Mysterious Pavilion 2 The wonder continues

1 February 2010 on accidental discovery of a pavilion near Mahabalipuram where unusual reliefs on the ceiling expressed astronomical events through unusual symbolism. At that time these reliefs and their astronomical and (art) historical implications seemed to be like the pavilion itself: isolated, away from any relevant link or context in the landscape. A one-off, unique. Amazingly interesting and mysterious. Maybe even impossible to interpret beyond speculation.

Over the past half year intuition combined with vaguely remembered leads from the tradition sent me on several field trips across Tamil Nadu. The outcome is astonishing. One pavilion depicting eclipses is accidental. Two, three and more makes it a phenomenon. It establishes a new pattern and context which calls for further study and which may and should be interpreted.

Fig. 1

My field trips took me to Bhavani on the banks of the river Caveri, near Erode, to the Sangameshvara temple, to Kanchipuram, and along the banks of the river Palar. In all these temples and places I found eclipse depictions connected to unusual symbolism in different architectural contexts, of which several were pavilions very similar to the first one in Mahabalipuram.

The Sangameshvara (the Lord of the Confluence) temple in Bhavani is situated on the tip of land where the Caveri river and the Bhavani river flow together. It is a place of great spiritual, cosmological and astronomical significance [1]. According to the mythology a third river also joins the confluence at this place. It is the Akasha Ganga, also called the Amrita Vahini, the Ganges of Heaven, or river of Ambrosia, the Drink of Immortality [2]. The Milk Way is in ancient doctrine the path taken by the souls of the deceased which would take them to rebirth or to moksha, depending on their spiritual merit. In the tradition the Sangameshavara temple in Bhavani is still a place where many come to perform the rituals for deceased family members, and for the performance of meditation and ritual on the occasion of solar and lunar eclipses.

Fig. 2

One of the most intriguing depiction of eclipses I have so far come across is found on a slab which stands out of context near the shrine of the consort of Shiva Sangameshvara, goddess Vedanayaki (Fig. 1). This slab is without doubt what is left of the ceiling of an ancient pavilion [3]. It is approximately 4 meter long and 65 centimeter high and at the center is a lotus medallion with three concentric layers of petals around its center, framed within a square (Fig. 2). Flanking this square are a solar and lunar eclipse accompanied by elegantly coiled, crested dragons instead of the more plainly undulating cobras or nagas (Figs. 3 and 4). In my earlier article on the pavilion near Mahabalipuram I had concluded the lotus medallions were related to the total solar eclipse, and possibly a symbolic depiction of the solar eclipse with the aura of the corona of the sun represented as lotus petals. On the ceiling of the pavilion near Mahabalipuram no immediate connection was established between the cobras with the solar and lunar disk and the lotus medallions, only a tentative one. In Bhavani the lotus medallion is flanked by the solar and lunar disks, which are being approached by nagas or dragon-like cobras. The disks representing the solar and lunar eclipses are also flanked by two pairs of birds. The solar eclipse is flanked by two parrots, while the lunar eclipse is flanked by two peacocks with cobras in their beaks. This eclipse depiction is without doubt the most elaborate and mysterious I have so far encountered.

Fig. 3

Fig. 4

Fig. 5

Next to this slab stands another, also without doubt once part of the ceiling of a pavilion It is approximately 6 meter long and 80 centimeter high. A structurally very similar, but much more elaborately carved lotus medallion is positioned at the center of this slab. It consists of three layers of lotus petals around a center which is now lost [5]. The lotus medallion is bordered by a square which is decorated with small lotuses within squares placed on the cardinal directions. This lotus medallion must originally have been surrounded on all sides by a relief of dancers performing kollattam, the dance with sticks. This dance is a popular form of folk dance, but was also in the past performed in a ritual context. Now only the right and left section remain, as this slab seems to be the only part remaining of what once must have been an elaborate and beautifully decorated ceiling. As we can now say with certainty the lotus medallion represents the solar eclipse, we also can conclude that the two tigers which flank this medallion must be connected with eclipse symbolism.

Fig. 6

These two slabs are placed next to the shrine of the goddess-consort of Shiva Sangameshvara, who is called Vedanayaki (Fig. 1). This shrine is still in its original, ancient form (Fig. 6). The main sanctum can be dated to 12th century on the basis of its architecture [6]. It is surrounded by a cloister of a later date, probably from the 16th to 17th century, and faced by a more recently constructed open hallway, but with its elaborately decorated pillared mandapa forming the entrance left intact. This mandapa also represents the period of the Nayaka dynasty and dates to approximately the 16th to 17th century, based on the style of the pillars [7]. In the context of this article it is again primarily the ceiling which draws our attention.

Fig. 7

It presents us with an elaborate relief with the now familiar lotus medallion representing the solar eclipse in the center (Fig. 7). This lotus medallion consists of three layers of lotus petals around the center, fitted in a square which is decorated with small lotuses on the cardinal points. This lotus medallion is special because parrots sit on the second circle of lotus petals and connect the outer circle with the inner. They are carved in the round, creating three dimensional bridges connecting the whole of the medallion. Four of these parrots are still in place, the others have been broken.

The square encompassing the lotus medallion in its turn is surrounded by a concentric square relief panel in which 8 couples ‘play’ in kneeling positions, holding un-identifiable objects in their hands. Among these stands one single woman of smaller stature, possibly holding a parrot on her hand. This square on its turn is surrounded by a layer of bulbous decorations, outside of which are positioned 16 figures. On one side five figures are standing on lotuses, and are obviously deities. We can recognize Karttikeya or Murukan, two forms of Ganesha, Mahavishnu, and a Rishi. In the center of the two adjoining sides are Ganga and Yamuna, as they are also depicted on the central doorjambs of temple gateways. They are flanked by several deities. Opposite Karttikeya, Shiva is depicted as Urdhva Tandava Murti, Shiva dancing the vigorous dance with his leg lifted above his head. He is accompanied by his consort who is dancing by his side, Mahavishnu with Mahalakshmi on the corner on Shiva’s proper right, and Nandi playing the drum on his proper left [8].

