International Journal of Civil Engineering and Technology (IJCIET)
Volume 10, Issue 04, April 2019, pp. 306–315, Article ID: IJCIET_10_04_032
Available online at http://www.iaeme.com/ijmet/issues.asp?JType=IJCIET&VType=10&IType=4
ISSN Print: 0976-6308 and ISSN Online: 0976-6316
© IAEME Publication
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TRACES OF TRANSCENDENTAL SPACE AS
COMPONENTS TO PRESERVE YOGYAKARTA
PALACE’S MEANING
Ibrahim Tohar
Architecture Department, 17 Agustus 1945 University, Surabaya, Indonesia
Gagoek Hardiman, Suzanna Ratih Sari
Architecture Department, Diponegoro University, Semarang, Indonesia
Eko Punto Hendro
Social Anthropology Departement, Diponegoro University, Semarang, Indonesia
ABSTRACT
Yogyakarta Special Region is one of the provinces in Indonesia. Yogyakarta
Palace is a royal palace complex of Mataram which was founded more than two
centuries ago by Prince Mangkubumi. Up to the present time, Yogyakarta Palace has
remained vigorous in the midst of changes in social, political and cultural systems.
This research aims to explore the symbolic meaning embodied in Yogyakarta Palace
and examine its persistence. This study applies the emic approach through inductive
processes. The method utilized is symbolic interaction through observation,
examination and interviews with abdi dalem (cultural servants/courtiers) of the palace
and reviewing related ancient manuscripts. In general, the palace comprises
constelative meanings about : spiritual self approach to the Creator, sharing with
others, greatness of king and hope for salvation and prosperity. The results of the
study signify that there are two essential factors to maintain meaning, which are
transcendental space artifacts and continuity of ritual activities. The architecture of
Yogyakarta Palace is described in text, which are pieces of advice about the
importance of balance and harmony in life to obtain happiness.
Key words: transcendental space, preserve, meaning, Yogyakarta Palace.
Cite this Article: Ibrahim Tohar, Gagoek Hardiman, Suzanna Ratih Sari, Eko Punto
Hendro, Traces of Transcendental Space as Components to Preserve Yogyakarta
Palace‟s Meaning, International Journal of Civil Engineering and Technology 10(4),
2019, pp. 306–315.
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Traces of Transcendental Space as Components to Preserve Yogyakarta Palace‟s Meaning
1. INTRODUCTION
One of the effects of globalization is the emergence of cities that do not have a distinctive
character. Related to this matter, the efforts are needed to rediscover the local cultural values
(Suprapti,2017)[1]. In his study entitled Function and Sign: The Semiotic of Architecture,
Umberto Eco, referring to Pierce, suggested that an architectural work must be able to
communicate certain messages through denotative and connotative meanings they contain. If
it is associated with the functions in architecture, denotative meaning acts as Primary
Function, which is the general use of objects (architecture as functional object) while
connotative meaning acts as Secondary Function (architecture as symbolic object) (Eco
1997)[2]. The classification of primary and secondary functions presented by Eco is highly
relevant to be confirmed to the architectural designs of Yogyakarta Palace. This can be
revealed in the relation of functions and symbols existing in Yogyakarta Palace.
Architecture as an artifact is a sensory phenomenon containing conceptual and physical
meaning associated with social functions. Its meaning is inseparable from its symbolic form
and it will always relate to the ideas and notions of its makers (Wardani 2010) [3]. This is
very significant regarding the architecture of Yogyakarta Palace which is the idea of Prince
Mangkubumi or Sultan Hamengku Buwono I. The reading of meaning of Yogyakarta Palace
is also the excavation of concepts initiated by Prince Mangkubumi and its successors. Hence,
temporal studies are required to understand the policies of Sultans related with the design of
Yogyakarta Palace‟s architecture.
