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All Journal Berkala Arkeologi SANGKHAKALA Berkala Arkeologi KALPATARU Kalpataru Amerta Berkala Arkeologi
Sukawati Susetyo
Pusat Penelitian Arkeologi Nasional
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Situs Lobu Dolok, Makam Kuno di Kawasan Padang Lawas Sekitar Abad ke-17 Masehi Sukawati Susetyo
Berkala Arkeologi Sangkhakala Vol 13 No 26 (2010)
Publisher : Balai Arkeologi Sumatera Utara

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (941.816 KB) | DOI: 10.24832/bas.v13i26.178

Abstract

AbstractAs a sacred tomb, Lobu Dolok is not maintained properly. This is because the tomb is situated on a hilltop. Although the sacred, none of people know who is buried and what the meaning of these remains. This article attempts to make an interpretation based on signs left by the form of inscriptions, statues of women and men as well as a relief of vulva.
Tinjauan Arsitektur Rumah Adat Batak Toba di Pulau Samosir Sukawati Susetyo
Berkala Arkeologi Sangkhakala Vol 12 No 24 (2009)
Publisher : Balai Arkeologi Sumatera Utara

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (3073.902 KB) | DOI: 10.24832/bas.v12i24.221

Abstract

AbstractMany of Batak Toba traditional houses are still found in Pulau Samosir, and other areas in North Sumatra. When studying the techniques of this traditional house structure design, we have great admiration for the creativity our ancestors. All materials come from the natural environment where they lives, as well as building technique have been taking into account the various effects caused by the earthquake and fire has been well anticipated. Beside that, all the elements of building and decorative art which have been drawn by high philosophical meaning. As technology development, the building materials
Gaya Seni Arca Masa Kᾱḍiri: Studi Terhadap Arca Candi Gurah dan Candi Tondowongso Sukawati Susetyo; Ashar Murdihastomo; Agustijanto Indradjaja; Dimas Nugroho
KALPATARU Vol. 30 No. 1 (2021)
Publisher : Pusat Penelitian Arkeologi Nasional

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24832/kpt.v30i1.804

Abstract

In the archaeology Hindu-Buddhist era in Indonesia, there are several known art styles temple building architecture and statue art: Early Classical Era and Late Classical Era. In more detail, that several eras can be described that Early Classical Era developed during the Old Mātaram era with the center of its reign at Central Java, and Late Classical Era Style developed during Kāḍiri/Siŋhasāri and Majapahit with the center of its reign at East Java. Late Classical Era Style divided into two subs, Kāḍiri/Siŋhasāri and Majapahit. Kāḍiri as an early dynasty in East Java not yet known clearly what the special characteristic style of its temple is building architecture and its statue art, and only been told that the Kāḍiri Era Style is the connecting line between Early Classical Era Style and Late Classical Era. This essay intends to find out special characteristics of the Kāḍiri Era Style (transition art style). For this reason, the research was carried out on statues comes from Gurah Temple and Tondowongso Temple, both temples knew the date, with relative dating method or absolute dating method. From this iconographic research in detail will describe parts of the statues, from then will obtain several features that always appear, and that’s characteristics are considered as a strong characteristic from statues from Kāḍiri Era Style.
Makara Candi Adan-Adan: Gaya Seni Masa Kaḍiri Sukawati Susetyo
Berkala Arkeologi Vol 40 No 1 (2020)
Publisher : Balai Arkeologi Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1732.638 KB) | DOI: 10.30883/jba.v40i1.514

Abstract

This paper discusses the makara found at Adan-Adan Temple, Kediri. So far, it is the largest makara in Indonesia and, in terms of iconography, has distinctive features. The data was collected through detailed observations both directly in the field or through photographs. This study employed a comparative analysis, i.e. comparing the collected data to the makaras from different periods (the Ancient Matarām, the Srīwijaya, and the Siŋhasāri). From these comparisons, it is known that the makara at Adan-Adan Temple has special characteristics, i.e. different depictions between the makara on the left and the right as can be seen from the figure of a mythical creature inside the makara’s mouth, from the sculpture on the front of the makara, and on the back of the makara. This particularity may be included as an art style of the Kaḍiri period (the transitional period of from Ancient Matarām to Siŋhasāri).
MAKARA PADA MASA SRIWIJAYA Sukawati Susetyo
KALPATARU Vol. 23 No. 2 (2014)
Publisher : Badan Riset dan Inovasi Nasional

