Incised stone artefact in the context of Middle Holocene burials at Cappalombo 1, South Sulawesi, Indonesia | Artefak batu bergores dalam konteks penguburan Holosen Tengah di Situs Cappalombo 1, Sulawesi Selatan, Indonesia

Since the recent discovery of Late Pleistocene rock art in Island Southeast Asia was announced, evidence for symbolic behaviour in the region has become a focus of international archaeological interest. South Sulawesi is one region that hold much evidence for this important human activity. In addition to the cave paintings, several engraved stone artefacts have also been recovered in the same area, nearly all of which date back to the Late Pleistocene. However, while cave use by ‘hunter-gatherer’ societies continued into the Holocene period, archaeological evidence for symbolic expression during this Toalean period is extremely rare. Here, we report for the first time on engraved stone artefacts from the Middle Holocene period, associated with six human burials. Of ten incised artefacts recovered, eight are stone flakes and two are stone plaquettes, all made of hematite material. Our study suggests that unlike comparative Pleistocene engraved stones, the incisions on the Cappalombo artefacts are more likely the result of use-wear that occurs from producing red pigment powder than portable artworks. As no Toalean-age cave art has yet been identified, it is suspected that pigment powder was applied to the corpses as part of a burial practice or perhaps smeared on the body of the person/s performing the ceremony itself as part of a symbolic ritualistic activity. Sejak penemuan gambar cadas Pleistosen Akhir terbaru diumumkan di Pulau Asia Tenggara, bukti perilaku simbolis di wilayah tersebut telah menjadi fokus kajian arkeologis internasional. Sulawesi Selatan adalah salah satu wilayah yang menyimpan banyak bukti aktivitas manusia yang penting ini. Selain lukisan gua, beberapa artefak batu berukir juga telah ditemukan di daerah yang sama, hampir semuanya berasal dari Pleistosen Akhir. Namun, ketika penggunaan gua oleh masyarakat 'pemburu-pengumpul' berlanjut hingga periode Holosen, bukti arkeologis untuk ekspresi simbolis selama periode Toalean ini sangat langka. Di sini, kami melaporkan untuk pertama kalinya tentang artefak batu berukir dari periode Holosen Tengah, yang terkait dengan enam penguburan manusia. Dari sepuluh artefak gores yang ditemukan, delapan berupa serpihan batu dan dua berupa plakat batu, semuanya terbuat dari bahan hematit. Studi kami menunjukkan bahwa tidak seperti batu terukir Pleistosen, sayatan pada artefak Cappalombo lebih mungkin hasil dari penggunaan yang terjadi dari memproduksi bubuk pigmen merah daripada karya seni portabel. Karena seni gua periode Toalean belum dapat diidentifikasi, diduga bubuk pigmen dioleskan pada mayat sebagai bagian dari praktik penguburan atau mungkin dioleskan pada tubuh orang yang melakukan upacara itu sendiri sebagai bagian dari aktifitas ritual simbolis.

Extraction of Colour Information from Digital Images Towards Cultural Heritage Characterisation Applications

Colour is a primary characteristic of visual perception and a very important characteristic to describe cultural heritage works in a variety of shapes, sizes and materials. To quantify colours, portable colorimeters are often carried and used for measuring colour of interest. Spatial resolution of colorimeters is manufacturer and model dependent and typically worse than 3 - 10 mm in diameter. The colour measurement has to be done on site at the time of interest. It poses very significant limitations in colorimetric characterization of cultural heritages. In this paper, the possibility of extraction of colour information from digital photographs, scanned images and video files using customized image processing/analysis software (PicMan) was investigated for cultural heritage characterization applications. As colour information extraction examples, a commercial Gouache paint colour card, a digital photograph, a portrait of a Korean scholar of Joseon Dynasty and a severely deteriorated old medical text book before and after restoration were examined. Colour information from various digital images was successfully extracted from points and regions of interest in RGB, HSV, L*a*b*, Munsell colour and hexadecimal colour code formats. The spatial resolution of colour information extraction is as small as a single pixel in a digital image.