Fig. 8

The full description, interpretation and meaning of this ceiling mandala will be left to another occasion. Here we only apply ourselves to those aspects which connect this relief with others with astronomical symbolism. Outside this mandala, on its corners, are depicted four symbols which connect this ceiling relief with others described in this and in my previous article, and which can now be understood as having astronomical significance. These symbols are a tiger, a bow and arrow, a mandala with five by five squares, decorated with a garland, and a makara, a mythological fish with an elephant’s trunk and tusks. A makara is also depicted on the wall of this pavilion (Fig. 8). The makara has astrological significance as it is the symbol of the constellation and mansion of the zodiac which is known as Capricorn in the West. The mysterious animal depicted twice on the ceiling of the pavilion near Mahabalipuram may be interpreted as a tiger, as it has a striped coat

Fig. 9

The presence of several reliefs of the sphinx or purushamriga in this pavilion may not be accidental (Fig. 9). Another sphinx or purushamriga is found on one of the out-of-context pillars found in this temple complex. The presence of an Indian sphinx on the ceiling of the pavilion near Mahabalipuram, and also above the entrance of a Ganesha shrine in Bhavani itself indicates the possibility of a specific mythological or doctrinal link between the sphinx and eclipses.

A structure within the temple complex of the Sangameshvara temple in Bhavani where the eclipse symbolism is more direct and obvious is the gopuram or temple gateway. Due to the position of the temple on the peninsula at the conjunction of the Cauveri and Bhavani rivers, this gopuram is situated on the north side of the temple complex. The ceiling of the central passage shows the now familiar lotus medallion symbolizing the solar eclipse. Three concentric circles of lotus petals surround the center. The lotus is embedded within a low-relief square, and surrounded by twelve hamsas or swans, also arranged in a square. This is surrounded in its turn by a layer of decorative bulbs which borders the whole relief. On the corners are placed four nagas or cobras, twisted around their tails, in high relief (Fig. 10). The whole arrangement is slightly rectangular instead of exactly square. On the east and west side of this are pairs of tigers, facing each other. On the north and south are two undulating cobras in low relief, in the manner of the familiar eclipse depictions. One of the cobras approaches a disk in the manner which represents a solar eclipse. Also depicted are two bows, a fish, and the five by five square mandala.

Fig. 10

Fig. 11

Fig. 12

On the walls of the passage way through the gopuram we find fish, single and in pairs, near the outer and the inner entrance. On walls of the two vestibules inside the gopuram we find the depiction of many fish, single and in pairs, a moray eel, a cobra, and an animal that could be a tiger. And at the inner entrance we find also depictions of the sun and moon, both accompanied by fish. On the east wall the disk of the sun is accompanied by two single and one pair of fish (Fig. 11). On the west wall the moon is worshipped by three figures, and accompanied by one fish (Fig. 12). The symbol of a bow is depicted nearby. Higher on the gopuram wall we find a small group of three worshippers, and one separate, under a lingam covered with a flower wreath. Under these figures is a mandala of three by four squares, covered with a flower garland.

Fig. 13

Fig. 14

Fig. 15

Next to the gopuram, within the temple compound, we find one more eclipse related relief. Here we find two small shrines, one dedicated to Karttikeya or Murukan, the other to Ganesha (Fig. 12). These shrines can probably be dated to the 12th century and are similar to the shrine of the goddess. It is very probable these have all been built at the same time by the same architect. The ceiling of the front porch has a simple and clear depiction of the solar and lunar eclipse. There can be no doubt it belongs to the original open mandapa built as part of this shrine in the 12th century. A simple undecorated disk is framed by a square, on each side of which a cobra undulates towards the solar and lunar disk, respectively (Fig. 14). Above the door of the shrine is a narrative freeze of the race between the sphinx or purushamriga and Bhima, an episode from the Mahabharata [10] (Fig. 15).

Fig. 16

Fig. 17

Fig. 18

Many hundreds of kilometers away I found another Ganesha shrine with eclipse symbols carved on the ceiling of its porch. On the road between Chingleput and Kanchipuram the shrine of Shri Cintamani Vazhittunai Vinayakar (Fig. 16) has a relief depicting a solar and lunar eclipse together with a pair of fish (Fig. 17). The relief has been recently painted, a witness to the living tradition. Another pair of fish which has been left un-painted is part of this eclipse relief. The pillars supporting this roof also have been decorated with sun and moon symbols and with a mysterious symbol the meaning of which will become clear later in this article (Fig. 18). But the significance of this Ganesha shrine by the way-side stretches further.

Fig. 19

Next to it is a pavilion which has been restored and fenced off by the Archaeological Survey of India (Fig. 19). It enjoys official protection due to its significance as a monument. This pavilion is structured with four by four pillars, with an open porch and closed on three sides by a wall. Its pillars, reliefs and roof place it in the period of the Nayaka dynasty. In its back wall is a pañjara which houses a relief of Lord Hanuman. Although it is not possible to enter the pavilion because of its protective fence, a central lotus medallion embedded in a square and various sculptures in bas-relief on the ceiling are clearly distinguishable. There are several fish, and also other, unidentifiable reliefs on the ceiling of this pavilion.

