Hay Friends Of Bitter, Bitter Coffee Park this Time will invite you in the stile of the chat coffe shops on:

Nabi Ibrahim

The legend of the prophet Ibrahim, tells about his departure for the Mecca to follow his second wife Dyah Dadarmanik and ended with Ibrahim meeting the angel Jabarail who avenged the former’s expulsion by the unbelievers of Kopar by turning the world upside down and causing their destruction.

Nabi Musa kaliyan Nabi Brahim

A history of the prophets Musa and Ibrahim, tells about a genealogy from the prophet Jakuntil the prophet Musa, continued with Jaka Pirangon’s arrival in the Bulki country from Ngerum to become a farmer, and ended with the prophet Istikla (Istiqal) being killed by the unbelievers of Mesir (Egypt).

Nagara Mirasa

A book on character-building in the story of a lazy king, tells about Prabu Kesed feeling discontent at his wonderful new palace without officials or food for him, and ended with Harya Wekel and Prabu Kesed marrying the daughters of Prabu Sendok, respectively Dewi Mlathi and Dewi Menur.

Names Keris

A writing on keris names and owners, tells about the keris made by the dewa and the first Javanese kings and their keris-makers (empu) from Maharaja Dewa Budha of Purwacarita and Empu Ramadi, ended with the keris made by Empu Sura on the order of Sunan Bonang of Demak in 1696.

Ngayodyakandha

A lakon in wayang story concerning events at Ngayodya, tells about the meeting between Sumantri and king Guha from Prayasa, and ended with the departure of king Barata to Nandigrama to wait the arrival of Regawa (Rama), to whom he returned his sandals and the kingdom of Ngayodya as payment for his part in Rama’s banishment, and the retired to become an ascetic at Nandigrama.

Ngelmi Pangrucat

A mystical writing on the absolute truth, life perfection, the inner feelings, desire, the human body, meditation, the human organs, endeavour and how to bring a wish to fulfilment.

Ngrenaswara

A part from Panji epic, tells about the meeting between Kalana Jayengsari and the Princess of Nungsakencana; ended with Panji’s coronation as King of Jenggala kingdom with the title Prau Suryawisesa.

Nitisastra Kawi

Nitisastra Kawi, a kawi-modern Javanese glossary analyzing Kawi sentences. Hastakoswala, a work on the Baratayuda war as supposedly interpreted by Prabu Jayabaya, tells about the meeting at Wiratha between the Pandhawa, Kresna, and other kingly allies resolving to send Kresna to Ngastina to demand the Pandhawa’s rightfull heritage, ended with the coronation of Yudhistira as king of Ngastina, witnessed by Baladewa and Kresna, and the return of the kings of Wiratha and Cempala to their countries. With an appended account of Prabu Jayabaya as the last human incarnation of Wisnu, until his visit to the ascetic Subrata at gunung Padhang.

Nitik Kaprajan

Writing on the periods of development of Java since earliest times, names of Javanese kings, prime ministers (Patih), holy men (brahmana), persecutors (jaksa) and authors (pujangga), from the governance of Prabu Dewatacengkar of Medhang Kamulan to the governance of Paku Buwana IX. The names of the Dutch resident and asisstant resident in Surakarta and the duties of court officials are also mentioned. There also a writing on Javanese kingdoms and events, tells about the first settlement in Java, continued with the migration of the Ngerum people to Java, and ended with a description of the governance of Paku Buwana IX, his marriage to the daughter of Prince Hadiwijaya, her appointment as Kanjeng Ratu Pakubuwana and her bearing of Gusti Sayidin Malikul Husna.

Nitik Sultan Agung

A collection of mythic, pseudo-historical tales on the governance of Sultan Agung, tells about his lessons on statecraft and his love affair with Dewi Suwindi (Kanjeng Ratu Kidul), the daughter of Prabu Banjaransari of Pajajaran, and ended with the birth of Prince Puger to R.A. Palabuhan who died in childbirth and was buried to the west of the mosque in Plered. Also contain a classic book of Sultan Agung, tells about a list of the intimate family of Panembahan Senapati of Mataram, continued with the teachings of Panembahan Senapati to Sultan Agung about Islam and how to be a good ruler, and Kalijaga’s teachings to him on agriculture and ended with an account of the marriage of Sultan Agung with Kanjeng Ratu Kidul.

Nitisuri Jatiswara

A history of the adventures of Kudapanulih, the son in law of Brawijaya of Majapahit, tells about a genecology from King Dumafi of Cempa to his great-grandsons, Jatiswara and ki Sejati, and ended with Jatiswara being crowned as Prabu Satmaka of Cempa.

Nusa Penida

Nusa Penida was once the Siberian of Bali, a panitentiary ‘demon’ isle of banishment for criminals ad undersirable subjects from the kingdom of Klungkung. This strait roughly marks the division between Asia and Oceania. As the Balinese say ‘Here the tigers end.’ Such a contrast to Bali. Nusa Penida is a dry hostile land where arid hills, big cacti, low trees, patches of green, small flowers, thorny bush, no surface water, and a few marsupilas live, or rather, survive. white cockatoos swarm in the trees. There are no rice lands and the people live on corn and cassava. The mountain folks are even worse off than the coastal villagers, who can eat at least a fish. The majority of the people don’t even speak of understand Indonesian, and many beg constantly wherever they see a white person.

Oncen-oncen
A children’s reading book intended to educte pupils in the use of high (krama) and low (ngoko) Javanese, a children’s reading book, including sevral moralistic didactic stories, children’s reding book, including short stories on morals and character-building, love relation between husband and wife, etc.

Ondhe
Extracts from Wulang Reh Sarta Ondhe, Sirtumaya and Antawecana. Wulang Reh sarta Ondhe, lessons on statecraft, moral education and how to serve the king, continued with an extract from the Wicara Keras on how to educate children in an unauthoritarian manner. Sirtumaya, a lakon in wayang story on the marriage proposal of Prabu Sirtumaya of Toko Rukma to Leksmanawati, the daughter of Prabu Suyudana, while Nakula abducted the former’s younger sister. Antawecana, writing on memorable events, tells about the earthquake in 1867, continued with a conversation between a father and son about the Javanese kings from Sultan Demak in 1481 to the circumcision of the Yogyakarta crown prince 1884.

☆☆☆☆☆

Baca Tags Terkait:

Hay Friends Of Bitter, Bitter Coffee Park this Time will invite you in the stile of the chat coffe shops on:

Puro Pakualaman is the most recent of the four Central Java kratons. Like the Mangkunegaran sub-region in Solo which was established by a junior line of the Paku Buwono dynasty, the Pakualaman is a separate principality within the territory of Yogyakarta, independent yet acknowledging the seniority of the principal kraton of Yogyakarta Hadiningrat.

The British colonial authorities had a major hand in the events which led up to the establishment of Puro Pakulaman. The brief period of British rule in the East Indies (1811-1815) occurred at a time when resistance to the colonial presence was fomenting in the courts of both Yogyakarta and Surakarta. Hoping to weaken the power of the Kraton Yogyakarta, the British Governor, Thomas Stanford Raffles, capitalised on a succession struggle between Hamengku Buwono II, a leader of the anti-colonial movement, and his son, Hamengku Buwono III. Raffles attacked the Kraton Yogyakarta, ousted Hamengku Buwono II and reinstated Hamengku Buwono III, with the aid of the Sultans uncle, Prince Noto Kusumo. In return for Prince Noto Kusumos help and to lessen the dominance of the Hamengku Buwono court, in 1813 Raffles created a subsidiary principality in Yogyakarta and installed Prince Noto Kusumo as its ruler, under the title Sri Paduka Paku Alam I.

