PREFACE The Seminar of Warisan Nusantara 2 (2 nd Heritage Archipelago) which is held on December 18, 2012 at the State University of Semarang is an annual or biennial seminar, especially in collaboration with Universiti Malaysia Sabah (UMS) and several universities in Indonesia and Malaysia. The first seminar of Warisan Nusantara 1 (1 st Heritage Archipelago) was held in UMS in 2011. The topic of the seminar is "Preservation and Development of the Cultural Archipelago through Arts and Languages". It is organized to open a broader perspectives to all speakers, experts, humanists, and academics from different disciplines to share about the issues related to the topic. Alhamdulillah, this seminar has received a very wide responses from many institutions and individuals. It is noted that there are 138 comparative speakers coming from 45 institutions (universities and other institutions), one keynote speaker, six speakers from five countries: Indonesia, Malaysia, Brunei Darussalam, French, and Japan. They will contribute for the completion of the proceedings of the seminar, as well as the academic accountability for the seminar committee. Hopefully, the proceedings completed in such a short time can satisfy the expectations of its users. Thank you. Semarang, 17 December 2012 Chairman of the Committee The Seminar of Warisan Nusantara 2 Prof. Dr. Tjetjep Rohendi Rohidi, MA ii
BOARD EDITOR 1. Prof. Dr. Tjetjep Rohendi Rohidi, MA. 2. Prof. Dr. Fathur Rohman, M.Hum 3. Prof. Madya Dr Ismail Ibrahim 4. Dr. Sri Iswidayati, M.Hum. 5. Dr. Teguh Supriyanto. M.Hum iii
DAFTAR ISI HALAMAN AWAL... PREFACE... BOARD EDITOR... DAFTAR ISI... PEMAKALAH UTAMA BEBERAPA CATATAN DI SEPUTAR WARISAN DAN KONSTRUKSI MASA DEPAN BUDAYA Dr. Jean Couteau (Prancis) 1 i ii ii iii SENI TARI DAN MUSIK SEBAGAI TUMPUAN CITRA BUDAYA BANGSA Prof. Dr. Edi Sedyawati (Universitas Indonesia) 11 PEMBENTUKAN MOTIF/CORAK DAN HUBUNGANNYA DALAM RUANG LINGKUP KEHIDUPAN MURUT BORNEO UTARA Prof. Madya Ismail Ibrahim, Ph.D. (Universiti Malaysia Sabah) 17 NUSANTARA: USAHA MENGGALANG IDENTITAS (Melalui Kesadaran Budaya, Perspektif Politik, dan Paradoks Kebudayaan) Prof. Dr. Tjetjep Rohendi Rohidi, MA.(Universitas Negeri Semarang) 49 HUBUNGAN ANTARMANUSIA INDONESIA DAN BUDAYA YANG MENYANGKUT PRONOMINA PERSONA Takadono Yoshihiro (Jepang) 57 iv
PEMAKALAH PENDAMPING BAGIAN A MAKALAH PENDAMPING BAGIAN A N0 NAMA JUDUL Hal 1 1 Ade Novi Nurul Ihsani, M.Pd Prodi Pendidikan Tata Kecantikan Jurusan TJP FT UNNES THE SERIES OF SOLO CUSTOM WEDDING FOR PRESERVING INDONESIA CULTURE 2 Agus Cahyana Ariesa Pandanwangi, NUSANTARA HERITAGE IN PAINTING BY HENDRA GUNAWAN (CASE STUDY : PAINTINGS WITH HUMAN BODY THEME BY HENDRA GUNAWAN) 13 3 Agus Santosa UNPAS 4 Alvanov Zpalanzani, Bima Nurin Aulia, Irfansyah Fakultas Seni Rupa dan Desain Institut Teknologi Bandung 5 Ananthan A/L Nagu Sharida Binti Shaharudin Jabatan Pendidikan Seni Visual IPG Kampus Sultan Abdul Halim 6 Andre Indrawan ISI Yogyakarta 7 Anitasa Dewi Universitas Al-Azhar Indonesia 8 Aprilia Seni Rupa, FBS Unnes 9 Arini Arumsari Program Studi Kriya Tekstil dan Mode STISI Telkom REINTERPRETATION OF ARTISTS SOCIAL ACT IN CREATING AESTETHICS AS THE PRODUCT OF SOCIAL PRACTICE: AN ATTEMPT TO CONSERVE TRADITIONAL ART THROUGH CRITICAL THEORY APPROACH CULTURE ARTIFACTS VISUAL PRESERVATION AND INNOVATION TOWARDS DIGITAL AGE THE ROLE OF SCULPTURE IN THE COMMUNITY OF ORANG ULU SARAWAK THE MAWLID READING TRADITION AS THE SELAWATAN PESANTREN AND ITS STRUCTURAL TRANSFORMATION TO THE VARIETY OF MUSICAL PERFORMANCE FORMS IN YOGYAKARTA SPECIAL PROVINCE PEK CUN TRADITION AS CULTURAL EXPRESSIONS OF THE CHINESE COMMUNITY IN TANGERANG THE EXISTENCE OF TRADITIONAL WOVEN BAMBOO CRAFTS TOWARDS MODERN INSDUSTRY INFLUENCE OF DUTCH CULTURE IN BATIK THROUGH COLONIALIZATION (ART NOUVEAU STYLE IN BUKETAN PATTERN OF BATIK) 23 31 41 51 66 74 84 v