The pillars of the frontal porch have a square base with naga heads on the corners and a sixteen sided column. On the podikai of the porch are depicted the human head with fangs resting on a pair of hands as well as four-leaved medallions we also saw on the podikai of the pavilion near Mahabalipuram The pillars of the raised platform are alternately square and octagonal with depictions of deities.

Fig. 20

In the center of the roof face we see another human face with bulging eyes, arched eye-brows, with fangs and wearing ear-disks, resting on hands, this time in high relief. Below it is depicted the outline of a pair of parrots facing an outline of something that is not completely visible because of the curve of the roof (Fig. 20). The parrots form a kind of heart-shaped figure, with another heart-shaped figure in between.

To the west of the Vinayaka shrine is a large tirtha or sacred water-place. No other structure seemed to be nearby, except some modern houses. This reminded me immediately of the other pavilion with extensive eclipse related reliefs on its ceiling. The mysterious pavilion near Mahabalipuram also forms a complex with a Ganesha shrine and a tirtha. Although this tirtha, or tank, is in dis-repair, what remains of it can be clearly seen from the pavilion

Fig. 21

On the Chingleput - Kanchipuram road I discovered one more pavilion (Fig. 21) with a ceiling dedicated to solar and lunar eclipses and animals like fish, makara, a tortoise, a lizard and a tiger (Figs. 23a to 23g). This pavilion, like the one near Mahabalipuram, is structured from four by six pillars, with an open porch and a raised floor area. But this one is open on the longer side, the raised floor is much higher, and it is closed off on three sides with granite walls, like the one next to the Vinayaka shrine on this same road (Fig. 19). It does not have any lotus medallions on the ceiling but one simple lotus medallion is depicted on the podikai of a pillar of the porch. One relief shows a fish ‘kissing’ a human head (Fig. 23d).

Fig. 22

It has both Chola and Pallava type podikai, and its pillars have a square base, with an octagonal column, with primitive reliefs of what are probably the donors, and rudimentary naga heads on the corners (Fig. 22). The style of the pillars generally indicates a date in the 16th to 17th century, although some podikai are of the type applied by the Pallava architects (5th to 8th century). It is possible some older material was used to erect this pavilion, or that it is a renovation of an older structure. It is therefore not possible to say anything definitive about its date without other evidence, for instance epigraphical references [13].

Fig. 23a

Fig. 23b

Fig. 23c

Fig. 23d

Fig. 23e

Fig. 23f

Fig. 23g

Fig. 24

Fig. 25

When I came across these two eclipse related pavilions on the Chingleput to Kanchipuram road, I actually was on my way to the Kailasanatha temple in Kanchipuram. I had a vague recollection of strange fish on one of the ceilings there and wanted to check it out. This temple is one of the most ancient structural temples of south India [14]. My memory had not betrayed me. On the southern side of the mukhamandapa of the temple is a raised platform which gives access to the entrance of the temple (Fig. 24). Its ceiling is covered with reliefs depicting the now familiar strange fish (Figs. 26a to 26d). And on the pillars which support it we also find several symbols found to be related to eclipses elsewhere (Fig. 25). But it also became clear this porch is out of context and the pillars and ceiling do not belong to the Pallava period.

The attending priest told me that the original front mandapa had collapsed some two centuries earlier and had been repaired. The pillars and ceiling are granite instead of sandstone like the rest of the temple. And the decorations and reliefs belong approximately to the period of the Nayaka dynasty and the 16th to 17th century. The ceiling and pillars of the front porch also belong to this period. And the fish and whales depicted on the ceiling, as well as some of the symbols on the pillars, connect them to eclipse reliefs I found in Mahabalipuram, Bhavani, and the pavilions by the side of the Chingleput-Kanchipuram road. There are no nagas or lotus medallions here. But several other symbols carved on this porch can be connected to eclipse symbolism.

Fig. 26a

Fig. 26b

Fig. 26c

Fig. 26d

The explanation I would like to suggest is that this ceiling was brought from elsewhere, maybe in a hurry, or because of lack of materials, to repair the porch of the temple. All eclipse related symbols, like nagas with disks, lotus medallion, were discarded because they were considered un-fitting for this temple. On this ceiling we find several fish I have called makara, because of their trunk-like coiled snout (Fig. 26a). One fish also has a curled tail (Fig. 26b). One or two are possibly stylized or incomplete representations of sperm-whales, or possibly a sperm whale and a dugong or seacow (Fig. 26c). The animals are actually rather strange; this identification suggests itself because of the sperm whale depicted on the ceiling of the pavilion in Mahabalipuram

Fig. 27

The pillars that support this porch are very simple. They are alternating square and octagonal in shape with rudimentary decorations (Fig. 25). Some of the symbols are disks, a disk within a disk, and a kind of petalled medallion. In perspective of the eclipse symbolism we have found in other places these disks could very well also be solar and lunar eclipse symbols. One other symbol is depicted on several pillars here. It is a kind of up-side down heart symbol reminiscent of the spade of a card-game, which had no significance to me at the time, but which I had also seen in the pavilion near Mahabalipuram. To this symbol I will return later in this article and I will explain its connection to solar eclipse symbolism.

After the Kailasanatha temple I visited several of the lesser know early temples in Kanchipuram and found more eclipse depictions and eclipse related symbols carved in relief on ceilings and in a gopuram. The Amareshvara temple is a Shiva temple with a sanctum from the period of the Pallava dynasty (5th to 8th century) and an open pillared porch belonging to the later period of the 15th and 16th century (Nayaka period) (Fig. 27). On the ceiling of the porch we find makaras and nagas flanking a lotus medallion in a square, fish, and solar and lunar disks (Figs. 28, 29).

