balinese architecture, asian arts

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BALINESE ARCHITECTURE NORSHAM BINTI LEBAI ITAM

Transcript of balinese architecture, asian arts

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BALINESE ARCHITECTURE

NORSHAM BINTI LEBAI ITAM

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TRADITIONAL BALINESE HOUSE

Traditional Balinese architecture has Javanese, Chinese, and South Indian elements, all laid over a strong ancient Indonesian/Polynesian base--.

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TRI ANGGA

Tri angga means "three parts" ; high middle, and low . The tri Angga of Bali as a whole place are divided as follow: the high-sacred mountains which form a ridge from east to west through the center of the island, the middle-is where most of the Balinese live, the low-is the sea.

BALI GOD HOUSE

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BALI LAND Natural forest area 18,1 % ,Protect forest area

963 km 2,rice field nearly 30 %,non irrigate field 30 % ,garden of cash crops such as coffe 17 % ,temperature average 29 degrees , in mountainous area 10 degrees .Wet season from November to March. Geographically, Bali is the end of Asia

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Original house of Bali

1Family Temple. is the place to worship the ancestor and the Hyang Guru.2. Sleeping Pavilion.This building usually a large eight-post structure on a high base. 3. West Pavilion The west pavilion or Bale dauh, is the workhouse of the compound. 4. Ceremonial Pavilion The east pavilion, or bale dangin is the ceremonial pavilion. 5. Sakenam The guest pavilion for relatives and children.6. Granary Or the lumbung is the storage area for rice.7. Kitchen Or paon is in the south because of the association with Brahma (the god of fire) whose place in the south.8. Protective Wall Or aling-aling, most behind the gates to deflect the malign influences.

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BALI TRADITIONAL ‘UMAH’ The proportioning of an umah is

called karang sikut satak.. This karang sikut satak is divided

into three parts, based on the concept of the Mandala, which divides a plot into zone utama, madya, and nista. Zone utama is,"parahyangan" a place for the family prayer, zone madya is for "pawongan" - a place for daily activities, and zone nista is for "palemahan" a place for animals, cages, plants etc.

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BALI TRADITIONAL ‘UMAH’ Around the umah are built confining walls with 4 paduraksas, pillars on the

walls having four angles. The names of each angle are sri raksa, aji raksa, rudra raksa, and kala raksa. The entrance to the yard of the umah is called angkul-angkul. The simplest angkul-angkul is called lelengen and the most complicated is called bintang aring and kori/gelung kori.

After you enter the angkul-angkul, you will see a wall called aling-aling facing you. Aling-aling is a wall which limits and at the same time guides so as to prevent people from viewing from and into the yard (natah of the house through angkul-angkul).

Angkul-angkul

Aling-aling

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BALI TRADITIONAL ‘UMAH’ Natah is an open space in the middle of the

house. The Balinese's activities, including all kinds of ceremonies, take place here. Another place where they can do their religious activities is the sanggah (a place of worship for family) with its several pelinggih (holy buildings). While a place of worship at a parahyangan is called a sanggah, at a pawongan it is called a pelangkiran (a place of worship for each bale), and at a palemahan it is called a penunggun karang.

The number of bales (buiding) in one umah varies according to the concepts of desa, kala, patra (place, time, situation) and desa mawa cara (local customs/traditions). However, in general there are four to six units of bale, the names of each being based on their position or the direction of compass such as the bale daja (balai in the north), bale dangin (balai in the east), bale delod (balai in the south), and bale dauh (balai in the west).

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BALI TRADITIONAL ‘UMAH’ The naming of a bale is also

based on the typology of the building. The simplest bale daja is called meten. The meten which has a veranda with four pillars in front is called meten bandung. If another four pillars are added in front as if it looks like a two-floored veranda, then it is called meten gunung rata.

The same applies to the bale dangin which is based on the number of its pillars : bale dangin saka enam ( six pillars), saka kutus (eight pillars), and saka roras (twelve pillars).

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HINDU BALI

Balinese Hindu, mixed with elements of Buddhism, animism and ancestor worship

Lower castes outnumber the higher castes by ten to one. Holy men, military personnel, and the merchants rank at the top of the hierarchy.