A proposed relationship between Champa and Chola dynasties during the 11th and 13th centuries: A view from the historical sources and artistic evidences | Về mối quan hệ khả hữu giữa các vương triều Champa và Chola trong thế kỷ 11 đến 13: Nhìn nhận từ những cứ liệu lịch sử và nghệ thuật

New construction technology and new aesthetic trends are emphasized as the characteristics of Chola influence which have been adapted in Cham religious architecture. The temple architecture and sculptures of Champa thus provide the best information on reflecting the pinnacle of Champa art dating from the 11th and 13th centuries CE. Champa became a center for transportation with its prosperous port-cities/port-polities expressing demand for import-export commodities, especially the trade between South India and South China. The Champa kingdom had thus been one of the main bridges for Chola art to reach Southeast Asian states which was achieved through the commercial perspective and religious art. Kiến trúc tôn giáo Champa từng tiếp thu những đặc điểm của Chola mà tiêu biểu là kỹ thuật xây dựng và xu hướng nghệ thuật. Kiến trúc và điêu khắc đền-tháp Champa hàm chứa những thông tin tốt nhất về thời kỳ hưng thịnh của vương quốc từ thế kỷ 11 đến 13 trong mối quan hệ văn hóa với Chola. Champa từng là một trung tâm vận chuyển với hệ thống cảng-thị phát triển, có khả năng đáp ứng được các nhu cầu xuất nhập khẩu hàng hóa cao cấp, đặc biệt trong mối giao thương giữa vùng Nam Ấn và Hoa Nam, do đó vương quốc duyên hải này đã giữ vai trò là cầu nối cho nghệ thuật Chola phổ biến ở Đông Nam Á, thành quả này được phản ảnh qua lăng kính của các mối quan hệ hải thương cũng như các công trình nghệ thuật tôn giáo.

A methodological examination of multidisciplinary research of mak yong theatre: text, heritage, and performance | Pemeriksaan metodologis atas pendekatan multidisipliner dalam kajian tentang teater mak yong: teks, warisan budaya, dan pertunjukan

Previous studies of mak yong theatre in Indonesia looked at the art form as a given tradition, and described its elements and performance structure. Such an approach is inadequate to investigate mak yong in the current social and cultural context. State institutions, the local government, communities, performers, and other agents have revived and constantly (re)shaped mak yong theatre and its presentation as a commodified Malay identity marker. Heritage formation, local identity politics, and tourist festivals promoted mak yong as a revived traditional form of theatre practice, an intangible heritage, and a stage performance. So how should the above aspects be approached and the social processes that shape them disentangled? This article examines the relevance of multidisciplinary approaches and demonstrates how the perspectives of anthropology, heritage studies, and philology work in studying mak yong and its current production in the Riau Islands. Kajian terdahulu tentang teater mak yong di Indonesia umumnya melihat kesenian ini sebagai tradisi yang “demikian adanya”, dan mendeskripsikan elemen dan struktur pertunjukannya. Pendekatan semacam ini tidak lagi memadai untuk menelaah mak yong dalam konteks sosial dan budaya saat ini. Mak yong disajikan sebagai tradisi yang dibangkitkan kembali dan senantiasa dibentuk ulang oleh lembaga negara, pemerintah lokal, komunitas, aktor, dan pelaku-pelaku lainnya, sebagai satu di antara penanda identitas Melayu yang dikomodifikasi. Pelembagaan warisan budaya, politik identitas lokal, dan pariwisata budaya memajukan mak yong sebagai tradisi yang dihidupkan kembali, warisan budaya takbenda, dan pertunjukan panggung. Lantas, bagaimana menelaah aspek-aspek di atas dan mengurai proses sosial yang membentuknya? Artikel ini menguji relevansi pendekatan antropologi, heritage studies, dan filologi, dan menunjukkan cara bekerjanya dalam mengkaji mak yong dan produksinya saat ini di Kepulauan Riau.

