scholarly journals VARIASI PERHIASAN KEPALA ARCA PARWATI KOLEKSI MUSEUM NASIONAL DI INDONESIA [THE VARIETY OF HEADDRESSES OF THE PARVATI STATUE COLLECTION OF THE NATIONAL MUSEUM IN INDONESIA]

2021 ◽  
Vol 15 (2) ◽  
pp. 71-86
Author(s):  
Waridah Muthiah ◽  
Agus Sachari ◽  
Pindi Setiawan
Keyword(s):  
Comparative Method ◽  
National Museum ◽  
Important Place ◽  
Indonesian Archipelago ◽  
Art Style

Pemujaan terhadap Parwati mendapatkan tempat yang penting pada era Hindu-Buddha di nusantara, sehubungan dengan kedudukan Parwati sebagai śakti dari dewa tertinggi dalam Śiwaisme, Dewa Śiwa. Hal ini ditunjukkan oleh keberadaan arca-arca dewi dan arca perwujudan ratu, yang beberapa di antaranya menjadi koleksi Museum Nasional di Indonesia. Akan tetapi, asal waktu dan identitas tokoh pada kebanyakan arca ini belum dapat diidentifikasi. Mahkota atau hiasan kepala sebagai bagian dari atribut (lakṣana) arca dapat digunakan sebagai sumber informasi melalui kajian terhadap gaya atau langgam estetika. Penelitian ini merupakan upaya untuk memahami variasi mahkota arca Parwati yang berasal dari era Majapahit, khususnya abad ke-14 M dan 15 M, berdasarkan identifikasi gaya seni dan kecenderungan penggambaran pada masa tersebut. Penelitian dilakukan menggunakan metode deskriptif-komparatif dengan pendekatan ikonografi dan morfologi estetis. Hasil penelitian menunjukkan bahwa ada dua kecenderungan penggambaran mahkota Parwati. Patung dari Kediri dan Blitar cenderung menggambarkan mahkota Parwati dengan bentuk yang mendekati langgam Klasik Awal (Jawa Tengah), dengan menampilkan mahkota semata-mata sesuai kanon Manasara, seperti jatāmakuta, kesabandha, dan kuntala. Kecenderungan kedua menampilkan Parwati mengenakan kirīṭamakuta, yang merupakan atribut Wisnu, dan penyejajaran sifat dan kedudukannya sebagai sosok pemelihara.The worship of Parvati has an important place in the Hindu-Buddhist era in the Indonesian archipelago, with regard to Parvati's position as the spouse of the supreme god in Shivaism, Shiva. This is indicated by the presence of goddess statues and statues of the embodiment of a queen, which some are in the collections of the National Museum in Indonesia. However, the chronology and identity of the National Museum statues collection have not been distinguished. Information on both aspects of a statue can be achieved by means of the study of style or aesthetic of a crown or headdress as a feature of lakṣana (statue attribute). This research is an attempt to understand the varieties of the crowns of the Parwati statue from the Majapahit era, especially the 14th and 15th centuries, based on the identification of the art style and depiction tendencies during this period. This research was conducted using a descriptive-comparative method with approaches of iconography and aesthetic morphology. The results indicate that there are two trends in depicting Parwati’s crown. The statues from Kediri and Blitar tend to depict Parvati's crown in a form similar to those of the Early Classical (Central Javanese) style, by displaying the crown solely according to the scripture of Manasara, such as jatāmakuta, kesabandha, and kuntala. The second trend presents Parvati wearing the kirīṭamakuta, which is an attribute of Vishnu, which correlates to her nature and position as a guardian.

scholarly journals Revealing Hidden Diversity in Menjangan Besar Island, Karimunjawa: Reef-Associated Decapods as a Proxy of Biodiversity Estimation (Mengungkap Keanekaragaman Tersembunyi di Pulau Menjangan Besar, Karimunjawa: Estimasi Biodiversitas Menggunakan Dekapoda..)

