Sejak awal kemerdekaan, bangsa Indonesia telah mempunyai perhatian besar terhadap terciptanya masyarakat yang adil dan makmur sebagaimana termuat dalam alinea keempat Undang-Undang Dasar 1945. Program-program pembangunan yang dilaksanakan selama ini juga selalu memberikan perhatian besar terhadap upaya pengentasan kemiskinan karena pada dasarnya pembangunan yang dilakukan bertujuan untuk meningkatkan kesejahteraan masyarakat. Meskipun demikian, masalah kemiskinan sampai saat ini terus-menerus menjadi masalah yang berkepanjangan.
PADA umumnya, partai-partai peserta Pemilihan Umum (Pemilu) 2004 juga mencantumkan program pengentasan kemiskinan sebagai program utama dalam platform mereka. Pada masa Orde Baru, walaupun mengalami pertumbuhan ekonomi cukup tinggi, yaitu rata-rata sebesar 7,5 persen selama tahun 1970-1996, penduduk miskin di Indonesia tetap tinggi.
Showing posts with label article. Show all posts
Showing posts with label article. Show all posts
Bayi Kembar
Dahulu kelahiran bayi kembar merupakan suatu hal yang aneh. Tapi kini hal tersebut bukanlah sesuatu yang aneh lagi, banyak lahir bayi kembar karena efek dari perawatan kesuburan sang ibu. Bayi kembar tiga atau 4 bukan lagi hal yang aneh. Saking banyaknya, dalam satu Taman Kanak-kanak saja terdapat 20 persen anak kembar.Selama periode 1980 hingga tahun 2002 di Amerika telah terjadi lonjakan angka ibu melahirkan bayi kembar hingga 65 persen. Di Amerika sendiri terdapat lonjakan bayi kembar hingga mencapai 3 persen diantaranya 128.665 kembar dua, 7.110 kembar tiga, 468 kembar lima dan 85 kembar lebih dari lima. Selain itu didapatkan pula terjadi kenaikan usia ibu yang hamil pada usia 30-an dan 40-an tahun dari 2 persen menjadi 9,1 persen.
Bayi kembar bisa terjadi dengan dua cara. Dalam kasus kembar identik (monozigot) yaitu satu sel telur menghasilkan dua embrio yang berjenis kelamin sama dan dengan DNA yang sama. Sedangkan yang kedua kembar saudara (fraternal/dizigot) yaitu berasal dari dua sel telur dan dua sperma yang berbeda, sehingga bisa berbeda jenis kelamin dan secara genetik seperti saudara biasa.
"Kejadian kembar fraternal akhir-akhir ini meningkat, hal ini lebih sering diakibatkan oleh perawatan kesuburan yang dilakukan oleh perempuan," ujar Dr F. Sesi Cole, direktur dari Newborn Medicine di St. Louis Children's Hospital, St. Louis, AS, seperti dikutip dari ABCNews, Kamis (3/12/2009).
Perawatan hormon yang dilakukan merangsang ovarium untuk memproduksi sel telur lebih dari satu. Dalam pembuahan secara in vitro (bayi tabung), dokter akan membuahi dan menanam kembali beberapa sel telur untuk meningkatkan peluang seorang perempuan mengalami pembuahan. Semakin banyak sel telur yang ditanam, maka semakin besar peluang untuk hamil.
Mainkan Bluesmu
Blues adalah salah satu jenis musik yang berasal dari negeri paman sam yang biasa dimainkan oleh orang negro yang kebanyakan dari kelas bawah.
Perkembangan musik membawa musik blues ke jajaran musik yang banyak di pelajari baik oleh musisi-musisi terkenal maupun yang tidak terkenal
Perkembangan musik blues dapat merembet ke segala jenis musik baik jazz, reggea, rock n roll, dan pop, karena blues adalah salah satu akar musik yang telah lama ada dan salah satu dasar dari jenis-jenis musik yang sekarang telah berjumlah ribuan
Bermain blues sangatlah sederhana, tapi penjiwaan bermain blues itu yang di cari orang, teknik dasar bermain blues iyalah “pentatonic” bila kita bermain di tangga nada C major, berarti kita dapat memainkan melodi blues di tangga pentatonic nada A minor, cara paling mudah adalah mengurangi satu setenggah dari tangga nada mayornya, C di kurangi satu setenggah adalah A maka kita dapat bermain di tangga nada A minor.
Tangga nada pentatonic A minor terdiri dari dua nada di setiap senarnya, bila kita barmain dari senar 1 berati nada yang ditekan adalah A dan C, di senar 2 adalah E dan G di senar 3 adalah C dan D di senar 4 adalah G dan A di senar 5 adalah D dan E dan terakhir di senar 6 adalah A dan C, semua diawali di kolom 5.
Perkembangan musik membawa musik blues ke jajaran musik yang banyak di pelajari baik oleh musisi-musisi terkenal maupun yang tidak terkenal
Perkembangan musik blues dapat merembet ke segala jenis musik baik jazz, reggea, rock n roll, dan pop, karena blues adalah salah satu akar musik yang telah lama ada dan salah satu dasar dari jenis-jenis musik yang sekarang telah berjumlah ribuan
Bermain blues sangatlah sederhana, tapi penjiwaan bermain blues itu yang di cari orang, teknik dasar bermain blues iyalah “pentatonic” bila kita bermain di tangga nada C major, berarti kita dapat memainkan melodi blues di tangga pentatonic nada A minor, cara paling mudah adalah mengurangi satu setenggah dari tangga nada mayornya, C di kurangi satu setenggah adalah A maka kita dapat bermain di tangga nada A minor.
Tangga nada pentatonic A minor terdiri dari dua nada di setiap senarnya, bila kita barmain dari senar 1 berati nada yang ditekan adalah A dan C, di senar 2 adalah E dan G di senar 3 adalah C dan D di senar 4 adalah G dan A di senar 5 adalah D dan E dan terakhir di senar 6 adalah A dan C, semua diawali di kolom 5.
Resiko Gamers
Buat gamer sejati sebaiknya mulai mewaspadai kesehatan kulitnya. Karena terlalu lama menekan tombol-tombol yang ada pada stick game tersebut bisa menyebabkan gangguan kulit yang ditandai dengan benjolan menyakitkan di telapak tangan.Peneliti dari Swiss mengatakan penyakit ini dengan nama 'PlayStation palmar hidradentitis' yaitu kelainan kulit yang dapat menyebabkan luka menyakitkan pada telapak tangan yang mirip dengan potongan kecil atau tambalan pada telapak kaki anak setelah melakukan aktivitas fisik yang berat.
"Orang yang sering menekan dan mencengkeram keras genggaman tangan dalam menekan tombol-tombol secara berulang-ulang dari sejak kecil hingga dewasa akan menimbulkan trauma pada permukaan kulit telapak tangan," ujar Vincent Piguet dari University Hospitals and Medical School of Geneva, seperti dikutip dari Foxnews. Hasil penelitian ini telah dipublikasikan dalam British Journal of Dermatology.
Peneliti lain juga mengungkapkan bermain game secara berlebihan bisa menimbulkan masalah kesehatan di masyarakat, yaitu memicu perilaku adiktif yang dapat menimbulkan berbagai masalah psikologis.
"Kami tidak akan meremehkan penelitian ini dan kami tertarik untuk mempelajari hasil penemuan ini. Tapi ini pertama kalinya kami mendengar keluhan seperti itu," ujar juru bicara dari Sony Corp yang membuat game PlayStation.
Selain itu, sudah ada bukti dari penelitian lain yang menunjukkan terlalu banyak bermain game bisa menyebabkan penyakit tendinitis akut yaitu terjadinya peradangan pada jaringan fibrosa kuat yang menghubungkan otot dengan tulang (tendon).
Penelitian ini seperti menggambarkan kasus seorang gadis berusia 12 tahun di Jenewa yang masuk rumah sakit dengan luka di tangannya, padahal beberapa minggu sebelumnya luka tersebut belum ada. Setelah diinterogasi, dokter menemukan bahwa beberapa hari sebelum muncul luka itu, gadis ini sering bermain PlayStation selama beberapa jam setiap harinya.
Peneliti menduga menekan tombol stick berulang-ulang menjadi penyebab luka tersebut dan diperparah dengan adanya keringat akibat permainan yang tegang. Akhirnya dokter merekomendasikan si gadis untuk berhenti bermain game hingga tangannya pulih sepenuhnya selama 10 hari.
"Jika Anda khawatir tentang rasa sakit pada tangan saat bermain game, mungkin sudah saatnya Anda memberikan istirahat pada tangan Anda. Jangan bermain secara berlebihan apalagi jika tangan Anda cenderung mudah berkeringat," ungkap Nina Goad dari Asosiasi Dermatologis Inggris.
Bahaya Junk Food
seorang Peneliti dari London menemukan kesamaan antara junk food dan narkoba. Keduanya ternyata sama-sama membuat candu. Orang yang terbiasa makan burger, kentang, sosis atau kue akan sulit menghentikan kebiasaannya itu karena otak sudah memprogram makanan itu sebagai candu.Selama ini orang mengenal junk food sebagai makanan sampah yang tinggi lemak dan gula tapi sedikit nutrisinya. Tapi ternyata tak hanya itu, saking berbahayanya, seorang ahli saraf, Dr Paul Kenny sampai mengatakan bahwa junk food sama dengan narkoba.
"Sudah terbukti, junk food adalah candu yang membuat seseorang kehilangan kontrol makan," ujar Kenny seperti dikutip dari Telegraph. Mereka yang mengonsumsi junk food menurut Kenny akan merasakan efek senang, nyaman dan tenang yang bisa berakibat candu jika tidak mengonsumsinya lagi.
Menurut Kenny, ini adalah studi pertama kali yang menghubungkan antara junk food dan obat-obat terlarang atau narkoba. "Kami sudah menemukan banyak bukti nyata yang menunjukkan bahwa junk food sama bahayanya dengan narkoba," tutur Kenny.
Bukti yang ditemukan peneliti adalah kesamaan antara fondasi saraf-saraf di dalam otak yang disebut juga sebagai zat neurobiological. "Setelah diperiksa, ternyata struktur saraf pada otak orang obesitas yang sering mengonsumsi junk food sama dengan orang yang kecanduan obat-obatan atau narkoba," jelas Kenny.
Dr Kenny yang sekarang bekerja di Florida’s Scripps Research Institute pertama kali melakukan penelitiannya di Guy’s Hospital, London dengan menggunakan tikus percobaan. Ia membagi tikus percobaannya ke dalam tiga kelompok.
Kelompok pertama diberi makanan sehat dalam jumlah banyak. Kelompok kedua diberi makanan junk food tapi dibatasi. Kelompok ketiga diberi makanan junk food tak terbatas, diantaranya kue keju, daging berlemak dan snack cokelat.
Setelah studi berakhir, ternyata tikus di kelompok ketiga menjadi gemuk dengan sangat cepat sedangkan tikus di kelompok pertama dan kedua tidak terlihat ada perbedaan yang signifikan dari berat awalnya.
Peneliti pun kemudian mencoba melakukan pemeriksaan pada otak tikus dari tiga kelompok tersebut. Sebelumnya sebuah stimulasi elektrik diberikan pada bagian otak yang berfungsi mengeluarkan hormon pemberi rasa senang dan nyaman (oxytocin, serotonin, dopamin, feromon, endorfin, dan lainnya).
Dari situ diketahui bahwa ternyata otak tikus di kelompok ketiga membutuhkan stimulasi yang terus menerus untuk mengeluarkan hormon pembawa rasa senang. Sedangkan pada dua tikus di kelompok lainnya, sedikt stimulasi saja bisa membuat hormon itu keluar.
Hipotesis peneliti adalah, untuk mencapai tingkat kesenangan yang sama, tikus yang mengonsumsi junk food ternyata butuh stimulasi yang lebih banyak daripada tikus yang tidak atau jarang makan junk food, dan itu artinya junk food adalah stimulasi yang membawa pada kecanduan. Sama halnya dengan narkoba.
Beberapa bahan khusus yang dipakai untuk memproduksi junk food seperti jenis lemak dan gula tertentu memang didesain untuk membuat konsumen ingin tambah dan tambah lagi. Hal itu yang disinyalir peneliti membuat orang ketagihan. Makan junk food boleh-boleh saja, namun pengendalian diri juga penting.
sumber : detik.com
Captha
Buat Sobat yang sudah pernah dan terbiasa melakukan browsing atau berinternet pasti pernah melakukan yang namanya registrasi e-mail atau account lainnya.Atau Anda yang hobi ngeblog pasti udah pernah ngasih comment ke blognya orang lain. Nah dalam melakukan comment atau registrasi itu pasti menemui yang namanya Captha.
sadar ga, pada Saat mendaftar email pada salah satu form yang harus diisi ada satu form yang mengharuskan kita menuliskan karakter aneh yang ada dalam gambar?
Gambar itulah yang merupakan salah satu jenis captcha.
Mungkin sobat bertanya-tanya, fungsinya apa seh?
Secara singkat, captcha dipakai untuk memastikan bahwa yang mengisi form yang bersangkutan adalah human (manusia) sehingga meminimalisasi terjadinya proses spamming.
Para spammer memilki ‘mesin‘ untuk untuk melancarkan aksinya. Ulah para spammer ini akan lebih terasa bagi Anda yang memiliki blog tapi tanpa software atau tools antispam. Anda akan lihat banyak sekali comments yang isinya gak jelas (iklan atau untaian huruf tanpa makna). Bagi Anda yang ingin melihat contoh spam bisa mengunjungi blog orang yang mendaftar di blogsome.
Gambar (statis) berisi karakter yang harus diketikkan oleh user hanyalah merupakan salah satu jenis captcha. Captcha jenis ini menurut saya memiliki beberapa kelemahan, di antaranya:
Kalo karakternya terlalu aneh dan ga jelas bentuknya, maka user-lah yang akan dibuat repot. Mengapa? Karena user gak bisa mengenali tulisan apa yang ada di dalam gambar makanya ia mengetikkan kata yang salah sehingga sistem tak mau melayaninya karena “Ga lulus”
Kalo karakternya telalu sederhana kemungkinan para spammer bisa saja memakai software untuk mengenali tulisan yang ada di image yang kemudian diterjemahkan ke dalam teks.
Arti Simbol Album Band Dewa 19
Apabila ditelusuri lebih mendalam ternyata Semua Album Dewa 19 mengandung
simbol-simbol yang tanpa kita sadari sungguh mengagetkan.
Siapakah sebenarnya DEWA 19 dan apa maksud dan tujuan dari semua ini.
secara pribadi jujur saya sangat kaget setelah membaca salah satu artikel pada Majalah Saksi Edisi Mei 2005 yang mengupas tentang Arti Simbol Album Band Dewa 19 yang identik dengan pentolannya, Ahmad Dhani.
wallahu'alam
namun apapun itu secara musikalitas DEWA 19 adalah salah satu band hebat Indonesia yang berasal dari kota yang sama dengan saya, Surabaya.
Album DEWA 19 (1992)
Di cover depannya ada gambar piramid yang atasnya disamarkan, tapi jika diperbesar akan tampak ada sesuatu di puncaknya. Ini mirip dengan lambang gerakan rahasia Zionisme (Iluminati). Bandingkan dengan gambar piramid Yahudi yang terdapat dalam lembaran One Dollar AS.
Album TERBAIK-TERBAIK (1995)
Terpampang simbol Dewa RA (Dewa Matahari Dalam Mitologi Mesir Kuno). Dewa Ra diklaim Yahudi sebagai salah satu dewa mereka. Di Sinagog lambang ini lazim dipajang. Selain itu, dalam album yang sama ada pula gambar satu halaman Protocol of Zions dalam bahasa Ibrani. Ridwan Saidi (pakar Zionisme) yang menguasai bahasa Ibrani menegaskan, "ini jelas diambil dari satu gambar Protocol of Zions, karena diatas lembaran itu ada judul dan logo. ini tidak ada dalam Taurat ataupun Talmud". Lalu ada simbol lingkaran dengan titik di tengahnya, dimana personil Dewa berdiri dibawahnya. Simbol ini lazim dikenal sebagai simbol Mata Setan yang menguasai dunia (evil eye), sebuah simbol Yahudi. Di bagian lain dalam album yang sama, simbol mata setan juga dimuat.
Album The Best of Dewa 19 (1999)
Di pinggiran discnya terdapat simbol panah dan garis lurus yang saling memotong seperti salib. Lambang garis tersebut sebenarnya sinar yang saling memotong. Ini salah satu simbol dari gerakan Freemansonry Lambang sinar yang saling memotong ini juga terdapat dalam cover kaset bagian dalam dan depan secara keseluruhan.
Album Bintang Lima (2000)
Gambar sayap lazim dipakai sebagai salah satu simbol gerakan perkumpulan Theosofie Yahudi.