History of Jakarta's Chinatown: The Role of the City Gate as a Transition Area and a Starting Point in the Spatial Transformation from the First Chinatown to the Renewal Phase | Sejarah Pecinan Jakarta: Peran Pintu Gerbang Kota Sebagai Area Transisi dan Titik Awal dalam Transformasi Spasial Pecinan Pertama ke Fase Pembaharuan

In the history of Jakarta, Chinatown played a significant role to the formation of the city. The Chinatown area accompanied Jakarta along its journey and has been around since the city was still known as Batavia. The Chinese were among the actors who played a major role in the formation of urban space when Batavia began to develop. After four centuries, Jakarta’s Chinatown, which is now known as the Glodok area, continues to exist and is a bustling commercial area. The research conducted tries to dig further into the existence of Jakarta’s Chinatown to reveal what lies behind its current formation. The Chinatown that can be found at this time is the second phase of the Jakarta Chinatown. At the beginning of Batavia, the Chinatown area was part of the city center. In 1740 there was a massacre that killed almost the entire Chinese population in Batavia. After the massacre, the Chinese no longer lived in the city center but filled the area outside the city walls. Through the study of archives and documents, the research tries to trace Jakarta’s Chinatown from the 17th to the 19th century to examine the spatial transformation that occurred when the first Chinatown was destroyed and a new Chinatown area grew. This research is a study of architectural history to better identify the formation of hidden layers in urban space. The findings show that there is an important role of the city gate or Pintoe Ketjil as a transition area and a starting point for the renewal phase of Chinatown. The market that develops from people's houses is a characteristic that enlivens the area. Glodok was originally the final boundary for the area before the relocation of the city center turned Glodok into the gateway for the new Chinatown. Pecinan memiliki peran yang signifikan di dalam sejarah terbentuknya kota Jakarta. Kawasan Pecinan telah mengiringi Jakarta di sepanjang usia perjalanannya dan hadir sejak kota berdiri saat masih bernama Batavia. Penduduk Cina adalah di antara aktor-aktor yang berperan besar dalam pembentukan ruang kota pada saat Batavia mulai dikembangkan. Setelah empat abad berjalan, daerah Pecinan di Jakarta yang kini dikenal sebagai kawasan Glodok masih terus hadir dan merupakan kawasan perniagaan yang ramai. Penelitian yang dilakukan mencoba menggali lebih jauh keberadaan kawasan Pecinan Jakarta untuk mengungkapkan apa yang berlangsung di balik terbentuknya Pecinan saat ini. Pecinan yang dapat ditemui kini adalah fase kedua dari Pecinan Jakarta. Pada awal Batavia berdiri, kawasan Pecinan merupakan permukiman penduduk Cina berada di pusat kota. Hingga di tahun 1740 terjadi pembantaian yang menghabisi hampir seluruh penduduk Cina di Batavia. Pasca pembantaian penduduk Cina tidak lagi tinggal di pusat kota melainkan memenuhi area di luar dinding kota. Melalui kajian arsip dan dokumen, penelitian mencoba menelusuri kondisi Pecinan Jakarta di abad ke-17 hingga akhir abad ke-19 untuk menelaah transformasi ruang yang berlangsung pada saat Pecinan pertama musnah dan tumbuhnya kawasan Pecinan baru. Penelitian ini merupakan studi sejarah arsitektur untuk lebih mengenali formasi dari lapisan-lapisan tersembunyi di dalam ruang kota. Temuan menunjukkan bahwa terdapat peranan penting wilayah pintu gerbang kota atau Pintoe Ketjil sebagai area transisi dan titik awal tumbuhnya Pecinan fase kedua. Pasar yang berkembang dari rumah-rumah penduduk adalah ciri khas yang menghidupkan kawasan. Glodok pada awalnya adalah batas akhir kawasan Pecinan, sebelum kemudian terjadinya perpindahan pusat kota mengubah Glodok menjadi pintu gerbang Pecinan baru.