10 Atiek Zahrulianingdyah TJP-FT-UNNES EFFORTS TO PRESERVE THE ARCHIPELAGO HERITAGE FOOD THROUGH EARLY CHILDHOOD EDUCATION 97 11 Atip Nurharini BLORANESE ART EXPRESSIONS THROUGH BARONGAN TRADITIONAL PERFORMANCE 12 Ayoeningsih Dyah Woelandari, Agus Listiani STSI Bandung THE COMPARATIVE STUDY OF NUSANTARA HERITAGE VISUALIZATION ARTS CONCEPT AND MEANING: CASE STUDY MASK OF CIREBON- INDONESIA AND MASK OF NOH- JAPAN 103 112 13 Djawahir Muhammad UNNES 14 Fajar Ciptandi Biranul Anas Zaman Dian Widiawati Dosen STISI Telkom Bandung/Mahasiswa Magister Desain Institut Teknologi Bandung 15 Farid Abdullah UPI bandung GAMBANG SEMARANG HYBRIDA PROCESS 'MULTI ETHNIC' - 'MULTIKULTURAL (STUDY ETHNOHISTORIOGRAFI) EXPERIMENTS ON KENAF FIBRE THROUGH LOCAL EMPOWERMENT TO CREATE IDENTIFIABLE TEXTILE CRAFTS AND APPLICATIONS OF EFFECTIVE COMMUNICATION THEORY (CASE STUDY: LAREN DISTRICT, LAMONGAN REGENCY, EAST JAVA, INDONESIA) SEMIOTIC STUDY OF PARANG RUSAK BARONG AS A FORBIDDEN PATTERN IN SULTAN HAMENGKU BUWANA VIII PERIOD (1921-1939) AS DIGNIFIED KING 120 129 141 16 Faridah Sahari University Malaysia Sarawak 17 Fatmahwati A* Balai Bahasa Provinsi Riau Kementerian Pendidikan Nasional Indonesia 18 Fatmahwaty Agnes S. Azarja, July Hidayat, JurusanDesain Interior, UPH INDIGENOUS CRAFT OF ORANG ULU 152 INHERITANCE OF VALUES OF LOCAL WISDOM IN GURINDAM 12: YOUTHS CHARACTER DEVELOPMENT EFFORTS THE HYBRID DESIGN OF CHINESE PERANAKAN OF TJONG A FIE MANSION IN MEDAN AS REPRESENTATION OF DIALOGUE VALUE AMONG DIFFERENCES 161 19 Hafiz Aziz Ahmad Institut Teknologi Bandung PERSONAL EXPERIENCES AS STORYTELLING RESOURCES AND 174 vi
20 Hanisa Hassan, Biranul Anas Zaman, Imam Santosa, Institut Teknologi Bandung 21 Herwandi Fakultas Ilmu Budaya Univ. Andalas 22 Husen Hendriyana Seni Rupa STSI Bandung 23 I Ngurah Suryawan Fakultas Sastra Universitas Negeri Papua 24 I Wayan Seriyoga Parta, Fine Art Department Gorontalo State University 25 I Wayan Suardana, Fine Art Department Indonesian Art Institute of Denpasar) 26 Indah Tjahjawulan ; Setiawan Sabana; Priyanto Institut Teknologi Bandung 27 Ira Wirasari, Yasraf A.Piliang STISI TELKOM 28 Kamsidjo Budi Utomo FBS UNNES CULTURAL EXPRESSIONS RELIGION TRANSFORMATION AND EVOLUTION IN TRADITIONAL MALAY ATTIRE IN MALAYSIA THE TRADITIONAL HOUSE (RUMAH GADANG) THE NEGLECTED CULTURAL HERITAGE OF MINANGAKABAU ASPECTS OF LOCALITY ON THE LIMAN DECORATIVE MOTIFS AS AN AESTHETIC ELEMENT OF BALUWARTI IN KRATON CIREBON (MAPPING OF INFLUENCE ELEMENTS DIMENSIONS AND CULTURAL BACKGROUND OF THE ASSESSMENT OF LIMAN DECORATIVE MOTIF IN KRATON CIREBON) MAMBESAK AND THE DYNAMICS OF PAPUAN IDENTITIES 1970-1980 THE SCILPTURE TRANSFORMATION OF BALI (THE DEVELOPMENT OF TRADITIONAL ART TO THE MODERN ART) THE AFFECTATION OF THE VARIETY OF FOREIGN ORNAMENT TO THE DEVELOPMENT OF MODERN ORNAMENT ART IN BALI THE CONSTRUCTION OF INDONESIAN IMAGES AT THE WORLD EXPOSITION CASE STUDY: 1988 WORLD EXPO BRISBANE BEAUTY APPEARANCE OF INDONESIAN WOMEN IN SOCIAL MEDIA AS THE NATIONAL HERITAGE MENGGAMBAR KREATIF PADA ANAK USIA DINI : SEBUAH KAJIAN DALAM WILAYAH KAJIAN KESEIMBANGAN OTAK KANAN DAN OTAK KIRI 186 234 248 261 274 288 296 `29 Kiki Rizky Soetisna Putri Visual Artist and Lecturer STISI Telkom 30 Komarudin Kudiya Program Doktor Ilmu Seni Rupa dan Desain, Sekolah Pascasarjana ITB MUSEUM AND THE RISE OF ASIA 304 REVITALIZATION OF ORNAMENTS OF BATIK OF CIREBON KRATON IN NEW CREATIVE DESIGN (A VISUAL EXPERIMENT APPROACH) 315 31 Lilis lestari STKW SURABAYA PERSPECTIVE ON COMMUNITY RESPONSE 331 vii
32 Malarsih Fakultas Bahasa dan Seni, Universitas Negeri Semarang 33 Maria Krisnawati, Dosen TJP Fakultas Teknik Universitas Negeri Semarang 34 Maspuri Universitas Lancang Kuning Riau (UNILAK) 35 Martono, FBS UNY 36 Mohammad Kanzunnudin Fakultas Keguruandan Ilmu Pendidikan Universitas Muria Kudus 37 Mohd Zaki Bin Mohd Fadil Wan Samiati Andriana bt W Mohamad Daud Mursyidah Zainal Abidin Asrul Asshadi B Mohamad Morni Universiti Teknologi MARA, Sarawak 38 Muhammad Badiran, M.Pd Seni Rupa Unimed 39 Muhammad Ihsan, Agus Sachari FSRD ITB 40 Mujiyono FBS UNNES TOWARD RITUAL CEREMONIES OF INDIGENOUS RATEP IN THE VILLAGE OF PAKONDANG, SUMENEP DISTRICT YOGYAKARTA AND SURAKARTA DANCE MOVEMENTS IN MANGKUNAGARAN DANCING STYLE YOGYAKARTA AND SURAKARTA DANCE MOVEMENTS IN MANGKUNAGARAN DANCING STYLE THE RULE OF ART IN MAINTAINING VALUES AS A GUIDE OF LIFE IN MENUMBAI LEBAH TRADITION AT PETALANGAN MALAY COMMUNITY OF RIAU PRESERVATION AND DEVELOPMENT OF CRAFT THROUGH OF CULTURAL ARTS EDUCATION IN SCHOOLS ELEMENTARY SCHOOL DEPARTMENT TEACHER TRAINING AND EDUCATIONAL FACULTY MURIA KUDUS UNIVERSITY SAPE THE MUSICAL INSTRUMENT OF ORANG ULU THE ASPECT OF SYMBOLIC AND PHILOSOPHY MULTILINGUAL AS A SOURCE OF LEARNING ARTS EDUCATION HYBRID METHOD: A METHOD OF TRANSFERRING DESIGN FROM DESIGNERS TO TRADITIONAL CRAFTSMEN DECODING POSTER WORKS OF THE FINAL PROJECT 2000-2012 OF THE ARTS STUDENTS OF UNNES: AN IDENTIFICATION OF CODE AND INTERWOVEN CODE 340 349 360 370 381 394 404 415 424 41 Murni Indriyati THE CHARACTERISTICS AND BENEFITS OF DRAWING EXPRESSION FOR EARLY AGES CHILDREN 435 viii
