Jolopong (Sundanese Traditional House)

 Jolopong House

Do you know, what is Jolopong? Jolopong is one kind of Sundanese Traditional house. Actually, Sundanese Traditional house has a different name depending on the shape of the roof and doors of his house. Traditionally there is a roof called suhunan Jolopong, Tagong Dog, Rhino Heuay, Boat Kemureb, Jubleg Nangkub, Capit Scissors, and Open Pongpok. Of all of them, Jolopong is the simplest form and are often found in areas of cultural heritage or in the villages. Jolopong roof has two fields separated by suhunan lane in the middle of the house. Suhunan rods of equal length and parallel to both the underside of the roof that was next to one, and while others are shorter than suhunan and cut perpendicular suhunan at either end of it.

The interior is also very efficient Jolopong owned. Jolopong space consist of a front porch or Tepas; room called the center or middle imah patengahan; called pangkeng side rooms, and the back room consists of a kitchen and a store called Pawon rice called padaringan. The room called overhang serves to receive guests. First, the room is left empty with no tools or home furnishings such as tables, chairs, or bale-bale seating. If guests arrive then the owner of the house stage mat for seating guests. Over time, has now been provided tables and chairs and even other equipment. Balandongan space serves to add coolness to the occupants of the house. For the bedroom, use Pangkeng. The room is kind pangkeng prostitute or warehouse used to store goods or household appliances. The room being used as a gathering place for the family and is often used to perform ceremonies or salvation and a back room is used for cooking.

Judging in terms of philosophical, traditional houses belonging to the community of West Java have a very amazing. In general, the name of the Sundanese traditional house suhunan intended to respect the surrounding nature. Almost every building custom homes are rare Sunda iron nails and other tools of modern buildings. For inter-pole amplifier used paseuk (from bamboo) or a rope of palm fiber or coconut fiber, while the roof of the house used as the cover of palm fiber, palm leaves, or leaves Rumia, as Sundanese traditional house very rarely use precarious. Another interesting thing is the material used by the house itself. Use of a thin material and booth stage floor of wooden planks or Palupuh certainly not be used for shelter in community with barbaric civilization. Home for the Sundanese community not as a fortress of protection of human enemies, but merely from nature in the form of rain, wind, sun and animals.

Source: http://vijjayasena.wordpress.com

Credit Photo:  http://mamahtira.blogspot.com

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Rumah Gadang

Rumah gadang (Minangkabau language: 'big house') are the traditional homes (Indonesian: 'rumah adat') of the Minangkabau. The architecture, construction, internal and external decoration, and the functions of the house reflect the culture and values of the Minangkabau. A rumah gadang serves as a residence, a hall for family meetings, and for ceremonial activities. With the Minangkabau society being matrilineal, the rumah gadang is owned by the women of the family who live there - ownership is passed from mother to daughter.

The houses have dramatic curved roof structure with multi-tired, upswept gables. Shuttered windows are built into walls incised with profuse painted floral carvings. The term rumah gadang usually refers to the larger communal homes, however, smaller single residences share many of its architectural elements.

Background








Location of West Sumatra home
of the Minangkabau

Sumatra is the sixth largest island in the world and since the time of Marco Polo has been referred to as the 'island of gold'. It is the most resource-rich island of Indonesia, including its tea, pepper and rubber plantations, and oil, tin and other mineral resources. Lying on the equator, Sumatra has a monsoonal climate and although more rain falls between October and May, there is no extended rainless dry season. Despite large-scale deforestation, Sumatra still has millions of acres of unexploited rainforests which provide building materials. The great hardwood trees required for large scale construction are now, however, in strictly limited supply.

Sumatra is home to one of the most diverse range of peoples in the South East Asian archipelago and this diversity is reflected in a range variety of often dramatic traditional homes known as rumah adat. The most common housing forms have traditionally been wooden and raised on piles, built of locally gathered materials, with steeply pitched, roofs. In addition to the Minangkabau's rumah gadang, the Batak of Lake Toba region build the boat-shaped jabu with dominating carved gables and dramatic oversized roofs, and the people of Nias build the fortified omo sebua houses on massive ironwood pillars with towering roof structures.