Fig. 28

Fig. 29

Fig. 30

A single pillar on a corner of this pillared pavilion has been decorated with reliefs of a high quality depicting several forms of Shiva and Vishnu. We find Nataraja, Bhairava and Narasimha among several others. This pillar is unusual in several respects. Instead of naga heads on the upper corners of the base it has Shanka Nidhis, small dwarf-like beings blowing a conch [16]. And in the center of the panel between them again the same heart-shaped symbol reminiscent of a spade of a card-game we found also in the Kailasanatha temple, the Cintamani Vazhittunai Vinayakar temple and in the pavilion near Mahabalipuram. The same symbol, in slightly different form appears on the next column of this porch, and as abstract decoration on a patika.

Also in the gateway of the Jvarahreshvara temple we find fish, disks and other eclipse symbols. And the ceiling of the sanctum of the Chokkeeshvara or Shri Kausikeswarar shrine is decorated with the lunar and solar disks about to be swallowed by a snake, which are known to represent eclipses in the tradition of the temple [17].

I promised earlier I would return to the heart-shaped or spade-like symbol depicted in so many places where we found eclipse related reliefs. Below I have arranged a selection of photos, which speak for themselves, I think (Figs. 31-35).

Fig. 31

Fig. 32

Fig. 33

Fig. 34

Fig. 35

We have here the opportunity to observe the evolution of a set of figurative eclipse related symbols, the naga or cobra with the solar eclipse disk, flanked by two parrots, into a completely abstract figure. Without seeing this evolution or knowing the tradition it would be difficult to interpret this symbol or guess its astronomical significance.

Summarizing we may conclude that at one time the astronomical events of solar and lunar eclipses held so much significance to the people of ancient and medieval India that such events were documented with the erection of special shrines, pavilions and possibly sacred tanks. Sometimes within existing temple complexes, but also as independent structures. We knew that eclipses were considered sacred and auspicious astronomical events through the epigraphical record, tradition and doctrine, but we had not recognized these eclipse related reliefs with their astronomical symbolism. It underlines how important and significant the experience of an eclipse was. Important enough to erect special structures covered with symbols and sculpture to give witness to these experiences. And the people who witnessed these astronomical events not only erected these monuments in memory of these astronomical events, but also consciously intended to leave records of them for future generations.

Now it is clear several symbols and animals [18] depicted in the sculptural program of south Indian temples are related to eclipses and are therefore also astronomical in nature. To recapitulate: the lotus medallion within a square, the nagas or cobras ‘chasing’ a solar or lunar disk, the fish, either single or in pairs, the makara or composite fish, the tiger, the moray eel, the sperm whale, the tortoise, the gandha bherunda or two-headed eagle, the human head with fangs resting on a pair of hands, the scorpion, and the lizard. And last but not least parrots, sometimes in pairs forming a kind of heart-shaped or spade-like symbol.

Seni Ukir Kayu Ukiran Jepara

Ukiran Jepara

Kerajinan Ukir

Satu citra yang telah begitu melekat dengan Jepara adalah predikatnya sebagai “Kota Ukir”. Ukir kayu telah menjadi idiom kota kelahiran Raden Ajeng Kartini ini, dan bahkan belum ada kota lain yang layak disebut sepadan dengan Jepara untuk industri kerajinan meubel ukir. Namun untuk sampia pada kondisi seperti ini, Jepara telah menapak perjalana yang sangat panjang. Sejak jaman kejayaan Negara-negara Hindu di Jawa Tengah, Jepara Telah dikenal sebagai pelabuhan utara pantai Jawa yang juga berfungsi pintu gerbang komunikasi antara kerajaan Jawa denga Cina dan India .

Demikian juga pada saat kerajan Islam pertama di Demak, Jepara telah dijadikan sebagai pelabuhan Utara disamping sebagai pusat perdagangan dan pangkalan armada perang. Dalam masa penyebaran agama Islam oleh para Wali, Jepara juga dijadikan daerah “ pengabdian” Sunan Kalijaga yang mengembangkan berbagai macam seni termasuk seni ukir.

Factor lain yang melatar belakangi perkembangan ukir kayu di Jepara adalah para pendatang dari negeri Cina yang kemudian menetap. Dalam catatan sejarah perkembangan ukir kayu juga tak dapat dilepaskan dari peranan Ratu Kalinyamat . Pada masa pemerintahannya ia memiliki seorang patih yang bernama “Sungging Badarduwung” yang berasal dari Negeri Campa Patih ini ternyata seorang ahli pahat yang dengan sukarela mengajarkan keterampilannya kepada masyarakat disekitarnya Satu bukti yang masih dapat dilihat dari seni ukir masa pemerintahan Ratu Kalinyamat ini adalah adanya ornament ukir batu di Masjid Mantingan.

Disamping itu , peranan Raden Ajeng Kartini dalam pengembangkan seni ukir juga sangat besar. Raden Ajeng Kartini yang melihat kehidupan para pengrajin tak juga beranjak dari kemiskinan, batinnya terusik, sehingga ia bertekat mengangkat derajat para pengrajin. Ia memanggil beberapa pengrajin dari Belakang Gunung (kini salah satu padukuhan Desa mulyoharjo) di bawah pimpinan Singowiryo, untuk bersama-sama membuat ukiran di belakang Kabupaten. Oleh Raden Ajeng Kartini, mereka diminta untuk membuat berbagai macam jenis ukiran, seperti peti jahitan, meja keci, pigura, tempat rokok, tempat perhiasan, dan lain-lain barang souvenir. Barang-barang ini kemudian di jual Raden Ajeng Kartini ke Semarang dan Batavia (sekarang Jakarta ), sehingga akhirnya diketahui bahwa masyarakat Jepara pandai mengukir.

