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Murdihastomo, Ashar
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PROTECTING THE ARCHAEOLOGICAL REMAINS AT THE BORDER AREA: CASE STUDY OF CERAMIC REMAINS AT NATUNA REGENCY Murdihastomo, Ashar; Seno Bismoko, Dimas
Jurnal Konservasi Cagar Budaya Vol. 17 No. 1 (2023): Jurnal Konservasi Cagar Budaya Borobudur
Publisher : Balai Konservasi Borobudur

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33374/jurnalkonservasicagarbudaya.v17i1.298

Abstract

Natuna is one of the areas in Indonesia that has archaeological remains with the background of past international trade activities through the sea, one of which is ceramics. The number of ceramics remains found on the island can provide information on the early history of civilization on Natuna Island. Ceramics are sought by the residents of Natuna, especially those affected by the northern monsoon, to be traded illegally. Therefore, the question posed in this article is how the archaeological remains protection system is implemented in Natuna Regency. The goal is to minimize illegal activities related to archaeological remains in the Natuna Regency. This article uses primary and secondary data from field research in 2019-2021 and literature studies related to archaeological remains in Natuna. The data was collected through direct observation, excavation, interviews, and a literature review. Then, we did the data reduction. From that, we made an interpretation that is used to solve problems about the protection of archaeological remains. The conclusion obtained is that to minimize illegal activities related to archaeological remains is to collaborate with the activities of three parties, namely the government, stakeholders, and the general public.
INTERPRETASI PEMAKNAAN RELIEF TOKOH GAJA-LAKȘMĪ KOLEKSI MUSEUM SONOBUDOYO, YOGYAKARTA Murdihastomo, Ashar; Tanzaq, Yoses; Kirana, Ayu Dipta; Fadhilah, Fitra Nur
AMERTA Vol. 37 No. 2 (2019)
Publisher : Penerbit BRIN (BRIN Publishing)

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Abstract

Abstract, Interpretation of the Meaning Gaja-Lakșmī Sculpture Figure of Sonobudoyo Museum Collection’s, Yogyakarta. The existence of Gaja-Lakșmī sculpture at Sonobudoyo Museum is interesting because it is rarely found in Indonesia. The figure of Gaja-Lakșmī is depicted in a sitting position. There are two elephants that carved on the right and left side of goddess. The elephants lift their trunks and showed that they are pouring water on the goddess. Certainly, the sculpture has a specific purpose, especially, because it was carved on media that indicated as the upper (dorpal) entrance of a temple building. The aim of disclosure of the sculpture is to find out the purpose and function of the depiction of the Gaja-Lakșmī  character in the past. Through the process of identifying iconography and literature studies, the purpose and function of the depiction of the Gaja-Lakșmī  figure is as a protector of people's welfare. Keywords: Gaja-Lakșmī, Relief, Iconography   Abstrak, Keberadaan relief tokoh Gaja-Lakșmī di Museum Sonobudoyo merupakan salah satu hal menarik mengingat gambaran ini sangat jarang ditemukan di Indonesia. Tokoh Gaja-Lakșmī tersebut digambarkan dalam posisi duduk yang pada sisi kanan dan kirinya terdapat dua ekor gajah yang mengangkat belalai seolah-olah menuangkan air kepada sang dewi. Tentunya penggambaran tokoh dewi ini memiliki maksud tertentu, terlebih, karena tokoh ini diletakkan di tempat yang diindikasikan sebagai bagian atas (dorpal) pintu masuk suatu bangunan candi. Pengungkapan makna penggambaran ini adalah untuk mengetahui tujuan dan fungsi tokoh Gaja-Lakșmī pada masa Matarām Kuno. Melalui proses identifikasi ikonografi dan kajian pustaka, diperoleh informasi bahwa tujuan dan fungsi penggambaran tokoh Gaja-Lakșmī adalah sebagai pelindung kesejahteraan masyarakat. Kata Kunci: Gaja-Lakșmī, Relief, Ikonografi
Iconography analysis of flower and animal ornaments on the prabhamandala of Shiva statue of the National Museum Indonesia: Analisis ikonografi ornamen bunga dan binatang pada prabhamandala arca Siwa koleksi Museum Nasional Indonesia Murdihastomo, Ashar
Berkala Arkeologi Vol. 41 No. 2 (2021)
Publisher : BRIN

