دانلود کتاب The Continuity of Pre-Islamic Motifs in Javanese Mosque Ornamentation, Indonesia

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Cover
Title Page
Copyright page
Contents Page
List of Figures
Chapter 1.
Figure 1.1. The historical development of arabesque
Figure 1.2. Arabesque of the Umayyad dynasty
Figure 1.3. Geometrical patterns
Figure 1.4. Foliated calligraphy, Alhambra Palace, Granada, Spain, 14C
Chapter 2.
Figure 2.1. Agung Demak (1479), Agung Mataram (1568-1601) in the transitory
Figure 2.2. Hidayatullah (1750), Al Wustho Mangkunegara (1878-1918) during the Dutch colonization
Figure 2.3. Al Azhar (1953-1958), Al Akbar Surabaya (1995-2000) in the contemporary period
Figure 2.4. The basic type of line in tumpals
Figure 2.5. The basic type of shape in kala-makaras
Figure 2.6. The basic type of form in lotus buds
Figure 2.7. The basic type of rhythm in scrolls
Figure 2.8. Scaled value in tumpals
Chapter 3.
Figure 3.1. Java, Indonesia
Figure 3.2. Borobodur Temple, Central Java, 8C (Image: the Author)
Figure 3.3. Panataran temple, East Java, 1197-1454 (Image: the Author)
Figure 3.4. Two cultures: Central and East Java (Image: the Author)
Figure 3.5. Prehistoric tumpal (Kempers 1959)
Figure 3.6. Tumpals in Javanese temples (Image: the Author)
Figure 3.7. Kalas and makaras in Javanese temples (Image: the Author)
Figure 3.8. Bodhisattva lotus-in-hand (Image: the Author)
Figure 3.9. Various types of undulating scrolls in Javanese temples (Bosch 1960)
Figure 3.10. Scrolls in Central and East Java (Image: the Author)
Figure 3.11. Vine scrolls from antiquity to Islamic Umayyad palace, Greco-Buddhist Gandhara India, and Hindu-Buddhist Java, Indonesia
Figure 3.12. The spread of Islam from the 13th to 16th centuries in Indonesia (Fox 1998, Revised drawing: the Author)
Figure 3.13. Mihrabs of 40 mosques in Java in alphabetical order (Drawing: the Author)
Figure 3.14. Arabesque in Javanese mosques (Drawing: the Author)
Figure 3.15. Geometry in Javanese mosques (Drawing: the Author)
Figure 3.16. Calligraphy in Javanese mosques (Drawing: the Author)
Figure 3.17. Chinese cloud-like flame (Drawing: the Author)
Figure 3.18. European flower (Drawing: the Author)
Chapter 4.
Figure 4.1. Examples of motifs in Javanese mosques shown to the interviewees
Figure 4.2. Examination of HBS, OIA, and CHI
Figure 4.3. 30 Motifs for Examination
Chapter 5.
Figure 5.0. The 48 tumpals
Figure 5.1. Continuity of tumpals between the pre-Islamic and Islamic periods (Drawing: Pepin Press 1998; Image: the Author)
Figure 5.2. Scaled value in tumpals
Figure 5.3. Straight/curved. Number(N). Mode(M)
Figure 5.4. Vertical/horizontal/diagonal of straight lines. Number(N). Mode(M)
Figure 5.5. Circular/spiral/undulating of curved lines. Number(N). Mode(M)
Figure 5.6. Broken/unbroken. Number(N). Mode(M)
Figure 5.7. Natural/geometric. Number(N). Mode(M)
Figure 5.8. Inner/outline. Number(N). Mode(M)
Figure 5.9. Short/long. Number(N). Mode(M)
Figure 5.10. Simple/complicated. Number(N). Mode(M)
Figure 5.11. Narrow/wide
Figure 5.12. Subordinate
Chapter 6.
Figure 6.0. The 45 kala-makaras
Figure 6.1. Emersion of kala-makaras in mosques (Vogler 1949)
Figure 6.2. Continuity of pre-Islamic kala-makaras in Javanese mosque ornamentation (Image: the Author)
Figure 6.3. Scaled value in kala-makaras
Figure 6.4. Natural/geometric. Number(N). Mode(M)
Figure 6.5. Circular/oval/triangular/square/rectangular of geometric shapes. Number(N). Mode(M)
Figure 6.6. Dynamic/static. Number(N). Mode(M)
Figure 6.7. Single/assorted. Number(N). Mode(M)
Figure 6.8. Illustrating/abstract. Number(N). Mode(M)
Figure 6.9. Smooth/complicated. Number(N). Mode(M)
Figure 6.10. Small /big. Number(N). Mode(M)
Figure 6.11. Original/coloured
Figure 6.12. Separate/united
Chapter 7.