The Minangkabau are indigenous to the highlands of central Sumatra. Their culture is matrilineal, with property and land being passed down from mother to daughter, while religious and political affairs are the province of men. The Minangkabau are strongly Islamic, but also follow their own ethnic traditions, or adat. Minangkabau adat was derived from animistic and Hindu beliefs before the arrival of Islam, and remnants of animistic beliefs still exist even among some practicing Muslims. As such, women are customarily the property owners; husbands are only tolerated in the house at certain times and under special conditions, and must return to their sisters' house to sleep. Complementing this practice is the custom of merantau whereby many of the men will travel far afield for work, returning only periodically to their village of origin. Money earned on these trips is remitted for the building of contemporary rumah adat.

Form

The external walls of a
rumah gadang are covered with various motifs,
each having a symbolic meaning

A communal rumah gadang is a long house, rectangular in plan, with multiple gables and upsweeping ridges, forming buffalo horn-like ends. They normally have three-tiered projections, each with varying floor levels. They are broad and set on wooden piles that can reach as high as 3 meters (10 feet) off the ground; sometimes with a verandah running along the front face of the house which is used as a reception and dining area, and as a sleeping place for guests. Unlike the Toba Batak homes, where the roof essentially creates the living space, the Minangkabau roof rests on conventional walls. Cooking and storage areas are often in separate buildings.








A rumah gadang and rangkiang in 1910

The house is largely constructed of wood; an exception being the being the rear longitudinal wall which is a plain lattice woven in a chequered pattern from split bamboo. The roof is of a truss and cross-beam construction, and is typically covered with thatch from the fibre of the sugar palm (ijuk), the toughest thatch material available and said to last a hundred years. The thatch is laid in bundles which can be easily fitted to the curved, multi-gabled roof. Contemporary homes, however, are more frequently using corrugated iron in place of thatch. Roof finials are formed from thatch bound by decorative metal bindings and drawn into points said to resemble buffalo horns - an allusion to a legend concerning a battle between two water buffaloes from which the 'Minangkabau' name is thought to have been derived. The roof peaks themselves are built up out of many small battens and rafters.

The women who share the house have sleeping quarters set into alcoves - traditionally odd in number - that are set in a row against the rear wall, and curtained off by the vast interior space of the main living area. Traditionally, large communal rumah gadang will be surrounded by smaller homes built for married sisters and daughters of the parent family. It is the responsibility of the women's maternal uncle to ensure that each marriageable woman in the family has a room of her own and to this end will build either a new house or more commonly additionally annexes to the original one. It is said that the number of married daughters in a home can be told by the counting its horn-like extensions; as they are not always added symmetrically, rumah gadang can sometimes look unbalanced. Adolescent boys traditionally live in the village surau, a small mosque.

Architectural elements

Interior of the Pagaruyung Palace,
showing the long common area of a rumah gadang.
The two level floor is a symbolic element specific to the palace.

Each element of a rumah gadang has its own symbolic meaning, which is referred to in adat speech and aphorisms. The elements of a rumah gadang includes:

* gonjong, hornlike roof structure
* singkok, triangular wall under the ends of gonjong
* pereng, shelf under the singkok
* anjuang, raised floor at the end of one style of rumah gadang
* dindiang ari, the walls on the side elevations
* dindiang tapi, the walls on the front and back elevations
* papan banyak, front facade
* papan sakapiang, a shelf or middle band on the periphery of the house
* salangko, wall enclosing space under a house that has been built on stilts

Some symbolisms of the house, for example, relate to the gonjong reaching to god, and the dindiang tapi, which is traditionally made of plaited strips of bamboo, symbolizing the strength and utility of the community which is formed when individual Minangkabau become part of the larger community instead of standing alone.

The pillars of the ideal rumah gadang are arranged in five rows which run the length of the house. These rows divide the interior into four long spaces called lanjar. The lanjar at the rear of the house is divided into bedrooms (ruang). According to adat, a rumah gadang must have at least five ruang, and the ideal number is nine. The other lanjar are used as a common area, called the labuah gajah (elephant road), for living and ceremonial events.

A number of rice barns (rangkiang) ideally accompany a rumah gadang, with each having a different name and function. The rangkiang sitinjau lauik, contains rice for the family, particularly for adat ceremonies. The rangkiang sitangka lapa contains rice for donation to poor villagers and for times of famine in the village. The rangkiang sibayau-bayau contains rice for the daily needs of the family.