Album Cintailah Cinta (2002)
Cover depan album Dewa ini memuat secara mencolok simbol Eye of Horus. Horus adalah Dewa Burung dalam mitologi Mesir Kuno. sama seperti Dewa Ra, Yahudi juga mengklaim Horus merupakan salah satu dewa mereka. Di cover dalam juga terdapat simbol yang sekilas mirip mata, tapi sebenarnya merupakan contekan habis salah satu simbol yang terdapat dalam buku The Secret Language of Symbol yang disarikan dari kitab Yahudi, Taurat. Simbol ini biasa disebut Femina Geni Msih dalam album ini, masih terdapat beberapa simbol-simbol mata, yang merupakan salah satu simbol Gerakan Freemasonry
Album Atas Nama Cinta I & II (2004)
Lambang sayap yang merupakan lambang resmi Dewa dimuat dalam album live ini dengan latar belakang hitan kelam.
Album Laskar Cinta (2005)
Inilah album ketujuh Dewa yang akhirnya menjadi batu sandungan dan membuka selubung semua album-album Dewa sebelumnya yang sarat dengan kampanye simbol & lambang Yahudi. Selain lambang Allah yang dimuat tidak sebagaimana mestinya, tipologi huruf "Laskar Cinta" pun mengambil dari pola huruf Ibrani "Pola huruf tulisan Laskar Cinta diambil dari pola huruf Ibrani," ujar Ridwan Saidi seraya membuka kitab Taurat berbahasa Ibrani asli dari Israel
Dibawah lagu berjudul "Satu" (album Laskar Cinta), berisi ajaran sesat yang mengatakan ada kesatuan wujud antara Sang Khaliq dengan mahluk-Nya. Dalam bahasa Syeh Siti Jenar atau Al Hallaj, paham ini disebut "Manunggal ing kawulo Gusti". Parahnya, ini seakan dibenarkan sendiri oleh Ahmad Dhani dengan menulis di bawah lirik lagu tsb dalam cover versi kaset, "THANKS TO: AL-HALLAZ". Dalam album yang sama versi CD, di bawah lirik lagu "Satu", ditulis Ahmad Dhani, "THANKS TO: SYEKH LEMAH ABANG", yang tak lain adalah nama lain dari Syekh Siti Jenar
simbol-simbol yang tanpa kita sadari sungguh mengagetkan.
Siapakah sebenarnya DEWA 19 dan apa maksud dan tujuan dari semua ini.
secara pribadi jujur saya sangat kaget setelah membaca salah satu artikel pada Majalah Saksi Edisi Mei 2005 yang mengupas tentang Arti Simbol Album Band Dewa 19 yang identik dengan pentolannya, Ahmad Dhani.
wallahu'alam
namun apapun itu secara musikalitas DEWA 19 adalah salah satu band hebat Indonesia yang berasal dari kota yang sama dengan saya, Surabaya.
Album DEWA 19 (1992)
Di cover depannya ada gambar piramid yang atasnya disamarkan, tapi jika diperbesar akan tampak ada sesuatu di puncaknya. Ini mirip dengan lambang gerakan rahasia Zionisme (Iluminati). Bandingkan dengan gambar piramid Yahudi yang terdapat dalam lembaran One Dollar AS.
Album TERBAIK-TERBAIK (1995)
Terpampang simbol Dewa RA (Dewa Matahari Dalam Mitologi Mesir Kuno). Dewa Ra diklaim Yahudi sebagai salah satu dewa mereka. Di Sinagog lambang ini lazim dipajang. Selain itu, dalam album yang sama ada pula gambar satu halaman Protocol of Zions dalam bahasa Ibrani. Ridwan Saidi (pakar Zionisme) yang menguasai bahasa Ibrani menegaskan, "ini jelas diambil dari satu gambar Protocol of Zions, karena diatas lembaran itu ada judul dan logo. ini tidak ada dalam Taurat ataupun Talmud". Lalu ada simbol lingkaran dengan titik di tengahnya, dimana personil Dewa berdiri dibawahnya. Simbol ini lazim dikenal sebagai simbol Mata Setan yang menguasai dunia (evil eye), sebuah simbol Yahudi. Di bagian lain dalam album yang sama, simbol mata setan juga dimuat.
Album The Best of Dewa 19 (1999)
Di pinggiran discnya terdapat simbol panah dan garis lurus yang saling memotong seperti salib. Lambang garis tersebut sebenarnya sinar yang saling memotong. Ini salah satu simbol dari gerakan Freemansonry Lambang sinar yang saling memotong ini juga terdapat dalam cover kaset bagian dalam dan depan secara keseluruhan.
Album Bintang Lima (2000)
Gambar sayap lazim dipakai sebagai salah satu simbol gerakan perkumpulan Theosofie Yahudi.
Album Cintailah Cinta (2002)
Cover depan album Dewa ini memuat secara mencolok simbol Eye of Horus. Horus adalah Dewa Burung dalam mitologi Mesir Kuno. sama seperti Dewa Ra, Yahudi juga mengklaim Horus merupakan salah satu dewa mereka. Di cover dalam juga terdapat simbol yang sekilas mirip mata, tapi sebenarnya merupakan contekan habis salah satu simbol yang terdapat dalam buku The Secret Language of Symbol yang disarikan dari kitab Yahudi, Taurat. Simbol ini biasa disebut Femina Geni Msih dalam album ini, masih terdapat beberapa simbol-simbol mata, yang merupakan salah satu simbol Gerakan Freemasonry
Album Atas Nama Cinta I & II (2004)
Lambang sayap yang merupakan lambang resmi Dewa dimuat dalam album live ini dengan latar belakang hitan kelam.
Album Laskar Cinta (2005)
Inilah album ketujuh Dewa yang akhirnya menjadi batu sandungan dan membuka selubung semua album-album Dewa sebelumnya yang sarat dengan kampanye simbol & lambang Yahudi. Selain lambang Allah yang dimuat tidak sebagaimana mestinya, tipologi huruf "Laskar Cinta" pun mengambil dari pola huruf Ibrani "Pola huruf tulisan Laskar Cinta diambil dari pola huruf Ibrani," ujar Ridwan Saidi seraya membuka kitab Taurat berbahasa Ibrani asli dari Israel
Dibawah lagu berjudul "Satu" (album Laskar Cinta), berisi ajaran sesat yang mengatakan ada kesatuan wujud antara Sang Khaliq dengan mahluk-Nya. Dalam bahasa Syeh Siti Jenar atau Al Hallaj, paham ini disebut "Manunggal ing kawulo Gusti". Parahnya, ini seakan dibenarkan sendiri oleh Ahmad Dhani dengan menulis di bawah lirik lagu tsb dalam cover versi kaset, "THANKS TO: AL-HALLAZ". Dalam album yang sama versi CD, di bawah lirik lagu "Satu", ditulis Ahmad Dhani, "THANKS TO: SYEKH LEMAH ABANG", yang tak lain adalah nama lain dari Syekh Siti Jenar
Otak
Otak manusia pada dasarnya merupakan komputer biologis. Ia membutuhkan makanan, oksigen, dan ia juga butuh latihan.Anda dapat melakukan beberapa hal untuk meningkatkan kekuatan otak dengan melatihnya, memodifikasi, atau bahkan memanipulasinya.
Anda mungkin tidak akan menjadi seperti Einstein, namun hal ini juga bukan alasan untuk tidak membuatnya menjadi lebih baik. berikut adalah 9 tips untuk Membuat Otak Anda Berpikir Lebih Cepat yang saya kutip dari salah satu forum diskusi di internet.
semoga bermanfaat
1. Ambillah dosis EPA secukupnya
EPA adalah bahan kimia dalam minyak ikan yang merupakan makanan bagi otak, setiap orang pasti sudah mengetahuinya, jadi mengapa tidak memberikannya kapsul minyak ikan setiap hari untuk meningkatkan kekuatannya. Riset menunjukan bahwa minyak ikan dapat memfasilitasi peningkatan aktivitas pada otak, memperlancar peredaran darah, meningkatkan memori dan konsentrasi.
2. Seks secara teratur
Berhubungan seks dapat melepaskan senyawa kimia yang dapat meningkatkan kekuatan otak, menurut buku terkini "Teach yourself. Training your brain" yang ditulis oleh pengajar senior dan seorang ahli biologi. Seks adalah bentuk sempurna dari latihan, yang juga meningkatkan peredaran darah ke otak. Ia dapat mengurangi stress dan ketegangan yang menurunkan efisiensi kinerja otak.
3. Kerjakan sebuah teka teki
Teka-teki silang, Sudoku atau yang lainnya dapat membuat otak Anda tetap pada kondisi terbaik. Sama seperti otot, jika Anda tidak berlatih secara reguler, ia akan kehilangan kemampuannya untuk bekerja secara maksimal.
4. Pergi berjalan kaki
Tidak ada yang dapat mengalahkan udara segar yang dapat menyegarkan pikiran yang dapat mengurangi percakapan mental yang mengganggu logika dan pikiran konstruktif. Sebuah perjalanan di pinggiran kota, dekat sungai atau sekedar di taman akan membantu Anda menyingkirkan awan kelabu dan membantu pikiran Anda tetap jernih.
5. Mempelajari bahasa baru
Mempelajari bahasa baru dapat sindrom dementia (kemunduran otak) sampai dengan empat tahun menurut artikel yang dimuat pada New Scientist. Alasan pasti untuk hal ini belum diketahui, namun dipercaya bahwa ia memiliki hubungan erat dengan peningkatan perdaran darah dan koneksi saraf yang baik.
6. Tertawa
Tawa bukan saja merupakan obat terbaik, ia juga dapat meningkatkan fungsi otak dan menstimulasi kedua sisi otak pada saat yang bersamaan. Pastikan Anda tertawa setiap harinya.
7. Menjadi kreatifif
Melukislah atau pelajari alat musik yang baru, bergabunglah dengan kelas kesenian walaupun Anda yakin Anda payah dalam hal tersebut. Menjadi kreatif memungkinkan Anda untuk menemukan solusi baru untuk permasalahan yang sudah lama dan meningkatkan kesadaran pada saat yang bersamaan.
8. Belajar melempar barang
Riset dari Universitas Regensburg di Jerman memindai otak dari seorang juggler (pemain sulap yang melemparkan barang) dan menemukan bahwa kegiatan ini dapat meningkatkan struktur otak. Setelah berlatih selama tiga bulan, otak akan menunjukan peningkatan signifikan pada dua bagian, yaitu bagian mid-portal dan posterior intraprietal sulcus kiri.
9. Berhubungan dengan sifat keanak-anakan Anda
Einstein pernah berkata bahwa imajinasi lebih penting daripada pengetahuan dan ia menggunakannya pada beberapa eksperimen yang akhirnya membuatnya menemukan perhitungan paling terkenal sepanjang masa (E=MC2).
Cobalah lihat anak-anak, mereka penuh dengan imajinasi, dan mereka belajar lebih banyak pada tahun-tahun awal kehidupan mereka lebih daripada apa yang kita pelajari selama satu dekade. Bebaskan pikiran Anda dari penjara pikiran "seorang dewasa", Anda akan menemukan cara berpikir yang belum pernah ada sebelumnya, Anda mungkin akan membuat penemuan besar yang berikutnya.
Hot Tips to Help you Sell Your Music Online
Use the power of the internet to Sell Your Music Online. In today's age we have the benefit of having endless music resources at our fingertips, via the internet. Now you can reach music fans around the world, fans you never thought you could have. As long as you get your music in front of your captive audience, you can now sell your music online locally, domestically, and internationally using the internet.
1) Leverage Indie Music Resources Available on the Internet
There are a great deal of resources available online to spread the word about your music and sell your music e.g. chat rooms, websites, podcasts, music communities, online music stores. This gives you an opportunity to get your music in front of a very captive audience ready to listen to your music, provide feedback, and buy your music.
2) Sell MP3 Downloads to get Great Exposure for Your Music at a Reasonable Price
Keep more of your money by selling MP3 downloads instead of focusing on selling CD's. You can generate music sales by selling your MP3 downloads, an save on CD duplication expenses. Sell your MP3 downloads off your website, or a music community website for a minimal fee. Your music gets sold, and you can avoid paying hundreds or thousands of dollars on CD duplication and conversion.
Ask others to help you sell your music online. Give them a flat fee or percentage for each of your MP3 or CD Sales. The more people you have helping you Sell your music, the more exposure you get for your music, and the more money you can make from your music sales.
3) Learn from other Musicians that are Successfully Selling their Music Online
Learn from other musicians so you can repeat some of their successes but avoid their mistakes. Read or listen to music interviews so you can learn strategies and tactics musicians have used day in and day out to sell their music online.
Now is the time to get your music heard by thousands of people. Think about it, millions of musicians are selling their music online everyday. The musicians you may be listening to will all have different levels of music skills and talents…why shouldn't you get exposure and sell your music? Share your unique music talents with the world, and sell your music online today!
1) Leverage Indie Music Resources Available on the Internet
There are a great deal of resources available online to spread the word about your music and sell your music e.g. chat rooms, websites, podcasts, music communities, online music stores. This gives you an opportunity to get your music in front of a very captive audience ready to listen to your music, provide feedback, and buy your music.
2) Sell MP3 Downloads to get Great Exposure for Your Music at a Reasonable Price
Keep more of your money by selling MP3 downloads instead of focusing on selling CD's. You can generate music sales by selling your MP3 downloads, an save on CD duplication expenses. Sell your MP3 downloads off your website, or a music community website for a minimal fee. Your music gets sold, and you can avoid paying hundreds or thousands of dollars on CD duplication and conversion.
Ask others to help you sell your music online. Give them a flat fee or percentage for each of your MP3 or CD Sales. The more people you have helping you Sell your music, the more exposure you get for your music, and the more money you can make from your music sales.
3) Learn from other Musicians that are Successfully Selling their Music Online
Learn from other musicians so you can repeat some of their successes but avoid their mistakes. Read or listen to music interviews so you can learn strategies and tactics musicians have used day in and day out to sell their music online.
Now is the time to get your music heard by thousands of people. Think about it, millions of musicians are selling their music online everyday. The musicians you may be listening to will all have different levels of music skills and talents…why shouldn't you get exposure and sell your music? Share your unique music talents with the world, and sell your music online today!
10 Reasons You Can do this from the Comfort of Your Home
1. You don't have to be an expert.
Create music the best you can, just get it recorded and
polish it up later. Rough tracks are not always a bad
thing. They can be an excellent starting point for a great
song. Many people can appreciate raw music and may even
want to collaborate with you to make your music even better.
Putting together music that isn't perfect is better than
keeping the music inside of you and not sharing your
creativity and talents with others.
2. You can create quality recordings without going to a
professional recording studio.
There is excellent home recording software and recording
devices available. Reading a manual, contacting customer
support, and visiting chat rooms can go a long ways in
helping you improve your recording skills. Don't be
intimidated. Play around with your recording device, or
recording software. If you are patient with yourself, you
can have a lot of fun, learn a lot, and your recordings can
really start to come together.
Also consider hanging out in a music store occasionally to
learn some great tips from other musicians. Sales reps are
normally more than happy to help you out and even share
their personal experiences they have had with a product. If
they don't have experience with the product you are looking
for, chances are they can find someone in the store who has
experience, or can direct you to the right place.
3. Home is your sanctuary, when you relax get your
inspiration from your environment then capture your
creativity in your recording. When you create music from
the comfort of your home your creativity can be limitless.
You can create, record, and sell music from home while
you're in your pajamas. Nothing wrong with that! A lot of
good creativity can happen at home…channel that into a cool
new song, and record it so you'll remember it for years to
come. You can mess up a thousand times, and no one has to
know. Practice to your hearts content, then record your
tunes as many times as you need to until you get the sound
that makes you happy.
You may also be able to tune out negative influences at
home, so that's a good place to foster your creativity.
Your home is a great place to kick back and relax, and when
you're relaxed and feeling good, or bad, this is a great
time to go play some music and/or lay down a couple of
tracks of music. You are free to work at your own pace with
no one looking over your shoulder, so that can be great time
to be creative and come up with some music ideas. Work in
the comfort of your home, be comfortable and relaxed, be
creative and show how unique you can be through your music.
4. You can create music as fast or slow as you want…go at
your own pace.
There doesn't have to be anyone pressuring you to lay down
your tracks at warp speed. You can record a track, go eat
some lunch, workout, then record another track if you
choose. You can lock yourself in your music room for as
long as you want if that works for you, and really make some
great progress on working out some licks, writing some
tunes, or even recording music. You don't have to pay for an
expensive recording studio, so you can take your time
creating your music.
5. Home recording trends are growing, and you can easily
take advantage of new technologies developed for musicians
just like you who want to record their music at home.
Resources are available to easily record music at home at a
very reasonable price, so no more excuses. Thousands of
people are recording their own music from home. They have
all different skill levels. There is a place for you out
there too…go get yours!
6. What you don't know you can learn from home using your
computer and some great online resources.