With 3 million residents, it has numerous orchestras, actors/actress, dancers, and artists. Frequent religious festivals, feasts, and other ceremonies

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HINDUISM -DIFFUSION/CULTURAL Essentially is a cultural religion of South

Asia. Hinduism is “a way of life”, if you build a

temple you will be rewarded. So, there are many “shrines” which should be in a “comfortable” position (for example, under a large, shady tree) and near water which has a holy function in Hinduism.

A village temple should face the village from a prominent position

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BALI – HINDU BASIC

PHILOSOPHIES

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BASIC 1 “RWA BHINEDA” or “ SEMARA RATH”

Means:THE RECONCILLATION OF 2 OPPOSING POLES, ELEMENTS, NORMS OR VALUES.

i.e. INDIVIDUAL / MICRO-COSMOS&

NATURE / MACRO-COSMOS

PERFECTION

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BASIC 2 “ TRI HITA KIRANA”

means:3 CAUSES OF GOODNESS. ALL IN THIS WORLD CONSISTS OF 3 COMPONENTS – THE SOUL, THE BODAY AND THE ABILITY.

ARCHITECTURAL PLANNING & DESIGN IS BASED ON: THE BASIC CONCEPT OF “TRI ANGGA”

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THE BALINESE CONCEPT OF BALANCED COSMOLOGY

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TRI LOKA OR TRI ANGGA HIERACHY OF SPACE AND ITS PHYSICAL MANIFESTATION

TRI LOKA SHUAH LOKA BHUWAH LOKA BHUR LOKA

TRI ANGGA UTAMA MADYA NISTA

1. UNIVERSE ATMOSPHERE LITHOSPHERE HYDOSPHERE

2. EARTH/WORLD MOUNTAIN (FOR GODS)

LAND (FOR MAN)

SEA (FOR EVIL SPIRITS)

3. VILLAGE/TOWN PURA (TEMPLE)

BANJAR (HUMAN SETTLEMENT)

KUBURAN (CEMETRY)

4. HOUSING PARAHYANGAN/ PAMERAJAN/ SANGGAH (HOUSEHOLD SHRINE)

PAWONGAN / NATAH (WORKING AND SLEEPING QUARTERS)

PALEMAHAN/ LEBUHAN (ENTRANCE, THE MOST PUBLIC AREA)

5. TEMPLE JERO(INSIDE, THE MOST SACRED)

TENGAH(MIDDLE)

JABA (OUTSIDE, THE LEAST SACRED)

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TRI ANGGA CONCEPT, BASED ON THE BASIC PHILOSOPHY OF TRI HITA KIRANA

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THE PHYSICAL TRANSLATION OF TRI ANGGA CONCEPT IN THE DESIGN OF A HOUSE

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THE KRATON JOGJAKARTA

Presented by Norsham binti Lebai Itam

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THE KRATON JOGJAKARTA Bangsal Kencana (Golden Pavilion) yang menghadap ke timur merupakan balairung istana. Di tempat ini dilaksanakan berbagai upacara untuk keluarga kerajaan di samping untuk upacara kenegaraan. Di keempat sisi bangunan ini terdapat Tratag Bangsal Kencana yang dahulu digunakan untuk latihan menari. Di sebelah barat bangsal Kencana terdapat nDalem Ageng Prabayaksa (Proboyakso) yang menghadap ke selatan. Bangunan yang berdinding kayu ini merupakan pusat dari Istana secara keseluruhan. Di dalamnya disemayamkan Pusaka Kerajaan (Royal Heirlooms), Tahta Sultan, dan Lambang-lambang Kerajaan (Regalia) lainnya.

Di sebelah utara nDalem Ageng Prabayaksa berdiri Gedhong Jene (The Yellow House) sebuah bangunan tempat tinggal resmi (official residence) Sultan yang bertahta. Bangunan yang didominasi warna kuning pada pintu dan tiangnya dipergunakan sebagai kantor pribadi.

