan pariwisata budaya memajukan mak yong sebagai tradisi yang dihidupkan kembali, warisan budaya takbenda, dan pertunjukan panggung. Lantas, bagaimana menelaah aspek-aspek di atas dan mengurai proses sosial yang membentuknya? Artikel ini menguji relevansi pendekatan antropologi, heritage studies, dan filologi, dan menunjukkan cara bekerjanya dalam mengkaji mak yong dan produksinya saat ini di Kepulauan Riau.
先前对印尼makyong戏剧的研究将这种艺术形式视为一种特定的传统，并描述了它的元素和表演结构。这种方法不足以在当前的社会和文化背景下调查makyoung。国家机构，地方政府，社区，表演者和其他代理人已经复兴并不断(重新)塑造了makyong戏剧及其作为商品化马来身份标志的呈现。遗产的形成、地方认同政治和旅游节日促进了makyong作为一种复兴的传统戏剧实践形式、一种非物质遗产和一种舞台表演。那么，应该如何处理上述问题，以及如何解开塑造它们的社会过程?本文考察了多学科方法的相关性，并展示了人类学、遗产研究和文献学的观点如何在廖内群岛研究makyong及其当前生产中发挥作用。Kajian terdahulu tentang teater make yong di Indonesia umumnya melihat kesenian ini sebagai tradisi yang“demmikian adanya”，dan mendeskripsikan元素dan strucktur pertunjukannya。彭德加丹的semacam ini，是一名高级官员，是一名高级官员，是一名高级官员，是一名高级官员，是一名高级官员。makyong disajikan sebagai tradisi yang dibangkitkan kembali dan senantiasa dibentuk ulang oleh lembaga negara, peremerintah local, komunitas, aktor, dan pelaku-pelaku lainnya, sebagai satu di antara penanda identitas Melayu yang dikomodifikasi。政治认同是本地的，dan pariwisata budaya memajukan makyong sebagai tradisi yang dihidupkan kembali, warisan budaya takbanda, dan pertunjukan panggung。亚特兰大，巴格曼曼尼拉，讲英语的人的数据和门盖里处理的社会yang成员。文物学，文物学，文物学，文物学，文物学，文物学，文物学，文物学，文物学，文物学，文物学，文物学，文物学，文物学，文物学，文物学，文物学。
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Pub Date : 2021-07-16DOI: 10.26721/spafajournal.2021.v5.661
Syahruddin Mansyur, Nani Somba, Rustam Awat, La Ode Ali Ahmadi, Hasliana Hasliana
Wakatobi Islands, which are located east of Buton Island, were part of the territory of the Buton Kingdom in the past. Wakatobi Islands cover an area known as a shipping route connecting the eastern and western regions of the Nusantara archipelago. The historical journey of the people of Wakatobi Islands led them to have a strong maritime tradition in Nusantara. This paper discusses issues related to the initial overview of the Wakatobi Islands from the perspectives of archaeology, history, and maritime traditions. The methods used include survey and observation as well as literature study and interviews. The results obtained provide a regional profile of the Wakatobi Islands, which shows that archaeological remains and the traditional fortresses spread in the area are residential sites that reflect the archaeological character of the islands. The identification that we have conducted on the ceramics shows that they date from at least the 15th century, with ceramics from the Qing dynasty (17th to 19th centuries) being the most dominant. The historical perspective also gives an understanding that the maritime tradition of the Wakatobi people has strong historical roots in the formation of communities in this region. Likewise, the