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Abstract

Śrīvijaya was one of the big kingdoms in Indonesia in 7th - 12th Centuries CE. Remains of temples from the Śrīvijaya period are distributed in several areas, from Muara Jambi in Jambi, Muara Takus in Riau, Bumiayu in South Sumatera, up to the several temple complexes of Padang Lawas in North Sumatera. Makara is one element of the temple which is usually paired with kala. This paper will discuss Makaras from Śrīvijaya period that have specific characteristics compared to Makaras at the ancient Matarām, although there are also some similarities to those in Java. Śrīwijaya merupakan salah satu kerajaan besar di Indonesia pada abad ke-7-12 M. Tinggalan bangunan suci dari masa Śrīwijaya tersebar di beberapa kawasan, yaitu Muara Jambi di Jambi, Muara Takus di Riau, Bumiayu di Sumatera Selatan, hingga beberapa kelompok bangunan suci Padang Lawas di Sumatera Utara. Makara merupakan salah satu unsur bangunan candi yang biasanya berpasangan dengan kala. Tujuan penulisan ini adalah ingin mengetahui ciri-ciri makara dari masa Śrīwijaya dengan cara membandingkannya dengan makara-makara dari candi masa Matarām Kuno. Dari hasil penelitian selama ini diketahui bahwa makara Śrīwijaya mempunyai ciri tersendiri, meskipun tidak menafikan adanya beberapa kesamaan dengan makara dari masa Matarām Kuno tersebut.
SITUS KESUBEN: SUATU BUKTI PERADABAN HINDU-BUDDHA DI PANTAI UTARA JAWA TENGAH Sukawati Susetyo
KALPATARU Vol. 24 No. 2 (2015)
Publisher : Badan Riset dan Inovasi Nasional

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Abstract

The Indonesian Ancient History has recorded that the oldest historical period in Central Java was the period of the Ancient Matarām Kingdom (8th – 10th centuries CE). At the same period there was the kingdom of Srivijaya on the east coast of Sumatera. On the other hand, according to Chinese chronicles, there had been a kingdom in Java in 5th century CE, namely Ho-ling (She-po). Recent investigations along the north coast of West Java and the east coast of Sumatera have yielded evidences of relations between Indonesia and foreign countries in forms of imported artifacts, although this is not supported by inscriptions. This indicates that evidences of international relations have to be searched in coastal areas because it was where the relations began. The research on the north coast of Central Java was carried out in forms of survey, excavation, and thorough interviews, and the writing method is descriptive-comparative. This research has provided new evidence in form of a candi (temple) at Kesuben Village in Lebaksiu District, Tegal Regency, Central Java. The finds include structure of candi made of bricks, antefixes, and stone statues. Unfortunately we have not been able to identify the religious background of the Candi Kesuben (Kesuben Temple) because there has not been any artifact that can support the identification. Sejarah kuno Indonesia mencatat bahwa masa sejarah tertua di Jawa Tengah adalah Kerajaan Matarām Kuno (abad ke-8-10). Pada waktu yang sama di pantai timur Sumatera terdapat Kerajaan Sriwijaya. Di lain pihak, berita Cina menginformasikan bahwa kerajaan di Jawa sudah ada pada abad ke-5, yaitu Ho-ling (She-po). Penelitian mutakhir di pesisir pantai utara Jawa Barat dan timur Sumatera memberikan bukti adanya hubungan antara Indonesia dengan bangsa asing berupa artefak-artefak dari luar negeri, meskipun tidak didukung oleh data prasasti. Hal tersebut memberikan petunjuk untuk mencari bukti awal hubungan dengan bangsa lain di daerah pesisir pantai. Penelitian di pesisir pantai utara Jawa Tengah ini dilakukan dengan survei, ekskavasi, dan wawancara mendalam, metode penulisan menggunakan metode deskriptif komparatif. Penelitian ini berhasil menambahkan data baru berupa temuan candi di Desa Kesuben, Kecamatan Lebaksiu, Kabupaten Tegal, Jawa Tengah.Temuan yang dihasilkan berupa struktur bangunan candi dari bata, antefiks-antefiks, dan arca batu. Hingga saat ini dari penelitian ini belum diketahui latar keagamaan Candi Kesuben karena belum ditemukan artefak yang mendukung.
GAYA SENI ARCA MASA KᾹḌIRI: STUDI TERHADAP ARCA CANDI GURAH DAN CANDI TONDOWONGSO Sukawati Susetyo; Ashar Murdihastomo; Agustijanto Indradjaja; Dimas Nugroho
KALPATARU Vol. 30 No. 1 (2021)
Publisher : Badan Riset dan Inovasi Nasional