Technically, the study of Yogyakarta Palace refers to Geertz, who uttered that a
comprehensive interpretation of meaning interwoven in a wide and complex network of social
relations is carried out through two-way interpretation. This includes exposure to certain
symbolic forms as defined expressions and contextualization of forms in the overall structure
of meaning (Geertz, 1992)[4]. The first is applied to interpret meaning of each observation
unit. The second is applied in the constellation of meaning of Yogyakarta Palace complex. In
this study, the reference employed in interpreting meaning is Javanese philosophy which is
related to the essence of Javanese human life, namely Sangkan Paraning Dumadi (the origin
and purpose of human life), Manunggaling Kawulo lan Gusti (the union of man and God),
and Memayu Hayuning Bawana (blessing for the universe) (Endraswara 2014)[5]. The
reference is greatly required to interpret meaning that is appropriate to social context of
Javanese culture.
2. RESEARCH METHOD
The initial step of this research was a thorough observation at Yogyakarta Palace complex.
This observation is employed to obtain an overview of space characters and ritual activities
performed. From North to South there are 7 pelataran (courtyards) with different characters,
they are; a) Sitihinggil Utara (North Sitihinggil), which is a procession zone of ritual activities
that can be witnessed by the community. b) Kemandungan Utara (North Kemandungan),
which is a reception space towards pelataran Srimanganti. c) Srimanganti, which functions as
a staging zone for traditional Javanese arts and an area for placing gamelan (traditional
Javanese musical instruments). d) Kedhaton, which is a place where the Sultan receives state
guests. e) Kemagangan, which is a preparation zone for the palace soldiers when there is a
Garebeg ceremony. f) Kemandungan Selatan (South Kemandungan), the current condition is
poorly maintained, which is for Jemparingan (Mataram traditional archery) activity. g)
Sitihinggil Selatan (South Sitihinggil), which functions as public zone for arts and sports
activities, in the form of modern building. The interpretations of meaning are executed
through symbolic themes contained in the seven courtyards. These themes are; the structure
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Ibrahim Tohar, Gagoek Hardiman, Suzanna Ratih Sari, Eko Punto Hendro
and orientation of space, the shape and structure of buildings, ornaments and sengkala (year
number) as well as the type and arrangement of vegetations.
The use of informants in this study is due to the need for a cultural approach to uncover
the meaning of the palace. According to Spradley, there are differences between respondents
and informants. The difference lies in terms of the patterns utilized in formulating questions
and research orientation. Respondents are for social scholars while informants are more on
cultural approaches (Spradley 2006) [6]. Informant selection is performed through a
purposive technique, selecting those who understand the history and symbols on Yogyakarta
Palace. In this study, the informants were abdi dalem (cultural servants/courtiers) in the
palace; K.R.T.H.Jatiningrat, Penghageng Tepas Dwarapura (JN), K.R.T. Kusumo Negoro,
Penghageng Tepas Banjar Wilapa (KN), K.R.T. Rinto Isworo, Wakil Penghageng Widya
Budaya (RI), K.R.T. Waseso Winoto, Penghageng II Kawedanan Hageng Punokawan Krido
Mardowo (WW).
3. TEMPORAL STUDY
The process of establishing Yogyakarta Palace initiated from the Giyanti Treaty which was
signed on Thursday Kliwon, the 29th of Rabiul Akhir, 1680 Javanese year or on February 13th,
1755 AD in the village of Giyanti. The agreement of the Giyanti Treaty was to divide
Mataram Kingdom into two regions, namely the Kabanaran Sultanate with the capital of
Ngayogyakarta Hadiningrat and Surakarta Kasunanan with the capital in Surakarta. The
Kabanaran Sultanate was governed by Prince Mangkubumi who was appointed by his
proponents to become the Sultan of Yogyakarta with the title of Sri Sultan Hamengku
Buwono (Sabdacarakatama 2008) [7]. Geographically, the position of Yogyakarta Palace is
between the North Square and the South Square of Yogyakarta, Special Region of
Yogyakarta, one of the provinces in Indonesia. (figure 1).
As a Javanese cultural artifact, Yogyakarta Palace is occupied with symbols that
encompass certain messages. In a long period of time, the history of Javanese culture was
formed through a dialectical process with culture that came from outside, especially the
influence of Hinduism, Buddhism, and Islam which was mixed with animism to produce
syncretism. (Koetjaraningrat 1984; Kayam 2001, Sunaryo 2013) [8], [9], [10]. This results in
the presence of syncretism value in the architecture of Yogyakarta Palace.