Paku Alam I established his court a short way to the east of the Kraton Yogyakarta. Like the Puro Mangkunegaran in Solo, Puro Pakualaman faces south in symbolic obeisance to the principal kraton. Like the other three palaces, it takes the form of a compound sur¬rounded by a high, thick wall. In addition to the kraton site and landholdings, Paku Alam I was given a monthly stipend in order to establish and maintain a military guard, under the auspices of the British. The soldiers drilling ground, the alun alun, is situated outside the main kraton wall and is open to the street. It is used as a public playing field and marketplace; the bustling activity outside the kraton creates a striking contrast to the hushed serenity within.

Before his accession as an inde¬pendent ruler, Paku Alam I had been a driving force in the artistic life of the Kraton Yogyakarta. He studied litera¬ture and the arts under Hamengku Buwono I and is acknowledged as one of the founding fathers of the Yogya¬karta style in kraton culture. He was also an expert in politics and law. When he established his own court, Paku Alam I initiated a new phase of cultural development, personally instructing the princes and princesses in science and state administration, while bringing in other teachers of religion and literature. Paku Alam Is interest in and patronage of culture, education and the arts laid the basis for the subsequent develop¬ment of the Pakualaman style in court ceremony and the performing arts, particularly dance.

Puro Pakualaman is currently occupied by the elderly Paku Alam VIII, present Governor of Yogyakarta. The kraton is divided into three parts, arranged one behind the other. Only the first divi-sion, consisting of the main Pendopo, called Bangsal Sewotomo, the exterior garden and the administration wings, are open to the public. To the right of the Pendopo is a quaint, gabled pavilion decorated with intricate wooden lattice¬work in the style of a European summer house, set in its own ornamental garden. Located in the former carriage house just inside the main gate of the kraton is a small museum including military uniforms, dance costumes, wayang puppets, gamelans and portraits of the earlier Paku Alam rulers. In a separate room are the royal carriages, including a particularly fine example, recently restored, which was presented to Paku Alam I in 1814 by Sir Thomas Stamford Raflles.

According to Bratadiningrat (1990), genealogy of Paku Alam I : B.R.M. Sujadi, punika putra dalem Hingkang Sinuhun Kanjeng Sultan I ing Ngayogyakarta. Mios from garwa ampeyan R.Ay. Srenggoro. Lajeng kajumenengaken KGPAA Paku alam I. Ing dinten Rebo Legi 14 Mulud Ehe 1740. Mangsa Kasanga Wuku Mandhasia Windu Adi, utawi 17 Maret 1813. Wiosandalem: Rebo Wage malem Kemis Kliwon. 18 Puasa Jimakir 1689 Mangsa Kasanga Wuku Mandhasia Windu Sangara utawi 21 Maret 1764. Mios wonten Kraton Ngayogyakarta.

Surud dalem : 

Saptu Paing 11 Jumadilakir Jimawal 1757 Mangsa Kanem Wuku Marakeh Windu Sangara utawi 19 Desember 1829. 

Sumare wonten Astana Agung Kota Gedhe. Garwa Padmi, putri Adipati Magetan R. Adipati Purwaningrat. Putra-putri sadaya:

1. KGPAA Paku Alam II

2. K.P.H. Notokusumo II

3. B.R.Ay. Kartowinoto

4. B.R.Ay. Jayeng Kusumo

5. B.R.Ay. Juminah

6. B.R.Ay. Notoprono

7. B.R.Ay. Sosrokusumo

8. B.R.Ay. Jayangirawan

9. K.P.H. Suryaningprang I

10. K.P.H. Suryengjurit

11. K.P.H. Suryomiseno

☆☆☆☆☆

Baca Tags Terkait:

Hay Friends Of Bitter, Bitter Coffee Park this Time will invite you in the stile of the chat coffe shops on:

Pakem Balungan Lampahan ringgit Purwa

Brief descriptions of 36 wayang lakon: Respati, Bambang Radite, Watugunung, Angruna-angruni, Resi Nagatalmala, Sri Sadana, Bremana-bremani, Bambang Parikenan, Lahiripun Bambang Sakri, Lahiripun Palasara, Bambang Palasara Rabi, Dewabrata, Lahiripun Pandhu, Narasoma, Basudewa Rabi, Prabu Garawangsa, Bima Bungkus, Bambang Sucitra, Mikradipun Pandhu, Bambang Kumbayana, Bale Sigala-gala, Jagal Abilawa, Pandhawa Babad, Kangsa Adu-adu, Semar Ambarang Jantur, Palasara Rabi, Kresna Maling, Suyudana Rabi, Sayembara Gandamana, Sayembara Setyaki, Kresna Kembang, Supala Supali, Parta Krama, Pandhawa Dulit, Peksi Dewata.

Pakem Antara

Collections of wayang gedhog lakon: Jakapramana, Jayalengkara Krama, Lembu Subrata Krama, Kala Surya Muksa, Lembu Subrata Sumawita, Sri Getayu, Tejalengkara Muksa, Alapan Ragil Pregiwangsa, Jayengraga ing Jenggala, Bedhol Tunggulwulung, Alapan Tejaswara, Lahiripun Panji Kasatriyan, Panji Cangkrama, Kuda Rerangin, Alapan Dyah Angreni, Ngreni Lena (Alapan Andayaprana), Alapan Citrasari, Alapan Candrakirana, Candrakirana Carem, Brajanata Duta, Ngrenaswara Nungsakancana, Panji Tiron (Kembar), Panji Jumeneng Nata, Bedhah Ternite.

Pakem Lampahan Abiyasa

A lakon in wayang story tells about Prabu Sentanu granting the throne of Ngastina to Asthabrata despite Batara Guru’s command to grant it to Abiyasa, and ended with Batara Guru giving Abiyasa the tirta Kama (water of fertility) to enable him to beget descendants who would rule as the kings of Java.

Pakem Lampahan Makutarama

The guide for the wayang kulit lakon Makutharama tells about Drona informing Suyudana about the Wahyu Kraton Makutharama (divine enlightenment) with would fall to earth, and ended with Janaka succeeding in receiving it at Mount Swelagiri with Bagawan Kesawasidi as the mediator.

Pakem Padhalangan Wayang Purwa

Descriptions of wayang lakon: Alap-alapan Gandawati, Bima Bungkus, Pandhu Papa, Bale Sigala-gala, Jagal Abilawa, Babad Wanamarta, Sayembara Gandamana, Hambaralaya, Kurupati Rabi, Kridha Kresna, Alap-alapan Dursilawati, Alap-alapan Rukmini, Alap-alapan Setyaboma, Jumenengan Wijakangka, Gorawangsa (Wisnu Nitis), Lahiripun Kangsa, Lahiripun Setyaki, Kangsa Adu-adu, Wrediningsih, Alap-alapan Surtikanti.