Show Abstract | Download Original | Original Source | Check in Google Scholar

Abstract

In the archaeology Hindu-Buddhist era in Indonesia, there are several known art styles temple building architecture and statue art: Early Classical Era and Late Classical Era. In more detail, that several eras can be described that Early Classical Era developed during the Old Mātaram era with the center of its reign at Central Java, and Late Classical Era Style developed during Kāḍiri/Siŋhasāri and Majapahit with the center of its reign at East Java. Late Classical Era Style divided into two subs, Kāḍiri/Siŋhasāri and Majapahit. Kāḍiri as an early dynasty in East Java not yet known clearly what the special characteristic style of its temple is building architecture and its statue art, and only been told that the Kāḍiri Era Style is the connecting line between Early Classical Era Style and Late Classical Era. This essay intends to find out special characteristics of the Kāḍiri Era Style (transition art style). For this reason, the research was carried out on statues comes from Gurah Temple and Tondowongso Temple, both temples knew the date, with relative dating method or absolute dating method. From this iconographic research in detail will describe parts of the statues, from then will obtain several features that always appear, and that’s characteristics are considered as a strong characteristic from statues from Kāḍiri Era Style. Dalam arkeologi masa Hindu Buddha di Indonesia, dikenal gaya seni arsitektur bangunan candi dan seni arca masa Klasik Tua dan Klasik Muda. Dapat dijabarkan secara lebih rinci bahwa seni Klasik Tua berkembang pada masa Mātaram Kuna dengan pusat pemerintahan di Jawa bagian Tengah, sedangkan Seni Klasik Muda berkembang pada masa Kāḍiri/Siŋhasāri dan Majapahit dengan pusat pemerintahan di Jawa Timur. Seni Klasik Muda terbagi menjadi dua, yaitu Kāḍiri/Siŋhasāri dan Majapahit. Kāḍiri sebagai suatu dinasti awal di Jawa Timur belum diketahui secara jelas apa saja ciri-ciri khusus, seni bangun candi maupun seni arca, dan hanya dikatakan bahwa gaya seni masa Kāḍiri adalah benang merah yang menghubungkan antara gaya seni Klasik Tua dengan gaya seni Klasik Muda. Tulisan ini bertujuan mengetahui ciri-ciri khusus arca-arca masa Kāḍiri (gaya seni peralihan). Untuk itu, perlu dilakukan penelitian terhadap arca-arca yang berasal dari Candi Gurah dan Candi Tondowongso. Kedua candi tersebut sudah diketahui pertanggalannya, baik secara relatif maupun absolut, yaitu dari masa Kāḍiri. Melalui penelitian ikonografi secara mendetil terhadap bagian-bagian arca didapatkan beberapa ciri yang selalu muncul, dan ciri tersebut dianggap sebagai ciri kuat arca-arca masa Kāḍiri.
REINTERPRETASI PERTANGGALAN RELATIF EMPAT ARCA BATU KOLEKSI MUSEUM NASIONAL INDONESIA Ashar Murdihastomo; Sukawati Susetyo
AMERTA Vol. 39 No. 2 (2021)
Publisher : Badan Riset dan Inovasi Nasional