The Artistry and Creative Process in the Making of Malang Masks in East Java | Kesenian dan Proses Kreatif dalam Penciptaan Topeng Malang di Jawa Timur

The creative process in Malang mask making has a strong tradition of creation which has produced a unique form. The Malang mask art has been popularized based on the Panji story. Despite being properties of an art performance, the masks are works of art. The visual characteristics of the faces and their carved ornaments are the main elements that determine the typology of the mask’s facial appearance. The characteristics of form, color, expression, and function create a unique style or identity of the group of traditional mask artists in Malang. Masks can be classified according to four general types of character: the figure of Panji, antagonistic characters, servants, and animals. In terms of the traditionality of creation, including aspects of material, technique, and function in the community of craftsmen, the style of the masks refers to previously existing forms. This essay is a qualitative description of the artistry of Malang masks, through the formation of the Panji story – based on kidung as indigenous stories in the practice of adaptive Hinduism – and leaning on a dichotomy with the Kakawin form. Malang masks are used by the wayang topeng community in art performances to present the narration of the Panji story – against the spiritual cultural background of the common people. Process kreatif dalam pembuatan topeng Malang memiliki tradisi penciptaan yang kuat, dan telah menghasilkan bentuk yang khas. Topeng Malang dipopulerkan berdasarkan kisah Panji. Meskipun menjadi properti seni pertunjukan, topeng adalah karya seni. Karakteristik visual wajah dan ornamen ukir merupakan elemen utama yang membentuk tipologi perwajahan topeng. Karakteristik pada bentuk, warna, ekspresi, serta fungsi, menghasilkan gaya atau identitas unik dari kelompok seniman topeng tradisional di Malang. Klasifikasi topeng ada pada empat tipologi umum karakter tokoh: sosok Panji, tokoh antagonis, tokoh abdi, dan tokoh binatang. Dari sisi tradisionalitas penciptaan, yaitu aspek materialitas, teknik, dan fungsinya di komunitas perajin, gaya topeng mengacu kepada bentuk topeng yang ada sebelumnya. Esai ini mendeskripsikan secara kualitatif perwujudan artistik topeng Malang, melalui formasi kisah Panji - berdasarkan kidung sebagai cerita asli dalam praktek Hinduisme adaptif - dan bersandar pada dikotomi dengan bentuk Kakawin. Topeng Malang digunakan oleh masyarakat topeng wayang dalam pertunjukan seni untuk menampilkan narasi kisah Panji - dengan latar belakang kultural spiritual orang biasa.

Tribute to the Remaining Makyong Performers of Yala, South Thailand | Sanjungan Untuk Para Penggiat Makyong di Yala, Selatan Thailand

Makyong is a form of Malay dance-theatre that combines dance, music, drama and comedy. It is said to have originated in the kingdom of Patani and later spread to Kelantan, Perlis, northern Sumatra and the Riau Islands. In the past, Makyong was performed to give thanks for a good harvest and for ritual healing. While there were more than ten active groups in the twentieth century, there is no permanent group left in South Thailand today. This essay honours the remaining performers who still come together to perform Makyong when there is an invitation. Based on oral interviews, we document the lives of the veteran performers, particularly the female actresses who played the leading roles. Through observations of their performances, we show how the Makyong performers in south Thailand have adapted some elements of Thai theatre. Makyong merupakan sebuah bentuk teater tradisional Melayu yang menggabungkan tarian, muzik, drama dan komedi. Persembahan ini dipercayai berasal dari kesultanan Patani dan kemudian berkembang ke negeri Kelantan, Perlis, Sumatera Utara dan kepulauan Riau. Pada masa dahulu, Makyong dipersembahkan sebagai tanda kesyukuran di atas penuaian padi yang baik serta untuk ritual perubatan. Terdapat lebih dari sepuluh kumpulan Makyong yang aktif pada abad kedua puluh, namun kini tiada lagi kumpulan tetap Makyong yang bergiat di selatan Thailand. Esei ini merupakan satu tanda sanjungan kepada para penggiat Makyong yang masih lagi tegar dan bersemangat untuk berkumpul dalam melestarikan Makyong apabila dijemput untuk menjayakan persembahan ini. Berlandaskan beberapa temubual lisan, kami mendokumentasikan kehidupan penggiat veteran Makyong, terutamanya pemain wanita yang memegang watak utama. Melalui pemerhatian terhadap beberapa persembahan tersebut, kami menceritakan bagaimana penggiat Makyong di selatan Thailand memancarkan beberapa pengaruh Thai ke dalam persembahan ini.

