Nagarakretagama

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Nagarakretagama or Nagarakrtagama is an Old Javanese eulogy to Hayam Wuruk, the ruler of the Majapahit Kingdom, written as a kakawin by Mpu Prapanca in 1365 (or 1287 Saka year).[1] Nagarakretagama contains detailed descriptions of the Majapahit Kingdom during its greatest extent. The poem affirms the importance Hindu-Buddhism in the Majapahit by describing erected temples and palaces throughout the kingdom and several ceremonial observances. The document was discovered in Lombok in 1896 by J. L. A. Brandes, a Dutch philologist, and translated by a generation of Dutch scholars.[citation needed] The poem was the product of priestly activities aiming at enhancing magical powers of the current ruler, of which it was discounted much of its historical value.[2] After its translation in the early 20th century the Nagarakretagama attracted the attention of the Indonesian independence movement.[3]

Contents

[edit] Descriptions of Majapahit's Realm

The extent of Majapahit according to Nagarakretagama. From Kompas, 2007.
The extent of Majapahit according to Nagarakretagama. From Kompas, 2007.

In the poem canto 13 to 14, Prapanca mentions several states in today's Indonesian borders. The poem suggests that these areas were within Majapahit spheres of influence. Prapanca says that these states subsumed by Majapahit or that they are vassal states.[citation needed]

In Canto 13 several lands on Sumatra are mentioned, and some possibly correspond to contemporary areas: Jambi, Palembang, Teba (Toba), and Dharmasraya. Also mentioned are Kandis, Kahwas, Minangkabau, Siak, Rokan, Kampar and Pane, Kampe, Haru and Mandailing. Tamiyang, negara Perlak and Padang Lawas in west, together with Samudra and Lamuri, Batan (Bintan), Lampung, and Barus. Also listed are states of Tanjungnegara (believed to be on Borneo): Kapuas Katingan, Sampit, Kota Lingga, Kota Waringin, Sambas, and Lawas.

In Canto 14 more territories are mentioned: Kadandangan, Landa, Samadang, Tirem, Sedu (Sarawak), Barune (Brunei), Kalka, Saludung, Solot (Sulu), Pasir Barito, Sawaku, Tabalung, and Tanjung Kutei. In Hujung Medini (Malay Peninsula), Pahang is mentioned first. Next Langkasuka, Saimwang, Kelantan and Trengganu, Johor, Paka, Muar, Dungun, Tumasik (where Singapore is today), Kelang (Klang valley) and Kedah, Jerai, Kanjapiniran, all are united.

Also in Canto 14 are territories east of Java: Badahulu and Lo Gajah (part of today's Bali). Gurun and Sukun, Taliwang, Sapi island and Dompo Sang Hyang Api, Bima. Seram, Hutan Kadali (Buru island). Gurun island, and Lombok Merah. Together with prosperous Sasak are already ruled. Bantayan with Luwu. Further east are Udamakatraya (Sangir and Talaud). Also mentioned are Makassar, Buton, Banggai, Kunir, Galiao with Selayar, Sumba, Solot, Muar. Also Wanda(n) (Banda island), Ambon or Maluku islands, Wanin, Seran , Timor and other islands.

[edit] Ceremonial accounts

all the multitude of the artisans there, making plaited bamboo-work, fashioning the sthana singha (lion-throne) in the wanguntur (main court-yard), setting aside those who carved wawans (carriers) for food, bukubukuran (all kinds of tower-like structures) and figures and things of that kind. Took part also the smiths of dadaps (embossed coverings) of gold and silver, all of them bestirring themselves the more in their respective customary occupations.

Canto 63, stanza 4.[4]

At the waxing moon, on the twelfth night, they invited there that swah (soul), sutra (sacred texts) recital was performed and homa (fire offering) worship, on the other hand also parίshrama (amphidromy); they were (only considered) complete at the arrival of the swah (soul) again (on earth). The honoured holy puspa (flower effigy) was worked on with yoga (concentration); in the night was performed the eminent pratistha (placing) ceremony.

Canto 64, stanza 5.[5]

In the poem, Prapanca recounted Hayam Wuruk's religious observances in the Candi Singhasari in which he entered the interior of the sanctuary and performed the puspa ceremony for his great-grandfather Kertanegara. After the visit, he left to Kagenengan to perform worship to the founder of the Singhasari kingdom, Rajasa.[6]

The other Prapanca's narration is details of the posthumous sraddha ceremony, performed to honour the soul of a deceased. He described specifically the ceremony for the Queen Grandmother Gayatri's soul, the Rajapatni, who died twelve years earlier. In the canto 63, stanza 4, Prapanca narrated the busy preparation of the ceremony by the court artisans. During the ceremony, lion thrones were erected, and priests placed a flower effigy (puspa) symbolizing the soul of the Queen Grandmother. The descent of the soul to earth and its final placement in the puspa were narrated in canto 64, stanza 5.