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Abstract

Abstract. Reinterpretation of The Relative Date of The Four Stone Sculptures Collection of The National Museum of Indonesia. The results of research on the art style of the Kāḍiri period statues in 2020 show that four statues have been identified as requiring renewal. The information in question is related to the relative dating of the statue. The information written on the museum's information label for the four statues comes from the XI-XII centuries AD. However, when examined based on the art style of the statues, the four have younger characteristics. Therefore, the question arises, what are the characteristics of the sculptures from the four statues in the collection of the National Museum of Indonesia, and when is the relative date indicated by the art style of the statues? This study aimed to determine the art style of the four statues from the collection of the Indonesian National Museum and provide new information on the chronology of the time of the statues. This study uses a qualitative approach based on the descriptive-explanative principle in conducting the analysis using the principles of iconography and ancient sculpture art styles. The results obtained indicate that the four statues have two sculpture characters, namely the Majapahit era and the late Majapahit period, with a relative date range of the XIV-XV centuries AD. Abstrak. Hasil penelitian tentang gaya seni arca masa Kāḍiri tahun 2020 memperlihatkan ada empat arca yang teridentifikasi memerlukan pembaruan. Informasi yang dimaksud terkait dengan pertanggalan relatif arca. Keterangan yang tertulis pada label informasi museum keempat arca tersebut berasal dari abad XI--XII Masehi. Namun, apabila dikaji berdasarkan gaya seni arcanya, keempatnya memiliki ciri yang lebih muda. Oleh karena itu, muncul pertanyaan apakah ciri seni arca dari empat arca koleksi Museum Nasional Indonesia tersebut dan kapan pertanggalan relatif yang ditunjukkan oleh gaya seni arca itu? Tujuan penelitian ini adalah untuk mengetahui gaya seni arca keempat arca koleksi Museum Nasional Indonesia dan memberikan informasi baru terhadap kronologi waktu arca tersebut. Kajian ini menggunakan pendekatan kualitatif yang didasarkan pada prinsip deksriptif-eksplanatif. Dalam melakukan analisis menggunakan prinsip ikonografi dan gaya seni arca kuno. Hasil yang diperoleh menunjukkan bahwa keempat arca tersebut memiliki dua karakter seni arca, yaitu masa Majapahit dan masa akhir Majapahit dengan kisaran pertanggalan relatif abad XIV-XV Masehi.
PENGARUH MAJAPAHIT PADA BANGUNAN PURI GEDE KABA-KABA, TABANAN Sukawati Susetyo
AMERTA Vol. 34 No. 2 (2016)
Publisher : Badan Riset dan Inovasi Nasional