Pakem Ringgit Madya

The guide for wayang gedhog lakon, as follows: Pelem Lalijiwa, Pelem Ciptarasa, Narayana Wadya (Wibahni Aji Jayabaya), Kijang Nirmala, Tribagna, Sara Harcuna, Lintang Kaharaton, Narpa Swala, Hajidarma, Mayangkara, Dhandhang Sangara (Tritawidada), Narasignmurti, Singawulung (Singakombang), Merusupadma, Kitiran Mancawarni, Sori Baskara (Wasi Lembu Tumengen), Madrim Sinaraya, Menda Suraya, Madrim Pupulih, Sekar Tanjung Tuwuh ing Sela, Madrim Puhara, Wanindrajala, Sri Gendrayana Murca, Sudarsana Sraya, Yaksa Ngumara, Sudarsana Pidana, Babad Mamenang, Sri Jayabaya Lahir, Kijing Nirmala, Saraharcana, Narpati Brata, Narpaswala, Ajidarma, Mahyangkara, Dhandhang Sangara, Narasingamurti, Anglingdarma, Sima Kombang, Sori Basmara, Kidang Wilis, Putra Nirmala, Andha Kancana, Kumbayaraga, Kedhap Wisesa, Senaraja Wiwaha, Wasi Indrajala, Kadhali Seta, Kapi Kaladesa, Paksi Jiwayagsa, Masturi Murca, Satya Ubaya, Tri upaya, Anglingdarma Muksana, Endhang Daruki, Cakranggana-Cakranggani, Manik Astagina, Sundaka Jantur, Sri Mangkaradewa Muksa, Soma Niskala, Kitiran Wilis, Dwi Raja Mugsana, Pancadriya Yagnya Grogol, Sata Rukmi, Sayembara Kirni, Cupu Mayaretna, Jayantara Minangkarti, Kirni Kawisaya, Dewa Sidyana, Duta Raja Nrawasa, Catur Raja Duta, Pala Wisaya, Jaka Pangalasan, Sekar Wijayakusuma, Sendang Gandamana, Sabda Pradana, Tumbal Pragalba Seta, Raden Dewandaru Murca, Bagawan Sri Pamasa Muksa, Esthi Herbangi, Citrawati Musna, Kestupati, Jaka Pupon Antuk Lara Temon, Tirta Pidana, Trimulya Jati, Martya Kanwa, Mantra Nirmala, Cundhamani, Soma Niskala, Sri Mangkaradewa Muksa, Sri Kabasmaran, and Marti Kilaya.

Pakem purwa 10 Lampahan

The 10 wayang lakon: Peksi Dewata,Jaka Pathokol, Sembadra Larung, Manobawa, Semar Jantur, Jaladara Rabi, Kresna Kebang, Endhang Werdiningsih, Rama Parasu, Naga Dewati.

Pakem Purwa

The guide for the following wayang lakon: Sri Mahapunggung, Bremana-Bremani, Kanumayasa, Palasara,Wahmuka Arimuka, Narasoma, Bima Bungkus, Pandhu Papa, Obong-obongan Bale Sigala-gala, Jagal Abilawa, Arimba, Kangsa, Semar Jantur, Jaladara Rabi, Alap-alapan Surtikanthi, Alap-alapan Banowati, Alap-alapan Dersilawati, Pendhawa Dulit, Kumbayana, Pejahe Gandamana, Kresna Kembang, Alap-alapan Secaboma, Taman Maherakaca.

There’s also descriptions following wayang lakon: Lahiripun Pandhu. The birth of Kuru (Dhestarata) to dewi Ambika and the birth of the twins, Pandhu and Yamawidura, to dewi Ambalika who could be separated only after offerings had been made to the gods. Brahmana Resi Jala Lagni Dhaup Angsal Dewi Ambalini. The marriage the ascetic Jala Lagni and Ambalini. Naga Srinata. The birth of Harya Srinata as Naga from the placenta of dewi Srini, and his appointment as official of king Kresna Dipayana. Pandhu Dewanata acts as the champion of king Dasabahu from Sriwedari against Pagering at Singgela. Alap-alapan Dewi Mahendra. The marriage of king Basudewa and Dewi Mahendra after the former had defeated Endrasena, the son of king Endradarma from Griwadipura, in a contest for the hand of Dewi Mahendra. Sayembara Kunthi. The pregnancy of Dewi Kunti and her giving birth with the help of Druwasa and Narasoma, ended with the battle between Narasoma and Pandhu for Dewi Kunthi, won by Pandhu. Ugrasena Krama. The marriage of Ugrasena to a nymph after his meditation at Mount Danarata. Pandhu Grogol. The punishment of Pandhu for building a palace resembling that the dewa and having shot two human beings who were in reality Brahmana Kandha and Rara Dremi. Drupada Krama. Bambang Sucitra from Pancala comes to Java to serve King Dewanata (Pandhu) of Ngastina and becomes an official with the name Drupada, and the marries the daughter of king Gandabahu, Dewi Gandawati from Cempalaradya. Kangsa Lahir. Sri Harya Wisnu, Leksmana and Baruki are ordered to descend to earth to the Mandura kingdom. Wisnu is incarnated as Narayana, while Lesmana and Baruki are incarnated as Kakrasana. Bima Bungkus. The journey of Bambang Kumbayana, the son of the ascetic Baratwaja, to Java and his intercourse with a mare, which gave birth to Bambang Aswatama, ended with Kunthi (Pandhu’s wife) giving birth to Bima. Sendhal Mayang Pandhu. Pandhu became ill because he built a flower garden resembling that of the dewa, and he and Dewi Madrim were drawn up into the kingdom of the dewa.

Other Pakem Purwa also including the 11 wayang lakons: Kandhanagara. The governance of Samba as Prabu Wisnubrata, caretaker king of Dwarawati for king Kresna, until Kresna’s reviving Siti Sendari, who had been put to death on the order of Prabu Matswapati. Samba Ngengleng. Tells about King Kresna being informed that Prabu Boma Nara Kaswara was not loved by his wife Dewi Haknyanawati, until Samba, the younger brother of Boma, Nara Kuswara, falling in love with his sister-in-law. Boma Suruhan. The disappearance of Samba, continued with the arrival of Mahudara, the envoy of King Boma Nara Kuswara, to ask Kresna whether his younger brother Samba would come to Trajutresna to marry Dewi Haknyanawati. Panca Basmara. A great fire arises in Ngamarta and caused the Pandhawa brother’s disappearance. The lakon ends with Narada marrying Dewi Sukmananda (later known as Dewi Dresawati) to Arjuna. Bawa Wiluta. The plan of king Suyudana from Ngastina to increase his allies in the coming Baratayuda war by demanding their loyalty to Ngastina, because he knew that many countries would support the Pandhawa brothers. Gandadewa (Gandawerdaya). The adoption of Gandawardaya (Gandadewa) by king Suyudana of Ngastina, up ti Gandawardaya’s meeting with Arjuna during his fight in Sriwedari, part of the Mahespati domain, and his departure for Ngamarta. Karna Lelana. Tells about the arrival of Arjuna, Sena and Gandawardaya at the Ngamarta Kingdom, and ended with the march of Prabu Karna to conquer other fogovernance countries such as Smarakandha and Kincakarupa to obtain more followers for Ngastina in the coming Baratayuda war. Patuting Sata Kurawa. Tells about the arrival of Sengkuni in Ngastina and his report of the defeat at Sriwedari, ended with the return of Kresna and Sri Drupada while the Pandhawa escorted Abiyasa back to Saptaarga. Semar Muksa. Tells about the court meeting at Ngastina, attended by Suyudana, Salya, Bisma, Sengkuni and Drona, which discussed the preceding meeting with the Pandhawa and redolved to attack the Pandhawa on their return to Ngamarta. Ended with his army and the Pandhawa brothers to Cempalaradya for a rest. Kresna Tapa Nendra. Tells about the spy report of Dawala to Prabu Baladewa about the alliance of Drupada and Ngamarta, and ended with Narada being sent to earth to start a contest to waken the Sleeping Prabu Kresna. Kresna Wungu Nendra. Tells about the arrival of Sengkuni from Dwarawati and his report to Suyudana, that he had quarreled with Setyaki and Abimanyu, and ended with the advice of Kresna to the Pandhawa about the coming war, and his order to Prabu Wirabatana to return to Wiratha.