Setelah banyak pesanan yang datang, hasil produksi para pengrajin Jepara bertambah jenis kursi pengantin, alat panahan angin, tempat tidur pengantin dan penyekat ruangan serta berbagai jenis kursi tamu dan kursi makan. Raden Ajeng Kartini juga mulai memperkenalkan seni ukir Jepara keluar negeri. Caranya, Raden Ajeng kartini memberikan souvenir kepada sahabatnya di luar negeri. Akibatnya ukir terus berkembang dan pesanan terus berdatangan. Seluruh penjualan barang, setelah dikurangi dengan biaya produksi dan ongkos kirim, uangnya diserahkan secara utuh kepada para pengrajin.

Untuk menunjang perkembangan ukir Jepara yang telah dirintis oleh Raden Ajeng Kartini, pada tahun 1929 timbul gagasan dari beberapa orang pribumi untuk mendirikan sekolah kejuruan. Tepat pada tanggal 1 Juli 1929, sekolah pertukangan dengan jurusan meubel dan ukir dibuka dengan nama “Openbare Ambachtsschool” yang kemudian berkembang menjadi Sekolah Teknik Negeri dan Kemudian menjadi Sekolah Menengah Industri Kerajinan Negeri.

Dengan adanya sekolah kejuruan ini, kerajinan meubul dan ukiran semaluas di masyarakat dan makin banyak pula anak–anak yang masuk sekolah ini agar mendapatkan kecakapan di bidang meubel dan meubel dan ukir. Di dalam sekolah ini agar diajarkan berbagai macam desain motif ukir serta ragam hias Indonesia yang pada mulanya belum diketahui oleh masyarakat Jepara . Tokoh-tokoh yang berjasa di dalam pengembangan motif lewat lembaga pendidikan ini adalah Raden Ngabehi Projo Sukemi yang mengembangkan motif majapahit dan Pajajaran serta Raden Ngabehi Wignjopangukir mengembangkan motif Pajajaran dan Bali.

Semakin bertambahnya motif ukir yang dikuasai oleh para pengrajin Jepara , meubel dan ukiran Jepara semakin diminati. Para pedagang pun mulai memanfaatkan kesempatan ini, untuk mendapatkan barang-barang baru guna memenuhi permintaan konsumen, baik yang berada di dalam di luar negeri.

Kemampuan masyarakat Jepara di bidang ukir kayu juga diwarnai dengan legenda . Dikisahkan, pada jaman dahulu ada seorang seniman bernama Ki Sungging Adi Luwih yang tinggal di suatu kerajaan. Ketenaran seniman ini didengar oleh sang raja yang kemudian memesan gambar permaisuri. Singkat cerita, KiSungging berhasil menyelesaikan pesanan dengan baik. Namun ketika ia akan menambahkan warna hitam pada rambut, terpeciklah tinta hitam dibagian pangkal paha gambar sang permaisuri sehingga nampak seperti tahi lalat. Gambar ini kemudian diserahkan kepada raja yang sangat kagum terhadap hasil karya Ki Sungging.

Namun raja juga curiga karena ia melihat ada tahi lalat dipangkal paha. Raja menduga Ki Sungging talah melihat permaisuri telanjang. Oleh karena itu raja berniat menghukum Ki Sungging dengan membuat patung di udara dengan naik layang-layang. Pada waktu yang telah ditentukan ki Sungging naik layang-layang dengan membawa pelengkapan pahat untuk membuat patung permaisuri.

Namun karena angina bertiup sangat kencang, patung setengah jadi itu akhirnya terbawa angin dan jatuh di pulau Bali. Benda ini akhirnya ditemukan oleh masyarakat Bali, sehingga masyarakat setempat sekarang dikenal sebagai ahli membuat patung. Sedangkan peralatan memahat jatuh di belakang gunung dan konon dari kawasan inilah ukir Jepara mulai berkembang.

Terlepas dari cerita legenda maupun sejarahnya, seni ukir Jepara kini telah dapat berkembang dan bahkan merupakan salah satu bagian dari “nafas kehidupan dan denyut nadi perekonomian “ masyarakat Jepara.

Setelah mengalami perubahan dari kerajinan tangan menjadi industri kerajinan, terutama bila dipandang dari segi sosial ekonomi, ukiran kayu Jepara terus melaju pesat, sehingga Jepara mendapatkan predikat sebagai kota ukir, setelah berhasil menguasai pasar nasional. Namun karena perkembangan dinamika ekonomi, pasar nasional saja belum merupakan jaminan, karena di luar itu pangsa pasar masih terbuka lebar. Oleh karena itu diperlukan kiat khusus untuk dapat menerobos pasar internasional.

Untuk melakukan ekspansi pasar ini buka saja dilakukan melalui pameran-pameran, tetapi juga dilakukan penataan-penataan di daerah. Langkah-langkah ini ditempuh dengan upaya meningkatkan kualitas muebel ukir Jepara, menejemen produksi dan menejemen pemasaran. Di samping itu dikembangkan “Semangat Jepara Incoporated “, bersatunya pengusaha Jepara dalam memasuki pasar ekspor, yang menuntut persiapan matang karena persaingan-persaingan yang begitu ketat .

Guna meningkatkan kualitas Sumber Daya Manusia misalnya, dilakukan melalui pendidikan Sekolah Menengah Industri Kerajinan Negeri dan Akademi Teknologi Perkayuan dan pendidikan non formal melalui kursus-kursus dan latihan-latihan. Dengan penigkatan kualitas sumber daya manusia ini diharapkan bukan saja dapat memacu kualitas produk, tatapi juga memacu kemampuan para pengrajin dan pengusaha Jepara dalam pembaca peluang pasar dengan segala tentutannya.