You can instantly download music lessons and work at your
own pace. You can join forums full of people just like you,
who are working on making their own music from home, and you
can share tips with each other. There are resources where
you get video demonstrations that walk you through different
processes e.g. playing a guitar…step by step.
7. The internet has endless possibilities and reaches
millions of people…get your good music in front of more
people on the internet and you can have more music sales.
You can sell your music right off of your website. You can
sell your music from an online music store. There are free
advertising resources available where you can get your music
in front of other musicians and prospective customers.
There are online communities for musicians who want to get
their music heard by others…you can offer support for other
musicians, and they can do the same for you. This can lead
to more CD and MP3 sales too. You can get your own online
radio station to play your music, or get your music played
on other online radio stations to increase your exposure.
The possibilities for getting your music heard are endless
if you take advantage of the power of the internet.
8. You have full control over how your music turns out.
You are creating, producing, and selling your own music. No
one should stand in your way. You can keep 100% of your
hard earned profits if you choose.
9. You can have a huge sense of accomplishments by creating
your music from scratch, producing it, and selling your own
music.
You are responsible for the music you create. A lot of
satisfaction can come with that…taking action will show you
that you can do it, like you always knew you could!
10. Don't underestimate your abilities. You may be a better
musician than you think. You can get your music out to the
public to let others experience your unique creativity.
You may not think your good enough to sell your own music,
but how do you know if you don't even try? Get your music
in front of others and let them appreciate all of your
creativity and efforts. For every person you think won't
like your music, there may be 10 others that do. Fear is
natural, but don't let it stand in the way of you achieving
greatness that may be within you.
There are some great recordings, and a lot of rough
recordings out there that may get some great buzz because
they are getting their music out there. Why can't you do
the same? Taking action is the first step. You may be a
better musician than you think.
Your music may sound pretty good to you, but get your music
in front of others, and they may be amazed on what you can
do. That interest, and/or amazement with your music can be a
great tool for fostering your motivation and creativity too!
Remember, you never know what you can do until you try. No
more excuses…you CAN Create, Produce, and Sell your music
from home. You have nothing to lose, so get started today!
Create music the best you can, just get it recorded and
polish it up later. Rough tracks are not always a bad
thing. They can be an excellent starting point for a great
song. Many people can appreciate raw music and may even
want to collaborate with you to make your music even better.
Putting together music that isn't perfect is better than
keeping the music inside of you and not sharing your
creativity and talents with others.
2. You can create quality recordings without going to a
professional recording studio.
There is excellent home recording software and recording
devices available. Reading a manual, contacting customer
support, and visiting chat rooms can go a long ways in
helping you improve your recording skills. Don't be
intimidated. Play around with your recording device, or
recording software. If you are patient with yourself, you
can have a lot of fun, learn a lot, and your recordings can
really start to come together.
Also consider hanging out in a music store occasionally to
learn some great tips from other musicians. Sales reps are
normally more than happy to help you out and even share
their personal experiences they have had with a product. If
they don't have experience with the product you are looking
for, chances are they can find someone in the store who has
experience, or can direct you to the right place.
3. Home is your sanctuary, when you relax get your
inspiration from your environment then capture your
creativity in your recording. When you create music from
the comfort of your home your creativity can be limitless.
You can create, record, and sell music from home while
you're in your pajamas. Nothing wrong with that! A lot of
good creativity can happen at home…channel that into a cool
new song, and record it so you'll remember it for years to
come. You can mess up a thousand times, and no one has to
know. Practice to your hearts content, then record your
tunes as many times as you need to until you get the sound
that makes you happy.
You may also be able to tune out negative influences at
home, so that's a good place to foster your creativity.
Your home is a great place to kick back and relax, and when
you're relaxed and feeling good, or bad, this is a great
time to go play some music and/or lay down a couple of
tracks of music. You are free to work at your own pace with
no one looking over your shoulder, so that can be great time
to be creative and come up with some music ideas. Work in
the comfort of your home, be comfortable and relaxed, be
creative and show how unique you can be through your music.
4. You can create music as fast or slow as you want…go at
your own pace.
There doesn't have to be anyone pressuring you to lay down
your tracks at warp speed. You can record a track, go eat
some lunch, workout, then record another track if you
choose. You can lock yourself in your music room for as
long as you want if that works for you, and really make some
great progress on working out some licks, writing some
tunes, or even recording music. You don't have to pay for an
expensive recording studio, so you can take your time
creating your music.
5. Home recording trends are growing, and you can easily
take advantage of new technologies developed for musicians
just like you who want to record their music at home.
Resources are available to easily record music at home at a
very reasonable price, so no more excuses. Thousands of
people are recording their own music from home. They have
all different skill levels. There is a place for you out
there too…go get yours!
6. What you don't know you can learn from home using your
computer and some great online resources.
You can instantly download music lessons and work at your
own pace. You can join forums full of people just like you,
who are working on making their own music from home, and you
can share tips with each other. There are resources where
you get video demonstrations that walk you through different
processes e.g. playing a guitar…step by step.
7. The internet has endless possibilities and reaches
millions of people…get your good music in front of more
people on the internet and you can have more music sales.
You can sell your music right off of your website. You can
sell your music from an online music store. There are free
advertising resources available where you can get your music
in front of other musicians and prospective customers.
There are online communities for musicians who want to get
their music heard by others…you can offer support for other
musicians, and they can do the same for you. This can lead
to more CD and MP3 sales too. You can get your own online
radio station to play your music, or get your music played
on other online radio stations to increase your exposure.
The possibilities for getting your music heard are endless
if you take advantage of the power of the internet.
8. You have full control over how your music turns out.
You are creating, producing, and selling your own music. No
one should stand in your way. You can keep 100% of your
hard earned profits if you choose.
9. You can have a huge sense of accomplishments by creating
your music from scratch, producing it, and selling your own
music.
You are responsible for the music you create. A lot of
satisfaction can come with that…taking action will show you
that you can do it, like you always knew you could!
10. Don't underestimate your abilities. You may be a better
musician than you think. You can get your music out to the
public to let others experience your unique creativity.
You may not think your good enough to sell your own music,
but how do you know if you don't even try? Get your music
in front of others and let them appreciate all of your
creativity and efforts. For every person you think won't
like your music, there may be 10 others that do. Fear is
natural, but don't let it stand in the way of you achieving
greatness that may be within you.
There are some great recordings, and a lot of rough
recordings out there that may get some great buzz because
they are getting their music out there. Why can't you do
the same? Taking action is the first step. You may be a
better musician than you think.
Your music may sound pretty good to you, but get your music
in front of others, and they may be amazed on what you can
do. That interest, and/or amazement with your music can be a
great tool for fostering your motivation and creativity too!
Remember, you never know what you can do until you try. No
more excuses…you CAN Create, Produce, and Sell your music
from home. You have nothing to lose, so get started today!
Play Fast Guitar
There are a lot of guitarists out there that play the same old tunes that are worn-out on the radio, but you need some way to stick out. When everyone seems to play a slow depressing ballad, you need to learn how to play fast.
If you want to brand yourself as a marketable guitarist in the music industry, learning to acquire some speed with your licks is a great idea. You can be closer to playing fast guitar with these easy and quick guitar tips.
1. Playing slow is the key to playing fast.
There hasn't been a single guitar player in history who has been able to blast through guitar licks at full speed when they first begin and neither will you. Sit down and take things at a reasonable pace and increase your tempo as you seem fit.
2. Warm-up with scales before you try the real songs.
Getting into your guitar songs is what you want to do during your personal practice, but starting out with some scales is a great idea. Not only will you loosen your fingers a little more, but you'll learn about note relationships for soloing and improvisation techniques.
3. Have a goal to accomplish for your new speed.
The one thing that might hold you back is being frustrated at your slow progress, but hanging in there with a "contract" might be what you need. Before you begin, write down exactly what you hope to accomplish to increase your chances of succeeding.
4. Keep your family by your side to cheer you on.
The people in your life that don't think you can make it and succeed are not the ones you need around you when undertaking this project of playing fast guitar. Seek out friends and family who will support you through this goal to give you that extra boost of fuel.
If you really want to play fast guitar, things are bound to get tough and frustrating at times. But, if you run against the wind and take everything one step at a time, you should find yourself playing guitar much faster.
If you want to brand yourself as a marketable guitarist in the music industry, learning to acquire some speed with your licks is a great idea. You can be closer to playing fast guitar with these easy and quick guitar tips.
1. Playing slow is the key to playing fast.
There hasn't been a single guitar player in history who has been able to blast through guitar licks at full speed when they first begin and neither will you. Sit down and take things at a reasonable pace and increase your tempo as you seem fit.
2. Warm-up with scales before you try the real songs.
Getting into your guitar songs is what you want to do during your personal practice, but starting out with some scales is a great idea. Not only will you loosen your fingers a little more, but you'll learn about note relationships for soloing and improvisation techniques.
3. Have a goal to accomplish for your new speed.
The one thing that might hold you back is being frustrated at your slow progress, but hanging in there with a "contract" might be what you need. Before you begin, write down exactly what you hope to accomplish to increase your chances of succeeding.
4. Keep your family by your side to cheer you on.
The people in your life that don't think you can make it and succeed are not the ones you need around you when undertaking this project of playing fast guitar. Seek out friends and family who will support you through this goal to give you that extra boost of fuel.
If you really want to play fast guitar, things are bound to get tough and frustrating at times. But, if you run against the wind and take everything one step at a time, you should find yourself playing guitar much faster.
Globalisasi
Tujuh ratus tahun lalu sebelum manusia pernah bermimpi apakah pikiran tentang globalisasi itu bakal singgah di benak manusia atau tidak, Maulana Jalaluddin Rumi (lahir 30 September 1207 M di Balkh, Afghanistan) telah menghimbau kepada siapa saja, baik orang-orang kafir, musyrik, maupun penyembah api untuk datang menghampirinya agar dapat ia membisikkan di telinga mereka bahwa Bumi Tuhan bukanlah tempat untuk berputus asa dan betapa abadinya diri mereka.
Maka masalahnya sekarang bukanlah 'Apa jalan Sufi masih relevan di zaman globalisasi' melainkan 'Relevankah sikon globalisasi dalam menempuh jalan Sufi'. Karena sesuatu yang sudah jelas dan final secara konsep tidak butuh lagi dipermasalahkan melainkan suka memakainya sebagai way of life atau tidak. Yaitu kesufian, perjalanan individu manusia yang meng-Allah, yang aktualisasinya merupakan pengabdian diri kepada seluruh umat manusia seumur hidup.
Sedang globalisasi adalah sebuah nama yang baru saja muncul ke permukaan dan baru juga dalam proses dimasyarakatkan. Pendatang baru inilah yang perlu dipermasalahkan. Apakah new comer yang memperkenalkan diri dengan sebuah nama yang mentereng ini masih beresensi purba yang fitri (ummatan wahidatan) ataukah sudah diwarnai kepentingan pasar yang mendunia.
Maka diperlukan jawaban atas serentetan pertanyaan yang akan menyusun sebuah Aqidah Globaliyah yang berhakekat (bukan buih). Yaitu kesadaran apa yang mendorong mereka mengidealisasikan globalisasi, di atas dasar atau landasan apa bangunan globalisme ditegakkan, dengan apa dan cara bagaimana menegakkannya, dan untuk tujuan apa gagasan itu diaktualisasikan.
Aqidah Globaliyah harus diungkapkan secara terbuka karena hal itu sangat penting untuk memperjelas identitas diri manusia yang final, sejak status sampai fungsinya yang mendasar di tengah semesta, sehingga menjadi jelas pula apa yang mesti dilakukan di dalam setiap proses pengungkapan diri (sebab, qodar) dengan potensi dan teknologi (sumber daya alam, manusia, alat dan malaikat) yang dimiliki, melewati persyaratan yang membolehkan berlansungnya proses (moralitas, kerasulan) di dalam batas (hukum, kitabullah) yang memastikan sampainya tujuan (kemerdekaan yang abadi, malikiyah Allah).
Kalau aqidah yang hakiki ini telah ditemukan dan disepakati bersama, maka globalisasi bukanlah masalah baru selain namanya saja. Karena sejak dini sudah dipancangkan tanpa tedeng aling-aling oleh pembawa dan pelaksana Risalah Robbul Alamin, Muhammad.
Alternatif lain yang dikhawatirkan adalah bila jawaban dari pertanyaan-pertanyaan di atas akan menyusun sebuah paradigma kapitalisma atau dogma mistika yang keduanya berada dalam kutub ekstrim yang tak mungkin dapat dipertemukan selamanya, kecuali di dalam pribadi yang pecah dari dalam.
Yang disebut paradigma kapitalisma adalah seperangkat aturan yang hanya mengacu kepada pemilikan sarana secara berlimpah bagaimanapun caranya tanpa peduli apa kata fihak lain tentang dirinya. Suatu orientasi keruangan yang berbau kolonialis dan imperialis dengan wajah dan gayanya yang baru, supaya tetap bisa mengeksploitir bumi sampai keropos.
Teknologi canggih merupakan senjata handalan mereka satu-satunya. Dan saking mantapnya terhadap pusaka handalan yang telah berhasil melumpuhkan keganasan alam, akan diberlakukan juga untuk menghadapi tantangan yang datang dari sumber daya insani. Seolah telah menemukan suatu keyakinan bahwa apa yang bisa digunakan untuk menundukkan alam pastilah dapat didayagunakan untuk menguasai manusia.
Target mereka adalah penguasaan kodrat dengan kekuatan intelegensi untuk memperoleh kenikmatan yang sebesar-besarnya di dalam kehidupan duniawi. Proses transendensi yang bersifat vertikal keruangan ini hanyalah akan menggapai tawaran syeitan kepada Adam yang berupa 'Mulkul la yabla', kerajaan yang tak pernah binasa, yang membuat Adam tergeser tempat tinggalnya dari surga (Surat Thaahaa:120). memang mereka tergolong orang yang tahu tetapi tidak mau. Di dalam Ummul Kitab mereka diberi identitas sebagai golongan Maghdlub (dimurkai).
Berdiri pada kutub lain adalah golongan kharismatik yang berorientasi pada penguasaan diri tanpa mempedulikan penguasaan sarana. Target yang hendak dicapai adalah penguasaan Iradah dengan kekuatan kemauan/willing demi memperoleh Rahmat yang berkesinambungan di dalam kehidupan spiritiualnya. Dengan kharismanya yang tinggi akan mudah seseorang menguasai opini kemudian menggerakkan umat.
Kemampuan mereka mengantisipasi waktu yang bersifat horisontal membuahkan nama besar sebagai pahlawan kemanusiaan, perdamaian, dan lain sebagainya. Inilah tawaran setan yang lain kepada Adam yang berupa 'Syajarotul Khuldi', pohon kehidupan yang abadi, yang sempat menggugurkannya dari singgasananya di surga. Identitas mereka di dalam Ummul Kitab sebagai golongan Dlollun (tersesat).
Dua golongan yang berdiri di atas kutub yang bertentangan itu disimbolkan di dalam Al Quran sebagai golongan Firaun yang tewas menghadapi Nabi Musa a.s. dan golongan Bilkis yang runtuh di depan Nabi Sulaiman a.s.
Kalau tidak untuk menghindar dari esensi yang hakiki (Akidah Globaliyah, Rukun Iman) mengapa kita butuh menampilkan diri dengan nama baru. Kurang kerenkah Aqidah Islamiyah kita, atau sekedar penyamaran supaya mereka yang Islam-Phobi meninggalkan kancah globalisasi.
Mari kita simpan sebentar persepsi kita tentang kenyataan dan tatap langsung kenyataan secara utuh dan telanjang. Ide apa yang dibungkus rapat-rapat dengan seribu nama baru yang menjadi satu-satunya alternatif yang mau tidak mau akan diterima juga oleh manusia dan zamannya, selain ide yang sejak dulu ditawarkan oleh Rabbul Alamin kepada kita. Ya, tatkala kebanyakan manusia masih senang menonton kenyataan dengan seribu kaca mata yang buram.
Takutkah kita dengan konsistensi sebuah nama, atau dengan alasan primitif bising telinga mendengar suara adzan. Bukankah shalat merupakan penguapan diri yang akan menggumpal menjadi awan dan turun menjadi hujan yang menyiram semua, baik yang mukmin maupun yang kafir. Atau ngeri dihimbau untuk berpuasa di bulan Ramadlan di tengah gelimang sarana yang mewah dan berlimpah. Bukankah puasa adalah berhenti memungut isi bumi buat konsumsi fisik shaimin, yang berarti memberi kesempatan pihak lain untuk memanfaatkannya. Siapa yang paling awal memberi sebelum mereka melangkah keluar. Bukankah memberi yang tertinggi nilainya adalah memberi yang tanpa mengulurkan tangan, sehingga pihak penerimanya tidak pernah merasa diberi. Dan dengan demikian mereka tidak pernah menanggung beban moral sebagai pihak penerima.