Pakem Ringgit Purwa

A pakem of the 43 following wayang lakon:Angruna-angruni, Mikukuhan, Begawan Respati, Watugunung, Wisnupati, Prabu Namintaya, Nagatatmala, Sri Sadana, Parikenan, Bambang Sakutrem, Bambang Sakri, Bagawan Palasara, Wahmuka Arimuka, Kilatbuwana, Narasoma, Basudewa Rabi, Gandamana Sakit, Rabinipun Harya Prabu Kaliyan Ugrasena, Basudewa Grogol, Bima Bungkus, Rabinipun Ramawidura, Lisah Tala, Bambang Kumbayana, Obong-obongan Pasanggrahan Balesegala, Jagal Bilawa, Babad Wanamarta, Kangsa Pragat, Semar Jantur, Jaladara Rabi, Alap-alapan Surtikanti, Clakutana, Suyudana Rabi, Jayadrata Rabi, Pandhawa Dulit, Gandamana, Kresna Sekar, Alap-alapam Secaboma, Kuntul Wilanten, Pertakrama, Gathutkaca Lair, Setija, Bangun Taman Maerakaca, and Wader Bang.

Pakem Balungan Ringgit Gedhog

Collections of wayang gedhog lakon: Jagal Welakas, Jaka Sumilir, Jatipitutur, Jayasupena, Retna Lengen, Priyambada,Wisnu Balik, Jaka Sidik, Jaka Semawung, Rabinipun Raden Gunungsari, Paniba, Paksi Atam Ijem, Tatasan, Kirana Wayuh, Wulan Tumanggul, Bedhahipun Bali, Kudanarawangsa, Gajah Barong Mata Sanga, Suryamisesa, Lintang Sekti, Jaka Ketanuwan, Panji Grogol Kidang Kencana, Jaka Purnamasidi, Turangga Kusuma, Nungsakencana, Panji Blongsong, Jaka Panjaring, Handaka Wulung, Sarahwulan, Panji Kirana Wulung, Lintang Trenggana Gedhog, Naga Banda, Resi Kirana, Sinjanglaga Rabi, Kilapawarna Ngreni, Rara Wulan, Jaka Sumarna, Pandhansurat and Sreginipura.

Pakem Ringgit Purwa Warna-warni

A pakem of the 42 wayang lakon: Sembadra Edan, Sembadra Larung, Arjuna Besus,Sukma Ngembaraning Sembadra, Peksi Gadarata, Wrekudara Dados Gajah, Cekel Endralaya, Manonbawa, Surga Bandhang, Bangbang Kembar, Bangbang Danusmara, Palgunadi, Bimasuci, Loncongan, Yuyutsuh, Samba Rajah, Wrekudara dipun Lamar, Sunggen Wilmuka, Lobaningrat, Anggamaya, Brajadenta Balik, Tapel Sewu, Dewakusuma, Wader abring, Cekel Udaratih, Sunggen Gathutkaca Sugata, Tuguwasesa, Lambangkara, Semar Minta Bagus, Retna Sengaja, Prabu Pathokol, Jayamurcita, Karna Wiguna, Bangbang Supena, Pandhawa Gupak, Gugahan Kresna, Srikandhi Maguru Manah, Kresna Malang Dewa, Bangbang Sinom Prajangga, Murca Lalana, Pandha Widada.

Pakem Ringgit Wacucal

Pakem of the following 11 wayang lakon: Kresna Kembang, Sayembara Setyaki, Erangbaya, Kresna Gugah, Prabu Kalithi, Wilugangga, Waosan Panitibaya, Lampahipun Para Dewa, Karagajawa, Asmaradahana, Sudhamala.

Pakem Palasara Lelana

Classic book contains the collections of the following 10 wayang lakon: Palasala Lelana. Sri Basupati from Wiratha builds a bale krama (ceremonial hall), and Bambang Palasara takes part in the contest at Kincakapura and receives the service of the giant Supala, Palasara Krama. The meditation of Bambang Palasara at Pare wana which lasted until a small humming bird (emprit) had made a nest on his head. Ended with his marriage to Dewi Durgandhini. Abiyasa Lahir. The marriage of Plasara to Dewi Durgandhini until the birth of their twin sons, Raden Kresna (also known as Abiyasa) and Raden Satatama. Palasara Madeg Ratu Binatara. The crowning of Resi Palasara as Emperor of Ngastina and the births of his children, Dewi Rekatawati, to Dewi Kekayi and Raden Sancaka, Rupakinca and Raden Mala to Dewi Tari. Pamasa Ruri. The war between Siwandapura, ruled by Prabu Balika and Kincakapura, ended with the death of Prabu Balika. Yaksendra Gajahsura, Raksasa Sirah Dipangga. Tells about Raden Satatama, the son of Sri Palasara, being killed in battle against the giant Prabu Gajahsura, continued with the killing of Gajahsura by Palasara. Palasara Muksa. Tells about Palasara wandering at night through his country receiving the magic weapon Manikpramana from Bathara Guru, which he later gave to his son Raden Kresna, ended with Palasara’s dissapearance. Prabu Basupati Muksa. Tells about the marriage proposal of Sri Basupati to Dewi Watari, who drowned herself in a pool, which was later named Sendang Srinata. Sri Basupati, unable to contain his sorrow, disappeared. Wahmuka Arimuka. The contest at Giyantipura, where Raden Dewabrata defeated the giants, Wahmuka and Harimuka. Resi Abiyasa Madeg Nata. Tells about the murder of Sri Citrawirya from Ngastina and ended with the crowning of Resi Abiyasa as king of Ngastina, succeeding his younger brother Sri Citrawirya.

Pakem Parikesit

The guide for the following wayang lakon: Parikenan. Tells about a description of Sri Parikenan of Gilingwesi, and ended with his killing by Sri Kala of Purwacarita, leaving behind a son named Kamyasa. Manumayasa. Tells about Prabu Basumurti of Wiratha sending his younger brother Raden Basukesthi to call Resi Manumayasa as Saptaarga, and ended with the latter’s arrival in Wiratha to be accused of being a rebel. Manumayasa Krama. Tells about Manumayasa eating the fruit Sumarwana by his marriage to Dewi Kanastri, and ended with the giant Satru Tapa renaming Dewi Sumarwana Dewi Kanastri. Bambang Sakutrem Rabi. Tells about Bambang Sakutrem marrying Dewi Nilawati, and ended with his wife being named Ewi Pujawati (Jamurdipa). Lahirira Bambang Sakri. Tells about Prabu Basukesthi of Wiratha building a restplace, and ended with the marriage of his younger sister Dewi Dwarawati to Empu Purbanggeni at the same time as the birth of Bambang Sakri to Dewi Pujawati (Sakutrem’s wife). Maherakaca. Tells about Wasi Kisthira marrying Dewi Anggastuti, and ended with Prabu Basukesthi marrying off his daughter Dewi Basudari to Prabu Sarama of Malawa. Putri dados Reca. Tells about Dewi Basudari being kidnapped by a giant and becoming a statue, and ended with her meeting with Harya Manungkara and their marriage. Buta Ijem. Tells about Sri Basukesthi of Wiratha becoming ill, and ended with his death caused by the magical power of the giant Daksatama, the fther of Buta Ijo (the green giant). Saraya Sakri. Tells about Prabu Basukeswara building a pleasure garden located at the old palace of Medhang Kawiri (old Wiratha), and ended with Prabu Basukeswara marrying off Dewi Kanaka to mitya Kadcar. Jaka Deleh. Tells about Prabu Basukeswara wishing to trace the experiences of his father Prabu Basukesthi, and ended with Prabu Basukeswara telling his father-in-law that Dewi Danarti would be married by Harya Kintaka (Jaka Deleh) following her metamorphosis from a fish (kutuk) to a human being.