Ornamentation


An example of the carvings from a rumah gadang


The Minangkabau traditionally embellish the wooden walls, pillars, and ceilings of the rumah gadang with bas-relief carved wooden motifs that reflect and symbolize their adat. The motifs consists of profuse floral designs based on a simple underlying geometric structure. The motifs are similar to those of the Minangkabau woven songket textiles, with colors thought to have been derived from Chinese brocades.[6] Traditionally, the motifs do not show animals or humans in a realistic form, although some may represent animals, human beings, or their activities or behavior. The motifs are based on the Minangkabau concept of aesthetics, which is part of their view of their world (Alam Minangkabau) in which expression is always based upon the natural environment. A well-known adat aphorism says, 'nature is our teacher'.

View of the external carvings of a rumah gadang.

The inner side of the shutter is painted as they are visible when open.

Ninety-four motifs have been observed on rumah gadang. Thirty-seven of them refer to flora, such as kaluak paku ('fern tendrils'), saluak laka ('interwoven rattan'), pucuak rabuang ('bamboo shoots'), areca-nut palms, and lumuik hanyuik ('washed-away moss'). Twenty-eight motifs refer to fauna, such as tupai tatagun ('startled squirrel'), itiak pulang patang ('ducks going home in the afternoon) which symbolizes co-operation and homecoming wanderers, and kumbang janti (golden bumblebee). The remaining twenty-nine motifs refer to humans and sometimes their activities or behavior, such as rajo tigo (three kings of the realm), kambang manih (sweet flower, used to describe an amiable girl) and jalo takambang (casting a net).

Variations

The Minangkabau royal palace at Pagaruyung has three roofs which rise in tiers; the first two rise laterally and the top room transversally. Extensions at either side add a further two roof forms.



The rumah gadang is built in one of two basic designs: koto piliang and bodi caniago. These forms reflect different two variations of Minangkabau social structure. The koto piliang design reflects an aristocratic and hierarchical social structure, with the house containing anjuang (raised floors) at each end to permit elevated seating of clan leaders during ceremonial events. The bodi caniago design reflects a democratic social structure, with the floors being flat and on one level.

Large communal homes are entered through a doorway in the centre of the structure which is usually surrounded by a perpendicular porch with a triangular gable and upsweeping peaked ridge end. The variation with no entry porch is named bapaserek or surambi papek ("without veranda").

The larger and more opulent houses, have higher walls and multiple roofs, often with five elements inserted into each other, and supported by large wooden columns. Variations on the number of columns are known as the gajah maharam ("elephant kneeling"), which may have forty columns resulting in a shorter and stouter form, and the rajo babandiang ('design of grandeur') with fifty pillars and a more slender form. An additional six columns are required at each end for the anjuang of the Koto Piliang variation.

A government building which contains

elements of the rumah gadang style

A Minangkabau traditional council hall, known as a balai adat, appears similar to a rumah gadang. This type of building is used by clan leaders as a meeting place, and it is not enclosed by walls, except for the anjuang of the Koto Piliang model. The Pagaruyung Palace is built in the traditional Minangkabau rumah gadang architectural style, but one unusual aspect is that it has three levels. In West Sumatra some modern government and commercial buildings, and domestic houses (rumah gedung), have adopted elements of the rumah gadang style.

There has been a sizeable Minangkabau settlement in Negeri Sembilan (now in Malaysia) since the seventeenth century, with the chief of the Minangkabau still ruler there. The Negeri Sembilan Minangkabau, however, have adopted the Malay-style roof construction, with continuous ridge piece thatched with lengths of palm-leaf attached to battens. Although this has meant the loss of the characteristic curved roof and has blunter eaves, it is still considered dignified and beautiful. More orthodox Islamic influence has also led to variations such as modifications to the interior layout, as women are more restricted to the rear of the house than in the case of the matrilineal Sumatran Minangkabau.

Construction

The construction of a house is subject to specific regulations, laid down by the ancestors and formalised in adat, that need to be observed if the house is to become a beautiful and pleasant building. The construction and maintenance of a rumah gadang is the responsibility of ninik mamak, the elder male blood-relatives of the matrilineal descent group that owns and builds it.

Source: http://en.wikipedia.org

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Traditional architecture District of North Sulawesi

The existence of traditional architecture as part of the cultural elements that grow and develop together with the development of a tribe or nation is one of the cultural identity of supporters.

The definition of traditional architecture is shaped building, the structure, multiplicity and decorative way of making the inherited inherited from generation to generation and can be used as the implementation of the activities of life sebagik well.