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THE KRATON JOGJAKARTA Di selatan bangsal Kencana berdiri Bangsal Manis

menghadap ke arah timur. Bangunan ini dipergunakan sebagai tempat perjamuan resmi kerajaan. Sekarang tempat ini digunakan untuk membersihkan pusaka kerajaan pada bulan Suro (bulan pertama dalam kalender Jawa). Bangunan lain di bagian ini adalah Bangsal Kotak (tempat menunggu para penari untuk pentas di bangsal Kencana), Bangsal Mandalasana (tempat abdi-Dalem Musikan memainkan ansambel musik diatonis), Gedhong Patehan (tempat mempersiapkan minuman teh), Gedhong Danartapura (kantor bendahara), Gedhong Siliran (tempat menyimpan lampu/lentera), Gedhong Sarangbaya (tempat menyimpan peralatan makan dan minum), Gedhong Gangsa (tempat memainkan orkestra gamelan), dan lain sebagainya. [

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THE KRATON JOGJAKARTA Keputren dan Kesatriyan Keputren merupakan tempat tinggal Permaisuri dan

Selir raja. Di tempat yang memiliki tempat khusus untuk beribadat, Mesjid Keputren, ini pula tinggal para puteri raja yang belum menikah. Tempat ini merupakan kawasan tertutup sejak pertama kali didirikan hingga sekarang. Kesatriyan pada zamannya digunakan sebagai tempat tinggal para putera raja yang belum menikah. Bangunan utamanya adalah Pendapa Kesatriyan, Gedhong Pringgandani, dan Gedhong Srikaton. Bagian Kesatriyan ini sekarang dipergunakan sebagai tempat penyelenggaraan even pariwisata. Di antara Plataran Kedhaton dan Kesatriyan dahulu merupakan istal kuda yang dikendarai oleh Sultan.

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THE KRATON JOGJAKARTA Kamagangan Di sisi selatan kompleks Kedhaton terdapat Regol

Kamagangan yang menghubungkan kompleks Kedhaton dengan kompleks Kemagangan. Gerbang ini begitu penting karena di dinding penyekat sebelah utara terdapat patung dua ekor ular yang menggambarkan tahun berdirinya Keraton Yogyakarta. Di sisi selatannya pun terdapat dua ekor ular di kanan dan kiri gerbang yang menggambarkan tahun yang sama.

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THE KRATON JOGJAKARTA Dahulu kompleks Kemagangan digunakan untuk

penerimaan calon pegawai (abdi-Dalem Magang), tempat berlatih dan ujian serta apel kesetiaan para abdi-Dalem magang. Bangsal Magangan terletak di tengah halaman besar digunakan sebagai tempat upacara Bedhol Songsong, pertunjukan wayang kulit yang menandai selesainya seluruh prosesi ritual di Keraton. Pawon Ageng (dapur istana) Sekul Langgen berada di sisi timur dan Pawon Ageng Gebulen berada di sisi barat. Kedua nama tersebut mengacu pada jenis masakan nasi Langgi dan nasi Gebuli. Di sudut tenggara dan barat daya terdapat Panti Pareden.Kedua tempat ini digunakan untuk membuat Pareden/Gunungan pada saat menjelang Upacara Garebeg. Di sisi timur dan barat terdapat gapura yang masing-masing merupakan pintu ke jalan Suryoputran dan jalan Magangan.

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THE KRATON JOGJAKARTA Di sisi selatan halaman besar terdapat sebuah jalan

yang menghubungkan kompleks Kamagangan dengan Regol Gadhung Mlati. Dahulu di bagian pertengahan terdapat jembatan gantung yang melintasi kanal Taman sari yang menghubungkan dua danau buatan di barat dan timur kompleks Taman Sari. Di sebelah barat tempat ini terdapat dermaga kecil yang digunakan oleh Sultan untuk berperahu melintasi kanal dan berkunjung ke Taman Sari.

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THE KRATON JOGJAKARTA [sunting] Kamandhungan Kidul Di ujung selatan jalan kecil di selatan kompleks

Kamagangan terdapat sebuah gerbang, Regol Gadhung Mlati, yang menghubungkan kompleks Kamagangan dengan kompleks Kamandhungan Kidul/selatan. Dinding penyekat gerbang ini memiliki ornamen yang sama dengan dinding penyekat gerbang Kamagangan. Di kompleks Kamandhungan Kidul terdapat bangunan utama Bangsal Kamandhungan. Bangsal ini konon berasal dari pendapa desa Pandak Karang Nangka di daerah Sukawati yang pernah menjadi tempat Sri Sultan Hamengkubuwono I bermarkas saat perang tahta III. Di sisi selatan Kamandhungan Kidul terdapat sebuah gerbang, Regol Kamandhungan, yang menjadi pintu paling selatan dari kompleks cepuri. Di antara kompleks Kamandhungan Kidul dan Siti Hinggil Kidul terdapat jalan yang disebut dengan Pamengkang.