Aktualisasi globalis mana yang menandingi nilai keikhlasan seorang mushallin dan shaimin. Padahal di dalam ruang lingkup agama, Fitrah salat dan puasa masih merupakan tahap awal (pra-eksistensial) di dalam pembentukan diri sebagai seorang mukmin.
Tanpa dihimbau ummat Islam telah menunaikan Shalat dan Puasa yang pancarannya mensemesta (bersifat globalis). Mengapa kita tidak memupuk perkebunan kita yang telah tumbuh sejak dini dan berhasil mewarnai untaian Nusantara dengan warna zamrut. Bukankah globalisasi yang murni berwarna zamrut?
Maka masalahnya sekarang bukanlah 'Apa jalan Sufi masih relevan di zaman globalisasi' melainkan 'Relevankah sikon globalisasi dalam menempuh jalan Sufi'. Karena sesuatu yang sudah jelas dan final secara konsep tidak butuh lagi dipermasalahkan melainkan suka memakainya sebagai way of life atau tidak. Yaitu kesufian, perjalanan individu manusia yang meng-Allah, yang aktualisasinya merupakan pengabdian diri kepada seluruh umat manusia seumur hidup.
Sedang globalisasi adalah sebuah nama yang baru saja muncul ke permukaan dan baru juga dalam proses dimasyarakatkan. Pendatang baru inilah yang perlu dipermasalahkan. Apakah new comer yang memperkenalkan diri dengan sebuah nama yang mentereng ini masih beresensi purba yang fitri (ummatan wahidatan) ataukah sudah diwarnai kepentingan pasar yang mendunia.
Maka diperlukan jawaban atas serentetan pertanyaan yang akan menyusun sebuah Aqidah Globaliyah yang berhakekat (bukan buih). Yaitu kesadaran apa yang mendorong mereka mengidealisasikan globalisasi, di atas dasar atau landasan apa bangunan globalisme ditegakkan, dengan apa dan cara bagaimana menegakkannya, dan untuk tujuan apa gagasan itu diaktualisasikan.
Aqidah Globaliyah harus diungkapkan secara terbuka karena hal itu sangat penting untuk memperjelas identitas diri manusia yang final, sejak status sampai fungsinya yang mendasar di tengah semesta, sehingga menjadi jelas pula apa yang mesti dilakukan di dalam setiap proses pengungkapan diri (sebab, qodar) dengan potensi dan teknologi (sumber daya alam, manusia, alat dan malaikat) yang dimiliki, melewati persyaratan yang membolehkan berlansungnya proses (moralitas, kerasulan) di dalam batas (hukum, kitabullah) yang memastikan sampainya tujuan (kemerdekaan yang abadi, malikiyah Allah).
Kalau aqidah yang hakiki ini telah ditemukan dan disepakati bersama, maka globalisasi bukanlah masalah baru selain namanya saja. Karena sejak dini sudah dipancangkan tanpa tedeng aling-aling oleh pembawa dan pelaksana Risalah Robbul Alamin, Muhammad.
Alternatif lain yang dikhawatirkan adalah bila jawaban dari pertanyaan-pertanyaan di atas akan menyusun sebuah paradigma kapitalisma atau dogma mistika yang keduanya berada dalam kutub ekstrim yang tak mungkin dapat dipertemukan selamanya, kecuali di dalam pribadi yang pecah dari dalam.
Yang disebut paradigma kapitalisma adalah seperangkat aturan yang hanya mengacu kepada pemilikan sarana secara berlimpah bagaimanapun caranya tanpa peduli apa kata fihak lain tentang dirinya. Suatu orientasi keruangan yang berbau kolonialis dan imperialis dengan wajah dan gayanya yang baru, supaya tetap bisa mengeksploitir bumi sampai keropos.
Teknologi canggih merupakan senjata handalan mereka satu-satunya. Dan saking mantapnya terhadap pusaka handalan yang telah berhasil melumpuhkan keganasan alam, akan diberlakukan juga untuk menghadapi tantangan yang datang dari sumber daya insani. Seolah telah menemukan suatu keyakinan bahwa apa yang bisa digunakan untuk menundukkan alam pastilah dapat didayagunakan untuk menguasai manusia.
Target mereka adalah penguasaan kodrat dengan kekuatan intelegensi untuk memperoleh kenikmatan yang sebesar-besarnya di dalam kehidupan duniawi. Proses transendensi yang bersifat vertikal keruangan ini hanyalah akan menggapai tawaran syeitan kepada Adam yang berupa 'Mulkul la yabla', kerajaan yang tak pernah binasa, yang membuat Adam tergeser tempat tinggalnya dari surga (Surat Thaahaa:120). memang mereka tergolong orang yang tahu tetapi tidak mau. Di dalam Ummul Kitab mereka diberi identitas sebagai golongan Maghdlub (dimurkai).
Berdiri pada kutub lain adalah golongan kharismatik yang berorientasi pada penguasaan diri tanpa mempedulikan penguasaan sarana. Target yang hendak dicapai adalah penguasaan Iradah dengan kekuatan kemauan/willing demi memperoleh Rahmat yang berkesinambungan di dalam kehidupan spiritiualnya. Dengan kharismanya yang tinggi akan mudah seseorang menguasai opini kemudian menggerakkan umat.
Kemampuan mereka mengantisipasi waktu yang bersifat horisontal membuahkan nama besar sebagai pahlawan kemanusiaan, perdamaian, dan lain sebagainya. Inilah tawaran setan yang lain kepada Adam yang berupa 'Syajarotul Khuldi', pohon kehidupan yang abadi, yang sempat menggugurkannya dari singgasananya di surga. Identitas mereka di dalam Ummul Kitab sebagai golongan Dlollun (tersesat).
Dua golongan yang berdiri di atas kutub yang bertentangan itu disimbolkan di dalam Al Quran sebagai golongan Firaun yang tewas menghadapi Nabi Musa a.s. dan golongan Bilkis yang runtuh di depan Nabi Sulaiman a.s.
Kalau tidak untuk menghindar dari esensi yang hakiki (Akidah Globaliyah, Rukun Iman) mengapa kita butuh menampilkan diri dengan nama baru. Kurang kerenkah Aqidah Islamiyah kita, atau sekedar penyamaran supaya mereka yang Islam-Phobi meninggalkan kancah globalisasi.
Mari kita simpan sebentar persepsi kita tentang kenyataan dan tatap langsung kenyataan secara utuh dan telanjang. Ide apa yang dibungkus rapat-rapat dengan seribu nama baru yang menjadi satu-satunya alternatif yang mau tidak mau akan diterima juga oleh manusia dan zamannya, selain ide yang sejak dulu ditawarkan oleh Rabbul Alamin kepada kita. Ya, tatkala kebanyakan manusia masih senang menonton kenyataan dengan seribu kaca mata yang buram.
Takutkah kita dengan konsistensi sebuah nama, atau dengan alasan primitif bising telinga mendengar suara adzan. Bukankah shalat merupakan penguapan diri yang akan menggumpal menjadi awan dan turun menjadi hujan yang menyiram semua, baik yang mukmin maupun yang kafir. Atau ngeri dihimbau untuk berpuasa di bulan Ramadlan di tengah gelimang sarana yang mewah dan berlimpah. Bukankah puasa adalah berhenti memungut isi bumi buat konsumsi fisik shaimin, yang berarti memberi kesempatan pihak lain untuk memanfaatkannya. Siapa yang paling awal memberi sebelum mereka melangkah keluar. Bukankah memberi yang tertinggi nilainya adalah memberi yang tanpa mengulurkan tangan, sehingga pihak penerimanya tidak pernah merasa diberi. Dan dengan demikian mereka tidak pernah menanggung beban moral sebagai pihak penerima.
Aktualisasi globalis mana yang menandingi nilai keikhlasan seorang mushallin dan shaimin. Padahal di dalam ruang lingkup agama, Fitrah salat dan puasa masih merupakan tahap awal (pra-eksistensial) di dalam pembentukan diri sebagai seorang mukmin.
Tanpa dihimbau ummat Islam telah menunaikan Shalat dan Puasa yang pancarannya mensemesta (bersifat globalis). Mengapa kita tidak memupuk perkebunan kita yang telah tumbuh sejak dini dan berhasil mewarnai untaian Nusantara dengan warna zamrut. Bukankah globalisasi yang murni berwarna zamrut?
sumber:http://www.pakmuh.com
Sunan Ampel Mosque
Sunan Ampel mosque built in 1421 over an area of 2000 m² with ancient Javanese architecture style and nuances of Islamic Arabs very closely, originally known as the Sunan Ampel mosque. The mosque is unique, supported by 16 pillars made from teak, there are carvings of ancient relics of the Majapahit era of meaningful unity of God, with a length of 17 m and 0.4 m wide with no connection. Seventeen shows the number of raka'at a day which is a pillar of Islam. Besides this mosque has 48 doors, 1.5 m in diameter with a height of 2 m. 50 m high tower which is characteristic. In the past I have found no means of loudspeakers, so the higher the tower the better, so the call to prayer could be heard. And dome-shaped hall of Java with a crown-shaped symbol carved sun as a symbol of the triumph of Majapahit, which was also served to spread the religion of Islam with Sunan Ampel. In this place there is also a historic wells that are now covered with iron. Many believe the water from these wells has advantages such as water Zamzam in Mecca. Until this moment all the original buildings are handled directly Sunan Ampel still looks solid. Now given the name of Sunan Ampel Mosque.In light of the mosque building form Sunan Ampel managed and assisted mbah Shonhaji (mbah holes), mbah Sholeh-santri and students, may still amount to thousands of buildings were able to create a mosque that was admired by ummah in all ages, this is a statement of visitors from within the country, as well as foreign tourists, especially the architectural and historical experts.
The mosque building is done 600 years ago with the number of followers of relatively small compared to the followers of Hindu religion at that time, especially in the city of Surabaya. Sunan Ampel mosque built with the size: 46.80 mx 44.20 m = 2068.56 m². This shows that Islamic societies are still considered minorities are remarkable works. So that is the pride of Muslims, as a historical relic that should be maintained and preserved.
Besides the equipment used was very simple, yet difficult terfikir dikala transport it. With the equipment they are used to transport building materials to be used. If dlihat of this some ways could not help wondering, construction done within a relatively short time. This all could not be separated from features more commonly known as Karomah of Sunan Ampel.
Given the increasingly more adherents of Islam, so that this mosque is necessary. So in 1926 under the leadership of: the Duke Regent R. Aryo Niti Adiningrat expanded: 22.70 mx 20.55 m = 466.48 m².
Expansion to-III in 1954 led by KH Manab Murtadlo, expanded: 25.70 mx 50 m = 1285 m².
120 m x 5 m = 600 m²/1885 m²
Expansion of the IV done in 1972, expanded: 120 mx 11 m = 1320 m². As for who put the first stone: K.H. Idham Chalid (DPR / MPR R.I). Its executive committee are the: K.H. Mohammad Nawawi, A. Hafidz Madjid and H. Abd. Karim.
Until the year 1905 Sunan Ampel Mosque is the second largest mosque in Surabaya. By citizens Ampel, mosque and the tomb of Sunan Ampel built so that people who want to pray in the mosque and pilgrimage can feel comfortable and calm. It is obvious by the construction of five Gapuro (the gate) which is a symbol of the Five Pillars of Islam.
From the south, exactly in the way there Gapuro Sasak named Gapuro munggah, where we will enjoy the village atmosphere similar to the zinc market in the Grand Mosque of Mecca. Illustrates that a Muslim pilgrim must rise if able.
After passing the village hall into a shopping area provide everything needed from the Muslim fashion, perfumes, dates and other accessories people who have already done a complete pilgrimage Gubah available in the market (Ampel Suci).
Then we will see a Gapuro Poso (Fasting) is located in the south of Sunan Ampel Mosque. Gapuro Poso area provides an atmosphere in the fasting month of Ramadan. Illustrates that a Muslim should fast.
After passing Gapuro Poso, we entered the courtyard of the mosque. From this page would look buildings are magnificent main mosque with a towering minaret built by Sunan Ampel. That still remains intact both the tower and beams.
When we do pray in the mosque of Sunan Ampel, then we can continue the journey back and we will find Gapuro Ngamal. Here people can bershodaqoh according to their ability and sincerity. Shodaqoh which is also used for the preservation and cleanliness of the mosque and the tomb area. Describing Five Pillars of Islam about obligatory alms.
Then not long after that we will pass Gapuro Madep, located just west of the main mosque. On the right is the tomb of determining mbah Shonhaji Qiblah direction Sunan Ampel Mosque. Describes the implementation of the prayers facing the Qiblah.
And after that we'll see Gapuro Paneksen to go to the tomb. This is described as a confession of faith "Witnessing is no god but Allah and Prophet Muhammad the messenger of God"
Electric Guitars Have Come a Long Way
If you think you know the electric guitar, think again! Today's guitars are varied in style, size, and capability and are used by all kinds of musicians
The electric guitar uses 'pick-ups' to convert vibration from its strings into electrical current that is amplified to produce sound. Today's electric guitars can produce an electronic sound or a sound that is more acoustic in tone and timber.
The hollow body electric guitar can be an archtop with a full sound box or it can have a thin body.
While steel guitars are electric, they are not really considered 'electric guitars' by most musicians. Musicians use electric guitars to play everything from rock and roll to country, pop, blues, jazz, and rap. Today's classical composers and orchestrators even include electric guitars among their instruments of choice.
The electric guitar was originally designed in the 1930s by the Electro String Instrument Corporation. That electric guitar was made out of solid wood. One of the most famous and well-renowned guitarists of the forties and today, built a solid body electric guitar for his own use, after working at the Gibson Guitar Factory. Les Paul's famous invention was built with handmade pick-ups and hardware, and a four by four wooden post to which the neck was attached. He finished the body with hollow Swedish body halves and the rest is history!
It is interesting to note that there was a lot of research and experimentation going on during this time period by guitar manufacturers and musicians alike.
It wasn't until the 1950s that the electric guitar really came into its own! The first Fender electric guitar was called the 'Broadcaster'. But that name was changed to the 'Telecaster' when the Gretsch drum manufacturer challenged Fender's use of their 'Broadkaster' copyright.
In the mid-1950s, Fender introduced its 'Stratocaster', a deluxe model of the original electric guitar it had produced earlier. The 'Stratocaster' is still one of the most respected and copied electric guitars. In the early 1950s Fender also produced the Fender Precision Bass, which was to become the first commercially successfully electric bass guitar.
In addition to Les Paul's time working at Gibson, he went on to influence the Gibson brand and its success by helping to design the Gibson Les Paul Guitar in the early 1950s.
With its burgeoning success in the electric guitar market, Gibson developed the 'Tune-o-Matic' bridge and by the late 1950s it put the finishing touches on the Les Paul Guitar it still produces today.
Today's electric guitars are still designed much like the Gibson and Fender guitars of the 1950s.
In the 1960s, effects boxes or stomp boxes became popular, adding effects like reverberation, delay, fuzz and the famous 'wah wah' sound to the repetoire of the rock and roll musician. Using a foot pedal to turn the box off and on, the electric guitarist could create and use sounds audiences had never heard before!
In the late 1980s and 1990s, the computerized age of electric guitars arrived, and musicians began to use software and digital sound to create effects. Gibson introduced the first digital guitar in 2002. This guitar can deliver digital signals using an Ethernet cable and is capable of processing independent signals from each string. The guitar is equpped with its own integrated computer and it can modify sound to mimic many old and new electric and acoustic guitar models.
This new capability has opened up a new world of creativity and innovation for musicians and orchestrators to explore!
The electric guitar uses 'pick-ups' to convert vibration from its strings into electrical current that is amplified to produce sound. Today's electric guitars can produce an electronic sound or a sound that is more acoustic in tone and timber.
The hollow body electric guitar can be an archtop with a full sound box or it can have a thin body.
While steel guitars are electric, they are not really considered 'electric guitars' by most musicians. Musicians use electric guitars to play everything from rock and roll to country, pop, blues, jazz, and rap. Today's classical composers and orchestrators even include electric guitars among their instruments of choice.
The electric guitar was originally designed in the 1930s by the Electro String Instrument Corporation. That electric guitar was made out of solid wood. One of the most famous and well-renowned guitarists of the forties and today, built a solid body electric guitar for his own use, after working at the Gibson Guitar Factory. Les Paul's famous invention was built with handmade pick-ups and hardware, and a four by four wooden post to which the neck was attached. He finished the body with hollow Swedish body halves and the rest is history!
It is interesting to note that there was a lot of research and experimentation going on during this time period by guitar manufacturers and musicians alike.
It wasn't until the 1950s that the electric guitar really came into its own! The first Fender electric guitar was called the 'Broadcaster'. But that name was changed to the 'Telecaster' when the Gretsch drum manufacturer challenged Fender's use of their 'Broadkaster' copyright.