Analytical Chemistry Methods of Estimating the Original Firing Temperature of Bricks from a 19th Century Convent in the Philippines: Perspective of a Southeast Asian Country | Mga Pamamaraan ng Mapanuring-Kimika sa Pagtantya ng Orihinal na Temperatura ng Pagsunog sa Ladrilyo Mula sa Isang Ika-19 na Siglong Kumbento sa Pilipinas: Pananaw ng Isang Bansa sa Timog-Silangang Asya

Countries in Southeast Asia have a unique and diverse culture due to its varied ethnic groups having different traditions and beliefs. The process of manufacturing building materials such as brick masonry is one aspect where this distinctiveness is manifested. This study provides a general analytical chemistry method that will estimate the original firing temperature of a historical brick material from a convent in Milaor, Camarines Sur, Philippines. Different instrumental techniques were utilized namely the Energy Dispersive X-ray Fluorescence (EDXRF), Fourier Transform Infrared (FTIR) Spectroscopy and Scanning Electron Microscopy with Energy Dispersive X-ray (SEM-EDX). From these techniques, the chemical and mineralogical composition of the brick was reported. The clay mixture used in the production of the brick is known to be non-calcareous and low refractory, that was fired in an oxidizing atmosphere. The brick’s microstructure is classified within the initial vitrification stage based on the features of the mineral transformations. The results of this study point to an estimated firing temperature range of 650°C to 850°C. An emphasis on the importance of chemical analysis in studying cultural heritage materials in the Southeast Asian region is also highlighted on this paper. Ang mga bansa sa Timog-Silangang Asya ay may natatangi at magkakaibang kultura sanhi ng iba’t ibang mga pangkat etniko na may magkakaibang tradisyon at paniniwala. Ang pamamaraan ng paggawa sa mga materyales ng lumang gusali tulad ng ladrilyo ay isang aspeto kung saan naipapamalas ang pagkakaiba-iba nito. Ang pagaaral na ito ay nagbibigay ng isang pangkalahatang pamamaraan ng mapanuring-kimika para tantyahin ang orihinal na temperatura ng paggawa sa lumang ladrilyo mula sa isang kumbento ng Milaor, Camarines Sur, Pilipinas. Iba’t ibang mga instrumento ang ginamit tulad ng Energy Dispersive X-ray Fluorescence (EDXRF), Fourier Transform Infrared (FTIR) Spectroscopy at ang Scanning Electron Microscopy na nakakabit sa Energy Dispersive X-ray (SEM-EDX). Mula sa mga intrumentong ito, ang kemikal at mineral na komposisyon ng ladrilyo ay iniulat. Ang mga pinaghalong luad na ginamit sa paggawa ng ladrilyo ay masaasabing hindi gaanong madami ang bilang ng kalsiyo at mababang refractory, na sinunog sa isang kapaligiran na sagana sa hangin. Ang mga pinaka-maliliit na istruktura ng ladrilyo ay masasabing nasa paunang yugto ng pagtunaw ng mga mineral sa luad, batay sa mga pagbabagong anyo ng mga ito. Sa mga resulta ng pagaaral, masasabi na ang tantyang temperatura ng pagsunog ay nasa 650°C hanggang 850°C. Binibigyan ng diin ang kahalagahan ng pagsusuri ng kimika sa pagaaral ng mga materyales na pamanang kultura sa rehiyon ng Timog-Silangang Asya ay naitala din sa pagaaral na ito.