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.30883/jba.v41i2.621

Abstract

Shiva is one-third of the highest Gods in Hindu religion, who together with Brahma and Vishnu form Trimurti. The worship of Shiva is embodied in the form of lingga or a statue, decorated with distinctive ornaments and attributes commonly depicted to identify Shiva. A statue with inventory number 29a/3184 in the National Museum Indonesia depicts Siwa with flower and animal ornament which have never been found in other Shiva statues. This article aims to investigate the religious concept flourished during the making of this statue by conducting an iconographic analysis on the said ornaments. Through a descriptive-explanatory approach, the author suggests that the Indian lotus (padma) and goose (hamsa) ornaments are the representation of Shaiva Siddhanta rite practiced during XIII-XIV century CE in the eastern Java.
THE DEPICTION OF SNAKE ORNAMENT ON GANESHA STATUE IN THE COLLECTION OF PRAMBANAN TEMPLE MUSEUM, YOGYAKARTA: PENGGAMBARAN ORNAMEN ULAR PADA ARCA GANESHA KOLEKSI MUSEUM CANDI PRAMBANAN, YOGYAKARTA Murdihastomo, Ashar
Berkala Arkeologi Vol. 40 No. 1 (2020)
Publisher : BRIN

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.30883/jba.v40i1.477

Abstract

Abstract Ganesha is the best-known deity after Trimurti in the Hindu pantheon. He is worshipped as the lord of beginnings and as the lord of removing obstacles. He is sculpted in various depictions. One of them, collected by the Prambanan Temple Museum, Yogyakarta, shows a snake and a mouse as his vahana (mount/vehicle). This image has never been found anywhere else. Therefore, this study was aimed to find out the mythological story behind that depiction and to investigate the past people’s understanding of it. This descriptive study employed an iconographic analysis to analyze the collected data. The analysis results indicate that Ganesha is revered as the protector of crop yield (the harvest deity). Abstrak Ganesha merupakan dewa terpopuler bagi umat Hindu setelah Trimurti. Dewa ini dipuja karena keberadaannya dapat memberikan kemakmuran dan menghindarkan segala rintangan dan marabahaya. Tidak mengherankan apabila dewa ini diarcakan dengan berbagai penggambaran. Salah satu penggambaran yang unik ditemukan di Museum Candi Prambanan, Yogyakarta. Ganesha digambarkan memiliki ornamen ular dan terdapat pahatan tikus sebagai wahananya. Tentunya gambaran ini belum pernah ditemukan di tempat lain sehingga diperlukan suatu kajian untuk mencari tahu cerita mitologi yang melekat dalam wujud tersebut. Selain itu, juga untuk menerka pemahaman masyarakat masa lalu terkait dengan penggambaran wujud tersebut dalam kehidupan sehari-hari. Kajian yang dilakukan ini menggunakan deskriptif-analisis dengan menggunakan kajian ikonografi sebagai dasarnya. Hasil yang diperoleh mengindikasikan bahwa arca Ganesha tersebut merupakan perwujudan dewa pelindung hasil panen.
IDENTIFIKASI ARCA TOKOH BERKEPALA SINGA DI MUSEUM PENATARAN Murdihastomo, Ashar
Berkala Arkeologi Vol. 39 No. 1 (2019)
Publisher : BRIN

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.30883/jba.v39i1.334

Abstract

Abstract The field study that was organized by the committee of Premodern Java Summer Programme in 2016 targeted several museums in East Java, especially in Mojokerto-Penataran area. That field study was intended to provide an understanding about the development of cultural arts during the end of Hindu-Buddhist period of Majapahit Kingdom. This paper is discussing about one of the objects that was being observed during that Summer Programme. The object of discussion is the lion-headed figure, stored in Museum Penataran. During the Summer Programme, some participants have predicted that the statue is Lord Vishnu in his Narasimha form. That prediction was mainly based on the statue's head which resemble a lion's head. Through several studies, such as the description of the statue, the literature study of iconography, and analysis about the special iconographic character, this paper concluded that this figure is a manifestation of Ganesha, named Simha-Ganapati. The worship of Simha-Ganapati has a purpose not only to bring strength and courage, but also to provide confidence in facing problems by destroying all forms of negative thoughts.
Co-Authors Fadhilah, Fitra Nur Kirana, Ayu Dipta Seno Bismoko, Dimas Tanzaq, Yoses