Architecture traditional areas of North Sulawesi is one of the works of traditional cultural communities, particularly in the digging and maintenance forms of traditional buildings. Discuss the architecture of traditional areas of North Sulawesi we can not be separated from the community supporters.

In North Sulawesi, there are four ethnic groups, namely people of Gorontalo, tribe Bolaang Mangondow, Minahasa tribe, clan Sangir Talaud. Mobility of each tribe is also underlie the growth of traditional architecture in addition to natural conditions and background difference. Because the traditional architecture base on the activities of life in the patch will be found some kind of traditional buildings, among other households, house of worship, a house where consensus building and other architecture. In writing this will only be displayed form the building houses a residence, typology and the establishment.

a. Typology
The pattern of settlement, background and mobility, the people will form the architecture of the building provide the identity of the community supporters. The building where the tribes live in the nation in the South generally shaped house, the house that is founded on the mast as some foundation with a high between one to four meters. Reasons for establishing the house to protect themselves from enemy attack, which came in a sudden, also wild animals and feel safe from interference spirits.

In the community of Gorontalo households square-shaped: the same length and width. This typology, including the square (poliyongowopato) and is usually the core of the house or called "Pongngawaaliyo." This house is inhabited by a family batih totaling between two to three families batih. The additional facilities such as the front porch (hantaleya), right wing and left (palepelo), the back "hulude" and "depula" is building an additional unit to become one with the house's core. Building a house is called "laihe." To the top / roof (watopo) is a form of a rectangular (tutuliyowopato), seen from the triangle-shaped front, side and looks like parallelogram. Materials used as the roof is a sago palm leaves or coconut leaves. Wall (dingingo) made from bamboo, which wattled (tehilo) high between three to three and a half meters. The number of doors and adjusted by the number of rooms and room layout, and core functions of the house. Generally the higher the doors with two meters in width between 75 to 100 cm. To house floor (langngolo) flat surface made of planks or a chopped bamboo. Tiles covering the floor made of tree Nibung, a traditional material to them by their ancestors. The last part to the number of poles required 50 to 80 stem pole. Pole this round and planted in the soil at one and a half meters. In general, use similar wood charcoal, wood (tanu'a).

In the community Bolang Mangondow, which is a traditional building is a form of house that was built to sweep back, high mast between one and a half to two meters. Houses have a traditional household and a door that is located in the middle of the face. In general, the house has a front porch that is known by the term "dengkulon." The shape of the house or to be able to distinguish the name and type of home. The name and type of home is the home BUngus rice, home sinumun totoi, lumalako home and home binou. Walls, windows and doors are usually made of wood and bamboo. Tiles covering the floor has a form and materials of the same wall. Floor layout is a cross between a wood lengthwise from front to back.

In the tribe Sangir Talaud can be found some of the terms used to call a single building houses, including:
1. Bale: shows a permanent home.
2. Sabua: shows that home emergency.
3. Deseng: house shows that the situation can be applied to both.

The use of a third term home could be used to identify the nature and form of house also symbolizes etiquette that apply in the community. In addition, there is also the term "banala" to mention households.

Architecture traditional home base in the construction stage and the home's ground floor learner with a rectangle shape. Parts of the house is built on the structure of the wood frame building system. Construction of the house types are classified into three parts.

First, pillar or stilt floor buffer stake in a line stretching lengthwise and with the number four, even six to 12 poles. There are four pillars that function as a basic framework that connects the body with the roof of the house.

Second, the determination of the main house and part of which must be tied to the wall.

Third, the roof of the house. House walls and windows are generally made from bamboo. Meanwhile, the number of two-door, as the first exit-entry to the house and the house in the kitchen.

Minahasa traditional house was built by the typology house with high ranging between two and a half to three meters square meters long called "those" or "bale". In the middle of the house there is a large room with a size of 5 x 8 square meters, which is used to store the rice harvest.

On the left side of the room is large, there are six to nine room inhabited by a family batih. Pole-pole buffer called home: the key (TOMBULU) or "ari'I (totemboan or Tondano).

As part of the framework-house consists of three parts. The first comprises 16 to 18 poles as a buffer houses. Part-2 is the core framework and building a house wall. Part-3 is the framework of the roof of a house made of ordinary sago palm leaves. While the materials used in parts of wood or bamboo, which in print. Generally, each house has two doors, which is located in the middle of the home front and the back of the house. The shape of the rectangle door: two meters long, one meter wide.