Pakem Wiwaha Sakri

Collections of the following wayang lakon: Wiwaha Sakri. The marriage of Batara Sakri and Dewi Sati, the daughter of Prabu Partawijaya in the kingdom of the dewa while Resi Dupara attacked the dewa’s garden at Mount Saptaarga. Tejamancawarna. King Basukeswara Wiratha’s invertigation of a rainbow that was found to be caused by the rays of light sent forth by a Ksatriya from Mandrapura, named Raden Sadana, who later was appointed as an official with the name Harya Mandrakusuma after having brought Retna Dumilah to the king. Lahiripun Palasara. The clearing of the forest Keling by Harya Mandrakusuma, here he was crowned king, while Dewi Sati, wife of Sakri gave birth to her child Palasara. The ascetic Kanumayasa, Bagawan Sakutrem and Batara Sakri were lost in the middle of the ocean engaged in battle with Sri Murteja. Putri Yukti Kabekta ing Kluwung. Raden Basukesthi wishes to marry Dewi Yukti, the daughter of Resi Basudara from Gajah Oya, but she is kidnapped by a rainbow. Sri Geniyara from Endrapura attacks Raden Basukesthi but is killed by the latter, a dwarf appearing, who after offerings made by Raden Basukesthi reassumes original identity as Dewi Yukti.

Muksanipun Prabu Basukeswara. The fight between King Basukeswara from Wiratha and King Nagajaya of Kopara in the Keling jungle. Raja Kapila. The marriage of Raden Kanwa, son of sri Daneswara of Medhang Kamulan and Dewi Yoni, the daughter of King Kapila from Upapalwa. Narpa Tikbra. Sri Pratiwa plans to extend his kingdom from Gajah Oya to the Wiratha kingdom nut is killed in battle and succeded by his son Raden Santalu. Resi Mahusadha. The meditation of Sri Basukesthi as the deer Resi Mahusadha following the death of his wives. Later he married Dewi Swargandhini. Bambang Palasara (Tikbra). The absence of Palasara from the audience at Wiratha, caused by his visit to his colleague and fellow student, Sri Sadhamuka at Asi (Absi). Uler Tahun Gengipun SaklumbungBandhung. Sri Harya Kala Keya is condemned by the dewa to become a great catepillar (uler tahun) because of his affair with Sri Madewi, the Queen of Wiratha, who later gave birth to two children, named Dewi Sati and Raden Mataswa (Durgandhana).

Sapanti Parta (Parta Krama). The daughter of king Sudhana, Dewi Yondhini, became pregnant, after dreaming she had slept with unnamed man, later revealed as Cekel Endralaya. The story ends with tehir marriage and the coronation of Cekel Endrayana as Prabu Yodana. Pancawala Lahir. The birth of Pancawala, the son of Yudhistira and Dewi Drupadi. Palgunadi. Arjuna’s obtaining the magic ring of Palgunadi after a quarrel over who was the best archer, ended with the surrending of Palgunadi’s ring to Arjuna on Drona’s advice. Lahiripun Leksmana Mandrakumara. The birth of Lesmana Mandrakumara, the son of Suyudana, borne by Dewi Banawati, continued with the arrival of the enemy, the giants from Ngambawakandha under King Wakadanita, who were later defeated by Arjuna and Sena. Alap-alapan Dewi Manohara. Tells about the marriage proposal of the giant king, Raka Kala Garaya of Batuwarna to Dewi Supraba of Suralaya, which was refused by Batara Endra, ending when Arjuna, as the champion of the dewa, killed Kala Garaya.

Dhaupipun Dewi Ulupi Miwah Gandawati Antuk Harya Danangjaya, Panengahipun Pandawa. The contest for Dewi Ulupi and Dewi Gandawati, the daughters of Prabu Arjunayana, between the king of Sriwedari and Dursasana, the younger brother of Prabu Suyudana, the winner being whoever could defeat the Prabu Arjunayana’s son, Raden Gandasena. Risaking Taman Maerakaca. Dewi Srikandhi’s refusal to accept any of the many kingly suitors who came to Cempalaradya, because she wished only to marry Arjuna. Her refusal resulted in the destruction of the royal garden Maerakaca by the angry suitors. Pambanguning Taman Maerakaca. The marriage proposal of King Suyudana on behalf on his younger brither Raden Burisrawa to Dewi Srikandhi, following which Srikandhi arranged a contest in which she agreed to marry the one who could restore the Maerakaca garden to its original beauty. Arjuna disguised as Begawan Guna won the contest and married Srikandhi. Sri Denta (Dhaupipun Arjuna Kaliyan Srikandhi). The great wedding festivities of Arjuna and Srikandhi held at the palace Cempalaradya, preceded by an account of the epidemic in Dyamapala where the king, Prabu Sridenta, son of Bagawan Ciptawilapa, ordered the sick to cure themselves by drinking the water of the Kalimasada.

Dewaruci. Events in 829 when Sena asked permission of Yudhistira to search for the water of life on the advice of his teacher Dahyang Drona, ending in his being taught by the dwarf dewa Dewaruci. Rudra Kalamurti. The Pringgadani kingdom asked the help of Yudhistira to defend it from attack by the giant king Prabu Rudra Kalamurti from Purantara, ended with the death of the giant king. Meanwhile Patih Andanu was taken prisoner and then served the king of Dwarawati, who ordered him to give the country Purantara to Pringgadani. Abimanyu Lahir. Tells about the secret departure of Burisrawa from Ngastina, ended with the news from Madukara that Sembadra had borne a son named Abimanyu and the struggle by Resi antareja to prevent Dewi Sembadra, from being kidnapped by the giants.

Pantireja tuwin Jaka Lambang. Nangkula brings the news to Kresna in Dwarawati of the growing epicemic in Ngamarta, and ended with Arjuna (Jaka Lambang) telling his mother and his grandfather about the capture of Burisrawa, and the departure of Baladewa, Karna and Burisrawa from Ngamarta after Antareja had found Dewi Sembadra. Gathutkaca Lahir. The departure of Arjuna from his palace to clear the forest Krendhawahana, and ended with the order of the dewa to take the newly born Gatutkaca to Suralaya to have him fight against the giants. He was returned to Ngamarta after his victory. Arjuna Grogol. Tells about the demand that Arjuna continues his plan to clear the forest Krendhawahana, and to costruct there a resthouse, ended with the Pandhawa asking pardon of Durga, who informed them that Arjuna had entered into a love alliance with the giant Asura who had assumed the form of Sembadra.

Brajamusthi Andana. Suyudana and Yudhistira agree to make the ritual offerings at Saptaarga (Rajawedha) ended with the vow of Suyudana to surrender half of Ngastina kingdom to the Pandhawa a vow rejected by the Kurawa. Manuk Harya (Pandhawa Muksa). The court discussion at Ngastina about the decision of Suyudana to give half of Ngastina to the Pandhawa, ended with the revelation of Abiyasa that to obtain half of Ngastina the Pandhawa should meditate on Mount Pujangkara, but that Arjuna should not meditate with his brothers but teach him what should happen during their meditation. Kandhanagara. Samba as Prabu Wisnubrata acts as the caretaker of the Dwarawati kingdom during the absence of Prabu Kresna, who was attempting to revive his daughter Siti Sendari. Sangba Ngengleng. The love affair of Samba and his sister-in-law Dewi Haknynawati, the wife of Prabu Boma Nara Kaswara from Traju Tresna. Boma Suruhan. Boma sends a courier to Dwarawati to call Samba to account for his love affair with Dewi Haknyanawati.