The ceremony lasted for seven days and colorful pageants crowded the main courtyard. The whole ceremony was performed to please the Rajapatni's soul to hope that her favor for the reign came to her descendants. The posthumous ceremony continued and the king ordered the repair of the Kamal Pundak sanctuary to enact a new holy shrine (candi) for the Queen Grandmother, deified in the form of Prajnaparamita.[6]

[edit] Characters

One of the religious habits performed by the Majapahit royal family is called a "royal walkabout" in which they visited cornerstones of the empire and paid homage to the ancestors of the king. The poem also describes the death of Hayam Wuruk's most trusted regent, Gajah Mada.[1]

The Queen Grandmother Rajapatni appears to have a special place in the Prapanca's poem. In one stance, the poem describes the Queen Grandmother as chattra ning rat wisesa (the eminent protector of the world).[7] Rajapatni was the progenitor of the Majapahit kingdom, because she was the daughter of Kertanegara, the last king of Singhasari kingdom, and she was also the wife of Raden Wijaya, the founder of Majapahit; thus this was then the reason of her becoming the protector of the world. The Queen Grandmother is said in the poem to embody the Pramabhagavati; Bhagavati is another name of Prajnaparamita (the Goddess of Wisdom in the Mahayana Buddhism).

The poem portrays Kertanegara as a staunch Buddhist, described as "submissive at the Feet of the Illustrious Shakya-Lion".[8] Upon his death, the poem further describes Kertanegara was deified in three forms: a splendid Jina, an Ardhanarisvara,[note 2] and an imposing Shiva-Buddha.[note 1][6] Particularly for the Shiva-Buddha deity, Prapanca praises the deity by calling him "the honoured Illustrious Protector of Mountains, Protector of the protectorless. He is surely, Ruler over the rulers of the world."[9] The Shiva-Buddha deity is neither Shiva nor Buddha, but the Lord of the Mountains, or the Supreme God of the Realm.[10] This religious belief is indigenous to the Javanese people of which two religions (Hinduism and Buddhism) were combined into the same God, the oneness of the dharma, as is also written in the Kakawin Sutasoma (see Bhinneka Tunggal Ika). When Kertanegara was deified as Shiva-Buddha, he symbolized the collective powers of the God of the Realm.[6]

[edit] See also

[edit] Notes

1  Note that Shiva-Buddha is a mixture of Buddhism and Hinduism for which no such image exists in India. In India, there is no deceased king in the guise of a god; it only exists in Indonesia. Hindu and Buddhist images are intertwined in many old inscriptions and candi (temples or shrines).
2  Stutterheim believes that an ardhanari sculpture, that is now located in Berlin, is a posthumous image of Kertanegara.[11] The image is half Shiva and half Visnu, symbolizing the unity of the two gods, the unity of the kingdom, and the oneness of the dharma.

[edit] References

  • Theodore Pigeaud (1960). Java in the 14th Century. The Hague: Nijhoff. 
  1. ^ a b Myron Malkiel-Jirmounsky (1939). "The Study of The Artistic Antiquities of Dutch India". Harvard Journal of Asiatic Studies 4 (1): 59–68. 
  2. ^ D.G.E. Hall (1956). "Problems of Indonesian Historiography". Pacific Affairs 38 (3/4): 353–359. doi:10.2307/2754037. 
  3. ^ Guan, Kwa Chong & Hanns Maull, Gerald Segal, Jusuf Wanandi (eds.) (1998), "The Historical Setting," Europe and the Asia Pacific, NY: Routledge, p. 6, ISBN 0415181763 
  4. ^ Pigeaud (1960), p. 73.
  5. ^ Pigeaud (1960), p. 74.
  6. ^ a b c d Nancy Dowling (1992). "Javanization of Indian Art". Indonesia 54: 117–138. 
  7. ^ Willem F. Stutterheim (1938). "Note on Saktism in Java". Acta Orientalia 17: 148. 
  8. ^ Pigeaud (1960), p. 49.
  9. ^ Pigeaud (1960), p. 3.
  10. ^ Mpu Tantular (1977). Arjunawiwaha: A Kakawin of Mpu Tantular, trans. by S. Supomo 1, The Hague: Nijhoff, 80. 
  11. ^ Willem F. Stutterheim (1952). Het Hinduism in de Archipel. Jakarta: Wolters.