The Buddhist Decorative Glazed Tiles of Mrauk U: The Arakanese Appropriation of Islamic Glazed Tiling | မြောက်ဦးမြို့ရှိ ဗုဒ္ဓသာသနိက အလှဆင် စဉ့်ချပ်များ အစ္စလမ်မစ် စဉ့်ချပ်အလှဆင်မှုဓလေ့ကို ရခိုင့်ဒေသယဉ်ကျေးမှုနှင့်လိုက်ဖက်စွာ ပြန်လည်အသုံးချမှု

Mrauk U is situated in the western part of modern Myanmar and was the capital of Arakan (Rakhine) from 1430 CE until the Burmese conquest in 1784 CE. Its unique position in the Bay of Bengal via the Kaladan river and its tributaries resulted in the development of a commercial and cultural center in its heyday. European travel accounts and chronicles describe Mrauk U as a prosperous cosmopolitan city with a polyglot court, not only using native Arakanese language but also Persian and Bengali. Consequently, the remnants of art and archaeology reveal that the artisans drew much of their inspiration from Indian, European and Burmese traditions (Gutman 2001; 2002; Leider 2002:83). This paper contextualizes decorative glazed tiles of Arakanese Buddhist monuments in relation to the historical, political and cultural situation of Mrauk U. Regional interaction will be taken into account to identify the origins and development of Arakanese glazing technology. Previous research has mainly focused on the art and architecture of the Mrauk U period and the origin of the glazing technique remains vague. The comparative analysis reveals that significant elements in Arakanese glazing art, such as the use of stylized, geometric, floral or vegetal designs and animal poses seem to be borrowed from Islamic art. This article argues that Islamic tile tradition exerted considerable influence on the Arakanese glazing technique, probably via Bengal. မြန်မာနိုင်ငံ အနောက်ဖက်ပိုင်းတွင်တည်ရှိသော မြောက်ဦးမြို့သည် 1430 AD မှစ၍ 1784 AD ဗမာမင်းများ သိမ်းပိုက်ခဲ့သည့်အချိန်တိုင်အောင် ရခိုင်လူမျိုးတို့​၏ မြို့တော်ဖြစ်ခဲ့ပါသည်။ ဥရောပ ခရီးသွားမှတ်တမ်းများနှင့် ရာဇဝင်များတွင် ဖော်ပြချက်များအရ မြောက်ဦးသည် လူမျိုးပေါင်းစုံ အခြေချနေထိုင်ပီး မိခင် ရခိုင့်ဘာသာစကား သာမက ပါရှန်းနှင့် င်္ဘဂါလီဘာသာစကားများပါ အသုံးပြုသော နန်းတော်တည်ရှိရာမြို့လည်း ဖြစ်သည်။ ၎င်း​၏ အကျိုးဆက် အနေဖြင့် မြောက်ဦးမြို့ရှိ ကျွင်းကျန်ရစ်သော ရှေးဟောင်သုတေသနနှင့် အနုပညာလက်ရာများသည် အိန္ဒိယ၊ ဥရောပ နှင့် မြန်မာ့ယဉ်ကျေးမှုဟန်များ ရောယှက်လျက်ရှိပါသည်။ ယခုစာတမ်းသည် မြောက်ဦးမြို့ရှိ ဗုဒ္ဓသာသနိက အဆောက်အဦးများတွင် အလှဆင်ထားသော စဉ့်ချပ်များအကြောင်းကို မြောက်ဦးခေတ် သမိုင်း၊ နိုင်ငံရေးနှင့် ယဉ်ကျေးမှု အခြေအနေများနှင့် ချိန်ထိုး၍ လေ့လာသွားမည်ဖြစ်သည်။ စဉ့်ပြုလုပ်သည့် အတတ်ပညာကို မည်သို့ မည်ပုံ ကျွမ်းကျင်တတ်မြောက်ခဲ့ကြောင်းကို ဒေသတွင်းအခြား ခေတ်ပြိုင် စဉ့်လုပ်ငန်းများနှင့် ချင့်ချိန် လေ့လာသွားပါမည်။ ယခင်လေ့လာခဲ့သော သုတေသနများသည် မြောက်ဦးခေတ် ဗိသုကာနှင့် အနုပညာရပ်များအပေါ် အဓိကဇောင်းပေးခဲ့ပီး စဉ့်အတတ်ပညာမည်သို့ ရရှိတတ်မြောက်ခဲ့ကြောင်း လေ့လာရန်လိုအပ်လျက်ရှိပါသည်။ နှိုင်းယှဉ်လေ့လာ ချက်များအရ ရခိုင် စဉ့်ချပ်များပေါ်ရှိ ပန်းခက်ပန်းနွယ်၊ ဂျီဩမေထြီ ဟန်ပန် ဒီဇိုင်းများနှင့် တိရိစ္ဆာန် ကိုယ်နေဟန်ထား ပုံစံများသည် အစ္စလမ်မစ် အနုပညာ လက်ရာများနှင့် တူညီသော အင်္ဂါရပ်များစွာတွေ့ရပါသည်။ အစ္စလမ်ဘာသာရေး အဆောက်အဦးများတွင် စဉ့်ချပ် အလှဆင်သောဓလေ့သည် မြောက်ဦးစဉ့်ချပ် အလှဆင်မှု ဓလေ့အပေါ်တွင် လွှမ်းမိုးမှုရှိခဲ့ပြီး ၎င်းနည်းပညာမှာ အိန္ဒိယနိုင်ငံ င်္ဘဂလားဒေသမှ ဆင်းသက် လာသည်ဟု ယူဆရ နိုင်ကြောင်းကို ယခုစာတမ်းတွင် ဆွေးနွေးတင်ပြသွားပါမည်။