STUDY IN ART EDUCATION 42 Nik Hassan Shuhaimi Nik A Rahman Mohamad Zain Musa Zuliskandar Ramli Universiti Kebangsaan Malaysia 43 Niken Wirasanti Jurusan Arkeologi Fak Ilmu Budaya UGM 44 Nuning Y Damayanti FSRD ITB 45 Octavianti Paramita Dosen TJP Fakultas Teknik 46 Phebe Valencia Universitas Pelita Harapan 47 Priadi Dwi Hardjito Fakultas Seni Rupa dan Desain ITB 48 Purwanto. FBS UNNES 49 Rahah Haji Hasan UNIMAS 50 Rahina Nugrahani UNNES 51 Restu Lanjari FBS Unnes 52 Sandra Herlina UAI Jakarta BUDDHISM IN MALAYSIA : ORIGIN AND DEVELOPMENT THE ARTWORK OF KARMAWIBHANGGA RELIEFS: A MEDIUM OF COMMUNICATION IN THE CONTEXTS OF SPACE AND TIME ILLUSTRATION TRADITION OF THE OLD JAVANESE MANUSCRIPT AS ANCIENT NUSANTARA HERITAGE DIVERSIFICATION OF PROCESSED FOOD BASED LOCAL ROOTS FLOUR EFFORTS CONSERVATION AS SNACK TRADITIONAL EVALUATION OF SUSTAINABLE DESIGN PRINCIPLES IN VERNACULAR ARCHITECTURE, CASE STUDY: BATAK-TOBA TRADITIONAL DWELLINGS. BENCHMARKING TEST OF THE KUSUMADINATA SUNDANESE INTERVAL TO DISSECT THE SLENDRO BALINESS OF THE PRE 1934 OF 29 A.M. JONES SELECTIVE COLLECTION OF AFRICAN XYLOPHONES RED AND WHITE IN THE PERSPECTIVE CULTURE OF JAVA MODERN ART IN BORNEO A COMPARATIVE ANALYSIS OF ITS MOVEMENT AND PROGRESSION IN BRUNEI, SABAH AND SARAWAK FRAMING NUSANTARA CLASSICAL HISTORY THROUGH VIRTUAL REALITY THE PRACTICE OF STATE POLITICS AND ITS IMPLICATIONS ON THE REGULATION OF LOCAL ARTS RELIGIOUS TOURISM TO THE JAPANESE CEMETERY TPU PERTAMBURAN JAKARTA AS THE JAPANESE 445 470 482 497 507 516 518 525 539 554 562 ix
53 Saptariana Jurusan Teknologi Jasa dan Produksi Fakultas Teknik UNNES 54 Sicilia Sawitri FT UNNES 55 Siti Kusumawati FSRD ITB 56 Slamet Subiyantoro dan Aniek Hindrayani FKIP UNS Surakarta 57 Sri Iswidayati FBS UNNES 58 Sri Ningsih UMS, Sabah 59 Sri Verayanti R. SMA YPE Semarang 60 Syakir Jurusan Seni Rupa FBS Unnes Semarang 61 Tessa Eka Darmayanti Fakultas Seni Rupa dan Desain Universitas Kristen Maranatha 62 Triyanto FBS Unnes 63 Tuti Tarwiyah Adi S. UNJ JAKARTA 64 Wadiyo Universitas Negeri Semarang RELIGIOUS EXPRESSION FOOD MENU OF FOOD IN INDONESIA AS A NATION OF CULTURAL EXPRESSION INDONESIAN TRADITIONAL COSTUMES AS HAUTE COUTURE INSPIRATION DISSECTING THE ACT OF WATER RESOURCES AND WASTE MANAGEMENT ACT AS A RESCUER BEACH NUSANTARA PRESERVATION AND DEVELOPMENT OF JAVANESE CLASSICAL BATIK THROUGH LORO BLONYO ART CRAFT TRADITION A STUDY OF R.A. KOSASIH S INDONESIAN COMICS: A SEMIOTIC APPROACH ANALYSIS AND ACCESSORIES COSTUME SUMAZAU ETHNIC KADAZAN IN SABAH DESIGN OF WARAK SOUVENIR WITH CLAY MEDIA (A LEARNING BASED LOCAL CULTURE FOR STUDENTS OF YPE SENIOR HIGH SCHOOL SEMARANG) AESTHETIC EXPRESSIONS BATIK SEMARANGAN A REFLECTION OF CULTURE AND THE SEARCH FOR IDENTITY THE IMPACT OF MULTI CULTURAL CONTEX INTO MESJID AGUNG BANTEN INTERIOR DESIGN (PRESENT DAY BANTEN, WEST JAVA, INDONESIA) WARAK NGENDOG: LOCAL CREATIVITY IN DUGDERAN RITUAL TRADITION PRACTICED IN SEMARANG CHARACTER EDUCATION FOR EARLY CHILDHOOD THROUGH CULTURE: AN EFFORT OF DEVELOPING CHILD INTELLIGENCES AND PRESERVING CULTURE USING SONGS EMPOWERING SOCIETY TO CREATE CHILDREN S SONGS AS A 571 579 590 598 613 629 656 667 679 686 693 702 x
