Development of Technology Ferrous Metal Melting Furnace Ancient Times in Indonesia

Technological knowledge of the use of metals is inseparable from human knowledge in the processing pyrotechnics of fire as a power in high temperature processes for producing objects. The fire is used for smelting and casting in melting furnaces. Metal smelting furnace is a heat production device, which is used to purify the metal, in this case iron. This paper aims to determine the development of ferrous metal smelting furnace technology in Indonesia with the library research method from the results of previous studies. Based on the results of the analysis, there are four technologies for smelting iron, namely pit kiln, bloomery furnace, blast furnace, and induction furnace. Of the four technologies, three are in use in Indonesia, namely bloomery furnace, blast furnace, and induction furnace.

Petojo Enclek Traditional Market Building: Application of Technology Systems as Substantiation of Improving the Quality of Life and Landscape Transformation in Batavia

Traditional markets are places and means of meeting sellers and buyers and are marked by direct buyer-seller transactions and usually there is a bargaining process. This research is a study of environmental changes and Petojo Enclek Market in the 20th - 21st Century. The purpose of this research is to see changes in Petojo Enclek Market based on archives, ancient maps, ancient photos, history, technology used in buildings, and market conditions in the past. recently. In this study using qualitative methods, the stages of this research include data collection, data processing, data analysis and data interpretation. The theory used in this study is the Core-Periphery by John Friedman and Weaver, where the Core-Periphery relationship can occur due to the expansion (development) of markets and other infrastructure. This research, it can be seen that there are significant changes in the Petojo Enclek Market building and its surroundings.

Analisis Teknologi Masjid Cipari yang Bergaya Arsitektur Indo-Eropa

Abstrak. Salah satu teknologi arsitektur yang berkembang di Nusantara dikenal dengan arsitektur Indische Empire. Gaya ini merupakan perpaduan antara bentuk bangunan Eropa yang diadaptasikan dengan bangunan gaya setempat sehingga melahirkan bentuk arsitektur campuran. Teknologi arsitektur Indo-Eropa awal mulanya digunakan untuk bangunan pemerintahan, tetapi lambat laun gaya seni ini merambah ke bangunan lainya seperti rumah tinggal, fasilitas umum, dan lain-lain. Gaya Arsitektur Indo-Eropa digolongkan sebagai salah satu usaha untuk mencari bentuk identitas arsitektur Hindia-Belanda waktu itu. Masjid Cipari merupakan salah satu bangunan yang menggunakan ciri Indo-Eropa dari segi teknologinya. Hal tersebut jelas terlihat dari bentuk bangunan, bahan pembuatan, dan komponen lainya yang berbeda dengan masjid Jawa umumnya. Apakah teknologi dalam Masjid Cipari telah menghilangkan bentuk umum masjid di Jawa sehingga memiliki bentuk yang berbeda? Dasarnya teknologi hanya mencoba membantu atau membuat sesuatu yang lama menjadi lebih maju, baru, terlihat baik (dari segi fisik maupun estetik), efisien, dan sebagainya. Namun, untuk bentuk itu sendiri tergantung dari arsitek yang merancangnya karena tidak setiap arsitek memiliki pemikiran yang sama dalam membentuk sebuah bangunan. Proses pengumpulan data pada tulisan ini menggunakan data primer dan data sekunder. Data primer diperoleh dengan melakukan pengamatan lapangan. Data lapangan yang digunakan antara lain berupa foto bangunan masjid, pengukuran, serta wawancara terhadap pengelola masjid. Data sekunder diperoleh melalui studi Pustaka, antara lain buku referensi, artikel-artikel jurnal, dan internet. Kedua sumber data tersebut digabungkan untuk mendapatkan gambaran data secara utuh.

Experimental Archaeology Study on the Drilling Techniques of Neolithic Stone Bracelet from Purbalingga

The stone bracelet is a neolithic artifact crafted by drilling techniques. Traces of stone bracelet workshop activities in Central Java were found in Purbalingga, which is spread across the North Serayu Mountains between Kali Tungtunggunung and Kali Laban. This study is based on the previous research hypothesis, which states that the manufacture of stone bracelets is carried out by drilling techniques using bamboo wulung (Gigantochloa atroviolacea). This study aims to prove this hypothesis. An experimental archaeological approach by conducting drilling experiments using several drill bits: iron drills, masonry/concrete iron drills, iron drills for natural stone, and bamboo drills. Meanwhile, the abrasive materials used are water, river sand, and quartz sand. The analysis was carried out by comparing the morphological and morphometric traces of the workings between artifacts and experimental results, based on microscopic observations with a magnification of 20x to 200x. Compared to the other drilling bits and abrasive materials, the experimental study revealed that bamboo drill bits, with quartz-sand and water as additional gritty material, showed the closest similarity.

Boatbuilding Technology Analysis of the Seventh Century Boat Remains from Bongal Site on the West Coast of North Sumatera

The west coast of North Sumatera was a famous sea trade route since the ninth century, according to the research conducted in the Barus Site, the international trading ports in the region. However, the study of the maritime technology in the region is still scarcely done. Boat timbers finding from Bongal Site is the first, as well as the oldest, shipwreck remains found in the west coast of North Sumatera. This paper aims to study the boatbuilding technology, as one of the maritime technologies, of the boat remains found in Bongal Site. Analysis on form and function of the timbers, along with the radiocarbon-dating result of timber and Arenga pinnata rope show that the vessel was built in the Southeast Asian lashed-lugs technique in the seventh century, two centuries older than Barus. Analysis on the artefacts found near the timbers indicates that this type of vessel was used for trade activities on the west coast of North Sumatera.