In the mid-1950s, Fender introduced its 'Stratocaster', a deluxe model of the original electric guitar it had produced earlier. The 'Stratocaster' is still one of the most respected and copied electric guitars. In the early 1950s Fender also produced the Fender Precision Bass, which was to become the first commercially successfully electric bass guitar.
In addition to Les Paul's time working at Gibson, he went on to influence the Gibson brand and its success by helping to design the Gibson Les Paul Guitar in the early 1950s.
With its burgeoning success in the electric guitar market, Gibson developed the 'Tune-o-Matic' bridge and by the late 1950s it put the finishing touches on the Les Paul Guitar it still produces today.
Today's electric guitars are still designed much like the Gibson and Fender guitars of the 1950s.
In the 1960s, effects boxes or stomp boxes became popular, adding effects like reverberation, delay, fuzz and the famous 'wah wah' sound to the repetoire of the rock and roll musician. Using a foot pedal to turn the box off and on, the electric guitarist could create and use sounds audiences had never heard before!
In the late 1980s and 1990s, the computerized age of electric guitars arrived, and musicians began to use software and digital sound to create effects. Gibson introduced the first digital guitar in 2002. This guitar can deliver digital signals using an Ethernet cable and is capable of processing independent signals from each string. The guitar is equpped with its own integrated computer and it can modify sound to mimic many old and new electric and acoustic guitar models.
This new capability has opened up a new world of creativity and innovation for musicians and orchestrators to explore!
Recipes Rujak Cingur
How do I form Rujak Cingur Ingredients:
- 50 grams of kangkung (known as Ipomoea reptans Poir1. Is a kind of plants that include the type of vegetables and the planting of food), washed clean
- 50 grams of bean sprouts
- 75 grams kecipie (Shop leaves lengthwise)
- 75 grams of cucumber
- 50 grams of mango young
- 75 grams of fried soybean cake (Food fermentation results between soybeans with Rhizopus jamur Oligosporus)
- 100 grams know frying
- 250 grams cingur (nose cartilage of cow or calf leather or cow feet), boiled
- Sambal petis (components in the Indonesian cuisine made from the sideline products processing food to be heated sauce is a thick fluid such as mayonnaise sauce that is more dense)
How to make:
- boiled kangkong, bean sprouts, and kecipir until cooked, lift.
- Cut the cucumber, mango young, fried soybean cake, fried and cingur know that boiled cooked seen.
- Mix all ingredients in the dishes and is concave with sambal petis. Stir well until smooth. Serve immediately.
Borobudur
Borobudur is a ninth-century Mahayana Buddhist monument in Magelang, Central Java, Indonesia. The monument comprises six
square platforms topped by three circular platforms, and is decorated with 2,672 relief panels and 504 Buddha statues. A main
dome is located at the center of the top platform, and is surrounded by seventy-two Buddha statues seated inside perforated
stupa.
The monument is both a shrine to the Lord Buddha and a place for Buddhist pilgrimage. The journey for pilgrims begins at the
base of the monument and follows a path circumambulating the monument while ascending to the top through the three levels of
Buddhist cosmology, namely, Kamadhatu (the world of desire); Rupadhatu (the world of forms); and Arupadhatu (the world of
formlessness). During the journey, the monument guides the pilgrims through a system of stairways and corridors with 1,460
narrative relief panels on the wall and the balustrades.
Evidence suggests Borobudur was abandoned following the fourteenth century decline of Buddhist and Hindu kingdoms in Java,
and the Javanese conversion to Islam. It was rediscovered in 1814 by Sir Thomas Raffles, the British ruler of Java. Borobudur
has since been preserved through several restorations. The largest restoration project was undertaken between 1975 and 1982
by the Indonesian government and UNESCO, following which the monument was listed as a UNESCO World Heritage Site. Borobudur
is still used for pilgrimage, where once a year Buddhists in Indonesia celebrate Vesak at the monument, and Borobudur is
Indonesia's single most visited tourist attraction
The monument's three divisions symbolize three stages of mental preparation towards the ultimate goal according to the
Buddhist cosmology, namely Kamadhatu (the world of desires), Rupadhatu (the world of forms), and finally Arupadhatu (the
formless world). Kamadhatu is represented by the base, Rupadhatu by the five square platforms (the body), and Arupadhatu by
the three circular platforms and the large topmost stupa. The architectural features between three stages have metaphorical
differences. For instance, square and detailed decorations in the Rupadhatu disappear into plain circular platforms in the
Arupadhatu to represent how the world of forms – where men are still attached with forms and names – changes into the world
of the formless.
In 1885, a hidden structure under the base was accidentally discovered. The "hidden foot" contains reliefs, 160 of which are
narrative describing the real Kamadhatu. The remaining reliefs are panels with short inscriptions that apparently describe
instruction for the sculptors, illustrating the scene to be carved. The real base is hidden by an encasement base, the
purpose of which remains a mystery. It was first thought that the real base had to be covered to prevent a disastrous
subsidence of the monument through the hill. There is another theory that the encasement base was added because the original
hidden foot was incorrectly designed, according to Vastu Shastra, the Indian ancient book about architecture and town
planning. Regardless of its intention, the encasement base was built with detailed and meticulous design with aesthetics and
religious compensation.
From Wikipedia, the free encyclopedia
square platforms topped by three circular platforms, and is decorated with 2,672 relief panels and 504 Buddha statues. A main
dome is located at the center of the top platform, and is surrounded by seventy-two Buddha statues seated inside perforated
stupa.
The monument is both a shrine to the Lord Buddha and a place for Buddhist pilgrimage. The journey for pilgrims begins at the
base of the monument and follows a path circumambulating the monument while ascending to the top through the three levels of
Buddhist cosmology, namely, Kamadhatu (the world of desire); Rupadhatu (the world of forms); and Arupadhatu (the world of
formlessness). During the journey, the monument guides the pilgrims through a system of stairways and corridors with 1,460
narrative relief panels on the wall and the balustrades.
Evidence suggests Borobudur was abandoned following the fourteenth century decline of Buddhist and Hindu kingdoms in Java,
and the Javanese conversion to Islam. It was rediscovered in 1814 by Sir Thomas Raffles, the British ruler of Java. Borobudur
has since been preserved through several restorations. The largest restoration project was undertaken between 1975 and 1982
by the Indonesian government and UNESCO, following which the monument was listed as a UNESCO World Heritage Site. Borobudur
is still used for pilgrimage, where once a year Buddhists in Indonesia celebrate Vesak at the monument, and Borobudur is
Indonesia's single most visited tourist attraction
ETYMOLOGY
In Indonesian, temples are known as candi, thus "Borobudur Temple" is locally known as Candi Borobudur. The term candi is
also used more loosely to describe any ancient structure, for example, gates and bathing structures. The origins of the name
Borobudur however are unclear, although the original names of most ancient Indonesian temples are no longer known. The name
'Borobudur' was first written in the Sir Thomas Raffles book on Java history. Raffles wrote about a monument called
borobudur, but there are no older documents suggesting the same name. The only old Javanese manuscript that hints at the
monument as a holy Buddhist sanctuary is Nagarakertagama, written by Mpu Prapanca in 1365.The name 'Bore-Budur', and thus 'BoroBudur', is thought to have been written by Raffles in English grammar to mean the nearby
village of Bore; most candi are named after a nearby village. If it followed Javanese language, the monument should have been
named 'BudurBoro'. Raffles also suggested that 'Budur' might correspond to the modern Javanese word Buda ('ancient') – i.e.,
'ancient Boro'. However, another archaeologist suggests the second component of the name ('Budur') comes from Javanese term
bhudhara (or mountain).[
In Indonesian, temples are known as candi, thus "Borobudur Temple" is locally known as Candi Borobudur. The term candi is
also used more loosely to describe any ancient structure, for example, gates and bathing structures. The origins of the name
Borobudur however are unclear, although the original names of most ancient Indonesian temples are no longer known. The name
'Borobudur' was first written in the Sir Thomas Raffles book on Java history. Raffles wrote about a monument called
borobudur, but there are no older documents suggesting the same name. The only old Javanese manuscript that hints at the
monument as a holy Buddhist sanctuary is Nagarakertagama, written by Mpu Prapanca in 1365.The name 'Bore-Budur', and thus 'BoroBudur', is thought to have been written by Raffles in English grammar to mean the nearby
village of Bore; most candi are named after a nearby village. If it followed Javanese language, the monument should have been
named 'BudurBoro'. Raffles also suggested that 'Budur' might correspond to the modern Javanese word Buda ('ancient') – i.e.,
'ancient Boro'. However, another archaeologist suggests the second component of the name ('Budur') comes from Javanese term
bhudhara (or mountain).[
LOCATION
Approximately 40 kilometers (25 mi) northwest of Yogyakarta, Borobudur is located in an elevated area between two twin
volcanoes, Sundoro-Sumbing and Merbabu-Merapi, and two rivers, the Progo and the Elo. According to local myth, the area known
as Kedu Plain is a Javanese 'sacred' place and has been dubbed 'the garden of Java' due to its high agricultural fertility.
Besides Borobudur, there are other Buddhist and Hindu temples in the area, including the Prambanan temples compound. During
the restoration in the early 1900s, it was discovered that three Buddhist temples in the region, Borobudur, Pawon and Mendut,
are lined in one straight line position. It might be accidental, but the temples' alignment is in conjunction with a native
folk tale that a long time ago, there was a brick-paved road from Borobudur to Mendut with walls on both sides. The three
temples (Borobudur–Pawon–Mendut) have similar architecture and ornamentation derived from the same time period, which
suggests that ritual relationship between the three temples, in order to have formed a sacred unity, must have existed,
although exact ritual process is yet unknown.
Unlike other temples, which were built on a flat surface, Borobudur was built on a bedrock hill, 265 m (869 ft) above sea
level and 15 m (49 ft) above the floor of the dried-out paleolake. The lake's existence was the subject of intense discussion
among archaeologists in the twentieth century; Borobudur was thought to have been built on a lake shore or even floated on a
lake. In 1931, a Dutch artist and a scholar of Hindu and Buddhist architecture, W.O.J. Nieuwenkamp, developed a theory that
Kedu Plain was once a lake and Borobudur initially represented a lotus flower floating on the lake. Lotus flowers are found
in almost every Buddhist work of art, often serving as a throne for buddhas and base for stupas. The architecture of
Borobudur itself suggests a lotus depiction, in which Buddha postures in Borobudur symbolize the Lotus Sutra, mostly found in
many Mahayana Buddhism (a school of Buddhism widely spread in the east Asia region) texts. Three circular platforms on the
top are also thought to represent a lotus leaf. Nieuwenkamp's theory, however, was contested by many archaeologists because
the natural environment surrounding the monument is a dry land.
Geologists, on the other hand, support Nieuwenkamp's view, pointing out clay sediments found near the site. A study of
stratigraphy, sediment and pollen samples conducted in 2000 supports the existence of a paleolake environment near Borobudur,
which tends to confirm Nieuwenkamp's theory. The lake area fluctuated with time and the study also proves that Borobudur was
near the lake shore circa thirteenth and fourteenth century. River flows and volcanic activities shape the surrounding
landscape, including the lake. One of the most active volcanoes in Indonesia, Mount Merapi, is in the direct vicinity of
Borobudur and has been very active since the Pleistocene.
Approximately 40 kilometers (25 mi) northwest of Yogyakarta, Borobudur is located in an elevated area between two twin
volcanoes, Sundoro-Sumbing and Merbabu-Merapi, and two rivers, the Progo and the Elo. According to local myth, the area knownas Kedu Plain is a Javanese 'sacred' place and has been dubbed 'the garden of Java' due to its high agricultural fertility.
Besides Borobudur, there are other Buddhist and Hindu temples in the area, including the Prambanan temples compound. During
the restoration in the early 1900s, it was discovered that three Buddhist temples in the region, Borobudur, Pawon and Mendut,
are lined in one straight line position. It might be accidental, but the temples' alignment is in conjunction with a native
folk tale that a long time ago, there was a brick-paved road from Borobudur to Mendut with walls on both sides. The three
temples (Borobudur–Pawon–Mendut) have similar architecture and ornamentation derived from the same time period, which
suggests that ritual relationship between the three temples, in order to have formed a sacred unity, must have existed,
although exact ritual process is yet unknown.
Unlike other temples, which were built on a flat surface, Borobudur was built on a bedrock hill, 265 m (869 ft) above sea
level and 15 m (49 ft) above the floor of the dried-out paleolake. The lake's existence was the subject of intense discussion
among archaeologists in the twentieth century; Borobudur was thought to have been built on a lake shore or even floated on a
lake. In 1931, a Dutch artist and a scholar of Hindu and Buddhist architecture, W.O.J. Nieuwenkamp, developed a theory that
Kedu Plain was once a lake and Borobudur initially represented a lotus flower floating on the lake. Lotus flowers are found
in almost every Buddhist work of art, often serving as a throne for buddhas and base for stupas. The architecture of
Borobudur itself suggests a lotus depiction, in which Buddha postures in Borobudur symbolize the Lotus Sutra, mostly found in
many Mahayana Buddhism (a school of Buddhism widely spread in the east Asia region) texts. Three circular platforms on the
top are also thought to represent a lotus leaf. Nieuwenkamp's theory, however, was contested by many archaeologists because
the natural environment surrounding the monument is a dry land.
Geologists, on the other hand, support Nieuwenkamp's view, pointing out clay sediments found near the site. A study of
stratigraphy, sediment and pollen samples conducted in 2000 supports the existence of a paleolake environment near Borobudur,
which tends to confirm Nieuwenkamp's theory. The lake area fluctuated with time and the study also proves that Borobudur was
near the lake shore circa thirteenth and fourteenth century. River flows and volcanic activities shape the surrounding
landscape, including the lake. One of the most active volcanoes in Indonesia, Mount Merapi, is in the direct vicinity of
Borobudur and has been very active since the Pleistocene.
HISTORY
Construction Buddhist pilgrims meditate on the top platform.There is no written record of who built Borobudur or of its intended purpose.
The construction time has been estimated by comparison between carved reliefs on the temple's hidden foot and the
inscriptions commonly used in royal charters during the eight and ninth centuries. Borobudur was likely founded around 800
AD. This corresponds to the period between 760–830 AD, the peak of the Sailendra dynasty in central Java, when it was under
the influence of the Srivijayan Empire. The construction has been estimated to have taken 75 years and been completed during
the reign of Samaratungga in 825.
There is confusion between Hindu and Buddhist rulers in Java around that time. The Sailendras were known as ardent followers
of Lord Buddha, though stone inscriptions found at Sojomerto suggest they may have been Hindus. It was during this time that
many Hindu and Buddhist monuments were built on the plains and mountain around the Kedu Plain. The Buddhist monuments,
including Borobudur, were erected around the same time as the Hindu Shiva Prambanan temple compound. In 732 AD, the Shivaite
King Sanjaya commissioned a Hindu Shiva lingga sanctuary to be built on the Ukir hill, only 10 km (6.2 miles) east of
Borobudur.
Construction of Buddhist temples, including Borobudur, at that time was possible because Sanjaya's immediate successor, Rakai
Panangkaran, granted his permission to the Buddhist followers to build such temples. In fact, to show his respect,
Panangkaran gave the village of Kalasan to the Buddhist community, as is written in the Kalasan Charter dated 778 AD.This has
led some archaeologists to believe that there was never serious conflict concerning religion in Java as it was possible for a
Hindu king to patronize the establishment of a Buddhist monument; or for a Buddhist king to act likewise. However, it is
likely that there were two rival royal dynasties in Java at the time—the Buddhist Sailendra and the Saivite Sanjaya—in which
the latter triumphed over their rival in the 856 battle on the Ratubaka plateau. This confusion also exists regarding the
Lara Jonggrang temple at the Prambanan complex, which was believed that it was erected by the victor Rakai Pikatan as the
Sanjaya dynasty's reply to Borobudur, but others suggest that there was a climate of peaceful coexistence where Sailendra
involvement exists in Lara Jonggrang.
Construction Buddhist pilgrims meditate on the top platform.There is no written record of who built Borobudur or of its intended purpose.
The construction time has been estimated by comparison between carved reliefs on the temple's hidden foot and the
inscriptions commonly used in royal charters during the eight and ninth centuries. Borobudur was likely founded around 800
AD. This corresponds to the period between 760–830 AD, the peak of the Sailendra dynasty in central Java, when it was under
the influence of the Srivijayan Empire. The construction has been estimated to have taken 75 years and been completed during
the reign of Samaratungga in 825.
There is confusion between Hindu and Buddhist rulers in Java around that time. The Sailendras were known as ardent followers
of Lord Buddha, though stone inscriptions found at Sojomerto suggest they may have been Hindus. It was during this time that
many Hindu and Buddhist monuments were built on the plains and mountain around the Kedu Plain. The Buddhist monuments,
including Borobudur, were erected around the same time as the Hindu Shiva Prambanan temple compound. In 732 AD, the Shivaite
King Sanjaya commissioned a Hindu Shiva lingga sanctuary to be built on the Ukir hill, only 10 km (6.2 miles) east of
Borobudur.