Peningkatan kualitas produk dan pengawasan mutu memang menjadi obsesi Jepara dalam memasuki pasar internasional, yang bertujuan untuk meningkatkan kepercayaan luar negri terhadap produk industri Jepara. Karena itu pengendalian mutu dengan mengacu pada sistim standard internasional merupakan hal yang tidak dapat di tawar-tawar lagi. Usaha ini dilakukan melalui pembinaan terhadap produsen agar mempertahankan mutu produknya dalam rangka menjamin mutu pelayanan sebagai mana dipersaratkan ISO 9000.

Di samping itu, perluasan dan intensifikasi pasar terus dilakukan dalam rangka meningkatkan ekspor serta peluasan pasar internasional dengan penganeragaman produk yang mempunyai potensi, serta peningkatan market intelligence untuk memperoleh transportasi pasar luar negeri. Dengan demikian para pengusaha dapat dengan tepat dan cepat mengantisipasi peluang serta tantangan yang ada dipasar internasional. Sementara itu jaringan informasi terus dilakukan melalu pengevektivan fungsi dan kegiatan Buyer Reception Desk yang ada di Jepara. Langkah-langkah konseptual yang dilakukan secara terus menerus ini telah berbuah keberhasilan yang dampaknya dirasakan oleh masyarakat Jepara, berupa peningkatan kesejateraannya. Dari data yang ada dapat dijadikan cermin keberhasilan sektor meubel ukir dalam lima tahun terakhir.

Data diatas belum termasuk potensi kayu olahan , souvenir dan peti mati yang dalam tiga tahun terakhir telah berhasil dilealisir ekspornya. Untuk dapat melihat lebih jauh potensi ukir kayu ini juga dapat dilihat berbagai macam penghargaan, yang bersekala regional, nasional dan internasional, baik bagi para pengusaha, pengrajin maupun bagi pimpinan daerah.

SENI UKIR KALIGRAFI KARYA EKO KIMIANTO

Seni ukir kaligrafi karya eko kimianto

1. Kaligrafi

Dari Wikipedia bahasa Indonesia, ensiklopedia bebas

Kaligrafi, dari bahasa Yunani; καλλι "keindahan" + γραφος "menulis" ) Bahasa Jepang Nihongo 日本語) adalah seni menulis dengan indah dengan pena sebagai hiasan. Tulisan dalam bentuk kaligrafi biasanya tidak untuk dibaca dengan konsentrasi tinggi dalam waktu lama, karena sifatnya yang membuat mata cepat lelah. Karena itulah sangat sulit menemukan contoh kaligrafi sebagai tipografi buku-buku masa kini.

Meskipun kaligrafi dalam tulisan arab lebih dikenal, tetapi banyak pula penerapan aplikasi ke dalam tulisan latin.

Di dalam seni rupa Islam, tulisan arab seringkali dibuat kaligrafi. Biasanya isinya disadur ayat-ayat Al-Quran. Bentuknya bermacam-macam, tidak selalu pena diatas kertas, tetapi seringkali juga ditatahkan di atas logam atau kulit.

Salah satu bentuk penerapan kaligrafi Islam sebagai seni hias adalah di Istana Al Hamra, Spanyol.

2. Seni Ukir Kaligrafi

Seni ukir kaligrafi adalah perpaduan 2 jenis karya seni rupa yang berbentuk ragam hias. Ragam hias di sini maksudnya adalah satu bentuk keindahan untuk mengisi suatu bidang tertentu, baik yang berupa 2 dimensional maupun 3 dimensional. Perpaduan 2 jenis karya seni rupa tersebut adalah perpaduan antara seni ukir dengan seni kaligrafi. Seni ukir lebih kita kenal dengan adanya visualisasi bentuk stilasi. Stilasi merupakan cara mengubah dan menyederhanakan bentuk asli menjadi bentuk lain yang dikehendaki untuk mencapai tingkat keindahan tertentu. Keindahan ini bisa dituangkan pada media.kayu, logam, tanah liat maupun batu. Teknik yang digunakan biasanya berupa teknik pahat, apabila pada proses pembuatannya di tatahkan secara langsung pada media tersebut. Ada pula yang menggunakan teknik cetak yaitu suatu teknik untuk memperbanyak jumlah karya seni dengan media cetakan (alat/sarana untuk menghasilkan karya lebih dari satu dengan hasil yang sama).

Seni ukir kaligrafi merupakan bentuk keindahan huruf yang dituangkan/divisualisasikan pada tempat tertentu ( bisa dari kayu, logam maupun bebatuan) dengan menggunakan teknik-teknik yang biasa dipakai untuk mengukir, seperti misalnya dengan teknik pahat. Langkah yang harus ditempuh adalah mendesain bentuk kaligrafinya terlebih dahulu misalnya pada sebuah kayu. Desain itu berupa gambar rancangan yang nantinya sebagai dasar kontur untuk diikuti alurnya dalam mengukir. Setelah desain gambar dapat diselesaikan, mulailah proses pembuatan bentuk ukirannya. Proses pengukiran pada media kayu, mulailah menggunakan tatah dengan penggunaan teknik yang benar. Penatahan pada ukir ini mengikuti bentuk desain awal, sehingga hasil akhirnya tidak melenceng terlalu jauh dengan tema yang telah direncanakan.

Perpaduan kaligrafi dengan ukir ini mempunyai arti bahwa keindahan seni tulis menulis dapat dituangkan pada bidang yang biasa digunakan untuk mengukir. Tidak hanya sekedar bidangnya saja, tetapi bentuk dan hasil karyanya juga harus dapat dikategorikan ke dalam seni ukir. Penerapan pada ukir haruslah menyeluruh, semua bentuk kaligrafi yang diciptakan haruslah masuk dalam kriteria ukir. Sehingga orang awampun dapat membedakan kaligrafi ukir dengan gambar/lukisan kaligrafi.