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Pintu Gerbang Donopratopo, Kraton Yogyakarta

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Kraton Yogyakarta

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Kraton Yogyakarta

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ASIAN ART

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The Goddess Durga Killing the BuffaloDemon, Mahisha (Mahishasuramardini), Palaperiod (ca. 750–1200), 12th centuryWest Bengal, India or BangladeshPurchase, Diana and Arthur G. Altschul Gift,1993 (1993.7)Metropolitan Museum of Artwww.metmuseum.org

Durga from India

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Central IndianGaneshasandstone, 11th-12th centuryAckland Fund, 85.2.1Ackland Art Museum,The University of North Carolina at

Chapel Hill

Ganesha from India

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Chinese, Ming Dynasty, 1368-1644Guan Yuwood, lacquer and lacquer paste, polychrome and gold,leather and hair, 1490sThe William A. Whitaker Foundation Art Fund, 95.2Ackland Art Museum,The University of North Carolina at Chapel

Hill

Guan Yu from China

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Standing Buddha, Gupta period (ca.319–500), 5th centuryUttar Pradesh, Mathura, IndiaMottled red sandstone; H. 33 11/16 in.(85.5 cm), W. 16 3/4 in. (42.5 cm)Purchase, Enid A. Haupt Gift, 1979(1979.6)Metropolitan Museum of Artwww.metmuseum.org

Buddha from India

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Wisdom King Fudo (Fudo Myo-o),Heian period (794–1185), 12th centuryKyoto, JapanJoined-woodblock construction withpigments; H. 63 3/4 in. (162 cm)The Harry G. C. Packard Collection ofAsian Art, Gift of Harry G. C. Packard,and Purchase, Fletcher, Rogers, HarrisBrisbane Dick, and Louis V. Bell Funds,Joseph Pulitzer Bequest, and TheAnnenberg Fund Inc. Gift, 1975(1975.268.163)Metropolitan Museum of Artwww.metmuseum.org

Fudo from Japan

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Seated Buddha, Tang dynasty(618–907), ca. 650ChinaDry lacquer with traces of gilt and polychrome pigments; 38 x 27 in. (96.5 x 68.6 cm)Rogers Fund, 1919 (19.186)Metropolitan Museum of Artwww.metmuseum.org

Buddha from China

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Krishna Battles the Armies of theDemon Naraka: Page from aDispersed Bhagavata Purana, ca.1520–30Delhi-Agra area, IndiaInk and opaque watercolor on paper; 7 x9 1/8 in. (17.78 x 23.18 cm)Purchase, Lita Annenberg HazenCharitable Trust Gift, 1985 (1985.34)Metropolitan Museum of Artwww.metmuseum.org

Krishna from India

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Seated Ganesha, 14th–15th centuryOrissa, IndiaIvory; H. 7 1/4 in. (18.4 cm), W. 4 3/4 in.(12.1 cm)Gift of Mr. and Mrs. J. J. Klejman, 1964(64.102)Metropolitan Museum of Artwww.metmuseum.org

Ganesha from India

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Shiva as Lord of Dance (Nataraja),Chola period (880–1279), ca. 11th centuryTamil Nadu, IndiaCopper alloy; H. 26 7/8 in. (68.3 cm),Diam. 22 1/4 in. (56.5 cm)Gift of R. H. Ellsworth Ltd., in honMetropolitan Museum of Artwww.metmuseum.org

Shiva from India

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Standing Parvati, Chola period(880–1279), ca. first quarter of the 10thcenturyTamil Nadu, IndiaCopper alloy; H. 27 3/8 in. (69.5 cm)Bequest of Cora Timken Burnett, 1956(57.51.3)Metropolitan Museum of Artwww.metmuseum.org