Panca Basmara. The great fire in Ngamarta caused by the complicity of Bathari Durga in backing her son Prabu Tejamurti, who later was shot by Kresna’s arrow, while Arjuna, the rival of Tejamurti, married Dewi Sukmananda (Dresawati). Bawa Wiluta. The expansion of Ngastina to other fogovernance countries to obtain followers for the comping Baratayuda war. Gandadewa. The adventure of Gandadewa (Gandawardaya) during his search for his true father Janaka. Karna Lelana. Prabu Karna’s adventures on his Suyudana ordained mission to obtain more followers for the Ngastina side in the coming Baratayuda war. Patuting Sata Kurawa. The unresolved peace conference planned by Suyudana, which followed the failures of Prabu Karna and Gandawardaya in battle against the Pandhawa in Wiratha and Sriwedari.

Susuhunan Panca Kurawa. The endevaours of king Suyudana to recall Prabu Baladewa for the coming Baratayuda war and tells Baladewa that he should atone for his mistakes by meditating in the Kilasa cave. Wedha Waluya. The war preparations at Ngastina and an account of the situation at Ngamarta, Cempalaradya, etc. until the offer of help from Dewi Jathawati and her two sons to Kresna, who ordered them to stay in Pringgadani (Glagahtinulu).

Panca Winasita. Suyudana, Sengkuni, and Drona discuss the establishment of a new kingdom at Gilingwesi in the Wiratha domain by Prabu Suyudana who had promised to adipati Karna to come to Ngastina, ended with the order of Yudhistira to Dewi Jathawati rungkala where she attacked many giant followers and brought her country to welfare. Parpatan Para Pandhawa. The arrival of Arjuna courier of Yudhistira and Kresna in Wiratha, the kingdom of Prabu Matswapati, to ask that the Pandhawa brothers be allowed to seek refuge there from the Kurawa with their wives, children, relatives and seven allied kings. Ended with the seven kings being given their own settlements, and for reasons of security, their wives being lodged in the palace together with Dewi Utari and Siti Sendari. Pamasa Mangun Tapa. The court meeting in Ngastina to discuss the news from Sengkuni, that the Pandhawa brothers, their allies and followers had settled in Wiratha under the protection of Prabu Matswapati to prepare for the coming present. Ef Wiratha’s battle conference, and the appointment of Harya subrata as battle-commander.

Pakem gedhog

Collections of the following wayang gedhog lakon recounting events from the Kedhiri dynasty: Panyitiran. Events in 1233, from the governance of Prabu Endrakusuma until the crowning of Inu Kertapati at Kedhiri.

Panji Jumeneng Nata. Events in 1234, from the governance of Amiluhur until the war started by Kedhiri against Pengging and Pajang during the governance of Prabu Batulata Tunjung Nata. Bedhahing Tarnite. Events in 1235, tells about the governance of King Suryawisesa from Jenggala, until the marriage of Raden Kudasarjana from Blambangan to Princess Dewi Endrarum of Mandar. Brahmana Pinidita. Events in 1235, tells about the governance of king Suryawisesa at Jenggala, until the division of Jenggala into four kingdoms to be ruled by the king’s children, whilst the king of Jenggala became an ascetic.

Alapan Kumudaningrat. Events in 1235, tells about the governance of Prabu Suryawisesa, until the crowning of Harya Batulata as king of Pajang/Pengging, the return of Raden Karna and Raden Durda to Tarnite (Ternate), and Karna’s love for princess Kumudaningrat, the newly wedded wife of Padmanagara. Suryawisesa Grogol. Events in 1240, tells about the governance of king Suryaamisesa at Jenggala after the death of his father, until the defeat of a giant army from Mount Pandhan which attacked Jenggala. Events in 1250, during the governance of Suryaanisesa, tells about tye search for the lost of dewi Kumudaningrat, the wife of Patih Padmanagara, and ended with the death of Prabu Jaka, who was succeeded by Prabu Durda as king of Tarnite.

Sri Panji Panuba. Events in 1250 during the governance of Suryaamisesa, tells about the Suryaamisesa visit to Narmada Parangtulis, until the meeting between Suryaamisesa and his younger brothers, Suryamijaya from Kedhiri, Suryadilaga from Ngurawan, Suryawinata from Singasari and Begawan Brajanata with their wives and children. Laleyan Jumeneng Nata. Events in 1251, from the abdiction of King Suryaamisesa in favour of his son Kudalaleyan, who was crowned as king Suryaamiluhur, until the crowning of Raden Kudasuwangsa, the son of Prabu Suryawinata, as king of Singasari with the title Prabu Suryaamiluwih. Events in 1252 – during the governance of King Kalana Batulana, the son of Prabu Selaraja Andayningrat from Pajang Pengging in the Jenggala dominion, who declared himself king, and prepared to attack the Kedhiri kingdom, after hearing that Prabu Suryaamisesa had given his throne to Prabu Suryaamiluhur and that Suryaamiluhur was lost at sea. Ended with the fall of Blambangan and Kedhiri.

Suryanatpada. Events in 1252 during the governance of Suryaamiluwih from Singasari, tells about discussion between Suryaamiluwih, Suryaamijaya from Kedhiri and Suryadilaga from Ngurawan about king Batulata and his plans to extend his kingdom and their plan to jointly attack the Pengging army. Lahire Raden Seputra. Events in 1252, tells about Prabu Mahesa Tandremon from Pajajaran waiting for the news about which Jenggala royal families had survives the floods and ordering a search party to look for them, until the arrival of Ujung Walepa, the son of Patih of Kedhiri, bringing news of the birth of Raden Saputra, the son of the king Jenggala. Alap-alapan Retna Pandeki. Events in 1252m tells about the governance of King Mahesa Tandreman at Pajajaran, who after having received news about Jenggala, ordered to write a friendly letter to king Batulata inviting him to the coronation of the king of Jenggala at Pajajaran, until the temporary transfer of the Pajajaran court an royal family to Krawang.

Purnapuraya ing Pajajaran. Events in 1253, tells about king mahesa Tandreman awaiting the arrival of Patih Ujung Kelana who had built a new palace, ended with the march of the Pajajaran army to Pajang-Pengging. Retna Indi Yagna. Events in 1254, from the stay of king Mahesa Tandreman at Pengging to make preparations for his return to Pajajaran, ended with the fall of Pengging and Madu Sudhana, the younger brother of Mahesa Tandreman becoming King of Pengging. Prabu Anom Saputra. Events in 1256, the proclamation of Raden Jaka Saputra as crown prince Banjaransari (Lembu Pangarsa). Sri Sungkawa. Events in 1257, tells about king Mahesa Tandreman’s shock at hearing of the death of his wife Dewi Pandhansari from Pengging from eating a siwalan fruit, ended with his decree to search for the suspected prisoner, Ken Sasmi, who was to be put to death.

Bagawan Aska. Set in 1258, on the decision of King Tandreman to appoint his younger brother Raden Kudapandaya as official chief of the court families. Banjaransari Krama. Set in 1260, on the departure of Dewi Nilawati, the mother-in-law of Mahesa Tandreman, to convey the marriage proposal of the king’s son Banjarnasari to the princess of Pengging, until the marriage of Banjaransari. Dewi Aliran. Set in 1269 during the governance of Mahesa Tandreman, about his sadness caused by the dissapearance of his relative Dewi Aliran, until the marriage of Panji Jayengkunta to Dewi Aliran.