Figure 7.0. 50 lotus buds
Figure 7.1. Continuity of pre-Islamic lotus buds in Javanese mosque ornamentation (Image: the Author)
Figure 7.2. Scaled value in lotus buds
Figure 7.3. Primary/non-primary. Number(N). Mode(M)
Figure 7.4. Cubic/conic/spherical/cylindrical/pyramidal of primary forms. Number(N). Mode(M)
Figure 7.5. Voluminous/slender. Number(N). Mode(M)
Figure 7.6. Open/closed. Number(N). Mode(M)
Figure 7.7. Realistic/stylized. Number(N). Mode(M)
re 7.8. Dynamic/static. Number(N). Mode(M)
Figure 7.9. 2-3 dimensional/3-dimensional. Number(N). Mode(M)
Figure 7.10. Light/dark
Figure 7.11. Small/big
Chapter 8.
Figure 8.0. 50 scrolls
Figure 8.1. Continuity of pre-Islamic scrolls in Javanese mosque ornamentation (Image: the Author)
Figure 8.2. Scaled value in scrolls
Figure 8.3. Regular/irregular. Number(N). Mode(M)
Figure 8.4. Vertical/horizontal/diagonal rhythms. Number(N). Mode(M)
Figure 8.5. Repetitive/non-repetitive. Number(N). Mode(M)
Figure 8.6. Harmonious/disharmonious. Number(N). Mode(M)
Figure 8.7. Single/multiple. Number(N). Mode(M)
Figure 8.8. Strong/weak. Number(N). Mode(M)
Figure 8.9. Continuous/discontinuous. Number(N). Mode(M)
Figure 8.10. Smooth/rough
Figure 8.11. Progressive/Non-progressive
Chapter 9.
Figure 9.1. Scaled values in tumpals
Figure 9.2. The four sacred motifs on secular objects (Image: the Author)
List of Tables
Chapter 1.
Table 1.2.3.1. A term \'rarely terminate\' (o+) is intrepreted as \'infinite\', and that of \'little remains of the vine\' (o++) as \'abstract\'.
Table 1.1. Development of the pre-Islamic and Islamic periods
Chapter 2.
Table 2.1. Development of the pre-Islamic and Islamic periods
Table 2.2. Four motifs, four indicators, and five variables
Chapter 5.
Table 5.0. Development of the pre-Islamic and Islamic periods
Table 5.1. Background to the 48 tumpals between the pre-Islamic and Islamic periods
Table 5.2. Number of straight/curved lines in the 48 tumpals between the pre-Islamic and Islamic periods
Table 5.2a. Modes and total numbers+: straight/curved lines in the 48 tumpals
Table 5.3. Number of vertical/horizontal/diagonal of straight lines in the 48 tumpals between the pre-Islamic and Islamic periods
Table 5.3a. Modes and total numbers+: vertical, horizontal, and diagonal of straight lines in the 48 tumpals
Table 5.4. Number of circular/spiral/undulating of curved lines in the 48 tumpals between the pre-Islamic and Islamic periods
Table 5.4a. Modes and total numbers+: circular, spiral, and undulating of curved lines in the 48 tumpals
Table 5.5. Number of five further characteristics of line in the 48 tumpals between the pre-Islamic and Islamic periods
Table 5.5a. Modes and total numbers+: broken/unbroken lines in the 48 tumpals
Table 5.5b. Total numbers of natural/geometrical lines in the 48 tumpals
Table 5.5c. Modes and total numbers+: inner/outline lines in the 48 tumpals
Table 5.5d. Modes and total numbers+: short/long lines in the 48 tumpals
Table 5.5e. Modes and total numbers+: simple and complicated lines in the 48 tumpals
Chapter 6.
Table 6.0. Development of the pre-Islamic and Islamic periods.