2015 ◽  
Vol 19 (4) ◽  
pp. 195 ◽  
Author(s):  
Ni Putu Dian Pertiwi ◽  
Eka Maya Kurniasih ◽  
Sukron Alfi Rintiantoto ◽  
Gede Wahyu Dani Dharmawan ◽  
Teuku Rizza Mustari ◽  
...  
Keyword(s):  
Coral Reefs ◽  
National Parks ◽  
Diversity Index ◽  
Basic Knowledge ◽  
Marine Biodiversity ◽  
Marine Habitat ◽  
Dead Coral ◽  
Important Place ◽  
Indonesian Archipelago ◽  
Wiener Diversity Index

Kepulauan Indonesiamemiliki sejumlahArea Perlindungan Laut dan Taman Nasional yang merupakan tempat tinggal bagi organisme laut dengan tingkat keanekaragaman yang tinggi. Karimunjawa sebagai salah satu Taman Nasional, dikenal mempunyai keanekaragaman terumbu karang yang tinggi dan merupakan salah satu kawasan yang digunakan sebagai area studi keanekaragaman laut. Penelitian ini bertujuan untuk mengestimasi keanekaragaman organisme pada habitat terumbu karang yang terdapat di kawasan pesisir Karimunjawa. Metode sampling semi-kuantitatif digunakan untuk mengestimasi keanekaragaman terumbu karang, dengan menggunakan anggota kelompok dekapoda sebagai perwakilan. Enam belas terumbu karang mati (dead coral head) dari anggota Pocillopora, di koleksi dengan ukuran yang sama pada kedalaman 10 meter di kawasan Pulau Menjangan Besar, Karimunjawa. Seluruh dekapoda yang dikumpulkan, diidentifikasi sampai tingkat famili dan menunjukkan terdapat 11 famili dari total 203 individu. Nilai statistik dari kekayaan spesies (Chao1 and ACE) menunjukkan hanya 11 famili dekapoda yang dapat ditemukan di kawasan tersebut. Hasil kurva rarefaksi menunjukkan nilai yang mencapai titik kesetimbangan setelah karang mati ke-empat belas, yang mengindikasikan bahwa penambahan koleksi sampel tidak akan mengubah estimasi keanekaragaman yang ditemukan. Index keanekaragaman Shanon-Wiener juga menunjukkan nilai keanekaragaman yang rendah dengan nilai 1.9. Hasil penelitian ini dapat digunakan sebagai dasar pemahaman bagi keseluruhan keanekaragaman terumbu karang yang terdapat pada suatu kawasan dan sebagai dasar pengetahuan untuk tujuan pengamatan ekosistem terumbu karang bagi perlindungan dan konservasi. Kata kunci: keanekaragaman, terumbu karang, dekapoda, Indonesia, Karimunjawa. The Indonesian archipelago, with its higher number of Marine Protected Areas (MPA) and National Parks, is a home to a high diversity of marine organisms. Karimunjawa is an Indonesian National Park that is well known for its diverse coral reefs and therefore is an important place to study marine biodiversity. In the present study, the biodiversity of reef organisms was estimated in the coastal marine habitat of Karimunjawa. A semi-quantitative sampling method was used to estimate reef biodiversity using decapod group as a representative. Sixteen similar sized dead coral heads of Pocillopora were sampled from 10 m depth at Menjangan Besar Island, Karimunjawa. All decapods were sorted and identified to the family level, yielding 11 families from total 203-collected individuals. Species richness statistics (Chao1 and ACE) suggest that only 11 families of decapods can be found in this area. Rarefaction curves approached an asymptote after sampling fourteen heads, indicated that sample addition will not alter the estimate diversity found in this location with Shanon-Wiener diversity index of 1.9 indicated low diversity. Our findings may provide a basic understanding of the overall biodiversity of a reef area and a basic knowledge in monitoring coral reefs ecosystems for protection and conservation. Keywords: biodiversity, coral reefs, decapod, Indonesia, Karimunjawa

scholarly journals Fusion of Ancient Heritage and Christian Doctrine in the Poem of John of Gaza “Description of the Cosmic Table”

2021 ◽  
pp. 222-230
Author(s):  
Marina Lopatina
Keyword(s):  
Cultural Heritage ◽  
Comparative Method ◽  
Literary Genre ◽  
Cultural Environment ◽  
Historical Time ◽  
Christian Doctrine ◽  
Important Place ◽  
Religious Consciousness ◽  
John Chrysostom ◽  
Poetic Work