Hindu and Buddhist influences occured in the palace can be recognized from the shape of
Tajug (pyramidal) roof and Limasan (scute roof). The wooden construction building with
limasan shape can be evidently viewed in Batur Pendopo reliefs of Panataran temple.
Wooden construction buildings with Limasan and Tajug roofs were also observed in
Sudamala reliefs of Batur temple (Hendro 2001) [11]. The temple itself is a place of worship
for Hinduism and Buddhism. Significant changes at Yogyakarta Palace took place during the
reign of Sultan Hamengku Buwono (HB) VIII (1921-1939), who renovated the architectural
formation (Prijotomo 2004) [12]. Some of the renovated buildings include Tratag Pagelaran,
Tratag Sitihinggil, and Regol Danapratapa (Bangunjiwa 2015) [13]. Along with Dutch
colonialization in Indonesia, the influence of Dutch Colonial architecture called Indiche
Empire Style was inserted (Hadinoto 1996) [14].
In the era of independence, during the reign of HB IX in 1956, the construction of Sasono
Hinggil Dwi Abad was carried out to replace Bangsal Sitihinggil Selatan (from the interview
with infomant KN). Bangsal Sitihinggil Selatan which was originally without wall covering
and roofed with Joglo lawakan was converted into a closed-walled building, modern in style.
In addition, during the reign of HB X in 1992, there was an addition of a new building in the
form of HB IX Museum in Kedhaton courtyard to commemorate him as a national hero. The
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Traces of Transcendental Space as Components to Preserve Yogyakarta Palace‟s Meaning
description of courtyard‟s architectural changes on north-south axis can be viewed in Figure
2.
North Square
SitihinggilUtara
Figure 1. Yogyakarta Palace complex
lies between North Square and South
Square of Yogyakarta, Yogyakarta
Special Region Province, Indonesia.
Architectural form since HB I era
Architectural Renovation in HB VIII
era change in HB IX era
Architectural
Sitihinggil Selatan
South Square
Figure 2. Architectural Changes in Yogyakarta
Palace complex from HB I - HB X era
The architectural changes that took place at Yogyakarta Palace were inseparable from the
king's policy as ruler and the influence of political situations and current economic conditions.
It can be observed that there were two Sultans who prominently contributed to the
formation of Yogyakarta Palace architecture; they are HB I and HB VIII. Sultan HB I was the
designer of palace‟s master plan, from Panggung Kerapyak, Keraton to Tugu Golong Gilig,
with Javanese architectural look (Hinduism and Islam). Sultan HB VIII renovated it by
combining European neoclassical architecture elements in the northern wards (bangsal) of
Yogyakarta Palace complex. During the reign of HB I - HB VIII (1755 - 1939), the palace
functioned as a royal institution, owning a formal and sacred atmosphere. Whereas during HB
IX-HB X (1940 - 2019), spaces in the palace were activated to display historical objects used
by HB I-HB X, so the palace functioned more as a Javanese culture gallery that is open and
profane (Tohar 2018) [15].
4. SPATIAL STUDY
4.1. Interpretation of Structure and Space Orientation
Physically, the layout of the palace‟s main buildings is arranged linearly on north-south axis.
There are 7 parts of courtyards in the palace complex. The structuring patterns applied are
symmetrical, but not pure symmetry, both on the north-south axis and on the east-west axis.
The asymmetry of north-south axis is located at Pelataran Kedaton. There are many building
masses in Pelataran Kedaton, which can be grouped into three, they are; spiritual zone
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(bangsal prabayeksa, bangsal kencana), residence zone (keraton kilen, kaputren, kasatrian),
and service zone (Gedhong Patehan, Kemagangan).