Disaster Risks of the Seven Filipino-Spanish Churches of the Diocese of Maasin, Philippines | Disaster Risks ng Pitong Pilipino-Espanyol na Simbahan ng Diyosesis ng Maasin sa Pilipinas

In the Roman Catholic Diocese of Maasin, on the island of Leyte, Philippines, there remain today seven Filipino-Spanish churches that are made of stone, mortar and wood, ranging from almost four centuries to more than a century old. The Island of Leyte, as home to 22 active and dormant volcanoes, as exposed to the atmospheric disturbances from the Pacific Ocean, and as bisected by the Philippine Fault Line, is more at risk to extreme natural hazards than an average Philippine island. By looking at the interplay between the resistance/vulnerability of these churches on one hand, and the natural hazards threatening these churches on the other hand, this paper proffers mitigating recommendations to the primary stakeholders with the purview of increasing the resilience of these same churches. The data on the resistance/vulnerability of the said churches were gathered through rapid survey, while the data on natural hazards were gathered through existing hazard maps and web applications. The methodology laid out by this paper can be a useful initial step for the conservation of heritage structures in developing societies. Sa Katoliko Romanong Diyosesis ng Maasin sa isla ng Leyte sa Pilipinas, kasalukuyang may pitong Pilipino-Espanyol na simbahang gawa sa bato, mortar, at kahoy na halos isa hanggang apat na siglo nang umiiral. Ang Isla ng Leyte ay tahanan ng 22 na aktibo at dormanteng bulkan na nakalantad sa mga atmosperikong alburuto mula sa Karagatang Pasipiko at nahahati pa sa ilalim ng fault line ng Pilipinas. Ilan lamang sa dahilan kung bakit maituturing na risk sa matitinding likas na panganib kumpara sa karaniwang isla sa Pilipinas. Kapag titingnan ang pagkikipagtalaban ng resistance/bulnerabilidad, kaakibat ang mga likas na inaasahang panganib (natural hazards) ng mga simbahan, mahalaga para sa papel na ito na magbigay ng mga rekomendasyon sa mga pangunahing stakeholder na makakabawas ng masamang epekto datapwat magpapalawak pa ng katatagan ng mga natukoy na simbahan. Sa pamamagitan ng rapid survey, kinalap ang mga datos hinggil sa resistance/bulnerabilidad ng mga simbahan, samantalang nilikom ang datos sa mga likas na inaasahang panganib sa pamamagitan ng mga umiiral na hazard maps at web applications. Maaaring maging kapaki-pakinabang ang metodolohiyang ginamit ng papel upang magsilbing inisyal na hakbang sa konserbasyon ng mga estrukturang pamana sa mga umuunlad pa lamang na lipunan.