Between the house door / front porch with a yard of land associated with a high level of household with adjusted high building. On the handle is made engravings of stairs sweep up the trellis in the "setup" (emperan) and the front room house. Windows home a total of between four to six with each sized 60 x 90 cm, are on the left side and right side door of the house each room.

b. Rajamangala ornamental
In every building the traditional tribe in North Sulawesi, found various forms of multiplicity decorative form of decorations to make the building, either in the form of sculpture, sculpture, painting or woven. This multiplicity decorative placed in many parts outside the house and inside. As the pole-pole home, over the doors, windows, ceiling, also on the home front porch.

Systematica in the framework of this motley decorative can be categorized into groups based on motifs ornament in the form stilasi elements of plants (flora), animals, objects of nature (the moon, stars and so forth), religious and traditional beliefs. Taking motives decorative base this on purpose in life individuals in the community and is influenced by the views of life, religious beliefs or their respective tribes.

c. Establish home
The process of establishing a building begins with discussions held among families widespread (unggala'a) and people (linula). They discussed the problem of determining where the election materials and the implementation of the building. Consensus, led by "ta'uwa", or who have a lot of experience in the field of established house (tamomayanga).

Separate meetings were held two or three days before the job to collect materials. Tamomayanga full responsibility from planning to finish the building. Skilled practitioners who have chosen experienced and still have blood ties with the extended family is also small communities of citizens (village). The process of implementation of the work is done in mutual assistance (mohuluya).

Place to establish the building (laihe, of those, and dongkulon Bale) selected the land is flat, not sloppy and is located at the roadside. This is closely related to the natural environment and the pattern of settlement of each tribe. While the materials used in the building up of the traditional bamboo, wood Cempaka, teak, linggua wood, iron, wood, sandalwood, sago palm leaves, ijuk, Nibung times and stone used for the foundation of the house. Procurement of materials is led by elders and traditional obtained from natural forests and around their residence.

In establishing the building must be done several ceremonies associated with traditional beliefs, which aims to make the home of the future receive blessings, safety and serenity of life. Ceremonies conducted in three stages, ie, before the founding, development and progress after the building is completed. Ceremony led by the head of the customs followed by the owner of the house and all the villagers. The execution was established in the area of the building, while generally night time.

Source:
Team Coordination Directorate General of Culture Press. 1995. Cultural diversity Khasanah Nusantara VI. Jakarta: Ministry of Education and Culture.

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Ornamental multiplicity Mantingan Mosque in Jepara

One of the ancient relics in the area north of Central Java pesiri known by the name of the Complex and Mosque Had Mantingan. Administratively, this complex is located in the village of Mantingan, Subdistrict Jepara, Jepara regency, Central Java. Leaders who are here to the Queen Kalinyamat with relatives. He is the son R. Trenggana from the Sultan of Demak, who married the Duke of Jepara (Mulyono, 1968: 280). This tomb is located in the east of the mosque, which is very interesting because it has the trappings unique form of relief, among other animals that distilir.

It is estimated the XVI century mosque in the mihrab because the mosque is sengkala the ring "appearance Brahmin color of the essence", which means 1481 or 1559 CE Saka (Bosch, 1930: 52). The building that now not all of the original, it is because it has changed several times to restoration.

According to Knabel visiting Mantingan in 1910 (ROC, 1910: 166-167) that Mantingan mosque made of red brick, three composite ceiling, and has three doors, each door double; third door is on the front wall is divided into four areas. On the wall there is low relief, the panel-panel. In every field there are seven wall panels berelief arranged from top to bottom, so that in all four areas are 28 panels. In the left and right of each row of the panel berelief there is a bat-shaped ornaments, as well as in each door, so that the number of all 64 fruits. Medalion round decoration that is also found in the wall which is located on the left and right up the stairs toward the mosque, on each side there are four panels.

1927 Complex Mantingan renovated, using cement and lime so that the damage kekunaan and authenticity. This new building has been placed on the panel that the relief comes from the old mosque that was built in 1559 CE. Board-board berelief this stone is placed in the most right-left of the three doors on the foyer wall of the mosque, then there are the walls down, walls and outside corners of the building.

Around the years 1978-1981, Mosque Mantingan again renovated. In the successful restoration of the six panel found that berelief on both sides, a large number of beam-beam of white stone and also building a foundation there (Kusen, 1989, a 122). Restoration of the past have resulted in changes in the ceiling of the mosque compound before three, one is now roofed, porch pole front reliefnya demolished and moved. On the right side and left the room so that there are additional areas of walls into six sectors and each sector, there are berelief the panel.