Seni ukir kaligrafi "BISMILLAHIRROHMANIRROKHIM" karya Eko Kimianto tahun 1991

3.Seni Ukir Kaligrafi : Eko Kimianto

Karya seni ukir yang ditampilkan pada gambar di atas adalah hasil karya cipta Eko Kimianto. Tema tulisan yang dituangkan dalam bentuk ukiran tersebut adalah Bismillahirrohmanirrokhim. Judul tersebut untuk mempertegas setiap kaum muslim dalam memulai setiap tindakan haruslah mengucapkan Basmallah terlebih dahulu. Setiap tindakan yang akan kita lakukan haruslah mengatasnamakan Allah, karena Allah adalah Dzat Yang Maha Kuasa dan Maha Segalanya. Untuk itulah dalam menciptakan karya ini mengandung maksud untuk mengingatkan kembali manusia kepada Khaliknya, yang telah menciptakan segala yang ada di alam semesta ini.

Seni ukir kaligrafi pada gambar di atas, terbuat dari bahan kayu jati yang berukuran kurang lebih 40 x 60 cm. Teknik yang diguanakan adalah teknik pahat. Teknik pahat adalah suatu teknik membuat ukiran dengan cara memahat bidang ukir (kayu, batu) dengan menggunakan tatah ukir. Tatah ukir yang digunakan disesuaikan dengan bentuk yang diinginkan dalam objek ukir kaligrafi tersebut.

Alat-alat ukir yang digunakan untuk membuat ukiran kaligrafi di atas adalah

1. Pahat ukir
2. Palu dari kayu (Ganden)
3. Batu asah
4. Sikat dari ijuk
5. Pensil
6. Meteran
7. Jangka
8. Kain perca (bekas)

Jumlah tatah/pahat ukir kayu yang diperlukan untuk mengukir adalah 36 batang, yang terdiri dari:

1. Pahat kuku sebanyak 20 batang
2. Pahat lurus sebanyak 10 batang
3. Pahat setengah bulatan sebanyak 5 batang
4. Pahat miring sebanyak 1 batang

Cacharel Amor Amor – The Scent of Youth

The luxury Lifestyle blog (the home of luxury Lifestyle) presents Cacharel Amor Amor – The Scent of Youth.

Fashion houses that successfully launch collections of fashion wear are also sometimes involved in the new trend to launch the signature perfume to carry the concept of the trade mark. The French courtly refinement induced the tailor Jean Bousquet to found the company named after a small bird cacharel residing in the southern regions of the country. Amor, Amor by Cacharel is the accentuated lightness and romanticism as the icon style for admirers of this trade mark.

How the perfume was created

The perfume was developed in 2003 by the highly qualified expert perfumers Laurent Bruyere and Dominque Ropion for young women till twenty five who can afford to make the first step towards affair with men. The top note of Amor Amor fragrance open with the notes of grapefruit and sparkling blackcurrant, the heart notes come with accords of fruit tree white flowers and the summer garden odors, the final note is the aromatic cocktail of sensual vanilla, musk and sandal with the slight oriental veil in the end.

Ad campaign

The ad campaign for the Amor Amor fragrance presents a young girl who languishingly views a fellow in the club whom she liked and suddenly the harsh throw of the grenade bottle, and a couple of seconds later a couple is kissing in passion. A signature red bottle reminding the grenade in shape adds more vintage and elegance to the fragrance which is easily recognized today. The bottle designer, Paul Ville, as if hints at the quick and explosive win of the fragrance over any heart of men.

The fragrances are traded at the cost of $40 to $80 US dollars. Besides, the testers with pheromones will cost from $10 US dollars per 15 ml.

New series Amor Amor by Cacharel

The classic basic Amor Amor is the most incredible scent considered as the scent for first intimate dating. It is daring and swift as the wind, sensitive as the tropical rain at the dawn. The heart notes of the scent are the sweet vanilla and blackcurrant. The fragrance manufacturer

Was filled with the idea to build the line of fruity-erotic scents to touch the deepest strings of flippancy, childish sincerity, purity and outspoken sexuality and the fashion house launched the line of fragrances Amor Amor by Cacharel.

The line is designed for the following purposes:

Amor Amor Sunshine is designed for hot summer days when the slightly bitter taste of the pink grapefruit and the tender exoticism of the orchid cool the excited fancy.

Amor Amor Eau Fraiche 2006 is the scent for the particular season lavishly flavored with the fruits and covered with the vein of white flowers.

Amor Amor Elixir Passion is the sensitively sweet aroma from the romantic daydream with the shade of tiara.

Amor Amor Tentation comes as the rare blend of cedar and vanilla, the manly emancipation and sweet complaisance.

Amor Amor pour Homme is the scent for unpretentious male managers and other line managers who appreciate comfort and self ego in what they do.

The fragrance is demanded by show-biz members, politicians and other celebrities. The image for the advertisement campaign 2010 Amor Amor by Cacharel was the Brazilian top model Gisele Bündchen. Her passionate but somewhat sharp face for a woman is ideal to suit the line of perfume for daring and adventurous scents.

Such celebrities as Camille Dalma, the singer, Kate Moss, the supermodel adore the fragrances by Cacharel.

As most lines, Cacharel is also involved in production of breathtaking perfumery based on needs of young and romantic women, though there are some series for strong men, either. The major key constituent of the brand is the unobtrusive desire to be comprehended right in the approach to the perfection and the real sweet and somewhat bitter love.

Love is the aspect that goes through almost all the range of Cacharel products as the major tenor for the brand. This appeal to young ladies is appreciated and demanded.