65 Wanda Listiani, HeddyShri Ahimsa-Putra, GR LonoLastoroSimatupang, Yasraf Amir Piliang STSI Bandung DELIBERATE EFFORT TO FULFILL THE NEED OF EDUCATIVE SONGS ETNOESTETIKA FASHION HARAJUTIK BANDUNG 713 PEMAKALAH PENDAMPING B PEMAKALAH PENDAMPING BAGIAN B N0 NAMA JUDUL Hal 1 Abd Hakim Mohad Universiti Malaysia Sabah, Malaysia TAJAU DAN PERANANNYA DALAM PELESTARIAN BUDAYA 1 2 Ade Novi Nurul Ihsani, M.Pd Prodi Pendidikan Tata Kecantikan Jurusan TJP FT UNNES 3 Anitasa Dewi Universitas Al-Azhar Indonesia 4 Aruman, MA ISI Yogyakarta 5 Asyaari Muhamad Academy of Language Study Universiti Teknologi MARA MASYARAKAT MURUT TAHOL RANGKAIAN UPACARA PERNIKAHAN ADAT SOLO SEBAGAI UPAYA PELESTARIAN BUDAYA INDONESIA TRADISI PEK CUN SEBAGAI EKSPRESI BUDAYA MASYARAKAT CINA DI TANGERANG SENI KERAJINAN BATIK DENGAN MEDIA KAYU DUSUN KRÈBÈT PEMBANGUNAN WARISAN DI SEPANJANG LALUAN PENARIKAN: REALITI DAN IMIGINASI 13 35 47 60 6 Azman Che Mat Ahmad Nazuki@Marzuki Yaakub Nur Hafizah Ahmad Tajuddin Academy of Language Study Universiti Teknologi MARA SENI MENTERJEMAH POLA TAMYĪZ DALAM TAFSIR ABDULLAH BASMEIH 75 7 Azman Che Mat Ahmad Fakrulazizi Abu Bakar Nur Syikri Harun Academy of Language Study Universiti Teknologi MARA PERSEPSI PEMINAT SENI TERHADAP KALIGRAFI ISLAM 85 8 Bima Slamet Raharja Jurusan Sastra Nusantara Prodi Sastra Jawa Fakultas Ilmu Budaya Universitas Gadjah Mada KOLEKSI-KOLEKSI EMAS WAYANG KULIT PURWA GAYA YOGYAKARTA YASAN KEPANGERANAN (ERA SULTAN HAMENGKU BUWANA VII-VIII): Penelusuran Ragam Dan Varian Melalui Dokumentasi Dan Re-Inventarisasi Sebagai Upaya Penyelamatan Warisan Budaya 93 xi
9 Bramantijo, STKW Surabaya. 10 Daulat Saragi FBS Universitas Negeri Medan 11 Dwi Budi Harto, Seni Rupa FBS UNNES 12 Edy Tri Sulistyo UNS 13 Eko Sugiarto Mahasiswa S2 Pendidikan Seni, Program Pascasarjana,Unnes 14 I Wayan Sudana, (Jurusan Teknik Kriya Fakultas Teknik Universitas Negeri Gorontalo) 15 Jajang Supriyadi Mahasiswa Program PascaSarjana (S3) Institut Teknologi Bandung 16 Karta Jayadi Fakukltas Seni dan Desain Universitas Negeri Makassar 17 Lois Denissa Program Studi DoktorIlmuSenidanDesain InstitutTeknologi Bandung 18 Melina Surya Dewi InsitutKesenian Jakarta 19 Melkhior Duha Ketua BPWN Nias MURAL SEBAGAI MEDIA KUMUNIKASI KONTEMPORER BAGI SENI TRADISI AKSIOLOGI SENI PATUNG BATAK, KEARIFAN LOKAL YANG TERABAIKAN DAN TERSINGKIRKAN REBUT BALUNG [ T A N P A ] ISI WARISAN KESENIAN NUSANTARA IDENTIFIKASI DAN IMPLEMENTASI PITUTUR LUHUR (BUDI PEKERTI) TEMBANG PANGKUR SEBAGAI UPAYA PELESTARIAN BUDAYA JAWA DAN PENANAMAN PENDIDIKAN KARAKTER BAGI GENERASI MUDA. CONTEMPORARY DEPICTION OF WAYANG : Visual Transformation of Wayang As a Sensational Cultural Phenomenon POTENSI DAN PERMASALAHAN DALAM PELESTARIAN SENI KERAJINAN GERABAH TRADISIONAL GORONTALO POLA DAN DISPOSISI MENTAL- KULTURAL PERUPA DALAM PRAKTEK SENI RUPA KONTEMPORER INDONESIA 1990-2010 STRATEGI ADAPTIF TRADISI TAU- TAU (PATUNG ARWAH) SEBAGAI WARISAN LELUHUR SUKU TORAJA STRATEGI ADAPTIF TRADISI TAU- TAU (PATUNG ARWAH) SEBAGAI WARISAN LELUHUR SUKU TORAJA SEBUAH PRANATA KARNAVAL DIBANGUN DI KOTA JEMBER Studi Kasus Jember Fashion Carnaval MENINGKATAN IDE DAN GERAK TARI KREATIF MELALUI BELAJAR BERBASIS BERFIKIRK REATIF DAN BERMAIN PERAN SELAYANG PANDANG MENDIRIKAN RUMAH ADAT NIAS TIPE LARAGA 116 130 152 163 180 192 205 222 240 250 260 20 Mohamad Zaini Alif FSRD, ITB Bandung 21 Muhammad Abi Sofian Abdul Halim UniversitiTeknologi MARA SISTEM TATA NILAI DALAM MAINAN DAN PERMAINAN RAKYAT SEBAGAI WARISAN BUDAYA DI INDONESIA INDUSTRI KRAF MALAYSIA: PENDEKATAN INOVASI PRODUK DIKALANGAN USAHAWAN KRAF DIDALAM MEMAJUKAN 267 271 xii
22 Muksin FSRD ITB 23 Mulyanto Dosen Prodi.Pendidikan Senirupa FKIP UNS Surakarta PERNIAGAAN LOCAL MEDIUM (Indigenous Materials) IN THE ARTWORKS AN EFFORT TO REALIZE OF INDONESIAN CHARACTERISTICS MODEL PENGEMBANGAN DESAIN BATIK CABUT: STUDI KASUS DI PILANG SRAGEN 289 305 24 Musnin Misdih & Ismail Ibrahim, Universiti Malaysia Sabah 25 Riama Maslan Sihombing Mahasiswa S3 ITB 26 Rosini Binti Jonit UniversitiTeknologi MARA 27 Roslina Bt Rawi Program Pascasiswazah Seni Universiti Pendidikan Sultan Idris, MALAYSIA 28 Sam Mukhtar Chaniago, UNJ `29 Sandie Gunara Universitas Pendidikan Indonesia GERAK TARI PERUBATAN TRADISI 320 BARASIK & MENTERA SUKU KAUMBISAYA SABAH KEBAYA DAN VISUALISASI KOSTUM SOSOK IBU PADA MEDIA 339 WAYANG, BUKU DAN IKLAN PADA ERA KOLONIAL HINGGA AWAL KEMERDEKAAN INDONESIA. PELESTARIAN SENI NUSANTARA 355 MALAYSIA DAN INDONESIA: SATU STUDI BANDING SOSIALISASI KEMAHIRAN UKIRAN 361 KAYU DALAM KELUARGA ABDUL RAHMAN BIN CHE LONG DI BESUT TERENGGANU. PENELITIAN DAN PENGEMBANGAN 372 TES BAKU UKMP UJI KEMAHIRAN MENYIMAK PEMAHAMAN Analisis Kemahiran Menyimak