Ornamental multiplicity Mosque Mantingan
Rajamangala decorative Mantingan found in the decoration is very interesting because the form of relief dipahatkan-panel on the panel. Form a panel that unanimously (medalion), Rosette, square, rectangular with both sides, arch-shaped brace and there is also a form of a bat. Panel-panel that contains a relief.

1. vegetation and leaves of lotus flowers, creepers, gourd water, pandanus, kangkung, nipah, bamboo, fern, coconut, keben, sago and Cambodia.
2. Distilir animals such as songbirds, bird, snake, horse, deer, elephant, monkey, crab and bat.
3. house, fence, gate and investment.
4. mountains and the sun.
5. makara motif that distilir.
6. plaited (braided).

Panel that both sides berelief
In the restoration of the last six panel found that the two sides contain the field of relief. Forms panel and reliefnya as:

1. bar-shaped square. The sides appear to be decorated flowers and creepers. Hand behind its back hidden in the wall decoration contains the two people and wear a long cloth, stand and worship and even without their heads. Sketch is alleged to portray Rama, Mr. and add a comment With lots are sitting in front of salute.
2. round-shaped panel. Sides, which appear in a decorative pumpkin and water on the back side, there are ornaments (relief) that deer prefer distilir. This vehicle may be the embodiment giant named Marici.
3. Panel hexagon-shaped or square with the two long sides shaped brace or akulade contain animal elephant distilir with leaves, creepers and lotus flowers. Ber elief side behind two tournament. Ber jatamakuta a bun, berupawita, a necklace, earring, bracelet, learner kelat shoulder, screens from the stomach to hold the bow and feet. Knight other disheveled hair, wear necklaces, earring, bracelet, upawita, screens from the stomach to the feet. Legs cut off. Faces second tournament this situation is damaged. Appear in front of a man-sized short hair in pigtail. These are people such as fishing.
This describes the scenes to bring bow, Rama Laksmana and in the back. The short as a follower / punakawannya.
4. square-shaped panel load relief of the flowers and creepers. Otherwise describe a side tournament bersanggul and caudate, accompanied by two escort well be human and monkey caudate like.
Unfortunately, they all face in damaged condition. This describes the scene Hanoman the running and accompanied by two well-monkey figure.
5. bar-shaped square. Front side is decorated with flowers, while the back is decorated with a giant.
6. Panel oblong with both sides brace learner. Front side-load lotus flowers and leaves. Hand behind his two monkey without clothes is a place to climb, one holding a stick. These scenes reflect the two primates are playing.

If the note, the relief that the Ramayana is not so cut more, while the relief in his back in the picture is complete and perfect. Can be concluded that the relief of the Ramayana made first and then made relif vice versa. Relief Ramayana is deliberately cut and damaged and then used that created the panel to reverse. In addition, it can be seen that face all of that is described in the relief is damaged. Damage in the face of the human figure is intentional because the transition period between the Hindu art to the Islamic period. According to Bernet Kempers, in Islam there is no common depiction of animals or humans. But the decoration is in the mosque Mantingan the animal and human abolished. When the animals are depicted with the stiliran. There is a new opinion that the influence of Islamic art in the relief Mantingan can be connected with the influence of Islamic mysticism or Sufism (Kusen, 1989: 128). This is based on the form of a square panel with a pair of long side in fine form the arch is decorated with animals and the location of the distilir panel, the panel in the foyer Mantingan Mosque, which consists of seven panels in each field (before the renovated years 1976-1981) and of the learner kelelawae play, and the relief of woven / bonds (Kusen, 1989: 142-161).

Panel of the rectangular-shaped with a pair of short side of arch-shaped brace called cermina by van der Hoop (1949; 316). This mirror is in sufisme objects that are often used to describe God's relationship with humans.

People who see in the mirror is the subject at the same time the object of his DISTRIBUTION, that means something to appear from and return to the place of origin. Similarly inculcate in the understanding of the truth of God as "Existing - No". Relief that the animals can be distilir as an example of the definition of "no - no."

Various picture in the frame is a mirror reflection of the reality of the world. People who have not knowledgeable and error because it will be seen that the reality is, all things only in the shadow only. With lighted by the light of God or Irony is symbolized in the form of "garuda", through the delusion he will be able to see the truth. Light is one of the hidden power in the self; He also called Nur. God His emit light to the seven heavens and the earth seven. This is linked to the relief of the composite panels seven and bat decoration (as shown garuda) all of the panel. Meanwhile, relief motifs with braided (woven) symbolizes the love of God that is not boundless.