The northen part (before the palace was opened for public) is the king's communication
zone with the people. To be able to meet the king, the people were in North Square and the
king was in Sitihinggil, the transitional space was in the form of Pelataran Pagelaran. In this
case the space is designed very hierarchically, both horizontally and vertically. Vertical
hierarchy is manifested in the differences of floor elevation at Pelataran Sitihinggil, as high as
2 meters from the surface of the square and pagelaran. Elevation of the floor surface is an
important part of the space structure in the palace, because there are bangsal manguntur
tangkil and bangsal witana which own the meaning of manunggaling kawulo lan gusti. This
is stated in Serat Salokapatra pupuh XIV,29 (Sunjata 1995) [16]:
Ing witana bangsal ageng inggil / kang jinejer aneng tengah-tengah / kajejer yekti wujude
/ wujud kang darbe kayun / samubarang wiwit ngriyini / ta lahiring kang karsa / dadi tandang
tanduk / na sampun cundhuk dadya / tunggil karsa kekalih dadya setunggil / ran gusti lan
kawula
The meaning is that the great Bangsal Witana is a symbol of the union of two wills, the
will of human beings and the God (kawula lan gusti). This took place during the Garebeg
ceremony, when the Sultan sat on the throne (sinewaka) in Bangsal Manguntur Tangkil,
facing straight north, towards Tugu Golong Gilig (now Tugu Pal Putih) and Mount Merapi.
Bangsal Witana and Bangsal Manguntur Tangkil are located at Pelataran Sitihinggil, one of
the zones that is 2 meters higher than other zones in Yogyakarta Palace complex. The
elevation of the Pelataran Sitihinggil symbolizes the greatness of the king whose position of
existence is physically superior to his people.
Since the era of HB I to HB X, architecturally, the structure and space orientation of the
Yogyakarta Palace has not changed. From the observations, Yogyakarta Palace complex owns
a linear and concentric pattern in the structure of the sacred-profane space (Figure 4). The
main wards (bangsal) are arranged linearly on the north-south philosophical axis. In detail,
each of the Bangsal has a 'center' in the form of a transcendental space trace. The space was a
throne of the Sultan in its activities which was always based on the philosophy of
Manunggaling kawulo-gusti. Visually, the transcendental space is 'limited' by the four saka
guru (columns) and brunjung (the roof that rises like a mountain). Whereas the space
surrounding the “center space” is a space to communicate with others. Overall, it carries a
balance meaning between transcendental space and social space.
In addition to saka guru-brunjung space, the consistency can also be viewed in the
Sultan's throne property in the form of Sela Gilang in Bangsal Pangrawit, Bangsal
Manguntur Tangkil, Bangsal Ponconiti and Bangsal Srimanganti (Figure 3). The existence of
Sela Gilang is a trace of transcendental activity carried out by the Sultan in his reign era.
Bangsal Pangrawit,
inauguration place of
pepatih dalem (palace’s
prime minister)
Bangsal Manguntur
Tangkil, king’s
meditation place
Bangsal Ponconiti, place
to adjudicate cases
Bangsal Srimanganti,
king’s transit place,
before heading to
Kedhaton
Figure 3. There are 5 Sela gilang as Sultan's throne property in spesific Bangsal of Yogyakarta Palace.
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Traces of Transcendental Space as Components to Preserve Yogyakarta Palace‟s Meaning
The space orientation, as a whole, owns 2 patterns, which are a double orientation on the
north-south axis and a single orientation on the east-west axis (Figure 5).
Meanwhile according to the informants (JN,KN,RI,WW), the composition of the palace
building on the north-south axis is a representation of Sangkan paraning dumadi philosophy,
which embodies messages about two stages of human life. First, from Panggung Krapyak to
Kedhaton, it represents the process from birth to become an adult human. Secondly, from
Tugu Golong Gilig (now Tugu Pal Putih) to Kedhaton, it narrates the return process of human
soul to their Creator. On the whole, it implies that human beings have the obligation to always
remember their origin and their purpose of life. This will generate their remembrance to their
Creator, their origin and purpose of life and the meaning of balance in undergoing life and
preparing for death.
4.2. Interpretation of Form and Building Construction
According to (Prijotomo 1995) [17], in terms of building appearance, Javanese classical
architecture is divided into five types of buildings, which are mosque/Tajug, Joglo, Limasan,
village and Panggang Pe. This categorizing emerged after the middle of 20th century. While
according to (Wibowo 1986) [18], Tajug type is categorized as worship building.
The characteristics of Joglo construction consist of saka guru, blandar tumpangsari,
brunjung roof form or gajah and penanggap. The towering Brunjung form resembles the
shape of a mountain. In Javanese belief, the mountain is the highest place which is considered
sacred and the place where the Gods dwell. Thus, the brunjung form in Joglo plays a role as a
transcendental space symbol. In the structure below it, brunjung is supported by four saka
guru. These mast beams are called pamidhangan.