SiswaSekolah Dasar dengan Tes Baku UKMP (Test of Competence on Listening Comprehension) di Indonesia. UPACARA ADAT NGAROT SEBAGAI 392 WARISAN BUDAYA LOKAL 1 30 Senja Aprela Agustin, Sepuluh Nopember Institute of Technology 31 Sudartomo Macaryus FKIP Universitas Sarjanawiyata Tamansiswa Yogyakarta 32 Sugihastuti Universitas Gadjah Mada 33 Sunarto FBS Unnes 34 Sundawati Tisnasari, Ahmad Supena, dan Diana Tustiantina Universitas Sultan Ageng Tirtayasa REPRESENTASI PEREMPUAN PADA DESAIN KEMASAN KIRANTI TAYUB JALANAN: Subseni Tradisional Jawa KONSERVASI PERIBAHASA SEBAGAI WARISAN NUSANTARA SHAMANISME: FENOMENA RELIGIUS DALAM SENI PERTUNJUKAN (DI) NUSANTARA POTRET GRAFITI SEBAGAI LOKALITASMASYARAKAT DI DAERAH PESISIR PANTAI PELABUHAN RATU 404 421 428 442 454 35 Udi Utomo PENGEMBANGAN MODEL 463 xiii
FBS Unnes 36 Wahyu Tri Atmojo Jurusan Seni Rupa FBS Unimed 37 Yanty Hardi Saputra, Setiawan Sabana, PriyantoSunarto, Achmad Syarief 38 Yosef Adityanto Aji Mahasiswa S3 Pascasarjana ISI Yogyakarta PEMANFAATAN INSTRUMEN MUSIK TRADISIONAL ANGKLUNG UNTUK MENINGKATKAN KUALITAS PEMBELAJARAN ANSAMBEL MUSIK DI SD/MI PENCIPTAAN BATIK BATAK 476 BUKU HARIAN BERGAMBAR SEBAGAI SEBUAH ALTERNATIF BAGI ANAK UNTUK DAPAT BERTUTUR SECARA VISUAL BEKSAN BANDABAYA, PENERUS DAN PENEGUH WARISAN BUDAYA NUSANTARA 39 Yostiani Noor Asmi Harini TRANSFORMASI FOLKLOR LISAN NINIANTEHKE NOVEL DONGENG NINIANTEH KARYA A.S. KESUMA 40 Zuliskandar Ramli, Nik Hassan Shuhaimi Nik Abdul Rahman & Mohamad Zain Musa PULAU KELUMPANG SEBAGAI SALAH SATU PUSAT PENGELUAR MANIK KACA INDO-PASIFIK DI MALAYSIA 488 499 513 529 41 Zainuddin Zakaria Fakulti Pengurusan Perniagaan UiTM 42 Eko Haryanto, UNNES 43 Edi Puryanto Universitas Negeri Jakarta 44 Lilly Setiono & Setiawan Sabana ITB 45 Christine Claudia Lukman FSRD ITB THE INFLUENCE OF PRODUCTION ELEMENTSIN CREATING COMPETITIVE ADVANTAGE IN THE MALAYSIAN CREATIVE INDUSTRY DESIGN ORNAMENTAL PATTERN OF JAVANESE SINGLE CHAIR ON THE 17 Th UNTIL THE 20 Th CENTURY BAHASA SEBAGAI PEMBENTUK IDENTITAS PERAN BAHASA RUPA UNTUK MENGANALISIS ASPEK BERCERITA DARI CERITA BERGAMBAR YANG DIGUNAKAN DALAM SASTRA TIONGHOA PERANAKAN xiv
BUDDHISM IN MALAYSIA : ORIGIN AND DEVELOPMENT Nik Hassan Shuhaimi Nik Abd. Rahman, Mohamad Zain Musa & Zuliskandar Ramli INSTITUT ALAM DAN TAMADUN MELAYU UNIVERSITI KEBANGSAAN MALAYSIA Abstract The study of Buddhist Heritage in Malaysia by using data from arehaeology and Classical Malay Literature indicates that Buddhist religion originated during the 6 th century AD. Their heritage can be traced to Kedah, Perlis, Perak, Kelantan and Sarawak. Heritage types include Buddhist images, candi, inscriptions and votive tablets. Among the inscriptions are Sungai Mas Inscription, Cherok To kun Inscription, Bukit Meriam Inscription and others. They can be dated to the 6 th / 7 th century AD and written in Sanskrit. The images include Buddha images, Avalokitesvara and Hariti. One of the most interesting features of the Avalokiesvara images found in Perak is the tiger skin clothing the image. It can be assumed that this kind of iconography was related to the Srivijaya iconography. The Candi are found in many parts of the Bujang Valley and in Santubong. Among them are Site 32 in Sungai Mas, Site 21/22 Pengkalan Bujang, Site 17 Bukit Pendiat and Site 10, Bujang Valley. The votive tablets were fount in Ulu Kelantan in Bukit Choras and in Perlis. All the Buddhist heritages indicate that Buddhism was adopted by the people living in those areas around 6 th century AD. However, trade relationship with India developed several centuries before that about 2/3 centuries before Christian era. However, Buddhism was finally adopted as the religion of the kingdom by the 6 th century AD, on the west coast of the Malay Peninsula and Sarawak. Before that, it was probable that the persons chosen to lead the people were only chiefs but only after Buddhism became the state religion and the status of the area became kingdoms that the chief elevated themselves to the status of kings. Thus it can be assumed that the society was responsible for choosing which 445
