Publication

The following are publications that have been carried out / related to the Sonobudoyo Museum up to the year 2024.

Transforming Social Roles: Museums and Cultural Commodities

Jefri Eko Cahyono

2022

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Transforming Social Roles: Museums and Cultural Commodities

Jefri Eko Cahyono

A museum is a place for storing, maintaining and developing valuable collections. One historian explained that the history of the museum begins with the etymology of the museum (Jeffery Abt, 2006). The word museum, according to the ancient Greek language, refers to a site of worship devoted exclusively to contemplation. In the 19th century to the 20th century the use of the word museum tends to be symbolized as a cultural building that stores many objects and cultural assets of the past that are easily accessible to the public. The passage of time and the advancement of science have made these museum buildings a place to collect objects and equipment used in the process of scientific and artistic investigation. This development increased in the Middle Ages. At that time the so-called museum was a place for private objects belonging to princes, nobles, creators of art and culture, and creators of science. The collection of objects (collections) that exist reflects the special interests and concerns of their owners. This makes the beginning where a museum becomes a center for the development of knowledge through artifacts and historical objects of the past. Keywords: Museum, Transformation, Culture

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Cultural Values in Studying the Ganesha Sculpture Collection at the Sonobudoyo Museum

Indra Hendrawan Wibowo

2022

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Cultural Values in Studying the Ganesha Sculpture Collection at the Sonobudoyo Museum

Indra Hendrawan Wibowo

Museums are one of the tourist destinations that must be visited, because there is a lot of historical knowledge of collections of cultural heritage objects that are not found other than in museums. The museum does not only function as a place to store objects that function as a place to store objects of cultural heritage, but also explains the cultural values contained in the collections. Cultural values in cultural heritage objects play an important role for generations past, present and future. This paper is intended for ordinary people who do not know about the explanation of statues, especially the Ganesha statue. This paper will provide an overview and important insight for visitors to the museum that contains a collection of statues and also as a medium for teaching education in schools and universities. In addition, what are the cultural values contained in the Ganesha statue and its influence on everyday life. Keywords: museum, cultural value, statue

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PERFORMANCE OF AGRARIAN CULTURE AT THE EAST END OF THE LAND OF JAWA

Silviana Dini Kunanti, S.P.

PERFORMANCE OF AGRARIAN CULTURE AT THE EAST END OF THE LAND OF JAWA Silviana Dini Kunanti, S.P. ABSTRAK The nickname of an agrarian country for Indonesia proves that the agricultural sector is not the only major occupation in this country. More than that, agriculture has become the identity and identity of the nation. The diversity of the Indonesian people with their respective cultures then blends in with all agricultural activities. Banyuwangi Regency is a potential area for rice cultivation and is also rich in culture. Livelihood as a rice farmer with the implementation of a series of cultures in it is still firmly held by the Osing tribe. These two things are done with the aim of respecting and preserving cultural heritage from generation to generation. Keywords: culture, agriculture, Osing

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Remains of Traditional Javanese Architecture

Jefri Eko Cahyono

Traditional architecture is a form of cultural heritage in the form of buildings such as houses. From an artistic perspective, Javanese architecture has its own aesthetic artistic value which represents the symbolization of the reality of life through a building. In the Sonobudoyo Museum there is a special fiber that explains the calculation of the application of size in the manufacture of houses and the name of the shape of the house, as well as the wooden frame used as a guide for traditional Javanese architecture. In the study of architecture based on knowledge from Serat Kawruh Kembeng, there are several types of traditional Javanese architectural houses. In Serat Kawruh Kembeng, this Hastana building is a tomb building or a tomb cupola which is usually in the form of a tajug. Based on the above, it can be seen that traditional Javanese architecture has concepts, orientations, and spatial configurations that are closely attached and mutually sustainable. Seeing the arrangement of houses or buildings of traditional Javanese architecture in Serat Kawruh Kembeng, means that the arrangement of houses has its own meaning and purpose. Keywords: Architecture, Traditional, Java

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The Disaster Signs Of A Clapper

Ririh Rahajeng

According to Article 1 paragraph 6 of Government Regulation Number 21 of 2008 concerning the Implementation of Disaster Management, mitigation is defined as a series of efforts undertaken to reduce disaster risk, either through physical development or awareness and capacity building in dealing with disaster threats. (Kompas, 26 April 2021). Ancient Javanese people were thought to have known disaster mitigation very well, it was known from the results of excavations in research at several sites where no human skeletons or skeletons of livestock were found. One of the disaster mitigation tools at that time was estimated to be using tools that could emit sounds such as bells (bells), kentongan and musical instruments (gamelan, kenong, kempul, etc.) A bronze clapper that is currently stored in the Sonobudoyo State Museum is thought to have the same function as the above, which is not only as a marker of religious ceremonies but also as a sign of disasters at that time (earthquakes, hurricanes, volcanic eruptions, etc.). Keywords: bell, ancient java, disaster mitigation.

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WHAT DOES A NAME MEAN: SEE THE JEWELRY BEHIND SURJAN

Matheus Raoul Supriyadi

  Timang-lerep is a pair of jewelry that is the head of the belt, or in Dutch known as hoofdstuk, Java. Timang-lerep's popularity had a period of ebb before starting to be loved again by collectors in recent years. However, the increasing popularity is not accompanied by the reappearance of written literature sources that review it. As a result, a lot of information circulating that is verbal and still relies on mere assumptions. In this article, the author tries to present a new perspective on the naming aspect of the timang-lerep typology which the author quotes from the documentation of Jasper and Pirngadie in their book series: De Inlandsche Kunstnijverheid in Nederlandsch-Indië (1927). From the results of this literature study, it was found that the naming of the timang-lerep typology circulating in today's society is actually different from the early 20th century. The difference generally lies in the difference in perception of the visual design of the timang-lerep in question.Keywords : Timang, Lerep, Belt

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