Table 6.1. Background to the 45 kala-makaras between the pre-Islamic and Islamic periods
Table 6.2. Number of natural/geometric shapes in the 45 kala-makaras between the pre-Islamic and Islamic periods
Table 6.2a. Modes and total numbers+: natural and geometric shapes in the 45 kala-makaras
Table 6.3. Number of circular/oval/triangular/square/rectangular of geometric shapes in the 34 kala-makaras within the Islamic period
Table 6.3a. Modes and total numbers+: circular/oval/triangular/square/rectangular of geometric shapes in the 34 kala-makaras
Table 6.4. Number of five further characteristics of shape in the 45 kala-makaras between the pre-Islamic and Islamic periods
Table 6.4a. Modes and total numbers+: dynamic/static shapes in the 45 kala-makaras
Table 6.4b. Modes and total numbers+: single/assorted shapes in the 45 kala-makaras
Table 6.4c. Modes and total numbers+: illustrating/abstract shapes in the 45 kala-makaras
Table 6.4d. Modes and total numbers+: smooth/complicated shapes in the 45 kala-makaras
Table 6.4e. Modes and total numbers+: small/big shapes in the 45 kala-makaras
Chapter 7.
Table 7.0. Development of the pre-Islamic and Islamic periods.
Table 7.1. Background to the 50 lotus buds between the pre-Islamic and Islamic periods
Table 7.2. Number of primary/non-primary forms in the 50 lotus buds between the pre-Islamic and Islamic periods
Table 7.2a. Modes and total numbers+: primary and non-primary forms in the 50 lotus buds
Table 7.3. Number of cubic/conic/spherical/cylindrical/pyramidal of primary forms in the 50 lotus buds between the pre-Islamic and Islamic periods
Table 7.3a. Modes and total numbers+: cubic/conic/spherical/cylindrical/pyramidal forms in the 50 lotus buds
Table 7.4. Number of five further characteristics of form in the 50 lotus buds between the pre-Islamic and Islamic periods
Table 7.4a. Modes and total numbers+: voluminous/slender forms in the 50 lotus buds
Table 7.4b. Modes and total numbers+: open/closed forms in the 50 lotus buds
Table 7.4c. Modes and total numbers+: realistic/stylized forms in the 50 lotus buds
Table 7.4d. Modes and total numbers+: dynamic/static forms in the 50 lotus buds
Table 7.4e. Modes and total numbers+: 2-3 dimensional/3-dimensional forms in the 50 lotus buds
Chapter 8.
Table 8.0. Development of the pre-Islamic and Islamic periods
Table 8.1. Background to the 50 scrolls between the pre-Islamic and Islamic periods
Table 8.2. Number of regular and irregular rhythms in the 50 scrolls between the pre-Islamic and Islamic periods
Table 8.2a. Modes and total numbers+: regular/irregular rhythms in the 50 scrolls
Table 8.3. Number of vertical/horizontal/diagonal of regular rhythms in the 50 scrolls between the pre-Islamic and Islamic periods
Table 8.3a. Modes and total numbers+: vertical/horizontal/diagonal of regular rhythms in the 50 scrolls
Table 8.4. Number of five further characteristics of rhythm in the 50 scrolls between the pre-Islamic and Islamic periods
Table 8.4a. Modes and total numbers+: repetitive/non-repetitive rhythms in the 50 scrolls
Table 8.4b. Modes and total numbers+: harmonious/disharmonious rhythms in the 50 scrolls
Table 8.4c. Modes and total numbers+: single/multiple rhythms in the 50 scrolls.
Table 8.4d. Modes and total numbers+: strong/weak rhythms in the 50 scrolls
Table 8.4e. Modes and total numbers+: continuous/discontinuous rhythms in the 50 scrolls
Chapter 9.
Table 9.0. Development of the pre-Islamic and Islamic periods
Abstract
Acknowledgement
Chapter 1.
Introduction and Background of the Research
1.1. Introduction
1.2. Background theories
1.2.1. Islamic Ornament
1.2.2. Ornament as Beautification and Symbolism
1.2.3. The Three Genres: Arabesque, Geometry, Calligraphy
1.2.4. Regionalism in Islamic Art and Architecture in Southeast Asia and Java, Indonesia
1.2.5. Pre-Islamic and Islamic Java
1.3. Gaps in knowledge
1.4. Research question and sub-questions
1.4.1. Principles of Research
1.4.2. Purpose of the Study
1.4.3. Research Questions
1.5. Structure of the thesis
Chapter 2.