The simplest form of Joglo is Joglo Lawakan, having 16 columns, 4 of which are as saka
guru. In Yogyakarta Palace complex, Joglo Lawakan form is applied at bangsal Srimanganti,
bangsal kemagangan, bangsal kemadungan selatan and bangsal sitihinggil selatan before it
was renovated to be Sasono Hinggil Dwi Abad in 1956.
Brunjung / Gajah
Tumpang sari
Penanggap
Emper/Penitih
Saka guru
Saka guru
Emp er/Penitih
Emper/Penitih
Emper/Penitih
Figure 4. Linear
pattern and sub
concentric on the
structure of
sacred-profane
space
Emper/Penitih
Figure 5. Dual
orientation on
the north-south
axis and a single
orientation on
the east-west
axis
(source: Sumalyo 2011 [19], edited by the writer)
Figure 6. Transcendental space and social space
in Joglo Lambang Gantung building
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Ibrahim Tohar, Gagoek Hardiman, Suzanna Ratih Sari, Eko Punto Hendro
From the explanation of the informants (JN, KN, RI), the roof arrangement which consist
of three-layered; brunjung, penanggap, and panitih, conceives a meaning of a balance
between vertical and horizontal connections. Brunjung, tumpangsari and four sakaguru
spaces are transcendental spaces as a means to get closer to the Creator. The boundary of the
transcendental space is not in the form of a massive scope but in the form of a space under a
towering roof. The expression of the towering roof resembling a mountain is one of the
transcendental symbols of Yogyakarta Palace whereas the Penanggap and Panitih spaces
"surrounding" brunjung are symbols of horizontal connections with other living creatures
created by God (Figure 6).
Significant changes occurred at Bangsal Sitihinggil Selatan, which was renovated by HB
IX and transformed into Sasono HInggil Dwi Abad building. The form of the building which
was originally an open bangsal with Joglo Lawakan roof established during the HB I (1756)
was converted into a modern building in the form of a massive wall covering. The completion
of the roof still maintains the Joglo shape on the outside, but does not apply blandar
tumpangsari and sakaguru. This indicates the transformation of the meaning from sacred
character to profane character. The Joglo formation is only taken on the 'outer line', so that as
a whole, Yogyakarta Palace complex still owns a Joglo-shaped roof.
4.3. Interpretation of Ornament
The variety of ornaments in Yogyakarta Palace can be divided into 3 types, which are flora,
fauna and calligraphy. Flora ornament is applied on saka/pillar/column, blandar/beam,
gateway, and lisplank (an ornament which cover the top edge of a building). Fauna ornaments
can be observed on gateway, baturana and sengkala while calligraphy ornament is spotted on
saka/pillar/column (figure 6). In addition, there are also ornaments that conceive meaning
related to titimangsa (time) of an event, which is called Sengkalan.
From the observations, it is discovered that when a space is more transcendental than the
others, the ornaments on that space are more and in better quality. On saka/pillar/column of
bangsal Kencana, Bangsal Ponconiti and Bangsal Witono, there are similarities in ornaments,
which are; Tlacapan, Mirong, Praba and calligraphy. The application of ornaments on the
wards (bangsal), in addition to beautifying and enlivening the Palace, displays the greatness
of the king's spirit and the hope of salvation and blessing.
Tlacapan
Mirong
Praba
Calligraphy
Performative Meaning: Performative Meaning: Performative Meaning: Performative Meaning:
Beauty and Greatness Beauty and mysticism. Beauty and greatness Beauty and sacredness
Transcendental:
Transcendental: the hope
Transcendental:
Transcendental: the hope
Expression of gratitude of security and salvation Blessing and protection
of salvation and
upon the blessing given
of the king to his people.
blessing.