Introduction. John of Gaza is the only known grammarian poet who belongs to the cultural environment of the Gaza School. His work “Description of the Сosmic Table” is a unique extant poetic work that corresponds to the ancient literary genre. Despite the final Christianization of Gaza at the end of the 4th century, the classical elements did not outlive their usefulness. The poem by John of Gaza written in the genre of ekphrasis is a vivid example of this phenomenon. The author actively appealed to the works of ancient authors and to a lesser extent to the Christian works when he created his poem. Therefore, the main purpose of our study is to identify sources – exact quotes, expressions that can be identified in another work – paraphrased or repeated verbatim. Methods. The author conducts his research on the basis of the historical and comparative method, which allows to compare the work of John of Gaza with the works of other authors. Thus, it allows to reveal the sources used in the poem. Analysis. The author in his work divides conditionally cited authors into ancient and Christian, and also argues the thesis that the works of the former occupy an important place as a source of borrowings. Results. Based on the analysis, the author identified four main characteristics that clearly indicate the echoes of the cultural heritage of antiquity. Interpretation and understanding of allegorical and Christian images in Early Byzantium with the help of Homer, Nonne of Panopolis, Aristophanes, Menander, etc. still occupied an important place in the life of the Gazans. The citation of Christian authors, first of all John Chrysostom, is explained by the historical time associated with the transformation of religious consciousness. In general, it can be noted that the poem of the Byzantine poet John of Gaza is a “fusion” of ancient heritage and Christian doctrine.

scholarly journals Perbandingan Busana Arca Harihara Era Klasik Akhir (Koleksi State Hermitage Museum, Museum Nasional Jakarta, dan Balai Lelang Christie’s)

2021 ◽  
Vol 19 (1) ◽  
pp. 67-74
Author(s):  
Waridah Muthi'ah ◽  
Agus Sachari
Keyword(s):  
Comparative Method ◽  
National Museum ◽  
Divine Attributes ◽  
Historical Approach ◽  
Classical Archaeology ◽  
Physical Attributes ◽  
Religious Sects

Harihara is the amalgamation of two great gods in Hinduism, Siva and Vishnu. During the Late Classical Era (Majapahit period, 13th-15th centuries AD) three deification statues which portrayed the kings as Harihara have been found. Out of these three, two of them are not located in Indonesia anymore, one is part of the collection of Hermitage Museum, St. Petersburg, and one is in Christie’s Auction Gallery. Since these two statues are not widely known, they are barely mentioned or studied in the field of classical archaeology and art. This research focuses on the physical attributes of those two statues, particularly the clothing elements and divine attributes, in comparation to the deification statue of Raden Wijaya as Harihara, which is originated from Candi Simping and now is located in National Museum, Jakarta. The research was conducted using a qualitative-comparative method with iconographic and historical approach. It is found that while these statues show the amalgamation of Siva and Vishnu’s attributes, the depiction of Harihara in those statues are not exactly following Harihara iconography as regulated in the canons of Silpasastra and Manasara. While the canon physical attributes of Shiva and Vishnu side by side equally, in the depiction of Harihara in Java, those attributes are mixed and not always follows a rigid pattern. It is suggested that the depiction of  kings as Harihara show an attempt to project them as the unifier of different factions and religious sects. The inequal depiction of Vishnu and Siva’s attributes in king’s deification statues indicates not only the dynamics of the religion in the era, but also as mean to build king’s image in the image of the God.

scholarly journals An overview of approaches towards studying railway terminology as an element of language for specific purposes (on the material of English language)

Litera ◽  
2021 ◽  
pp. 56-63
Author(s):  
Elizaveta Igorevna Dmitrieva ◽  
Il'ya Valentnovich Grubin
Keyword(s):  
English Language ◽  
Comparative Method ◽  
Railway Transport ◽  
Semantic Approach ◽  
Important Place ◽  
Origin And Evolution ◽  
Language For Specific Purposes ◽  
Professional Field ◽  
High Level