The Medallion Design on Gravestones in Palembang

The Islamic tombs in Palembang date from the 16th-20th century AD. Some of the tombs in Palembang are plain and some have decorations. Ornaments are affixed to the jirat and tombstones. The ornaments found on the headstones include medallions. The medallion ornaments vary in shape and are commonly found in temple buildings in Java in the 9th-16th centuries AD. The medallion decorative motifs in Palembang are found on Islamic tombs from the time of the Palembang Darussalam Sultanate. The medallion decorative motifs found are varied and interesting to study from the similarities and differences with those in Java, as well as the reasons for the emergence of these similarities and differences. Based on these two problems, this paper aims to identify the forms of medallion decoration, similarities, and differences, as well as the background to the similarities and differences in the medallion decorations in Palembang and Java. To answer these two problems, archaeological research methods were used by describing the ornamental variety and identifying its diversity. After that, it was analyzed qualitatively using symbolic theory. The results of the study show that the similarities in the decorations are due to the historical relationship between Palembang and the Majapahit and Demak kingdoms in Java. The difference in the medallion decoration is caused by the creativity factor of Palembang artists.

Paṭola’s Long Journey to Jlamprang: Transformation of Woven Motives to Batik Motives

The background of this research comes from the public's understanding that the jlamprang motif is a typical Pekalongan batik motif, besides that there are also those who state that this motif is an imitation of the paṭola motif. Therefore, this paper aims to determine the transformation process of the patola woven motif into the jlamprang batik motif, one of the characteristic batik motifs of Pekalongan. Why can the weaving motif turn into a batik motif? Why does the jlamprang batik motif become the hallmark of Pekalongan? The method used in this research is to trace the trade of paṭola motif cloth from India and its distribution in Java, both in the form of the distribution of decorative motifs on temples and on cloth. The search was carried out through literary texts, decorative motifs on temple walls, and motifs of cloth worn by statues. The results showed that in Java the paṭola motif has undergone a transformation from a woven motif to a decorative motif on the temple walls to a batik motif. Jlamprang became the signature batik motif of Pekalongan because it was in this city that the motif was first developed by Arab traders to overcome the scarcity of paṭola woven motifs from India. Thus, it can be concluded that the Javanese society is an adaptive society, with local genius capable of processing foreign decorative motifs into their own motifs and making them a local identity.

The Relief Art Styles of Yeh Pulu in Gianyar Regency, Bali

The relationship between Indonesia and India manifested in various cultural forms that still survive today, one of which is in form of relief. Yeh Pulu is an archaeological site located in Banjar Batulumbang, Bedulu Village, Blahbatuh District, Gianyar Regency, Bali. To date, the relief in Yeh Pulu has not been studied intensely. The objective of this research is to reveal the characteristics of reliefs in Yeh Pulu Site. Data collection was carried out through direct observations in the field and also photographs. A comparative study was used for the analysis, by comparing Yeh Pulu Relief with the reliefs from temples in Java. The results showed that the Yeh Pulu Relief has nine scenes depicting various activities of past lives. One of the scenes depicted the story of Kresnayana, which perhaps was the inspiration for the reliefs. Yeh Pulu relief was developed around 14 – 15 AD or during late Majapahit era.

Statue Art Style of Kāḍiri Era: Study Toward Statues from Gurah Temple and Tondowongso Temple

In the archaeology Hindu-Buddhist era in Indonesia, there are several known art styles temple building architecture and statue art: Early Classical Era and Late Classical Era. In more detail, that several eras can be described that Early Classical Era developed during the Old Mātaram era with the center of its reign at Central Java, and Late Classical Era Style developed during Kāḍiri/Siŋhasāri and Majapahit with the center of its reign at East Java. Late Classical Era Style divided into two subs, Kāḍiri/Siŋhasāri and Majapahit. Kāḍiri as an early dynasty in East Java not yet known clearly what the special characteristic style of its temple is building architecture and its statue art, and only been told that the Kāḍiri Era Style is the connecting line between Early Classical Era Style and Late Classical Era. This essay intends to find out special characteristics of the Kāḍiri Era Style (transition art style). For this reason, the research was carried out on statues comes from Gurah Temple and Tondowongso Temple, both temples knew the date, with relative dating method or absolute dating method. From this iconographic research in detail will describe parts of the statues, from then will obtain several features that always appear, and that’s characteristics are considered as a strong characteristic from statues from Kāḍiri Era Style.

The Development of Bedouin Dance Al-Fattah Badui Islamic Arts in Wedomartani, Sleman Regency, Yogyakarta Special Province: Study for Sustainabitlity of Traditional Arts

Since the beginning of 21st century, Bedouin traditional art has declined due to the influence of modern times. It has even shifted to become a tourist attraction. For this reason, efforts are needed to improve human resources for the sustainability of the traditional arts. By using inductive reasoning, this research was conducted to improve the traditional art to be part of Indonesian cultural identity. Direct observations and interviews were made on the traditional Bedouin art group Al Fattah in Wedomartani, Yogyakarta. The outcome of this study is a recommendation for Bedouin art of Al-Fattah to have better management of the accompaniment and sound system, as well as the arrangement of motion gestures so that the art can be more captivating as well as delivering the message to the audience.