history and maritime traditions of the Wakatobi people are correlated with archaeological remains which are the traces of immigrants who developed the communities of the Wakatobi Islands. Kepulauan Wakatobi yang terletak di sebelah timur Pulau Buton merupakan bagian dari wilayah kekuasaan Kesultanan Buton di masa lampau. Wilayah kepulauan ini adalah kawasan yang dikenal sebagai jalur pelayaran penghubung wilayah timur dan barat Nusantara. Perjalanan sejarah masyarakat Kepulauan Wakatobi sekaligus mengantarkan wilayah ini memiliki tradisi kemaritiman yang kuat di nusantara. Tulisan ini membahas permasalahan terkait tinjauan awal Kepulauan Wakatobi dipandang dari perspektif arkeologi, sejarah dan tradisi kemaritiman. Metode yang digunakan adalah metode survei atau observasi dan juga studi pustaka dan wawancara. Hasil yang diperoleh memberi pemahaman tentang profil wilayah Kepulauan Wakatobi bahwa tinggalan arkeologi dan persebaran benteng tradisional merupakan situs hunian yang merefleksikan karakter arkeologi kepulauan wilayah ini. Identifikasi awal yang kami lakukan, data keramik menunjukkan pertanggalan mulai sebelum atau pada abad ke-15, dimana keramik periode Qing abad ke-17 dan 19 adalah paling dominan. Perspektif sejarah juga memberi pemahaman bahwa tradisi kemaritiman masyarakat Wakatobi memiliki akar sejarah yang kuat dari terbentuknya komunitas masyarakat di wilayah ini. Demikian juga dengan sejarah dan tradisi kemaritiman masyarakat Wakatobi berkorelasi dengan tinggalan arkeologi sebagai jejak kehadiran pendatang dari luar wilayah yang membentuk masyarakat Kepulauan Wakatobi.
位于布顿岛以东的瓦卡托比群岛过去是布顿王国的一部分。Wakatobi群岛覆盖的区域被称为连接努桑塔拉群岛东部和西部地区的航线。瓦卡托比群岛人民的历史旅程使他们在努桑塔拉拥有强大的海上传统。本文从考古、历史和海洋传统的角度讨论了与瓦卡托比群岛初步概况有关的问题。研究方法包括调查观察法、文献研究法和访谈法。所获得的结果提供了瓦卡托比群岛的区域概况，表明该地区的考古遗迹和传统堡垒是反映岛屿考古特征的居住遗址。我们对这些陶瓷进行的鉴定表明，它们至少可以追溯到15世纪，其中清代(17至19世纪)的陶瓷最为重要。从历史的角度来看，瓦卡托比人的航海传统在该地区社区的形成中具有强大的历史根源。同样，瓦卡托比人的历史和航海传统也与考古遗迹相关，这些遗迹是发展瓦卡托比群岛社区的移民的痕迹。我想我是一个美丽的人，我想我是一个美丽的人，我是一个美丽的人。我的女儿是我的女儿，我的女儿是我的女儿。我的意思是，我的意思是，我的意思是，我的意思是，我的意思是，我的意思是，我的意思是我的意思。土利桑尼的成员有永久的市场学家、商人和商人的观点。气象测量，气象观测，气象观测，气象研究，气象观测，气象观测，气象观测，气象观测，气象观测，气象观测。Hasil yang diperoleh成员pemahaman tentang profile wilayah Kepulauan Wakatobi bahwa tinggalan arkean benteng传统merupakan situs hunian yang mereflekksikan karakter arkepulauan wilayah ini。鉴定kasi awal yang kami lakukan，资料keramik menunjukkan pertanggalan mulai sebelum atau pada abad ke-15, dimana keramik时期Qing abad ke-17和19 adalah palakan占主导地位。国会议员:国会议员:国会议员:国会议员:国会议员:国会议员:国会议员:国会议员:国会议员:国会议员:国会议员:国会议员:国会议员:国会议员:国会议员:国会议员:国会议员:国会议员:国会议员:国会议员:国会议员:国会议员:国会议员:国会议员:国会议员:国会议员Demikian juga dengan sejarah dantradisi kemaritiman masyarakat Wakatobi berkorelasan dengan tinggalan市场学家sebagai jejak kehadiran pendatang dalar wilayah yang membentuk masyarakat Kepulauan Wakatobi。
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