Methodology
2.1. Introduction
2.2. Context – the three Islamic periods in Java
2.2.1. The Transitory Period (15C-1619)
2.2.2. The Dutch Colonization Era (1619-1945)
2.2.3. The Contemporary Period (1945-the Present)
2.3. Research questions
2.4. Data collection by triangulation
2.4.1. Literature Review
2.4.2. Empirical Work
2.4.3. Interviews
2.5. Choice of the representative selection
2.5.1. Experiments
2.5.2. Attempts: the Larger and Smaller Selections, and the Perception of Six Local Indonesians
2.6. Four indicators to answer the research questions
2.6.1. Line: Element of Design
2.6.2. Shape: Element of Design
2.6.3. Form: Element of Design
2.6.4. Rhythm: Principle of Design
2.7. Five variables: background (1), the basic type (2), five further characteristics (3), other elements (4), other principles (5) of design
2.7.1. Background (1)
2.7.2. The Basic Type (2) and Five Further Characteristics (3)
2.7.3. Other Elements of Design (4): Space, Colour, Value, and Texture
2.7.4. Other Principles of Design (5): Emphasis, Unity-Variety, Size, and Proportion
2.8. Overall view of analyzing the four motifs
2.10. Summary
2.9. Limitations of the study
Chapter 3.
Pre-Islamic and Islamic Java
3.1. Hindu-Buddhist Java (8-15C)
3.2. Java, Indonesia
3.3. The process of Hinduization
3.4. A fusion of Animism, Hinduism, and Buddhism
3.5. Candis (temples): a replica of the Cosmos Mountain, Meru
3.5.1. Candis
3.5.2. Borobodur (8C) of Central Java and Panataran (1197-1454) of East Java
3.5.3. The Two Cultures of Central (760-930) and East (930-1500) Java
3.6. Four motifs in Javanese temple ornamentation
3.6.1. Temple Ornamentation
3.6.2. The Prehistoric Tumpal
3.6.3. The Hindu-Buddhist Kala-Makara
3.6.4. The Hindu-Buddhist Lotus Bud
3.6.5. The Hindu-Buddhist Scroll
3.7. Summary
3.8. Islamic Java (15c-the present)
3.9. Syncretic Islam in Javanese mosques
3.9.1. Agami Jawi (Javanese Religion) and Agami Islam Santri (Islam of the Religious People)
3.9.2. The Arrival and Spread of Islam in Java
3.9.3. Origins of Javanese Mosques
3.9.4. Characteristic Javanese Mosques
3.9.5. The Sacred Mihrab
3.10. Javanese mosque ornamentation
3.10.1. Remnants of Pre-Islamic Ornaments
3.10.2. Orthodox Islamic Ornaments by the Local Genius
3.10.3. Chinese and European Influences
3. 11. Summary
Chapter 4.
Identification of Motifs in Javanese Mosques
4.1. Introduction
4.2. Interviews
4.3. Interviews with Indonesians on identifying ornament
4.3.1. Background
4.3.2. Rules of Hindu-Buddhist Ornament
4.3.3. Identifying Origins of Motifs in Javanese Mosques as Hindu-Buddhist or Islamic or Both
4.3.4. Continuity of Javanese Culture in Mosque Ornamentation
4.3.5. Hindu-Buddhist and Islamic Principles of Ornament
4.3.6. Ornaments on Renovated Mosques
4.3.7. Applying Theories to Selected Motifs in Javanese Mosques
4.4. Summary
Chapter 5.
The Continuity of Pre-Islamic Tumpals in Javanese Mosque Ornamentation
5.1. Introduction
5.2. Prehistoric tumpals in Javanese temples and mosques
5.3. Background
5.3.1. Tumpals between the Pre-Islamic and Islamic Periods
5.3.2. Tumpals within the Islamic Period
5.3.3. Conclusion
5.4. Analyzed by the basic type of line and its subdivisions
5.4.1. Straight/Curved Lines
5.4.2. Vertical/Horizontal/Diagonal of Straight Lines
5.4.3. Circular/Spiral/Undulating of Curved Lines
5.4.4. Conclusion
5.5. Comparing five further characteristics of line
5.5.1. Conclusion
5.6. Examined by space: other elements of design
5.7. Observing emphasis: principles of design
5.8. On Mihrabs
5.9. Summary
Chapter 6.