Parvati from India

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Standing Bodhisattva Maitreya (TheBodhisattva of the Future), 9th–10thcenturyNepalCopper alloy with gilding and color; H.26 (66 cm), W. 8 1/4 in. (20.9 cm)Rogers Fund, 1982 (1982.220.12)Metropolitan Museum of Artwww.metmuseum.org

Bodhisattva from Nepal

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Portrait of Jnanatapa surroundedby lamas and mahasiddhas, 14thcenturyeastern TibetDistemper on cloth; 27 x 21 1/2 in. (68.6 x54.6 cm)Purchase, Friends of Asian Art Gifts, 1987(1987.144)Metropolitan Museum of Artwww.metmuseum.org

Jnanatapa from Tibet

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Yama, mid–17th–early 18th centuryTibetInk, distemper, and gold on cloth; 72 3/8x 46 5/8 in. (183.8 x 118.4 cm)Purchase, Florance Waterbury Bequest,1969 (69.71)Metropolitan Museum of Artwww.metmuseum.org

Yama from Tibet

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Four-armed Avalokiteshvara (TheBodhisattva of InfiniteCompassion), ca. second quarter of the8th centuryPrakhon Chai, Buriram Province, ThailandBronze with silver and black glass orobsidian inlay in eyes; H. 56 in. (142.2cm)Rogers Fund, 1967 (67.234)Metropolitan Museum of Artwww.metmuseum.org

Avalokiteshvara from Thailand

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Avalokiteshvara, Angkor period(802–1431)-, fourth quarter of the10th–first quarter of the 11th century;Khmer style of Banteay ShreiCambodia or ThailandBronze with silver inlay; H. 22 3/4 in. (57.8cm)Purchase, The Annenberg FoundationGift, 1992 (1992.336)Metropolitan Museum of Artwww.metmuseum.org

Avalokiteshvara from Cambodia

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Krishna on Garuda, Central Javaneseperiod (ca. 730–ca. 930), second half ofthe 9th centuryJava, IndonesiaBronze; H. 15 7/16 in. (39.2 cm)Purchase, Lita Annenberg HazenCharitable Trust Gift, 1992 (1992.135)Metropolitan Museum of Artwww.metmuseum.org

Krishna on Garuda from Indonesia

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Bust of warrior, Kofun period(3rd–7th century), 5th–6th centuryKanto region, JapanEarthenware with painted, incised,and applied decoration;H. 13 1/8 in. (33.3 cm), W. 10 7/8 in. (27.6 cm)The Harry G. C. Packard Collection ofAsian Art, Gift of Harry G. C. Packard,and Purchase, Fletcher, Rogers, HarrisBrisbane Dick, and Louis V. Bell Funds,Joseph Pulitzer Bequest, and TheAnnenberg Fund Inc. Gift, 1975(1975.268.414)Metropolitan Museum of Artwww.metmuseum.org

Warrior from Japan

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Female dancer, 2nd century B. C.;Early Western Han dynasty (206 B. C.-A. D. 9)Chinese; ChinaEarthenware with slip and pigments; H. 21in. (53.3 cm)Charlotte C. and John C. WeberCollection, Gift of Charlotte C. and JohnC. Weber, 1992 (1992.165.19)Metropolitan Museum of Artwww.metmuseum.org

Dancer from China

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A Lady Playing the Tanpura, ca.1730–40Kishangarh, Rajasthan, IndiaInk, gold, opaque and transparentwatercolor on paper; 18 1/2 x 13 1/4 in.(47 x 33.66 cm)Fletcher Fund, 1996 (1996.100.1)Metropolitan Museum of Artwww.metmuseum.org

Tanpura Player from India

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Playing Weiqi at the WaterPavillion, Hanging scroll, mid–20thcenturyFu Baoshi (Chinese, 1904–1965)ChinaHanging scroll; ink and color on Koreanpaper; 49 3/4 x 29 1/2 in. (126.4 x 74.9 cm)Gift of Robert Hatfield Ellsworth, inmemory of La Ferne Hatfield Ellsworth,1988 (1988.324.3)Metropolitan Museum of Artwww.metmuseum.org

Weigi Players from China