Construction of Buddhist temples, including Borobudur, at that time was possible because Sanjaya's immediate successor, Rakai
Panangkaran, granted his permission to the Buddhist followers to build such temples. In fact, to show his respect,
Panangkaran gave the village of Kalasan to the Buddhist community, as is written in the Kalasan Charter dated 778 AD.This hasled some archaeologists to believe that there was never serious conflict concerning religion in Java as it was possible for a
Hindu king to patronize the establishment of a Buddhist monument; or for a Buddhist king to act likewise. However, it is
likely that there were two rival royal dynasties in Java at the time—the Buddhist Sailendra and the Saivite Sanjaya—in which
the latter triumphed over their rival in the 856 battle on the Ratubaka plateau. This confusion also exists regarding the
Lara Jonggrang temple at the Prambanan complex, which was believed that it was erected by the victor Rakai Pikatan as the
Sanjaya dynasty's reply to Borobudur, but others suggest that there was a climate of peaceful coexistence where Sailendra
involvement exists in Lara Jonggrang.
ABANDONMENT
Borobudur lay hidden for centuries under layers of volcanic ash and jungle growth. The facts behind its abandonment remain a
mystery. It is not known when active use of the monument and Buddhist pilgrimage to it ceased. Somewhere between 928 and
1006, the center of power moved to East Java region and a series of volcanic eruptions took place; it is not certain whether
the latter influenced the former but several sources mention this as the most likely period of abandonment.Soekmono (1976)
also mentions the popular belief that the temples were disbanded when the population converted to Islam in the fifteenth
century.
The monument was not forgotten completely, though folk stories gradually shifted from its past glory into more superstitious
beliefs associated with bad luck and misery. Two old Javanese chronicles (babad) from the eighteenth century mention cases of
bad luck associated with the monument. According to the Babad Tanah Jawi (or the History of Java), the monument was a fatal
factor for a rebel who revolted against the king of Mataram in 1709. The hill was besieged and the insurgents were defeated
and sentenced to death by the king. In the Babad Mataram (or the History of the Mataram Kingdom), the monument was associated
with the misfortune of the crown prince of the Yogyakarta Sultanate in 1757. In spite of a taboo against visiting the
monument, "he took what is written as the knight who was captured in a cage (a statue in one of the perforated stupas)". Upon
returning to his palace, he fell ill and died one day later.
Borobudur lay hidden for centuries under layers of volcanic ash and jungle growth. The facts behind its abandonment remain a
mystery. It is not known when active use of the monument and Buddhist pilgrimage to it ceased. Somewhere between 928 and
1006, the center of power moved to East Java region and a series of volcanic eruptions took place; it is not certain whether
the latter influenced the former but several sources mention this as the most likely period of abandonment.Soekmono (1976)
also mentions the popular belief that the temples were disbanded when the population converted to Islam in the fifteenth
century.
The monument was not forgotten completely, though folk stories gradually shifted from its past glory into more superstitious
beliefs associated with bad luck and misery. Two old Javanese chronicles (babad) from the eighteenth century mention cases of
bad luck associated with the monument. According to the Babad Tanah Jawi (or the History of Java), the monument was a fatal
factor for a rebel who revolted against the king of Mataram in 1709. The hill was besieged and the insurgents were defeated
and sentenced to death by the king. In the Babad Mataram (or the History of the Mataram Kingdom), the monument was associated
with the misfortune of the crown prince of the Yogyakarta Sultanate in 1757. In spite of a taboo against visiting the
monument, "he took what is written as the knight who was captured in a cage (a statue in one of the perforated stupas)". Upon
returning to his palace, he fell ill and died one day later.
REDISCOVERY
Following the Anglo-Dutch Java War, Java was under British administration from 1811 to 1816. The appointed governor was
Lieutenant Governor-General Thomas Stamford Raffles, who took great interest in the history of Java. He collected Javanese
antiques and made notes through contacts with local inhabitants during his tour throughout the island. On an inspection tour
to Semarang in 1814, he was informed about a big monument deep in a jungle near the village of Bumisegoro. He was not able to
make the discovery himself and sent H.C. Cornelius, a Dutch engineer, to investigate.
In two months, Cornelius and his 200 men cut down trees, burned down vegetation and dug away the earth to reveal the
monument. Due to the danger of collapse, he could not unearth all galleries. He reported his findings to Raffles including
various drawings. Although the discovery is only mentioned by a few sentences, Raffles has been credited with the monument's
recovery, as one who had brought it to the world's attention.
Hartmann, a Dutch administrator of the Kedu region, continued Cornelius' work and in 1835 the whole complex was finally
unearthed. His interest in Borobudur was more personal than official. Hartmann did not write any reports of his activities;
in particular, the alleged story that he discovered the large statue of Buddha in the main stupa. In 1842, Hartmann
investigated the main dome although what he discovered remains unknown as the main stupa remains empty.
The first photograph of Borobudur by Isidore van Kinsbergen (1873) after the monument was cleared up.The Dutch East Indies
government then commissioned F.C. Wilsen, a Dutch engineering official, who studied the monument and drew hundreds of relief
sketches. J.F.G. Brumund was also appointed to make a detailed study of the monument, which was completed in 1859. The
government intended to publish an article based on Brumund study supplemented by Wilsen's drawings, but Brumund refused to
cooperate. The government then commissioned another scholar, C. Leemans, who compiled a monograph based on Brumund's and
Wilsen's sources. In 1873, the first monograph of the detailed study of Borobudur was published, followed by its French
translation a year later. The first photograph of the monument was taken in 1873 by a Dutch-Flemish engraver, Isidore van
Kinsbergen.
Appreciation of the site developed slowly, and it served for some time largely as a source of souvenirs and income for
"souvenir hunters" and thieves. In 1882, the chief inspector of cultural artifacts recommended that Borobudur be entirely
disassembled with the relocation of reliefs into museums due to the unstable condition of the monument. As a result, the
government appointed Groenveldt, an archeologist, to undertake a thorough investigation of the site and to assess the actual
condition of the complex; his report found that these fears were unjustified and recommended it be left intact.
Following the Anglo-Dutch Java War, Java was under British administration from 1811 to 1816. The appointed governor was
Lieutenant Governor-General Thomas Stamford Raffles, who took great interest in the history of Java. He collected Javanese
antiques and made notes through contacts with local inhabitants during his tour throughout the island. On an inspection tour
to Semarang in 1814, he was informed about a big monument deep in a jungle near the village of Bumisegoro. He was not able to
make the discovery himself and sent H.C. Cornelius, a Dutch engineer, to investigate.
In two months, Cornelius and his 200 men cut down trees, burned down vegetation and dug away the earth to reveal the
monument. Due to the danger of collapse, he could not unearth all galleries. He reported his findings to Raffles including
various drawings. Although the discovery is only mentioned by a few sentences, Raffles has been credited with the monument's
recovery, as one who had brought it to the world's attention.
Hartmann, a Dutch administrator of the Kedu region, continued Cornelius' work and in 1835 the whole complex was finally
unearthed. His interest in Borobudur was more personal than official. Hartmann did not write any reports of his activities;
in particular, the alleged story that he discovered the large statue of Buddha in the main stupa. In 1842, Hartmann
investigated the main dome although what he discovered remains unknown as the main stupa remains empty.
The first photograph of Borobudur by Isidore van Kinsbergen (1873) after the monument was cleared up.The Dutch East Indies
government then commissioned F.C. Wilsen, a Dutch engineering official, who studied the monument and drew hundreds of relief
sketches. J.F.G. Brumund was also appointed to make a detailed study of the monument, which was completed in 1859. The
government intended to publish an article based on Brumund study supplemented by Wilsen's drawings, but Brumund refused to
cooperate. The government then commissioned another scholar, C. Leemans, who compiled a monograph based on Brumund's and
Wilsen's sources. In 1873, the first monograph of the detailed study of Borobudur was published, followed by its Frenchtranslation a year later. The first photograph of the monument was taken in 1873 by a Dutch-Flemish engraver, Isidore van
Kinsbergen.
Appreciation of the site developed slowly, and it served for some time largely as a source of souvenirs and income for
"souvenir hunters" and thieves. In 1882, the chief inspector of cultural artifacts recommended that Borobudur be entirely
disassembled with the relocation of reliefs into museums due to the unstable condition of the monument. As a result, the
government appointed Groenveldt, an archeologist, to undertake a thorough investigation of the site and to assess the actual
condition of the complex; his report found that these fears were unjustified and recommended it be left intact.
Contemporary events
Following the major 1973 renovation funded by UNESCO, Borobudur is once again used as a place of worship and pilgrimage. Once
a year, during the full moon in May or June, Buddhists in Indonesia observe Vesak (Indonesian: Waisak) day commemorating the
birth, death, and the time when Siddhārtha Gautama attained the highest wisdom to become the Buddha Shakyamuni. Vesak is an
official national holiday in Indonesia and the ceremony is centered at the three Buddhist temples by walking from Mendut to
Pawon and ending at Borobudur.
The monument is the single most visited tourist attraction in Indonesia. In 1974, 260,000 tourists of whom 36,000 were
foreigners visited the monument. The figure hiked into 2.5 million visitors annually (80% were domestic tourists) in the mid
1990s, before the country's economy crisis. Tourism development, however, has been criticized for not including the local
community on which occasional local conflict has arisen. In 2003, residents and small businesses around Borobudur organized
several meetings and poetry protests, objecting to a provincial government plan to build a three-story mall complex, dubbed
the 'Java World'.
On 21 January 1985, nine stupas were badly damaged by nine bombs. In 1991, a blind Muslim evangelist, Husein Ali Al Habsyie,
was sentenced to life imprisonment for masterminding a series of bombings in the mid 1980s including the temple attack.Two
other members of a right-wing extremist group that carried out the bombings were each sentenced to 20 years in 1986 and
another man received a 13-year prison term. On 27 May 2006, an earthquake of 6.2 magnitude on the Richter scale struck the
south coast of Central Java. The event had caused severe damage around the region and casualties to the nearby city of
Yogyakarta, but Borobudur remained intact
Following the major 1973 renovation funded by UNESCO, Borobudur is once again used as a place of worship and pilgrimage. Once
a year, during the full moon in May or June, Buddhists in Indonesia observe Vesak (Indonesian: Waisak) day commemorating the
birth, death, and the time when Siddhārtha Gautama attained the highest wisdom to become the Buddha Shakyamuni. Vesak is an
official national holiday in Indonesia and the ceremony is centered at the three Buddhist temples by walking from Mendut to
Pawon and ending at Borobudur.
The monument is the single most visited tourist attraction in Indonesia. In 1974, 260,000 tourists of whom 36,000 wereforeigners visited the monument. The figure hiked into 2.5 million visitors annually (80% were domestic tourists) in the mid
1990s, before the country's economy crisis. Tourism development, however, has been criticized for not including the local
community on which occasional local conflict has arisen. In 2003, residents and small businesses around Borobudur organized
several meetings and poetry protests, objecting to a provincial government plan to build a three-story mall complex, dubbed
the 'Java World'.
On 21 January 1985, nine stupas were badly damaged by nine bombs. In 1991, a blind Muslim evangelist, Husein Ali Al Habsyie,
was sentenced to life imprisonment for masterminding a series of bombings in the mid 1980s including the temple attack.Two
other members of a right-wing extremist group that carried out the bombings were each sentenced to 20 years in 1986 and
another man received a 13-year prison term. On 27 May 2006, an earthquake of 6.2 magnitude on the Richter scale struck the
south coast of Central Java. The event had caused severe damage around the region and casualties to the nearby city of
Yogyakarta, but Borobudur remained intact
ARCHITECTU
RE
Borobudur is built as a single large stupa, and when viewed from above takes the form of a giant tantric Buddhist mandala,
simultaneously representing the Buddhist cosmology and the nature of mind. The foundation is a square, approximately 118
meters (387 ft) on each side. It has nine platforms, of which the lower six are square and the upper three are circular. The
upper platform features seventy-two small stupas surrounding one large central stupa. Each stupa is bell-shaped and pierced
by numerous decorative openings. Statues of the Buddha sit inside the pierced enclosures.
Approximately 55,000 cubic metres (72,000 cu yd) of stones were taken from neighbouring rivers to build the monument.The
stone was cut to size, transported to the site and laid without mortar. Knobs, indentations and dovetails were used to form
joints between stones. Reliefs were created in-situ after the building had been completed. The monument is equipped with a
good drainage system to cater for the area's high stormwater run-off. To avoid inundation, 100 spouts are provided at each
corner with a unique carved gargoyles in the shape of giants or makaras.
A carved giant water spout for water drainage.Borobudur differs markedly with the general design of other structures built
for this purpose. Instead of building on a flat surface, Borobudur is built on a natural hill. The building technique is,
however, similar to other temples in Java. With no inner space as in other temples and its general design similar to the
shape of pyramid, Borobudur was first thought more likely to have served as a stupa, instead of a temple. A stupa is intended
as a shrine for the Lord Buddha. Sometimes stupas were built only as devotional symbols of Buddhism. A temple, on the other
hand, is used as a house of deity and has inner spaces for worship. The complexity of the monument's meticulous design
suggests Borobudur is in fact a temple. Congregational worship in Borobudur is performed by means of pilgrimage. Pilgrims
were guided by the system of staircases and corridors ascending to the top platform. Each platform represents one stage of
enlightenment. The path that guides pilgrims was designed with the symbolism of sacred knowledge according to the Buddhist cosmology.
Half cross-section with 4:6:9 height ratio for foot, body and head, respectively.Little is known about the architect
Gunadharma. His name is actually recounted from Javanese legendary folk tales rather than written in old inscriptions. He
was said to be one who "... bears the measuring rod, knows division and thinks himself composed of parts." The basic unit
measurement he used during the construction was called tala, defined as the length of a human face from the forehead's
hairline to the tip of the chin or the distance from the tip of the thumb to the tip of the middle finger when both fingers
are stretched at their maximum distance. The unit metrics is then obviously relative between persons, but the monument has
exact measurements. A survey conducted in 1977 revealed frequent findings of a ratio of 4:6:9 around the monument. The
architect had used the formula to lay out the precise dimensions of Borobudur. The identical ratio formula was further found
in the nearby Buddhist temples of Pawon and Mendhut. Archeologists conjectured the purpose of the ratio formula and the tala
dimension has calendrical, astronomical and cosmological themes, as of the case in other Hindu and Buddhist temple of Angkor
Wat in Cambodia.
A narrow corridor with reliefs on the wall.The main vertical structure can be divided into three groups: base (or foot),
body, and top, which resembles the three major division of a human body.[38] The base is a 123x123 m (403.5x403.5 ft) square
in size and 4 meters (13 ft) high of walls. The body is composed of five square platforms each with diminishing heights. The
first terrace is set back 7 meters (23 ft) from the edge of the base. The other terraces are set back by 2 meters (7 ft),
leaving a narrow corridor at each stage. The top consists of 3 circular platforms, with each stage supporting a row of
perforated stupas, arranged in concentric circles. There is one main dome at the center; the top of which is the highest
point of the monument (35 meters (115 ft) above ground level). Access to the upper part is through stairways at the centre of
each side with a number of gates, watched by a total of 32 lion statues. The main entrance is at the eastern side, the
location of the first narrative reliefs. On the slopes of the hill, there are also stairways linking the monument to the
low-lying plain.
REBorobudur is built as a single large stupa, and when viewed from above takes the form of a giant tantric Buddhist mandala,
simultaneously representing the Buddhist cosmology and the nature of mind. The foundation is a square, approximately 118
meters (387 ft) on each side. It has nine platforms, of which the lower six are square and the upper three are circular. The
upper platform features seventy-two small stupas surrounding one large central stupa. Each stupa is bell-shaped and pierced
by numerous decorative openings. Statues of the Buddha sit inside the pierced enclosures.
Approximately 55,000 cubic metres (72,000 cu yd) of stones were taken from neighbouring rivers to build the monument.The
stone was cut to size, transported to the site and laid without mortar. Knobs, indentations and dovetails were used to form
joints between stones. Reliefs were created in-situ after the building had been completed. The monument is equipped with a
good drainage system to cater for the area's high stormwater run-off. To avoid inundation, 100 spouts are provided at each
corner with a unique carved gargoyles in the shape of giants or makaras.
A carved giant water spout for water drainage.Borobudur differs markedly with the general design of other structures built
for this purpose. Instead of building on a flat surface, Borobudur is built on a natural hill. The building technique is,
however, similar to other temples in Java. With no inner space as in other temples and its general design similar to the
shape of pyramid, Borobudur was first thought more likely to have served as a stupa, instead of a temple. A stupa is intended
as a shrine for the Lord Buddha. Sometimes stupas were built only as devotional symbols of Buddhism. A temple, on the other
hand, is used as a house of deity and has inner spaces for worship. The complexity of the monument's meticulous design
suggests Borobudur is in fact a temple. Congregational worship in Borobudur is performed by means of pilgrimage. Pilgrims
were guided by the system of staircases and corridors ascending to the top platform. Each platform represents one stage of
enlightenment. The path that guides pilgrims was designed with the symbolism of sacred knowledge according to the Buddhist cosmology.