The subject of this research is the approaches towards studying railway terminology as the language for specific purposes. Transport and namely railway terminology holds an important place in the terminological system of English language. The author explores the basic interpretations of the concept of “language for specific purposes”, as well as such approaches towards studying railway terminology of English language as semantic, structural and etymological. Semantic approach consists in classification of terms by semantic groups. Structural approach analyzes the number and nature of components that comprise terminological units in this area of LSP. Etymological approach reviews the origin and evolution of the meaning of terminological units. The scientific novelty consists in comprehensive description of the approaches towards studying language for specific purposes on the materials of professional field “railway transport”. Research methodology includes the analysis of scientific literature, analysis of dictionary definitions, comparative method, and diachronic analysis. The conclusion was made that the same approaches are applicable to the analysis of railway terminology and to the analysis of language for specific purposes of any other professional sphere. At the same time, systematicity and hierarchical pattern of the acquired classifications indicated a high level of formedness and systematization of terminology under review.  

scholarly journals Tuhfah al-Mursalah ila Ruh al-Nabiy as the Source of the Doctrine Seven Grades of Being in the Malay-Indonesian Archipelago

Teosofia ◽  
2021 ◽  
Vol 10 (1) ◽  
pp. 59-74
Author(s):  
Faudzinaim Badaruddin
Keyword(s):  
Seventeenth Century ◽  
Sixteenth Century ◽  
Document Analysis ◽  
Muslim World ◽  
Important Place ◽  
Muslim Scholar ◽  
Indonesian Archipelago ◽  
Wide Acceptance ◽  
Islamic Principle ◽  
Insight Into

The doctrine of seven grades of Being (Martabat Tujuh) has been widely known to be a sufi interpretation of God’s Oneness (al-Tawhid). It originated in the subcontinent of India in the early seventeenth century. The doctrine was later introduced in Aceh and gained popularity among the Malay sufi authors and practitioners until the present day. Amid its wide acceptance, the teaching has long been considered by many scholars to be incompatible with the Islamic principle teachings of God’s Unity. The purpose of this article is to give an insight into the background of the writing of the Tuhfah al-Mursalah Ila Ruh al-Nabiyy and to establish its credibility as an authentic Islamic work by a recognized Muslim sufi scholar. To achieve its objectives, data of this writing was gathered through the usage of document analysis and then described using deducted and inducted analysis. This article found that the Tuhfah al-Mursalah was originally written to combatting misinterpretation of the teaching of wahdat al-wujud in the subcontinent India. It was later exported to the Aceh in the early sixteenth century. The work was written by a knowledgeable and important Indian Muslim sufi scholar. His credentials as a Muslim scholar were testified with few commentaries on the Tuhfah al-Mursalah by famous and well-known Muslim scholars in the Muslim world. Therefore, this work occupies an important place in providing a true comprehension of the doctrine of seven grades of Being.

scholarly journals A pianist and his musical instrument (on the example of Alexandre Tharaud’s works)

2021 ◽  
pp. 76-84
Author(s):  
Y. Voskoboinikov
Keyword(s):  
Classical Music ◽  
Comparative Method ◽  
Musical Instrument ◽  
Musical Instruments ◽  
Educational Process ◽  
Important Place ◽  
Modern Media ◽  
Media Space ◽  
First Time ◽  
The Relationship