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Abstract

Abstract. Majapahit Influence on the Grand Palace of Kaba-Kaba, Tabanan. Majapahit, as a kingdom, had spread its influence to almost every part of Indonesia such as the western part of Sumatra and the eastern part of the Moluccas, even to our neighbouring countries in Southeast Asia, which were implemented in form of equal partnership (mitra satata). The archaeological remains from the Majapahit period that we can see include sacred and profane buildings, sculptures, reliefs, fragmented and intact potteries and ceramics, and literatures. They bear distinct characteristics, particularly in sacred buildings as well as the styles of reliefs and sculptures. Kaba-Kaba Palace is theremain of Kaba-Kaba Kingdom in Tabanan, Bali, whose king was originated from Majapahit. The aim of this research is to uncover the Majapahit influence on this palace. Furthermore, an attempt was also made to see whether it was built in accordance with Sanga Mandala, a concept used in the building of palaces. The method for this study was carried out by literature study and describing the building elements of the palace that have Majapahit influence, as well as interviewing some sources. The results show that the palace was built based on the sangamandala concept but it has experienced development to accommodate the needs of more recent period. The Majapahit influences on the Kaba-Kaba Palace are seen in the candi bentar (split gate), paduraksa (roofed gate), tantricstyle sculptures, the sculptures of tortoise and dragon, and figure with the face of a stranger. Keywords: Influence, Majapahit, the Grand Palace of Kaba-Kaba Abstrak. Majapahit sebagai kerajaan besar telah mengembangkan pengaruhnya meliputi hampir di seluruh wilayah Indonesia saat ini, yaitu daerah-daerah di Pulau Sumatra di bagian barat dan Maluku di bagian timur, bahkan pengaruhnya meluas sampai ke negara tetangga di Asia Tenggara yang dijalin dalam bentuk persahabatan yang setara (mitra satata). Tinggalan arkeologi dari masa Majapahit yang dapat kita temui adalah bangunan suci, arca-arca, relief, bangunan profan, fragmen/utuh gerabah dan keramik, dan karya-karya sastra. Tinggalan Majapahit tersebut mempunyai ciriciri khusus dalam bentuk arsitektur bangunan suci, gaya relief dan arca. Puri Kaba-Kaba merupakan tinggalan Kerajaan Kaba-Kaba di Tabanan, yang rajanya berasal dari Majapahit. Tujuan penelitian ini untuk mengetahui apa saja pengaruh Majapahit yang ditemukan pada bangunan Puri ini. Selain itu juga untuk mengetahui apakah pembangunan puri sesuai dengan konsep Sanga Mandala. Metode penelitian dilakukan dengan studi pustaka, dan mendeskripsikan unsur-unsur bangunan Puri yang mendapat pengaruh dari Majapahit, juga melakukan wawancara terhadap narasumber. Dari penelitian ini diketahui bahwa pembangunan Puri menerapkan konsep Sanga Mandala, namun telah mengalami pengembangan sesuai kebutuhan. Pengaruh Majapahit yang ditemukan pada bangunan Puri Kaba Kaba antara lain adalah gapura candi bentar dan paduraksa, arca-arca bergaya tantris, arca kura-kura dan naga, serta arca tokoh berwajah orang asing. Kata Kunci: Pengaruh, Majapahit, Puri Gede Kaba-Kaba
MAKARA OF ADAN-ADAN TEMPLE: THE ART STYLE DURING THE KAÁ¸IRI PERIOD: MAKARA CANDI ADAN-ADAN: GAYA SENI MASA KAÁ¸IRI Sukawati Susetyo
Berkala Arkeologi Vol. 40 No. 1 (2020)
Publisher : BRIN

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.30883/jba.v40i1.514

Abstract

Abstract This paper discusses the makara found at Adan-Adan Temple, Kediri. So far, it is the largest makara in Indonesia and, in terms of iconography, has distinctive features. The data was collected through detailed observations both directly in the field or through photographs. This study employed a comparative analysis, i.e. comparing the collected data to the makaras from different periods (the Ancient MatarÄm, the SrÄ«wijaya, and the SiÅ‹hasÄri). From these comparisons, it is known that the makara at Adan-Adan Temple has special characteristics, i.e. different depictions between the makara on the left and the right as can be seen from the figure of a mythical creature inside the makara’s mouth, from the sculpture on the front of the makara, and on the back of the makara. This particularity may be included as an art style of the Kaá¸iri period (the transitional period of from Ancient MatarÄm to SiÅ‹hasÄri). Abstrak Tulisan ini memaparkan tentang makara yang ditemukan pada waktu penelitian di Candi Adan-Adan, Kediri. Makara Candi Adan-Adan sejauh ini merupakan makara terbesar di Indonesia dan dari segi ikonografi mempunyai ciri yang khas. Pengumpulan data dilakukan ketika penelitian melalui pengamatan detil baik secara langsung atau melalui foto, kemudian mendeskripsikannya. Analisis dilakukan dengan studi komparasi yaitu membandingkan makara Candi Adan-Adan terhadap makara-makara dari masa yang berbeda, yaitu masa MatarÄm Kuno, masa ÅšrÄ«wijaya, dan masa SiÅ‹hasÄri. Melalui perbandingan tersebut diketahui bahwa makara Candi Adan-Adan mempunyai ciri-ciri khusus berupa pembedaan penggambaran yang dapat diamati antara makara di sebelah kiri dan kanan, pada figur makhluk mitos yang berada dalam mulut makara; pada pahatan di bagian depan makara; dan pada bentuk bagian belakang makara. Kekhasan ini kiranya dapat dimasukkan sebagai gaya seni masa Kaá¸iri (masa peralihan dari MatarÄm Kuno ke SiÅ‹hasÄri).
Co-Authors Agustijanto Indradjaja Ashar Murdihastomo Dimas Nugroho