Half cross-section with 4:6:9 height ratio for foot, body and head, respectively.Little is known about the architect
Gunadharma. His name is actually recounted from Javanese legendary folk tales rather than written in old inscriptions. He
was said to be one who "... bears the measuring rod, knows division and thinks himself composed of parts." The basic unit
measurement he used during the construction was called tala, defined as the length of a human face from the forehead's
hairline to the tip of the chin or the distance from the tip of the thumb to the tip of the middle finger when both fingers
are stretched at their maximum distance. The unit metrics is then obviously relative between persons, but the monument has
exact measurements. A survey conducted in 1977 revealed frequent findings of a ratio of 4:6:9 around the monument. The
architect had used the formula to lay out the precise dimensions of Borobudur. The identical ratio formula was further found
in the nearby Buddhist temples of Pawon and Mendhut. Archeologists conjectured the purpose of the ratio formula and the tala
dimension has calendrical, astronomical and cosmological themes, as of the case in other Hindu and Buddhist temple of Angkor
Wat in Cambodia.
A narrow corridor with reliefs on the wall.The main vertical structure can be divided into three groups: base (or foot),
body, and top, which resembles the three major division of a human body.[38] The base is a 123x123 m (403.5x403.5 ft) square
in size and 4 meters (13 ft) high of walls. The body is composed of five square platforms each with diminishing heights. The
first terrace is set back 7 meters (23 ft) from the edge of the base. The other terraces are set back by 2 meters (7 ft),
leaving a narrow corridor at each stage. The top consists of 3 circular platforms, with each stage supporting a row of
perforated stupas, arranged in concentric circles. There is one main dome at the center; the top of which is the highest
point of the monument (35 meters (115 ft) above ground level). Access to the upper part is through stairways at the centre of
each side with a number of gates, watched by a total of 32 lion statues. The main entrance is at the eastern side, the
location of the first narrative reliefs. On the slopes of the hill, there are also stairways linking the monument to the
low-lying plain.
The monument's three divisions symbolize three stages of mental preparation towards the ultimate goal according to the
Buddhist cosmology, namely Kamadhatu (the world of desires), Rupadhatu (the world of forms), and finally Arupadhatu (the
formless world). Kamadhatu is represented by the base, Rupadhatu by the five square platforms (the body), and Arupadhatu by
the three circular platforms and the large topmost stupa. The architectural features between three stages have metaphorical
differences. For instance, square and detailed decorations in the Rupadhatu disappear into plain circular platforms in the
Arupadhatu to represent how the world of forms – where men are still attached with forms and names – changes into the world
of the formless.
In 1885, a hidden structure under the base was accidentally discovered. The "hidden foot" contains reliefs, 160 of which are
narrative describing the real Kamadhatu. The remaining reliefs are panels with short inscriptions that apparently describe
instruction for the sculptors, illustrating the scene to be carved. The real base is hidden by an encasement base, the
purpose of which remains a mystery. It was first thought that the real base had to be covered to prevent a disastrous
subsidence of the monument through the hill. There is another theory that the encasement base was added because the original
hidden foot was incorrectly designed, according to Vastu Shastra, the Indian ancient book about architecture and town
planning. Regardless of its intention, the encasement base was built with detailed and meticulous design with aesthetics and
religious compensation.
RELIEFS
Borobudur contains approximately 2,670 individual bas reliefs (1,460 narrative and 1,212 decorative panels), which cover the
façades and balustrades. The total relief surface is 2,500 square meters (26,909.8 sq ft) and they are distributed at the
hidden foot (Kamadhatu) and the five square platforms (Rupadhatu).
The narrative panels, which tell the story of Sudhana and Manohara,are grouped into 11 series encircled the monument with the
total length of 3,000 meters (9,843 ft). The hidden foot contains the first series with 160 narrative panels and the
remaining 10 series are distributed throughout walls and balustrades in four galleries starting from the eastern entrance
stairway to the left. Narrative panels on the wall read from right to left, while on the balustrade read from left to right.
This conforms with pradaksina, the ritual of circumambulation performed by pilgrims who move in a clockwise direction while
keeping the sanctuary to their right.
The hidden foot depicts the workings of karmic law. The walls of the first gallery have two superimposed series of reliefs;
each consists of 120 panels. The upper part depicts the biography of the Buddha, while the lower part of the wall and also
balustrades in the first and the second galleries tell the story of the Buddha's former lives. The remaining panels are
devoted to Sudhana's further wandering about his search, terminated by his attainment of the Perfect Wisdom.
The law of karma (Karmavibhangga) The 160 hidden panels do not form a continuous story, but each panel provides one complete illustration of cause and effect.
There are depictions of blameworthy activities, from gossip to murder, with their corresponding punishments. There are also
praiseworthy activities, that include charity and pilgrimage to sanctuaries, and their subsequent rewards. The pains of hell
and the pleasure of heaven are also illustrated. There are scenes of daily life, complete with the full panorama of samsara
(the endless cycle of birth and death).
The birth of Buddha (Lalitavistara) Queen Maya riding horse carriage retreating to Lumbini to give birth to Prince Siddhartha Gautama.Main article: The birth of
Buddha (Lalitavistara)The story starts from the glorious descent of the Lord Buddha from the Tushita heaven, and ends with his first sermon in the
Deer Park near Benares. The relief shows the birth of the Buddha as Prince Siddhartha, son of King Suddhodana and Queen Maya
of Kapilavastu (in present-day Nepal).
The story is preceded by 27 panels showing various preparations, in heavens and on earth, to welcome the final incarnation of
the Bodhisattva. Before descending from Tushita heaven, the Bodhisattva entrusted his crown to his successor, the future
Buddha Maitreya. He descended on earth in the shape of white elephants with six tusks, penetrated to Queen Maya's right womb.
Queen Maya had a dream of this event, which was interpreted that his son would become either a sovereign or a Buddha.
While Queen Maya felt that it was the time to give birth, she went to the Lumbini park outside the Kapilavastu city. She
stood under a plaksa tree, holding one branch with her right hand and she gave birth to a son, Prince Siddhartha. The story
on the panels continues until the prince becomes the Buddha.
Prince Siddhartha Gautama become an ascetic hermit.Prince Siddhartha story (Jataka) and other legendary persons (Avadana) Jatakas are stories about the Buddha before he was born as Prince Siddhartha. Avadanas are similar to jatakas, but the main
figure is not the Bodhisattva himself. The saintly deeds in avadanas are attributed to other legendary persons. Jatakas and
avadanas are treated in one and the same series in the reliefs of Borobudur.
The first 20 lower panels in the first gallery on the wall depict the Sudhanakumaravadana or the saintly deeds of Sudhana.
The first 135 upper panels in the same gallery on the balustrades are devoted to the 34 legends of the Jatakamala. The
remaining 237 panels depict stories from other sources, as do for the lower series and panels in the second gallery. Some
jatakas stories are depicted twice, for example the story of King Sibhi (Rama's forefather).
Sudhana's search for the Ultimate Truth (Gandavyuha) Gandavyuha is the story told in the final chapter of the Avatamsaka Sutra about Sudhana's tireless wandering in search of the
Highest Perfect Wisdom. It covers two galleries (third and fourth) and also half of the second gallery; comprising in total
of 460 panels. The principal figure of the story, the youth Sudhana, son of an extremely rich merchant, appears on the 16th
panel. The preceding 15 panels form a prologue to the story of the miracles during Buddha's samadhi in the Garden of Jeta at
Sravasti.
During his search, Sudhana visited no less than 30 teachers but none of them had satisfied him completely. He was then
instructed by Manjusri to meet the monk Megasri, where he was given the first doctrine. As his journey continues, Sudhana
meets (in the following order) Supratisthita, the physician Megha (Spirit of Knowledge), the banker Muktaka, the monk
Saradhvaja, the upasika Asa (Spirit of Supreme Enlightenment), Bhismottaranirghosa, the Brahmin Jayosmayatna, Princess
Maitrayani, the monk Sudarsana, a boy called Indriyesvara, the upasika Prabhuta, the banker Ratnachuda, King Anala, the god
Siva Mahadeva, Queen Maya, Bodhisattva Maitreya and then back to Manjusri. Each meeting has given Sudhana a specific
doctrine, knowledge and wisdom. These meetings are shown in the third gallery.
After the last meeting with Manjusri, Sudhana went to the residence of Bodhisattva Samantabhadra; depicted in the fourth
gallery. The entire series of the fourth gallery is devoted to the teaching of Samantabhadra. The narrative panels finally
end with Sudhana's achievement of the Supreme Knowledge and the Ultimate Truth.
Borobudur contains approximately 2,670 individual bas reliefs (1,460 narrative and 1,212 decorative panels), which cover the
façades and balustrades. The total relief surface is 2,500 square meters (26,909.8 sq ft) and they are distributed at the
hidden foot (Kamadhatu) and the five square platforms (Rupadhatu).
The narrative panels, which tell the story of Sudhana and Manohara,are grouped into 11 series encircled the monument with the
total length of 3,000 meters (9,843 ft). The hidden foot contains the first series with 160 narrative panels and the
remaining 10 series are distributed throughout walls and balustrades in four galleries starting from the eastern entrance
stairway to the left. Narrative panels on the wall read from right to left, while on the balustrade read from left to right.
This conforms with pradaksina, the ritual of circumambulation performed by pilgrims who move in a clockwise direction while
keeping the sanctuary to their right.
The hidden foot depicts the workings of karmic law. The walls of the first gallery have two superimposed series of reliefs;
each consists of 120 panels. The upper part depicts the biography of the Buddha, while the lower part of the wall and also
balustrades in the first and the second galleries tell the story of the Buddha's former lives. The remaining panels are
devoted to Sudhana's further wandering about his search, terminated by his attainment of the Perfect Wisdom.
The law of karma (Karmavibhangga) The 160 hidden panels do not form a continuous story, but each panel provides one complete illustration of cause and effect.
There are depictions of blameworthy activities, from gossip to murder, with their corresponding punishments. There are also
praiseworthy activities, that include charity and pilgrimage to sanctuaries, and their subsequent rewards. The pains of hell
and the pleasure of heaven are also illustrated. There are scenes of daily life, complete with the full panorama of samsara
(the endless cycle of birth and death).
The birth of Buddha (Lalitavistara) Queen Maya riding horse carriage retreating to Lumbini to give birth to Prince Siddhartha Gautama.Main article: The birth of
Buddha (Lalitavistara)The story starts from the glorious descent of the Lord Buddha from the Tushita heaven, and ends with his first sermon in the
Deer Park near Benares. The relief shows the birth of the Buddha as Prince Siddhartha, son of King Suddhodana and Queen Maya
of Kapilavastu (in present-day Nepal).
The story is preceded by 27 panels showing various preparations, in heavens and on earth, to welcome the final incarnation of
the Bodhisattva. Before descending from Tushita heaven, the Bodhisattva entrusted his crown to his successor, the future
Buddha Maitreya. He descended on earth in the shape of white elephants with six tusks, penetrated to Queen Maya's right womb.
Queen Maya had a dream of this event, which was interpreted that his son would become either a sovereign or a Buddha.
While Queen Maya felt that it was the time to give birth, she went to the Lumbini park outside the Kapilavastu city. She
stood under a plaksa tree, holding one branch with her right hand and she gave birth to a son, Prince Siddhartha. The story
on the panels continues until the prince becomes the Buddha.
Prince Siddhartha Gautama become an ascetic hermit.Prince Siddhartha story (Jataka) and other legendary persons (Avadana) Jatakas are stories about the Buddha before he was born as Prince Siddhartha. Avadanas are similar to jatakas, but the main
figure is not the Bodhisattva himself. The saintly deeds in avadanas are attributed to other legendary persons. Jatakas and
avadanas are treated in one and the same series in the reliefs of Borobudur.
The first 20 lower panels in the first gallery on the wall depict the Sudhanakumaravadana or the saintly deeds of Sudhana.
The first 135 upper panels in the same gallery on the balustrades are devoted to the 34 legends of the Jatakamala. The
remaining 237 panels depict stories from other sources, as do for the lower series and panels in the second gallery. Some
jatakas stories are depicted twice, for example the story of King Sibhi (Rama's forefather).
Sudhana's search for the Ultimate Truth (Gandavyuha) Gandavyuha is the story told in the final chapter of the Avatamsaka Sutra about Sudhana's tireless wandering in search of the
Highest Perfect Wisdom. It covers two galleries (third and fourth) and also half of the second gallery; comprising in total
of 460 panels. The principal figure of the story, the youth Sudhana, son of an extremely rich merchant, appears on the 16th
panel. The preceding 15 panels form a prologue to the story of the miracles during Buddha's samadhi in the Garden of Jeta at
Sravasti.
During his search, Sudhana visited no less than 30 teachers but none of them had satisfied him completely. He was then
instructed by Manjusri to meet the monk Megasri, where he was given the first doctrine. As his journey continues, Sudhana
meets (in the following order) Supratisthita, the physician Megha (Spirit of Knowledge), the banker Muktaka, the monk
Saradhvaja, the upasika Asa (Spirit of Supreme Enlightenment), Bhismottaranirghosa, the Brahmin Jayosmayatna, Princess
Maitrayani, the monk Sudarsana, a boy called Indriyesvara, the upasika Prabhuta, the banker Ratnachuda, King Anala, the god
Siva Mahadeva, Queen Maya, Bodhisattva Maitreya and then back to Manjusri. Each meeting has given Sudhana a specific
doctrine, knowledge and wisdom. These meetings are shown in the third gallery.
After the last meeting with Manjusri, Sudhana went to the residence of Bodhisattva Samantabhadra; depicted in the fourth
gallery. The entire series of the fourth gallery is devoted to the teaching of Samantabhadra. The narrative panels finally
end with Sudhana's achievement of the Supreme Knowledge and the Ultimate Truth.
BUDDHA STATUES
Apart from the story of Buddhist cosmology carved in stone, Borobudur has many statues of various Buddhas. The cross-legged
statues are seated in a lotus position and distributed on the five square platforms (the Rupadhatu level) as well as on the
top platform (the Arupadhatu level).
The Buddha statues are in niches at the Rupadhatu level, arranged in rows on the outer sides of the balustrades, the number
of statues decreasing as platforms progressively diminish to the upper level. The first balustrades have 104 niches, the
second 104, the third 88, the fourth 72 and the fifth 64. In total, there are 432 Buddha statues at the Rupadhatu level. At
the Arupadhatu level (or the three circular platforms), Buddha statues are placed inside perforated stupas. The first
circular platform has 32 stupas, the second 24 and the third 16, that add up to 72 stupas. Of the original 504 Buddha
statues, over 300 are damaged (mostly headless) and 43 are missing (since the monument's discovery, heads have been stolen as
collector's items, mostly by Western museums).
A headless Buddha statue inside a stupa.At glance, all the Buddha statues appear similar, but there is a subtle difference
between them in the mudras or the position of the hands. There are five groups of mudra: North, East, South, West and Zenith,
which represent the five cardinal compass points according to Mahayana. The first four balustrades have the first four
mudras: North, East, South and West, of which the Buddha statues that face one compass direction have the corresponding
mudra. Buddha statues at the fifth balustrades and inside the 72 stupas on the top platform have the same mudra: Zenith. Each
mudra represents one of the Five Dhyani Buddhas; each has its own symbolism. They are Abhaya mudra for Amoghasiddhi (north),
Vara mudra for Ratnasambhava (south), Dhyana mudra for Amitabha (west), Bhumisparsa mudra for Aksobhya (east) and
Dharmachakra mudra for Vairochana (zenith)
Apart from the story of Buddhist cosmology carved in stone, Borobudur has many statues of various Buddhas. The cross-legged
statues are seated in a lotus position and distributed on the five square platforms (the Rupadhatu level) as well as on the
top platform (the Arupadhatu level).
The Buddha statues are in niches at the Rupadhatu level, arranged in rows on the outer sides of the balustrades, the number
of statues decreasing as platforms progressively diminish to the upper level. The first balustrades have 104 niches, the
second 104, the third 88, the fourth 72 and the fifth 64. In total, there are 432 Buddha statues at the Rupadhatu level. At
the Arupadhatu level (or the three circular platforms), Buddha statues are placed inside perforated stupas. The first
circular platform has 32 stupas, the second 24 and the third 16, that add up to 72 stupas. Of the original 504 Buddha
statues, over 300 are damaged (mostly headless) and 43 are missing (since the monument's discovery, heads have been stolen as
collector's items, mostly by Western museums).