The relevance. The modern media space is full of musical experience of different cultures, which is embodied by musical instruments. Each of them with its uniqueness occupies the same important place on the stage as a composer, a piece of work and a performer. First, only by their appearance and name, and then by timbre, volume, range, musical instruments (solo or in an ensemble or orchestra) objectify the sound space, set the parameters of artistic communication. A musical instrument as an artifact exists in musical activity not as a certain thing, even exceptionally valuable, but, first of all, as a “mediator of use” (Voronin A. Myth of technology. Moscow: Nauka, 2004. P. 65). It is the process of its use that needs to be understood not only in broad historical and cultural contexts, but also in the scale of creative activity of one performer. The aim of the article is to try to use the example of the famous pianist Alexandre Tharaud (1968) to consider the process of understanding the “horizons” of his creative world through the selection and development of certain musical instruments, including pianos of modern production. Such a problematic prospect includes: on the one hand, the purely economic relationship between the musician and world brands and requires a definition of the artist-ambassador at the music market, on the other — highlights the performance search for reliable “mediators” for their own version of the music, new opportunities for dialogue with the historical past. The methodology. It is based on the comparative method, the application of the apparatus of organology in historical retrospect, as well as on the methodological approaches used by E. Nazaikinsky and A. Voronin. The results. The problem of the relationship between the piano firm and the performer was raised in the historical context. On the example of Alexandre Tharaud’s discography the modern mechanisms of the relationship between the piano firm and the performer were revealed. The topicality. It is the first time Alexandre Tharaud’s experience in media representation of piano products is summarized. It is the first time the piano works and performance in terms of instrumental resources involved in the Alexandre’s performance was analyzed. The practical significance. The material can be used in the educational process, as well as by professionals who are interested in this prospect for further study of the performance issue. The conclusions. Nowadays, pianists master a significant number of musical instruments. Guided by individual sound perceptions, they choose their priority brand. A professional performer is able to adjust the musical concept of the work in relation to the existing piano during the game. The performer adapts a piece of music to the instrument through a complex of feelings such as hearing, touch, sight, smell, and, emphasized by Alexandre Tharaud, the feeling of pain which is familiar to all performers. Alexandre Tharaud in his own music albums, represented not only the original performance versions of classical music, but also each time opened a new refraction of the sound spectrum of a particular piano company, through the original artistic and sound representation of each of the works. In the modern media space, Alexandre Tharaud has created a treasure trove of sound spectra of Steinway and Yamaha pianos, which combine such timbre capabilities that can meet the artistic needs of almost every artist.

scholarly journals What's at Stake? History Wars, the NMA and Good Government

2013 ◽  
Vol 10 (1) ◽  
pp. 134-148 ◽  
Author(s):  
Julie Marcus
Keyword(s):  
Common Sense ◽  
Public Libraries ◽  
The Political ◽  
National Museum ◽  
Publicly Funded ◽  
Art Galleries ◽  
Important Place ◽  
Good Government ◽  
National Museum Of Australia ◽  
Death Knell

I want to place the fate of the National Museum of Australia (NMA) in the context of some of the political strategies that underpin the electoral placidity and public acceptance of a government so radically reshaping Australian democratic institutions. A national museum that reaches and engages with a national constituency can be an important place for the vigorous public debate that democracy requires. In such a place, political doctrines and dogmas, cultural fantasies and assumptions, historical interpretations and good old common-sense may all be scrutinised as well as confirmed. Such a place sits beside schools and universities, public libraries and art galleries and festivals, each of which provides the opportunity for reflection as well as for congratulation. As with the other publicly funded but independent sites of public reflection, the National Museum is to be reined in and redirected. It is to become ‘balanced’. Nothing could more surely ring its death knell. In future, the museum’s visitors will reflect along the narrow and limited lines of carefully delineated ‘alternatives’ that in fact confine and constrain rather than enlarge understanding.

scholarly journals Comparative analysis of set expressions with the zoonymic component of "dog" in English and Kazakh languages

2020 ◽  
Vol 80 (4) ◽  
pp. 11-17
Author(s):  
M. Alshynbayeva ◽  
◽  
J. Omasheva ◽  
Sh. Mazhitayeva ◽  
◽  
...  
Keyword(s):  
Comparative Analysis ◽  
Comparative Method ◽  
Practical Significance ◽  
Ethnic Communities ◽  
Additional Material ◽  
Important Place ◽  
Continuous Sampling ◽  
Cultural Specificity ◽  
Analysis And Synthesis ◽  
Card Index