religion they should adopt. Normally, the person responsible for choosing the religion was the chief. Buddhism was chosen to be the religion of Sri Lanka, Myanmmar, Thailand, Malaysia, Sumatera and China as early as the 6 th century AD. After the 10 th century AD, Hindu became the chief religion of Kedah. Finally, the Bhairava Cult ended Buddhism and Hinduism in Malaysia. In the 13 th / 14 th century AD, Islamic religion became dominant in Malaysia. Introduction This study is based on the evidence derived from the archaeological heritage and literary Malay classical sources. The archaeological heritage comprises the inscriptions, Buddhist images, votive tablets and trade product s and literary Malay classical sources include the Sejarah Melayu and Hikayat Merong Mahawangsa. It will also focuss on the statement of I Ching in 671AD. According to this study, it is apparent that the beginning of Buddhism in Malaysia was about 5th /6th century AD. Nevertheless, the people of Southeast Asia including Malaysia had been trading with India at least about 2nd/3rd centuries before the Christian era. This is based on the development of trade and effective sea-faring. We can confirm this fact by relating to the discoveries of trade products such as beads from India found in Kuala Selinsing (Perak) and Dongsong drums and bells from Vietnam together with beads from India. They were discovered in Gaung (Terengganu), Batu Buruk (Terengganu), Muar (Johor), Tembeling (Pahang) and Klang (Selangor). 446
Dong Son Bell (Kampung Gaung, Besut Dong Son Bell (Kampung Pencu, Johor However, by the end of 10th century AD Buddhism was replaced by Hinduism on the basis of candi architecture and images. By the 12th/13th century, Bhairava Cult became popular among the rulers of Kedah if we refer to the Sejarah Melayu and Hikayat Merong Mahawangsa. The influence came from Padang Lawas (Sumatera). Statue of Adityavarman 447
The Inscriptional Evidence Evidence from inscriptions indicate that the beginning of Buddhism in Malaysia was from 5th/6th century AD and developed to the 10th century AD. The inscriptions can be dated to the early part of Buddhism 5th/6th century AD. They were found in : (i) Sungai Mas (1979) Sg. Mas 1 (ii) Cherok To kun (Bukit Mertajam) (iii) Bukit Choras (Bujang Valley : Site 1) 448
(iv) Bukit Meriam (v) Bujang Valley : Site 2 (vi) Bujang Valley : Site 10 (vii) Site 21/22 (viii) Site 32 (2007) Sg. Mas 2 Scholars who have studied them believed that they were produced during the 5th/6th to 7th centuries AD. They were related to Buddhism. According to J.G. Casparis (1956), they were Buddhist Formula, ye te mantra. The Sungai Mas (1) inscription can be transcribed as follows : ajanac-ciyate karmma janmanah kara (nam) (jhanan) ciyate ke (ramma) karmmabhav (n-na) jayata The second most important, discovery was the Inscription of Bukit Choaras. Quaritch-Wales labelled it as Site 1. The discovery is important because it is the northen most part of the Bujang Valley. It is near to Sungai Sala. The exact wording of the inscription was ye dhaamma hetu (prabhavva hetun-tesan) tathagato hyavadat tesam can yo nirodho evam vadi mahasramanah It has been observed that the letters of some of the words have been changed to old Javanese such as ha, na and tha. 449
The inscription from Cherok To kun (Bukit Mertajam) was very interesting. It was about a personality by the name of Buddhagupta going on an expedition to Redearth Land. Again it was a Buddhist inscription. Another inscription from Bukit Meriam (Seberang Prai) was discovered by James Low in 1840 s. On the inscription was a stupa of the Gupta period with 7 cattras. On the right hand side of the cattra, the wording was as follows... nac-citaye karmma janmanah karma karama It can be dated to 5th/6th century AD. There is the inscription in Pallava-Granatha from Site 2 : Bujang Valley. The inscription contains the following : balani dasa catvari vaisaradyani yanica astadasa ca Buddhanama dharmma avenika hi ye ye pratitya samutpanna na te kecitsva bhavannah ye evabhava na vidyantena tesam sambhavati kvacit janite ye imam kotim-akotim jagatas-samam tasya kotim gatam jnanam sarvva diharmmesu varttate It can be dated to the 7th century AD. Another inscription is from Site 10 written on golden adn silver cakra. It can transcribed as follows : sarva-apaya-jaha (a) moghadarsi gardhahasti vajra unclear script unclear script samantabhadra bodhisatwa 450