A headless Buddha statue inside a stupa.At glance, all the Buddha statues appear similar, but there is a subtle difference
between them in the mudras or the position of the hands. There are five groups of mudra: North, East, South, West and Zenith,
which represent the five cardinal compass points according to Mahayana. The first four balustrades have the first four
mudras: North, East, South and West, of which the Buddha statues that face one compass direction have the corresponding
mudra. Buddha statues at the fifth balustrades and inside the 72 stupas on the top platform have the same mudra: Zenith. Each
mudra represents one of the Five Dhyani Buddhas; each has its own symbolism. They are Abhaya mudra for Amoghasiddhi (north),
Vara mudra for Ratnasambhava (south), Dhyana mudra for Amitabha (west), Bhumisparsa mudra for Aksobhya (east) and
Dharmachakra mudra for Vairochana (zenith)
RESTORATION
Borobudur attracted attention in 1885, when Yzerman, the Chairman of the Archaeological Society in Yogyakarta, made a
discovery about the hidden foot. Photographs that reveal reliefs on the hidden foot were made in 1890–1891. The discovery led
the Dutch East Indies government to take steps to safeguard the monument. In 1900, the government set up a commission
consisting of three officials to assess the monument: Brandes, an art historian, Theodoor van Erp, a Dutch army engineer
officer, and Van de Kamer, a construction engineer from the Department of Public Works.
In 1902, the commission submitted a threefold plan of proposal to the government. First, the immediate dangers should be
avoided by resetting the corners, removing stones that endangered the adjacent parts, strengthening the first balustrades and
restoring several niches, archways, stupas and the main dome. Second, fencing off the courtyards, providing proper
maintenance and improving drainage by restoring floors and spouts. Third, all loose stones should be removed, the monument
cleared up to the first balustrades, disfigured stones removed and the main dome restored. The total cost was estimated at
that time around 48,800 Dutch guilders.
The restoration then was carried out between 1907 and 1911, using the principles of anastylosis and led by Theodor van Erp.
The first seven months of his restoration was occupied with excavating the grounds around the monument to find missing Buddha
heads and panel stones. Van Erp dismantled and rebuilt the upper three circular platforms and stupas. Along the way, Van Erp
discovered more things he could do to improve the monument; he submitted another proposal that was approved with the
additional cost of 34,600 guilders. At first glance Borobudur had been restored to its old glory.
Due to the limited budget, the restoration had been primarily focused on cleaning the sculptures, and Van Erp did not solve
the drainage problem. Within fifteen years, the gallery walls were sagging and the reliefs showed signs of new cracks and
deterioration. Van Erp used concrete from which alkali salts and calcium hydroxide leached and were transported into the rest
of the construction. This caused some problems, so that a further thorough renovation was urgently needed.
Small restorations have been performed since then, but not sufficient for complete protection. In the late 1960s, the
Indonesian government had requested from the international community a major renovation to protect the monument. In 1973, a
master plan to restore Borobudur was created. The Indonesian government and UNESCO then undertook the complete overhaul of
the monument in a big restoration project between 1975–1982. The foundation was stabilized and all 1,460 panels were cleaned.
The restoration involved the dismantling of the five square platforms and improved the drainage by embedding water channels
into the monument. Both impermeable and filter layers were added. This colossal project involved around 600 people to restore
the monument and cost a total of US$ 6,901,243. After the renovation was finished, UNESCO listed Borobudur as a World
Heritage Site in 1991
Borobudur attracted attention in 1885, when Yzerman, the Chairman of the Archaeological Society in Yogyakarta, made a
discovery about the hidden foot. Photographs that reveal reliefs on the hidden foot were made in 1890–1891. The discovery led
the Dutch East Indies government to take steps to safeguard the monument. In 1900, the government set up a commission
consisting of three officials to assess the monument: Brandes, an art historian, Theodoor van Erp, a Dutch army engineer
officer, and Van de Kamer, a construction engineer from the Department of Public Works.
In 1902, the commission submitted a threefold plan of proposal to the government. First, the immediate dangers should be
avoided by resetting the corners, removing stones that endangered the adjacent parts, strengthening the first balustrades and
restoring several niches, archways, stupas and the main dome. Second, fencing off the courtyards, providing proper
maintenance and improving drainage by restoring floors and spouts. Third, all loose stones should be removed, the monument
cleared up to the first balustrades, disfigured stones removed and the main dome restored. The total cost was estimated at
that time around 48,800 Dutch guilders.
The restoration then was carried out between 1907 and 1911, using the principles of anastylosis and led by Theodor van Erp.
The first seven months of his restoration was occupied with excavating the grounds around the monument to find missing Buddha
heads and panel stones. Van Erp dismantled and rebuilt the upper three circular platforms and stupas. Along the way, Van Erp
discovered more things he could do to improve the monument; he submitted another proposal that was approved with the
additional cost of 34,600 guilders. At first glance Borobudur had been restored to its old glory.
Due to the limited budget, the restoration had been primarily focused on cleaning the sculptures, and Van Erp did not solve
the drainage problem. Within fifteen years, the gallery walls were sagging and the reliefs showed signs of new cracks and
deterioration. Van Erp used concrete from which alkali salts and calcium hydroxide leached and were transported into the rest
of the construction. This caused some problems, so that a further thorough renovation was urgently needed.
Small restorations have been performed since then, but not sufficient for complete protection. In the late 1960s, the
Indonesian government had requested from the international community a major renovation to protect the monument. In 1973, a
master plan to restore Borobudur was created. The Indonesian government and UNESCO then undertook the complete overhaul of
the monument in a big restoration project between 1975–1982. The foundation was stabilized and all 1,460 panels were cleaned.
The restoration involved the dismantling of the five square platforms and improved the drainage by embedding water channels
into the monument. Both impermeable and filter layers were added. This colossal project involved around 600 people to restore
the monument and cost a total of US$ 6,901,243. After the renovation was finished, UNESCO listed Borobudur as a World
Heritage Site in 1991
From Wikipedia, the free encyclopedia
Surabaya
Surabaya (formerly spelled as Soerabaja) is Indonesia's second-largest city, and the capital of the province of East Java. Itis also one of the biggest cities in Southeast Asia. It is located on the northern shore of eastern Java at the mouth of the
Mas River and at the side of the Madura Strait. It is known as the city of heroes, because of its role in the Indonesian War
of Independence. In 2007, the population of the city was approximately 3 million
ETMOLOGY
Surabaya is commonly said to derive its name from the words sura or suro (shark) and baya or boyo (crocodile), two creatures
which, in a local myth, fought each other in order to gain the title of "the stron
gest and most powerful animal" in the area
according to a Jayabaya prophecy. This prophecy tells of a fight between a giant white shark and a giant white crocodile. Now
the two animals are used as the city's logo, the two facing each other while circling the city's monument, the Heroes
Monument. This folk etymology, though embraced enthusiastically by city leaders, is somewhat dubious. Alternate derivations
proliferate: e.g. from the Javanese sura ing baya, meaning "bravely facing danger". Some people consider this Jayabaya
prophecy as a great war between Surabaya native people and invaders in 1945, while another story is about two heroes that
fought each other in order to be the king of the city. The two heroes were Sura and Baya.
HISTORY
The earliest record of Suyabaya was in a 1225 book written by Chau Ju-Kua, in which it was called Jungala, the ancient name
of Surabaya. By early 15th century, Admiral Zheng He's Treasure ship visited Sulumayi. Ma Huan who accompanied Zheng He wrote
in his 1433 book Ying-yai Sheng-lan : "after travelling south for more than twenty li, the ship riched Sulumayi, whose
foreign name is Surabaya. At the estuary, the outflowing water is fresh"
In the fifteenth and sixteenth centuries, Surabaya was a sultanate and a major political and military power in eastern Java.
It entered a conflict with, and was later captured by, the more powerful Sultanate of Mataram in 1625 under Sultan Agung. It
was one of Mataram's fiercest campaigns, in which they had to conquer Surabaya's allies, Sukadana and Madura and to lay siege
to the city before capturing it. With this conquest, Mataram then controlled almost the whole of Java, with the exception of
the Sultanate of Banten and the Dutch settlement of Batavia.
The expanding East Indies Companies took the city over from a weakened Mataram in November 1743. Surabaya became a major
trading center under the Dutch colonial government, and hosted the largest naval base in the colony.
In 1917 a revolt occurred amongst the soldiers and sailors of Surabaya, led by the Indies Social Democratic Association. The
revolt was firmly crushed and the insurgents given harsh sentences.
During World War II Surabaya was captured by the Japanese in 1942. It was bombed by the Allies in 1944. After that it was
seized by Indonesian nationalists. However, the young nation was soon put into conflict with the Allied-backed Dutch who
tried to retake their colony. The Battle of Surabaya was one of the most important battles of the Indonesian revolution. It
was started after British Brigadier General Mallaby was killed in October 30, 1945 near Jembatan Merah (the "Red Bridge").
The Allies gave an ultimatum to the Indonesian freedom fighters inside the city to surrender, but this was refused. The
ensuing battle took place on 10 November, nowadays celebrated as Heroes' Day (Hari Pahlawan). Because of prolonged
international pressure, the Dutch transferred sovereignty of Indonesia in December 1949.
THE CITY
As the main seaport and commercial center in the eastern region of Indonesia, Surabaya has become one of the largest cities
in Southeast Asia. Today, Surabaya's population is around five million, and the surrounding metropolitan area houses at least
7 million. The areas surrounding Surabaya include Lamongan to the northwest, Gresik to the west, Bangkalan to the northeast,
Sidoarjo to the south, and Mojokerto and Jombang to the southwest.
Currently, the Indonesian government is building the Suramadu Bridge between Surabaya and the island of Madura; when
completed, it will be the longest bridge in the country. Madura is currently accessible by a ferry service that operates
regularly from Surabaya's port, Tanjung Perak (which literally means: "Silver Cape" in Indonesian).
BRI Tower, BII Tower, and Graha Pena are three of the highest towers in Surabaya.
Plaza Tunjungan, Galaxy Mall, Surabaya Plaza, Supermal Pakuwon Indah, and Royal Plaza Surabaya are the famous shopping
centres in Surabaya.
Surabaya is home to the Eastern Armada, one of two in the Indonesian Navy. Its strong maritime heritage is also reflected
with the Submarine Monument, a real retired Russian submarine, called Pasopati, that was converted into a museum ship in the
city centre.
Flooding is common in many areas of the city during the rainy season, mostly caused by clogged sewers and inept bureaucracy.
The fact that Surabaya is located in a river delta and has a flat and relatively low elevation doesn't help the matter
either.
in Southeast Asia. Today, Surabaya's population is around five million, and the surrounding metropolitan area houses at least
7 million. The areas surrounding Surabaya include Lamongan to the northwest, Gresik to the west, Bangkalan to the northeast,
Sidoarjo to the south, and Mojokerto and Jombang to the southwest.
Currently, the Indonesian government is building the Suramadu Bridge between Surabaya and the island of Madura; when
completed, it will be the longest bridge in the country. Madura is currently accessible by a ferry service that operates
regularly from Surabaya's port, Tanjung Perak (which literally means: "Silver Cape" in Indonesian).
BRI Tower, BII Tower, and Graha Pena are three of the highest towers in Surabaya.
Plaza Tunjungan, Galaxy Mall, Surabaya Plaza, Supermal Pakuwon Indah, and Royal Plaza Surabaya are the famous shopping
centres in Surabaya.
Surabaya is home to the Eastern Armada, one of two in the Indonesian Navy. Its strong maritime heritage is also reflected
with the Submarine Monument, a real retired Russian submarine, called Pasopati, that was converted into a museum ship in the
city centre.
Flooding is common in many areas of the city during the rainy season, mostly caused by clogged sewers and inept bureaucracy.
The fact that Surabaya is located in a river delta and has a flat and relatively low elevation doesn't help the matter
either.
Surabaya is the location of the only synagogue in Indonesia, although it is currently inactive.
Surabaya's zoo, opened in 1916, was the first in the world to have successfully bred orangutans in captivity.Other points of interest include:
Grand Mosque of Surabaya, the largest mosque in East Java. Cheng Ho Mosque, the first mosque in Indonesia built with a Chinese style architecture Jales Veva Jaya Mahe Monument, a large, admiral-like statue which commemorates the Indonesian Navy. Mpu Tantular Museum, has a large collection of ancient Javanese artifacts. Monkasel, abbreviated from Monumen Kapal Selam (English: Submarine Monument), an old submarine placed as a tourism attraction
inside which people can wander. Right beside the monument there is a building where a short movie about the history of the
submarine itself can be watched. Bonbin Surabaya is one of the famous zoos in Southeast Asia Heroic Monument is the main symbol and one of the attractive tourist destinations in Surabaya and Southeast Asia
Surabaya has 31 subdistricts. They are: Genteng, Bubutan, Tegalsari, Simokerto, Tambaksari, Gubeng, Krembangan, Semampir,
Pabean Cantikan, Wonokromo, Sawahan, Tandes, Karang Pilang, Wonocolo, Rungkut, Sukolilo, Kenjeran, Benowo, Lakarsantri,
Mulyorejo, Tenggilis Mejoyo, Gunung Anyar, Jambangan, Gayungan, Wiyung, Dukuh Pakis, Asem Rowo, Sukomanunggal, Bulak, Pakal
and Sambikerep.
Surabays consists of 163 villages
TRANSPORT
The city is served by Juanda International Airport. For trains, the city has several stations. They are Surabaya Kota (better
known as Semut) , Pasar Turi, and Gubeng. The main bus terminal is Purabaya (also known as Bungurasih, the area where it is
located).
Surabaya is also a transit city between Jakarta and Bali if using the ground transportations. Many tourists go through the
city of Surabaya to sight seeing before they come back to Jakarta or continue their journey to Bali. Another bus routes are
between Jakarta and Madura island which is nearest to Surabaya.
Tanjung Perak is the main port of the city and is one of the busiest ports in the country. Nowadays, it is also one of the
top ten busiest cargo harbors in Southeast Asia. Although the operational of the port is nearly traditional, it is also used
to carry modern cargo ships worldwide. The other port of the city is located in Gresik, the city which is located not far
from Surabaya. It is not more than an hour drive from Surabaya city centre to Gresik via highway. In the future, Gresik will
be the location for the new harbor and Tanjung Perak will be demolished and will be a recreation area for Surabaya.
Juanda International Airport is the second busiest airport in Indonesia in terms of transit passengers. Many passengers
transit through the airport. It is famous as a transit airport between West and East Indonesia. And it is also the focused
airport of many airlines. In the future, the international airport activities will be removed to the new airport somewhere at
Lamongan which will be operated internationally. But the domestic airport activities will remain at the old airport.
EconomyThe city is one of the busiest ports in the country. Its principal exports include sugar, tobacco and coffee. It has a large
shipyard, and numerous specialized naval schools. As the province capital, Surabaya is also home for many offices and
business centres.
DemographicsSurabaya is the second most populous city in Indonesia, after Jakarta. The city is highly urbanized, due to the many
industries located in the city, resulting in many slum areas. As the main education center, Surabaya has been the home for
many students from around Indonesia, thus they have created their own community. Also, Surabaya is the commercial center for
the eastern Indonesian region, hence many outsiders live in Surabaya.
EthnicityMost of its population are of Javanese descent. Madurese is largest minority, from nearby Madura Island and eastern part of
East Java. Notable minorities include Chinese Indonesians, Arab Indonesians and people originating from nearby islands.
LanguageMost citizens speak a unique dialect of Javanese called Suroboyoan. This dialect is noted for equality and directness in
speech. The usage of register is less strict than the Central Javan dialect. The Surabaya dialect is actively promoted in
local media, such as in local TV shows, radio and traditional dramas called Ludruk. The Madurese language influences the
Surabayan dialect of Javanese spoken in the streets.
RELIGION
Islam and Christianity are the main religions in Surabaya. The city is the home of the Roman Catholic Diocese of Surabaya.Other religions include Hinduism, Konghucu, Buddhism, and ancient religions of jawa (Kejawen).
SportsSurabaya has a soccer team, Persebaya Surabaya. And the team home base is Gelora 10 November Stadium. Recently, the
government planned to build a new stadium for the team. And it will be done on early 2009. The new stadium name will be
Gelora Bung Tomo (GBT). It will be the second biggest stadium in Indonesia, after Gelora Bung Karno.
EducationSurabaya has several major universities and other institutions with religious or technical specialties. One of them is
Airlangga University (Unair), the oldest and largest public university in eastern Java, with eleven departments in a variety
of fields, including an especially well-regarded medical school and psychology department
The Institut Teknologi Sepuluh Nopember is one of the country's most selective technology institutions, and is well-known for
its robotics, mechanical engineering, and marine engineering programs.
As one of the Indonesian military's major naval ports, Surabaya is the site of the national Naval Military Academy.
From Wikipedia, the free encyclopedia
Subscribe to:
Posts (Atom)