Figure 6. Intepretation of meaning on the ornaments of Saka Guru in specific Bangsal
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Traces of Transcendental Space as Components to Preserve Yogyakarta Palace‟s Meaning
The existence of ornaments in Yogyakarta Palace is an important element that does not
only function as beauty and splendor but also function as a prayer and hope of salvation and
prosperity in the togetherness of life. This is part of the overall symbol comprised in
Yogyakarta Palace complex. Specifically, the calligraphy ornament is applied consistently on
the umpak/base of columns of palace‟s wards from north to south. Umpak/base as the buffer
and calligraphy that has spiritual value is a unity symbol of the hope of salvation as the main
foundation of the Yogyakarta Palace.
4.4. Interpretation of Vegetation
The most prominent vegetation in the North and South squares is a pair of banyan trees. A
pair of banyan trees in the North Square is positioned in the center, which is in line with the
North-South transcendental axis. According to the informants (JN, RI), the pair of banyan
trees (Kyai Dewandaru and Kyai Jayandaru) possess the meaning of the king‟s guardianship
and protection to his people. The position of Kyai Dewandaru in the East and Kyai Jayandaru
in the West represents the balance between good and evil. In addition, there is also a unity
between the king and the people.
According to Serat Salokapatra (Sunjata 1995) [16], Kemuning Tree represents the
meaning of „weninging pikir’, purity and silence of mind, relating to the moment when
someone enters the palace area. In relation with Kepel Watu Tree, Kepel means grip and Watu
means basic. Thus, Kepel Watu Tree means "manunggaling sedya kaliyan gegayuhan",
everyone must possess strong intentions and dreams in living life. Gayam Tree owns the
meaning of ayom (shade) or ayem (peaceful), as a symbol of guarding or sharing with others.
On the whole, the selection and structuring of plants implies the meaning of sharing with
others as well as hope and encouragement to do goodness in life.
All in all, Yogyakarta Palace embodies meaning as follows; a) spiritual self approach to
the Creator, on the cosmological aspects of the spatial structure, the shape of the roof of a
building soaring like a mountain, and sela gilang is a place for king meditation, b). Sharing
with others, on aspects of space arrangement, space inside the space and vegetation, c). The
grandeur of the king's court, on aspects of space elevation, building appearance and
ornamentation, d). Expectations of salvation and prosperity in aspects of vegetation and
ornamentation. The construction of this meaning has created a distinctive character to the
place and environment of the Palace. According to Ujang, the distinctiveness of a place brings
about the identity of the place (Ujang 2014) [20]. Yet, the more essential point is the process
and construction of meaning in Yogyakarta Palace which distinguishes it from the identities
of other places.
5. CONCLUSIONS
The Yogyakarta Palace was designed with an approach of cosmological and spiritual values.
This is what distinguishes it from Western architecture that is designed with a physical and
functional approach. The consequence of this approach is the emergence of architectural
formations which prioritize symbols of the king's message rather than architecture as a mere
activity place. During the reign of HB I - HB VIII (1755-1939), the palace functioned as a
royal institution, possessing a formal and sacred atmosphere. While during the reign of HB IX
- HB X (1940-2019), the spaces in the Palace were utilized to display historical objects. Thus,
the Palace functioned more as a gallery of open and profane Javanese culture. All in all, the
Yogyakarta Palace bears the meaning of; a) Spiritual self approach to the Creator, b). Sharing
with others, c). The greatness of the king, d). The hope of salvation and prosperity.
The results of the study express that there are two major factors to maintain meaning,
which are transcendental space artifacts and the continuity of ritual activities. The form of
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Ibrahim Tohar, Gagoek Hardiman, Suzanna Ratih Sari, Eko Punto Hendro
transcendental space is sela gilang (king's throne), saka guru (main column) and calligraphy
ornaments. An artifact without activity is as though a container without contents or a body
without a soul. Hence, these two matters are a unity in actualizing the uniqueness of
Yogyakarta Palace architecture.
ACKNOWLEDGEMENTS
Great thanks would be to: K.R.T.H.Jatiningrat, Penghageng Tepas Dwarapura, K.R.T.
Kusumo Negoro, Penghageng Tepas Banjar Wilapa, K.R.T. Rinto Isworo, Vice of
Penghageng Widya Budaya, K.R.T. and Waseso Winoto, Penghageng II Kawedanan Hageng
Punokawan Krido Mardowo, for many informations about the history and the philosophy of
Yogyakarta Palace.
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