The existence of six panels that have relief on both sides, to prove that Mantingan changes in the value of governance, namely governance of the value of the arts to the Hindu art of Islam so that relief is in transition Mantingan which actually occurred.

Source:
Team Coordination Directorate General of Culture Press. 1995. Cultural diversity Khasanah Nusantara VI. Jakarta: Ministry of Education and Culture.

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In the House of Living Architecture period of Majapahit

All the buildings that human creation is intended to shelter, worship or to other activities, is the symbol contraction space, which is limited by the earth below, the heavens above and on the side of the mountain-side. If the creation of nature that most of the human creation can be called very small. As a symbol of each of the space created by humans always contains a certain meaning. All this is the result of your knowledge and the mastery of the art building, or in the foreign language called architecture.

Building from the Majapahit era uniforms, many of them are also symbols of his days, but here only form of the building will be discussed only; discussions are limited to the building housing only.

Source Java Architecture Research Kuna
To know the buildings there are necessary resources research, among others, form:
1. Archeological relics form the inscription, relief, miniature buildings, building foundations, the mosque there, there palace and others.
2. Works of literature
Script: Nagarakertagama writing Mpu Prapanca, Arjunawijaya and Sutasoma Mpu Tantular writing, writing Lubdhaka Mpu Tanakung, Kunjarakarna Mpu writing Hamlet, Sudamala and Sri Tanjung (unknown penulisya). Script from the era before the Majapahit, the Ramayana written by Mpu Triguna, Sumanasantaka written by Mpu Monaguna, Hariwangsa written by Mpu Panuluh and Wrttasancaya written by Mpu Tanakung.
Foreign news: letters musafit China (Ma Huan year 1416 published the book Ying-Yai Sheng-lan; contains a description of other houses in Tuban and the author of Europe (Maclaine Pont, GP Rouffaer and Rijkloff van goens).

All sources of literature has provided a description of the house in the form of Java. Name of the houses that were given terms: going (home people), grha (home brass), wesma (a house with bamboo walls), mahanten (roofed house in the mountains is a ijuk and materials from the portico of four or six or Nyepi to forge love) , Yasa (hall meeting, painting walls and make other) and Rangkang (home to a small meeting place.

Source inscription mentions the name of waruga building (a kind of hall; see the text inscriptions Hantang year 1135 M) and baganjing (religious buildings; see the inscription Plumbangan year 1140 F). In addition to the name of the building, the inscription also mentions the building propped 8 (see the inscription year 1181 net M) and the building propped 8 of wood and yellow cloth strung from the mean (the inscription kemulan year 1194 F).

The shape of the House
Indeed, the shape and size of a house can show the class community residents. Houses in the palace with a different home for religious people and small houses. Houses in the Majapahit era still have a simple form. Through analysis and comparison with the relief of old buildings, can be concluded that there is essentially the form of three types, namely the title, kampongs and limasan. The home of the canopy has four poles and the canopy roof, the house is often used for the shrine or place of worship. The form of limasan and villages will be discussed in the other.

House Living
There are two forms of housing, namely limasan and villages that the data appear in relief. Explanation of the form of housing is so:
1. Limasan form of five types, namely:
limasan staple: four portico.
Limasan terminal: portico of four.
L; imasan bapangan: four propped
Limasan traju gold: six propped
Limasan sinom: eight propped
2. The shape of the village: a roof supported by four villages. Houses are generally owned by the people.

Traditional Houses
Javanese traditional house that contains elements of architecture and there is a lot made of limasan and Joglo. If this house without walls or open, then function as Pendapa, the meeting place. Before 1950 all Head, the subdistrict head to the Regent in Java have Joglo the open house for a meeting with residents or entertain guests who come. The building of this kind exist in the areas of the district in Java.

Closing
Study architecture will house the Majapahit era interesting, but the results are still hypothetical because there is no evidence or examples of Majapahit houses that still survived until now. Given that the traditional form of a house inherited by generations, through the archeological study etno-up of rural houses, mosque and palace in Java, hypothetical above will not slip too far.

Source:
Team Coordination Directorate General of Culture Press. 1994. Cultural diversity Khasanah Nusantara V. Jakarta: Ministry of Education and Kabudayaan.

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