From Site 21/22 came four words trascribed on bricks. The inscriptions are as follows : (a) tra (b) tra (c) ta (d) ta The Site 32 provides us with another inscription. It is also a Buddhist mantra and can be dated to the 5th/6th century AD. The latest discovery was from Sungai Batu. It was read by Nasha (personal communication). It can be dated to the 7th century AD. Batu Bata bertulis dengan perkataan tra, Tapak 21/22, Pengkalan Bujang, Lembah Bujang Batu Bata bertulis dengan perkataan ta, Tapak 21/22, Pengkalan Bujang, Lembah Bujang The Buddhist Images The Buddhist images comprise Buddha, Avalokitesvara, Hariti, Bodhisattva of various forms, and Hindu images such as Linga and Durga triumphant over Mahisasura, Ganesa etc. Chronologically the Buddhist images appear to belong to the period between the 5th to the 10th centuries AD. Eventhough the inscriptions can be dated to the early phase of the history of the Bujang Valley, the dates of the images can be placed from the 5th to the 10th centuries AD. The oldest Buddiest images the standing Buddha from Site 451
16A. It is influenced by the Sarnath school. The Mudra of the image is similar to the images from Sarnath, Kansher, and Ajanta but not the standing posture which was unpopular in Kanhari and Aganta. However, the uttarasanga is very close to the Buddhapad images, Southern India and Cambodia. Thus it is in line with the style prevalent during that time in Southeast Asia. Among the images which can be scribed to this period are the Hariti from Sungai Mas, the Buddha head from Sungai Mas and the hand of Buddha from Site 32. 452
453
The next phase of the development of Buddhist art in Malaysia can be deduced from the images from Site 21/22 (Pengkalan Bujang). 454
The influence must have come from the Cola art. We can confirm this by looking at the facial features. This must be related to the Cola attack in 1025. Besides the influence from the Colas the images of Buddhist sculptures in Malaysia were influenced by the Srivijaya religious practised, namely clothing the Avalokitesvara images from Perak can be included in this category. Among the best example in the Jalong Bronze and others. 455
All the images show independent styles different from the Indian images. The best examples are the Dvaravati, Thai and Cambodia styles of Buddhist art. They developed independently just like the Srivijaya style, the Avalokitesvara with tiger skin. The images of Hindu also point to local genius. The society led by the king will choose what image to pray to and how to present it. In the case of the Bujang Valley, there is the example of Durga triumphant over Mahisasura found in Sungai Batu Estate. 456
There was also the Ganesa image and Linga found in various parts of the Bujang River. Also, there was the practice of putting stone reliquary. The most developed was the one found at Site 8. The content of the stone reliquary comprises the following : 457
The Candi of the Bujang Valley representing the Buddhist period can be seen from the following sites : (i) Site 21/22 (ii) Site 17, Bukit Pendiat 458
(iii)site 32, Sungai Mas The Hindus candi are as follows : (i) Site 5, Sg. Batu 459
(ii)site 8, Sungai Merbok 460
(iii) Site 11, Bujang Valley 461
(iv) Site 16, Bujang Valley 462
(v) Site 19, Bujang Valley 463
(vi) Site 50, Bendang Dalam (vii) Site 31, Permatang Pasir 464
All the Hindu candis can be dated to the period after 10 th century AD in view of the fact that Hindu came after Buddhist. Another evidence for Buddhism was the discovery of votive tablets from various sites in the northern state of Malaysia such as Kurong, Batang (Perlis) and Gua Berhala (Perlis) and also Gua Chawas (Kelantan). The classification has been based on the work of Coedes (1926). He classified them as Type II. Lamb on the other hand classified the votive tablets from Perlis as five types for Kurong Batang and II types for Gua Berhala (1964). Adi Taha (2007) who discovered the tablets in Ulu Kelantan (Gua Chawas) has classified them into 7 types. According to Coedes (1926), the type II tablet may be dated to about 10 th century AD based on Negeri alphabet in Java. However, O Connor (1974) argues for 8 th 10 th centuries AD. But Lamb (1964) considers 12 th century as a possible date. Adi Taha dated his finds to the 15 th century AD (2007). All the votive tablets types have been found all over Southern Thailand. They must have certain links. Votive Tablets Chawas type 1 Buddha Vanirocana and ashata maha Bodhisattva (eight great bodhisattvas) Chawas type 1 Buddha Vanirocana and ashata maha Bodhisattva (eight great bodhisattvas) 465