The Continuity of Pre-Islamic kala-makaras in Javanese Mosque Ornamentation
6.1. Introduction
6.2. Hindu-Buddhist kala-makaras in Javanese temples and mosques
6.3. Background
6.3.1. Kala-makaras between the Pre-Islamic and Islamic Periods
6.3.2. Kala-makaras within the Islamic Period
6.3.3. Conclusion
6.4. Analyzed by basic type of shape and its subdivisions
6.4.1. Natural/Geometric Shapes
6.4.2. Circular/Oval/Triangular/Square/Rectangular of Geometric Shapes
6.5. Comparing five further characteristics of shape
6.5.1. Conclusion
6.6. Examined by colour: other elements of design
6.7. Observing unity-variety: principles of design
6.8. On Mihrabs
6.9. Summary
Chapter 7.
The Continuity of Pre-Islamic Lotus Buds in Javanese Mosque Ornamentation
7.1. Introduction
7.2. Hindu-Buddhist lotus buds in Javanese temples and mosques
7.3. Background
7.3.1. Lotus Buds between the Pre-Islamic and Islamic Periods
7.3.2. Lotus Buds within the Islamic Period
7.3.3. Conclusion
7.4. Analyzed by the basic type of form and its subdivisions
7.4.1. Primary and Non-primary Forms
7.4.2. Cubic/Conic/Spherical/Cylindrical/Pyramidal of Primary Forms
7.4.3. Conclusion
7.5 Comparing five further characteristics of form
7.5.1. Conclusion
7.6. Examined by value: other elements of design
7.7. Observing size: principles of design
7.8. On Mihrabs
7.9. Summary
Chapter 8.
The Continuity of Pre-Islamic Scrolls in Javanese Mosque Ornamentation
8.1. Introduction
8.2. Hindu-Buddhist scrolls in Javanese temples and mosques
8.3. Background
8.3.1. Scrolls between the Pre-Islamic and Islamic Periods
8.3.2. Scrolls within the Islamic Period
8.4. Analyzed by the basic type of rhythm and its subdivisions
8.4.1. Regular/Irregular Rhythms
8.4.2. Vertical/Horizontal/Diagonal of Regular Rhythms
8.4.3. Conclusion
8.5. Comparing five further characteristics of rhythm
8.5.1. Conclusion
8.6. Examined by texture: other elements of design
8.7. Observing proportion: other principles of design
8.8. On Mihrabs
8.9. Summary
Chapter 9.
Summary and Conclusion
9.1. Introduction
9.2. Preparing findings
9.2.1. A Conceptual Frame: Awakening from Cultural Heritage
9.2.2. Regionalism in Islamic Religion and Ornaments during the Three Islamic Periods
9.2.3. Emerging into a New World: Methodological Challenges
9.2.4. Theoretical Achievements: When Islamic Aesthetic Beauties Encounter Hindu-Buddhist Symbolic Connotations
9.2.5. A Short Diversion: In the Midst of Climbing with Sisyphus
9.3. The reincarnation of pre-Islamic motifs in mosques
9.3.1. SUB-QUESTION 1: Transcendence of Prehistoric Tumpals
9.3.2. SUB-QUESTION 2: Metamorphosis in Hindu-Buddhist Kala-Makaras
9.3.3. SUB-QUESTION 3: Lotus Buds in Javanese Imagination
9.3.4. SUB-QUESTION 4: Harmony between Symbolic Scrolls and Aesthetic Arabesques
9.4. The four motifs in relation to each other: diversity of expression in unity of concepts
9.4.1. Background
9.4.2. Lines, Shapes, Forms, and Rhythms
9.4.3. Other Elements and Principles of Design
9.4.4. Decoration of Mihrabs
9.4.5. All Islamic Motifs and Those on Mihrabs
9.4.6. Application of the Four Sacred Motifs in Secular Contexts
9.5. Evaluation and importance of the findings
Evaluation 1: Continuity
Evaluation 2: Influence
Evaluation 3: Supposition
9.6. Contribution of knowledge and further research
My 15 Years’ Endeavouring
List of Appendices
2003
2004
2005-6
2004
Archaeologists:
(Hasan Muarif Ambary: abbreviated as ‘MA’)
(Santiko Hariani; SH)
(Uka Tjandrasasmita: UT)
(Edi Sedyawati: ES)
Architects:
(Achmad Fanani: AF)
(Achmad Noe’man: AN)
(Josef Prijotomo: JP)
Artists:
(A.D. Pirous: ADP)
(Abay Subarna: AS)
Overall View and Syncretic/Orthodox Islamic Ornaments in the 30 Javanese Mosques
The transitory period (15C-1619)
The Dutch colonization era (1619-1945)
The contemporary period (1945-to the present day)
Appendix 1
Appendix 2