Paken Gedhog

A wayang gedhog story on the governance of the 13th descendant of Sri Suwelacala Sutra (Jaka Pramana), King Sri Dewasraya, and his visit to his adopted father Sri Dewa Kala at Prambanan, where the latter entrusted his two sons to Dewasraya.

Pakem Gedhog Ajipamasa

A classic book of the Kedhiri dynasty written as wayang gedhog text, tells about Prabu Kusumawicitra’s order to his followers to clear the forest Dwarawati as the site of the new capital, until Prabu Gandawaraja from Krendhawahana’s surrender to King Kusumawicitra.

Pakem Hantara

The guide for wayang gedhog lakon, with the following additional wayang gedhog lakon: Brahmana Pinidana. Tells about patih Sindusena sending a message to Prabu Suryaamisesa about the marriage of the Prince of Jenggala to Dewi Murtasiyah of Ternate, ended with the arrest of two robbers who were brought to Jenggala. Alapan Kumudaningrat. Tells about prabu Suryaamisesa escorting his father back to the kapucangan sanctuary, continued with Suryaamisesa agreeing to the marriage proposal of Raden Padmanagara to Retna Kumudaningrat and ended with their Marriage. Sri Suryamisesa Grogol. Tells about the death of Suryaamisesa father, and ended with the battle between Suryaamisesa followers and the giant army.

Kalana Prabujaka. Tells about the dissapearance of Dewi Kumudaningrat, the wife of Patih Padmanagara, ended with her rediscovery through the help of Minawati’s demon maidservant. Sri Panji Panuba. Tells about Suryaamisesa catching fish at the mouth of the river Bengawan Buntung and ended with his death after which his body changed into a golden fish and great plague arose in Jenggala. Laleyan Jumeneng Nata. Tells about Suryaamisesa being succeeded by Laleyan with the title Prabu Suryaamiluhur, and ended with a great flood in Jenggala which killed the whole population and Prabu Suryaamiluhur received the divine inspiration to follow the flight of a bee.

Pakem Madya

The alleged history of the Javanese kings written as wayang lakon collections, tells about where the Pustakaraja Purwa ends, devided into the following wayang lakon: Sri Gendrayana Murca, Sudarsana Sraya, Yaksa Kumara, Sudarsana Pidana, Babad Mamenang (Pelem Lalijiwa), Pelem Ciptarasa, Tejalengkara Muksa, Kijing Nirmala, Tribagna, Sora Acana, Lintang Kaharaon, Narpati Brata, Narpa Swala, Ajidarma, Anglingdarma Lahir, Narasinga Murca, Simakombang (Simaluwung), Kitiran Mancawarna, Sari Basmara (Dewi Setyawati Lembu Tumangan), Kidang Ams, Putra Nirmala, Kestupati, Martakilaya, Citrawati Murca, Esthi Herbangi, Begawan Sri Pamasa Muksa, Endrapati, Babad Prambanan, Darmakala, Dewi Tara Murca, Sendhang Gandamana, Babad Wana Ngamarta, Kidang Kencana, Karkali Kencana, Raden Dewandaru Murca, Margana Sraya, Pancadnyana Murca, Saptaprandana, Dewaraja Balila, Sekar Wijayakusuma, Narpendra Wukir Patarangan, Candra Sangara, Kedhap Wisesa, senaraja Wiwaha, Madrim Sraya, Mendra Suraya, Madrim Puhara, Wasindrajala, Kandhali Seta, Paksi Jiswayaksa, Banejapati, Kapi Kaldewa, Masturi Murca, Setya Ubaya, Pancawarna, Tri Upaya, Anglingdarma Muksana, Prabu Gandakusuma, Kalawisaya, Dwiraja Purawa, Endhang Daruki, Cangkrang Gana, Cangkrang Gini, Manik astagina, Chundhamani, Cundhaka Jantur, Mantri Nirmala, Nurtyakanwa, Trimulyajati, Tirtapidana, Jaka Pupon antuk Rara Temon, and Sendhang Banaspati

Pakem Pustakaraja Madya

An account by MN IV of his creation of the Ringit Madya, written in 1874, which tells of the pre-history of the Javanese kings, linking them with the gods. The book divede into the following section: Ciptarasa, Narayana, Wijiling Nirmala, Tribagna, Sara Atcana, Lintang Kaharaton, Narpaswala, Ajidarma.

Pakem Puskataraja Wasana

Pejahipun Ranggalawe, Pejahipun Prabu Menakjingga, Darmawijaya, Menak Supena, Pangrebating Majapahit, Brawijaya II, Harya Baribin, Raden Putra Krama, Menak Butaka, Tunjung Puri, Brahmani Yuta Muksa, Jaka Sambotho, Menak Bisma, Jayasengara, Wikardha Dana, Damarwulangun, Endhang Kapyandari, Alap-alapan Kapyandari.

Pakem Ringgit Purwa

Descriptions of wayang lakon: Sri Mahapunggung, the story of the descent of Dewi Sri and Sadana to Earth to bring well-being and prosperity to humanity. Bremana-Bremani, the marriage of Bremana-Bremani and Sri Unon on the order of Batara Guru. Kanumayasa (Manumayasa), the marriage of Manumayasa and Dewi Retnawati. Arimba, the killing of king Arimba from the Pringgadani kingdom by Wrekudara, the suitor of the former’s younger sister, Palasara, the marriage of Durgandini, the widow of Palasara, and mother of Abiyasa and Sentanu, the window of Dewi Jenawi who died after giving birth to her son Dewabrata. Dewabrata, the adption of Dewabrata by Palasara anad the marriage of Sentanu to Palasara and the marriage of Sentanu to Palasara’s widow.

Pakem Sastramiruda

A wayang text book for dalang of the Surakarta court, tells about a discussion of the many kinds of sorts of wayang (beber, gedhog, krucil, tors, and ended with a discussion of the meaning of kayon (gunungan), the gamelan instruments, the melodies, the dances and accessories for a wayang performance.

Pakem Topeng

A wayang gedhog lakon tells about Prabu Lembu Amisena talking to the suitors from Tarnite of the Princess of Kedhiri, and ended with Kurarerangin being revived by Begawan Sidik Kusuma. Also contains some Javanese songs to accompany the wayang gedhog performance.

Pak Semar
A Christian story about pakem Sarman of Pasundhan, tells about his being told by a gypsy that he would never find the mn who killed his father on a trading trip to Batavia, and ended with Pak Semar becoming a good Christian following the preachings of a priest.

☆☆☆☆☆

Baca Tags Terkait:

Hay Friends Of Bitter, Bitter Coffee Park this Time will invite you in the stile of the chat coffe shops on:

This city is the main seaport of teh west coast. Many bright sarung. Padang used to be the chief town of the rich Minangkabau area, though the focus has now shifted inland to the highland city of Bukittinggi. 

The Minangkabau language is very close to the Indonesian language and you’ll learn much Indonesian here. It is a very strich muslim town. In West Sumatra’s highland areas cattle are more pentiful and thus more meat is used in west Sumatran cooking than on Java. Tumeric and red pepper are used more often as well. The most famous dish is rendang, big pieces of roast buffalo of beef cooked for days in coconut milk until the meet becomes black, tought and a bit stringy. It can kept for a mont. It’s serve in gravy so thick it’s almost a paste, and hot as blazes. But dendeng is hotter still. Thinly cut pieces of dried beef are served in a chili sauce, with more red chili sprinkled on top. Makes your teeth bleed. But delicately flavour black tea with lime or lemon puts the fire out.