Chawas type 4a and 4b Bodhisattva Avalokitesvara, with twelve arms, standing in the Tribhanga posture Chawas type 5a and 5b Bodhisattva Avalokitesvara giving blessings 466
Chawas type 6 Buddha Amithaba medatitng Chawas type 7 Buddha on a lotus throne preaching the dharma 467
Conclusion From the archeological evidence it is apparent that Buddhism was only accepted and practised in Malaysia from 5 th century AD onwards till the 10 th century AD. The centre of Buddhism in the Malay Peninsula on the west coast was Sungai Mas (Kedah). However, the whole of the west coast of the Malay Peninsula was dotted with Malay Buddhist kingdoms and one of them was as Chieh-cha visited by I Ching in 671 AD and Gangganegara in Perak and Vijayapura in Santubong (Sarawak). There were also other kingdoms in the Peninsula Thailand on the basis of the archaeological evidence found in Takuapa and other parts of Peninsula Thailand (west coast). However by the tenth century AD, Hinduism was dominant in the Malay Peninsula and probably Sarawak. This Hinduism became more Tantric with the practice of Bhairava Cult as interpreted from the Hikayat Merong Mahawangsa and the evidence from Padang Lawas the incarnation of Adityavarman as Bhairava. By the 13 th century AD Malaysia accepted Islam as the religion on the evidence of Terengganu Stone. But from Sri Lanka to Myanmmar, Thailand to China Buddhism is the accepted religion. Bibliografi ADI HJ. TAHA. 2007. The Archaeology of Ulu Kelantan. Kuala Lumpur: Jabata Muzium Malaysia. BOISSELIER, J., La statuaire du Champa, Paris, 1963. BOSCH, F.D.K. Selected Studies in Indonesian archaeology. The Hague, 1961. COEDES, G., Siamese votive tablest, JSS, 20, 1, (1927), pp. 1-23. DE CASPARIS, J.G., Prasasti Incdonesia II: Selected inscriptions for the 7 th to 9 th century AD. Bandung, 1956. EVANS, I.H.N., On ancient remains from Kuala Selinsing, JFMSM, 12, (1928), pp. 128 132. LAMB, A.H., The Temple on the river of cut stone, MH, 4, 2, (1958), pp. 2 9 468
LAMB, A.H., Chandi Bukit Batu Pahat: A report on the excavation of an ancient temple in Kedah. Monographs on Southeast Asian subjects No. 1, Eastern University Press Ltd., Singapore, 1960. LAMB, A.H., A note on the tiger symbol in some South-east Asian representations of Avalokitesvara, FMJ. 6, (1961), pp. 89 90. LAMB, A.H., Miscellaneous papers on early Hindu and Buddhist settlements in northern Malaya and southern Thailan, FMJ, (n.s.), 6, (1961), pp. 1 90. NIK HASSAN SHUHAIMI NIK ABD. RAHMAN, Art, Archaeology and the Early Kingdom in the Malay Peninsula and Sumatra: C400-1400 AD, Ph.D, Thesis, University of London, May, 1984. NIK HASSAN SHUHAIMI NIK ABD. RAHMAN, Arkeologi dan Kesenian Purba di Lembah Sungai muda: Satu Kajian Tentang Pelabuhan Negeri di Lembah Sungai Muda di Abad ke 6 hingga ke 10 Masihi, Pertemuan Ilmiah Arkeologi IV, Vol. 11a, Jakarta, 1986, pp. 277 304. NIK HASSAN SHUHAIMI NIK ABD. RAHMAN, Isu-isu Arkeologi dan seni Purba Lembah Bujang (Abad 5 14 Masihi), Sumbangsih, (ed.) Nik Hassan Shuhaimi bin Nik abd. Rahman et. al., Universiti Kebangsaan Malaysia, 1988, pp. 11 27. NIK HASSAN SHUHAIMI NIK ABD. RAHMAN & OTHMAN YATIM, : Takuapa Revisited: A Commentary on Alastair Lamb s Pre-Malacca Entrepot, Jurnal Arkeologi Malaysia, Bil. 2, 1989, pp. 93 99; Antiquities of Bujang Valley, Kuala Lumpur: Persatuan Muzium Malaysia, 1990. QUARITCH-WALES, H.G., A newly explored route of Indian cultural expansion, IAL, 9, 1, (1935), pp. 1 35. QUARITCH-WALES, H. G., Archaeological researches on ancient Indian colonization in Malaya, JMBRAS, 18, 1, (1940), pp. 1 85. SASTRI, K.A., Nilakanta, The history of Srivijaya, University of Madras, 1949. 469