Article Per Year (5 Year)
p-Index From 2021 - 2026
0.961
P-Index
This Author published in this journals
All Journal Berkala Arkeologi Naditira Widya KALPATARU Borobudur Kalpataru Amerta Berkala Arkeologi
Ashar Murdihastomo
Pusat Penelitian Arkeologi Nasional
Religion Agriculture, Biological Sciences & Forestry Arts Humanities Chemical Engineering, Chemistry & Bioengineering Civil Engineering, Building, Construction & Architecture Earth & Planetary Sciences Environmental Science Languange, Linguistic, Communication & Media Materials Science & Nanotechnology Physics Social Sciences

Published : 16 Documents Claim Missing Document
Claim Missing Document
Check
Articles

Found 16 Documents
Search

 1   2 
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

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

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.
INTERPRETASI PEMAKNAAN RELIEF TOKOH GAJA-LAKȘMĪ KOLEKSI MUSEUM SONOBUDOYO, YOGYAKARTA Ashar Murdihastomo; Yoses Tanzaq; Ayu Dipta Kirana; Fitra Nur Fadhilah
AMERTA Vol. 37 No. 2 (2019)
Publisher : Badan Riset dan Inovasi Nasional

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

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 Ashar Murdihastomo
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 Ashar Murdihastomo
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 Ashar Murdihastomo
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 Agustijanto Indradjaja Dimas Nugroho Fitra Nur Fadhilah Irva Bauty Kirana, Ayu Dipta Rizka Purnamasari Sukawati Susetyo Yoses Tanzaq