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In this fascinating study the lives and mores of women in one of the least understood but most densely populated areas of the world are unveiled through the eyes of generations of court poets. For more than a millennium, the poets of the Indic courts of Java and Bali composed epic kakawin poems in which they recreated the court environment where they and their royal patrons lived. Major themes in this poetry form include war, love, and marriage. It is a rich source for the cultural and social history of Indonesia. Still being produced in Bali today, kakawin remain of interest and relevance to Balinese cultural and religious identities. This book draws on the epic kakawin poetry tradition to examine the institutions of courtship and marriage in the Indic courts. Its primary purpose is to explore the experiences of women belonging to the kakawin world, although the texts by nature reveal more about the discourses concerning women, sexuality, and gender than of the historical experiences of individual women. For over a thousand years these royal courts were major patrons of the arts. The court-sponsored epic works that have survived provide an ongoing literary testimony to the cultural and social concerns of court society from its ealiest recorded history until its demise at the end of the nineteenth century. This study examines the idealized images of women and sexuality that have pervaded Javanese and Balinese culture and provides insights into a number of cultural practices such as sati or bela (self-immolation of widows).
Drawing on ethnographic and archival research conducted on the Indonesian island of Bali, this book demonstrates that more nuanced attention to problems of media will have serious implications for how we think about the study of religions, past and present.
The second volume of the annotated bibliography of Javanese manuscripts housed in the Reksa Pustaka library in Surakarta, the first institutionalized library in the Indies founded and administered by native Javanese.
This research based on the Jasadipoeran Sêrat Déwaruci, the Ki Nartosabdan Déwaruci play, and the dhalangs' interpretation of the Déwaruci play they performed. Using three divisions of the horizontal tripartite of the Déwaruci play, and of the vertical tripartite of the wayang kulit cosmology, together with the Javanese concepts of lair, batin, and rasa, the examination of Bhīma's quest reveals three stages of the Javanese spiritual growth, which can be systematically summarized as the purification of the corporeal feelings, the purification of the emotional feelings, and the purification of the intuitive feelings which culminates in the union with God, the so-called manunggaling kawula-Gustia.
Real historical facts of Indonesia before INDONËSIARYĀ By : Santo Saba (Exploration & Research) eBook pdf : WA +62813 2132 9787 https://wa.me/message/OO5THVF7RNNDO1
Indonesian Manuscripts from the Islands of Java, Madura, Bali and Lombok discusses aspects of the long and impressive manuscript traditions of these islands, which share many aspects of manuscript production. Many hitherto unaddressed features of palm-leaf manuscripts are discussed here for the first time as well as elements of poetic texts, indications of mistakes, colophons and the calendrical information used in these manuscripts. All features discussed are explained with photographs. The introductory chapters offer insights into these traditions in a wider setting and the way researchers have studied them. This original and pioneering work also points out what topics needs further exploration to understand these manuscript traditions that use a variety of materials, languages, and scripts to a wider public.
This book offers a unique perspective on September 11 and our world after this tragic event, sharing lessons from an Asian religious experience that can help heal a world troubled by religious conflicts and deepening divisions, and promote a positive global transformation. Existing literature regarding the events of September 11 and our world afterward has focused mostly on the West and the Middle East. Asian Perspectives on the World's Religions after September 11 extends this discussion to include Asia—a continent and culture far too important to be ignored in any assessment of the global impact of this event. The book is organized along the following themes, as they emerged post-September 11th: religion and civilizational dialogue; religion, conflict, and peace; religion and human rights; religion and ethics; religion and the arts; religion, hermeneutics, and literature; religion and gender; religion and ecology; and religion and globalization. Individuals who are studying or teaching political science, international relations, philosophy, ethics, Asian studies, or religious studies will find the text invaluable, while general readers will appreciate the largely unvoiced Asian perspective on this topic.
Rāmāyaṇ which is derived from the words Rāma and Aya berarti which means "The Journey of the Rama", Ramayana is a holy bible that has influenced the lives, thoughts and cultures of millions of people before thousands of years and finally underlies the teachings called Hinduism. History of Rama, There is a real difference between the concept of seeing and understanding history, especially the way of seeing or the concept of thinking in Western and Eastern Societies, in this case Asia. In the concept of history, Western Society considers that physical evidence is needed in seeing a historical event. In this case, the date or time, place or location of the incident occurred is very important. The discovery of a stone site, an ancient inscription found when excavating an archaeological area is of higher value and is considered as 'information' or 'evidence' of a valid event. Therefore, in the concept of history, Western Society does not consider historical evidence if it is only an oral or written story that exists in the archaeological area.
Includes reports of meetings of the institute.
Balinese Art is the first comprehensive survey of Balinese painting from its origins in the traditional Balinese village to its present position at the forefront of the high-priced Asian art scene. Balinese art has been popular and widely collected around the world for many decades. In fact, the contemporary painter who commands the highest prices in Southeast Asia's hot art market is Bali-born Nyoman Masriadi (1973-). This book demonstrates that his work draws on a long and deeply-rooted tradition of the Bali art scene. Balinese painting has deep local roots and has followed its own distinctive trajectory, yet has been heavily influenced by outsiders. Indian artistic and religious traditions were introduced to Bali over a thousand years ago through the prism of ancient Javanese culture. Beyond the world of Indonesian art, Balinese artists and craftsmen have also interacted with other Asian artists, particularly those of China, and later Western artists. From these sources, an aesthetic tradition developed that depicts stories from the ancient Indian epics as well as themes from Javanese mythology and the religious and communal life of the Balinese themselves. Starting with a discussion of the island's aesthetic traditions and how Balinese art should be viewed and understood, this book goes on to present pre-colonial painting traditions, some of which are still practiced in the village of Kamasan--the home of "classical" Balinese art. However, the main focus is the development of new styles starting in the 1930s and how these gradually evolved in response to the tourist industry that has come to dominate the island. Balinese Art acquaints readers with the masterpieces and master artists of Bali, and the final chapter presents the most important artists who are active today and serves as an introduction to their work.