The article focuses on to conduct a comparative analysis of English and Kazakh phraseological units nominating the image of a dog. The purpose of this study is to consider the national and cultural specifics, reflected in the stable expressions of the English and Kazakh languages with the "dog" component. The article provides a brief overview of works related to the issues of phraseology in English and Kazakh. The work was based on general scientific methods: induction and deduction, analysis and synthesis. The work with the collected card index of stable expressions was carried out by the method of continuous sampling, using the descriptive-analytical method. An important place in the work with the material was given to the methods of definitional, contextual and typological analysis. Using the comparative-comparative method, national-specific and universal features of zoonyms in English and Kazakh languages were determined. The material of the research was a card index of phraseological units of the English and Kazakh languages (more than 160 units) which were selected using the method of continuous sampling from phraseological dictionaries of the English and Kazakh languages. When analyzing the authors of the article relied on materials from phraseological dictionaries in English and Kazakh languages. In the course of the analysis, groups of phraseological units were identified and their differences and similarities in the compared languages were identified, as well as their national and cultural specificity, based on the action of universal cultural codes; the national and cultural specificity of zoonyms is determined by a number of extralinguistic factors: the location of the country, the living conditions of the people, their customs and traditions, history, religion and socio-political structure. All this secures national-specific connotation to zoonyms and determines their productivity. The results of the study showed that through the prism of axiology, an analysis of English and Kazakh stable combinations with the "dog" component, reflecting the paradigm of values (general cultural and national-cultural) and anti-values of the corresponding ethnic communities, was presented, as well as universal values representing at the intercultural level. The results of the study showed that through the prism of axiology, the analysis reflects the paradigm of values (general cultural and national-cultural) and anti-values of the corresponding ethnic communities. The research results have both theoretical and practical significance; it will be additional material for elective courses on the subject of "Lexicology" taught at the faculties of philology and foreign languages in higher educational institutions.

scholarly journals Other space in the Yakut heroic epic poetry (based on Olonkho of Vilyuysky tradition)

2021 ◽  
pp. 9-18
Author(s):  
Aitalina Akhmetovna Kuzmina
Keyword(s):  
Semantic Analysis ◽  
Comparative Method ◽  
Epic Poetry ◽  
Important Place ◽  
Systemic Analysis ◽  
Epic Poem ◽  
Folklore Studies ◽  
Heroic Epic ◽  
The Subject ◽  
The Difference

The subject of this research is the semantics, structure and plotline of other space in the Yakut heroic epic poetry. The object is the texts of the Yakut heroic epic poetry, namely Olonkho of Vilyuysky tradition. The goal lies in comprehensive analysis of the category of other space in the Yakut heroic epic poetry, particularly Olonkho of Vilyuysky tradition. The article employs the systemic analysis of Olonkho poetics, structural-semantic analysis, and comparative method. Special attention is given to construction of mythopoetic model of the world and correlation between space and plot of the epic poem. The acquired results can be implemented in folklore studies. The novelty of this research consists in the analysis of other space in Olonkho from the perspective of its semantics, structure, and narrative role. This article is first to describe the peculiarities of other space in the texts of Vilyuysky epic tradition. It is determined that other space in the Yakut heroic epic poetry Olonkho is depicted in form of the Lower and Upper worlds, “foreign country” in the Middle world, intermediate zones that hold an important place within the epic worldview and course of events in the plot of Olonkho. The author notes that the texts of Vilyuysky Olonkho preserve the traditional techniques depicting the three worlds; and the difference lies in emergence of the image of shaman dwelling in the intermediate zone, prevalence of the entry into the Lower world without demarcation of its boundaries.

scholarly journals On a Type of Russian Chests Called «Baul» of the 18th-19th Centuries. History and Art Style

2020 ◽  
Vol 30 (4) ◽  
pp. 560-565
Author(s):  
Gleb Pudov
Keyword(s):  
Western Europe ◽  
Comparative Method ◽  
Museum Collections ◽  
Cultural Process ◽  
Insufficient Attention ◽  
Foreign Products ◽  
History Of ◽  
Obvious Similarity ◽  
Art Style

The study of specific types of chests is one of the most prolific areas of the research of Russian chest production. However, today they receive insufficient attention from researches. This paper deals with the history of one of the types of Russian chests called «baul». The issues of their appearance in Russia, their connection with European items (in particular, Scandinavian ones) are considered and specific museum works are analyzed. The comparative method is used to identify the artistic features of Russian «bauls». Items of Russian and foreign museum collections were used. The author draws several conclusions: the chest called «baul» is an independent type of Russian chests; the «baul» as a type of chest was most likely borrowed by Russian craftsmen from Western Europe; despite of the obvious similarity that can be seen in its form and design, Russian and foreign products have their own art style; Russian masters were participants in the pan-European cultural process.

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