Renaissance

large view Holbein the younger, "The French Ambassadors" 1533

large view

Donatello, "David" 1430-32

large view

Leonardo DaVinci, "Mona Lisa," or "La Giioconda," 1503-06

large view Leonardo daVinci, "The Last Supper," 1495

large view Leonardo daVinci, "In the Womb" 1510

large view Michelangelo, "Pieta" 1498

large view Michelangelo, "The Creation of Adam" 1508, Sistine Chapel

Michelangelo, The Last Judgement Detail, St. Bartholomew/Self-Portrait, Sistine Chapel

large view Last Judgement by Michelangelo

large view Michelangelo, Campidoglio, 1538-64 Rome

large view Raphael, School of Athens," 1510, The Vatican

large view Titian, "Bacchanal of the Adrians," 1518 Madrid

large view Brunelleschi, Pazzi Chapel, 1440-61 Florence

Bramante, Tempietto, 1441-1514

large view Palladio, Villa Rotonda, 1550

My Thoughts on the Three Davids

One of the highlights of our recent trip to Italy was seeing three sculptures of David: Bernini’s, Michelangelo’s, and Donatello’s. So, I thought I would write about my impressions of these three works, individually and collectively.

The first of the three Davids we saw was in Rome: Bernini’s David at the Borghese Gallery. I’ve already blogged about my general impressions of this museum and sculpture here, so I’ll just sum up my response to this statue briefly.

I love this statue. In fact, it’s one of my favorite statues among the countless number of statues we saw on this trip. I love the intensity of this David, the concentration and strain. This version of the Biblical hero emphasizes that giant killing is hard work.

I also like the way in which Bernini borrows from Classical sculpture in idealizing David’s musculature and bone structure. He’s not an everyman who happens along and kills a giant. He’s a specimen of masculine beauty and perfection who is able to kill Goliath because of his perfection (bodily and spiritual).

This David doesn’t seem to be a specific age, though he’s clearly a man, not a boy. His “manliness” is almost revealed to the onlooker, but his clothing just barely covers it. Again, this reminds me of the Classical statues that surround him in Rome while maintaining the modesty of the Catholic Renaissance.

You can click on this link to the Borghese’s website for more information on Bernini’s David and for a few pictures that capture details from the statue.

For most people, I assume that there is really only one statue of David: Michelangelo’s. It’s certainly the most famous one, the one that everyone immediately knows when they see it.

Not surprisingly, then, one of the main reasons we stopped in Florence on this trip was to visit the Accademia and see Michelangelo’s David. We reserved our tickets in advance, as Rick Steve suggests, and planned our time in Florence around seeing this statue.

First a few words about the museum: the Accademia was originally a school of artists. Throughout much of the nineteenth century, Florence’s municipal leaders knew that David needed to be moved out of the elements but couldn’t decide where to put him. Eventually, they decided to add on to the Accademia and put him there, where he could be displayed effectively and preserved for future generations. The museum also features paintings and other works from the artists who were trained here. It’s worth taking a look at the larger collection.

Pictures of David, it seems to me, often fail to show just how large this statue is. It’s almost twice as large as a typical person. Besides this, seeing the statue in person immediately impressed me with the fact that parts of it are out of proportion: the head, hands, and feet are too large for the torso. Michelangelo did this on purpose, since the statue was originally designed to be mounted on top of the Duomo. In order for it to appear correctly proportioned from far below, it had to be foreshortened in this way. Furthermore, the block of marble that Michelangelo was given for this commission was more shallow than other, more typical blocks. The result is a statue of great beauty, but also one that seems a little off when you see it.

David‘s body is the single most beautiful representation of the male torso I’ve ever seen. It’s even more beautiful than a Tom Bianchi model! Michelangelo’s devotion to masculine beauty has earned him a place as an icon in the gay community. Even if he had done nothing else but carve this statue, he would deserve such reference.

While his junk is a little small, his ass is perfection. This is another picture from wikipedia. This is the reproduction of David that stands in the Palazzo Vecchio, where the original David first stood. It’s really interesting to see the original statue in the museum space, perfectly presented for view, and the reproduction out in the palazzo, subject to the shadows and blazing light of sun’s movement, clouds, and changes in weather.

While we were at the Accademia, the museum had a featured exhibit on the works of Robert Mapplethorpe — none of the really outrageous ones, but good ones nevertheless. It was also interesting to compare Michelangelo’s art to Mapplethorpe’s. It made for a very interesting contrast, to say the least.

The final David that we saw was also in Florence: Donatello’s version of this figure. Donatello’s David is housed at the Bargello Palace, a fortress that has been converted into a sculpture museum. Unlike the previous two works, this one is a bronze.

If Bernini sculpted a man, I’d say that Michelangelo sculpted the perfect college jock and Donatello presented a child. His David is a young teenager, a kid who is infused with the power of God to slay the giant Goliath while managing to keep his jaunty hat on his head.

In that sense, Donatello’s statue is fascinating. It’s almost a cross between religious devotion and an inappropriate representation of an adolescent boy. It’s probably the most religiously accurate portrayal of this figure but it’s also potentially the most scandalous.

Donatello was apparently more obviously “homosexual,” and this work in particular is often cited as an explicitly “gay” work. It’s perhaps ironic, then, that of the three Davids we saw I found this one to be the least interesting. Partly, it’s the youthfulness of the subject — I obviously prefer nude statues of men. It’s also partly the fact that it’s a bronze work. I simply find this medium less compelling. But I’m glad I saw it. I’ve heard about it and heard about it. Now I’ve seen it.

So, those are my thoughts on the three Davids. It’s really ineresting to have the opportunity to see three different representations of the same figure in such a short space of time. It gives you the chance to compare and contrast in three dimensions. I loved it!