Afterwards for dessert, bananas, bananas, and more bananas. Sample also gulai itik (duck goulash), gulai rebuang (goulash with bamboo shoots) and sambal lado (chilies and other spices). There’s traditional house Rumah Gadang or big house is a traditional Minang dwellings. Their peaked roofs are reminiscent of the curved horneds of water buffaloes and of the woman ceremonial headdress. You can tell how many husbands and children a family’s daughters have by the number of extensions on the roof. Bedrooms are aside for daughters of the household and their husbands, and there’s a long common room for living and dining. Raised up to 3½ m off the ground, one must climb up and down the rumah gadang in a single piece of notched timber that’s pulled up quickly in case of enemies, tigers, and snakes. Each cluster of houses in a village is often the locale of one matrilineage.

Padhalangan

Issues of the monthly magazine Padhalangan, including writings on Javanese art and culture, writings on wayang puppets, songs for the dalang and their musical writing, a wayang performance as prophecy of the future, songs and musical writing, the gamelan isntruments, phylosophical meaning of the wayang dialogue, the genealogy of Semar from Sri Harya Nurasa, the form of wayang, ksatriya behaviour, the performing arts, an article on Semar, Gareng, Petruk and Bagong appearing in the Mahabarata, and the phylosophical teaching of Hanoman to Wrekudara.

Padewan

Collections of three wayang lakon: Padewan, tells about Durcitra informing Suyudana that Dursasana and Durjaya had been captures by the enemy and asking him to entreat the help of Baladewa and Kresna, and ended with Kresna ordering Madusekti to fight against Patih Endrapraja who then reassumed form as Batara Endra while Prabu Santyadarma reassumed form as Batra Guru adter being shot by Madusekti. Lobaningrat, tells about Yudhistira rodering Gathutkaca to request from Baladewa at Mandura the return of Sembadra following the dissappearance of Janaka, ended with the victory of Wrekudara and Gathutkaca againts the enemy from Sewu Nagara. Anggamaya, Tells about Suyudana, ordering Baladewa to propose marriage to Sembadra on the behalf of the king of Gajah Oya, and ended with the battle between Pandhawa and te Kurawa, which was won by the former.

☆☆☆☆☆

Baca Tags Terkait:

Hay Friends Of Bitter, Bitter Coffee Park this Time will invite you in the stile of the chat coffe shops on:

Paku Alam III also likes to created variation of gamelan and gendhing. He compared with the gamelan at the Kraton Yogyakarta or the Kraton Surakarta the gamelan at the Pura Pakualaman seems to have its own characteristic, not exactly the same as either of the others: The gong is not as sonorous as the big Yogya gongs, while the kendang is not as soft as the, Sa1a drum, but the sound of the percussion saron instruments is between the loud Yogyanese and the gendhing Salanese.

This is not surprising if we recall that the Pura Pakualaman has the ancient Kyai Pengawesari and Telagamuncar a slendro and pelog gamelan set originating from the Yogya court, and Kyai Rarasrum and Rumingraras, another set, a present of the Surakarta Sunan Paku Buwono X. Besides these sets they have their own gamel,an Kyai Tunggul in slendro and pelog. Moreover the leader of the Pakualamangamelan orchestra, K. R. T: Wasitodipuro, who is also the gamelan leader of the Jagjalcarta RRI radio station, is thoroughly schooled in the Yogya and Sala style gamelan art. The Murjoraras concert which is broadcasted straight from the pendapa agung, the big Javanese styled open hall, is ideally suited.The atmosphere is still distingtly old Javanese, preserving a tradition of centuries.

Although the crowded street is not more than a hundred mElters away it slaems like decadfs removed. Unlike the strict preserved rules in the Yogya kraton, the Pakualaman court musicians and pesindens do not wear uniforms but the ordinary style Javanese kain surjan and kain-kebaya dress. In some ways this Muryoraras Uyon - uyon could be considered as one of the criteria in measuring the condition of our gamelan art. He created :

1. Cerita Babad Segaluh

2. Cerita Banjaransari

3. Mainan Gula Ganti

4. Jalungan

5. Gobag Sodor

According to Bratadiningrat (1990), genealogy of Paku Alam III : name dewasa: G.P.H. Sasraningrat. 

Wiosan dalem : 

Kemis Paing I Jumadilakir 1755 Mangsa kapitu Wuku Kurantil Windu Kuntara tahun Alip, utawi 10 Desember 1827. 

Jumeneng dalem : 

Akat Wage 13 Jumadilawal Alip 1787. Mangsa Kapitu Wuku Landep Windu Kuntara utawi 19 Desember 1850. 

Surud dalem : 

Senen Pon 16 Jumadilawal Wawu 1793. Mangsa kalima Wuku Gumbreg Windu Sangara utawi 17 Oktober 1864. Sumare ing Kota Gedhe. Ibu dalem putrinipun Hingkang Sinuhun Kanjeng Sultan Hamengku Buwono II. Para putra dalem :

1. K.P.H. Purwosaputro

2. B.R.Ay. Sosroprawiro

3. B.R.M.H. Suryohudoyo

4. K.P.H. Suryaningrat

5. B.R.M.H. Suryokusumo

6. B.R.Ay. Nototaruno

7. B.R.Ay. Notohatmojo

8. K.P.H. Sasraningrat

9. B.R.Ay. Notodirjo.

10. G.R.Aj. Jaleka, Garwanipun KGPAA Paku Alam VI

Sri Paku Alam III has 10 children:

☆☆☆☆☆

Baca Tags Terkait:

Hay Friends Of Bitter, Bitter Coffee Park this Time will invite you in the stile of the chat coffe shops on:

Paku Alam II often read this piwulang luhur another to be carefull to act in this policy live. He likes to play gamelan arts. Gamelan at the Pura Pakualaman Yogyakarta has had a history and tradition of more than a century and a half. Of late the chimes of its bright gamelan orchestras go through the old court walls by way of the Muryoraras Uyon¬-uyon, the gamelan concerts broadcast by the Yogyakarta RRI broad¬casting station on Sunday (Ahad - Pon) mornings every five weeks. According to Wasisto Suryodiningrat (1970), even during the colonial days the art of gamelan playing at this Pura was widely known and admired by foreign visitors. Some years ago, the well-known Dutch musicologist J. S. Brandts Buys published his impression in the following well chosen. and frequently quoted terms :An evening in the Pakualaman. The gamelan gilds the time. The hours forget their usual course.

The quarters srink to golden minutes, minutes seem like blissful hours. Now in its softer moments. the music sounds as if I heard angels sing, now, when at half strength, as if I heard at the chimes in heaven. And then again, in the fullness of its mighty power, it is as if a storm of bronze thunders through my temples. Like its close cousin the Adi luhung Uyon- uyon of the Yogya Kraton, the Murjoraras Uyon–uyon of the Pura Pakualaman is essentially classical gamelan music presented at its best. The difference is that it is without the bedaya and srimpi gendhings compositions and the typical loud Mataraman soran gendhings: In this way, five gendinqs compositions can be presented in two and ia half hours. Most of these racikan gendhings consist of a gendhing-alit or gendhingtengahan connected to the simple Ladrang - or Ketawang - types, sometimes preluded with a solo song, bawa sekar, and the ever present lagon, the monotonous chant for the right key tuning, patet.

A typical Murjoraras program is as follows. After the -opening with the Ketawang Puspawarna comes the gendhing Pareanom ndawah, falling in, Ladrang Gonjang seret, both in slendro patet manyura. The second feature gendhing Tentrem in pelog patet barang is continued with Ladrang Sribiwada. Then comes gendhing Jatisari in slendro patet sanga nd,awah Ladrang Gandasuli enlivened with thebed,ayan–style female pesinden, choir, which is preluded by a bawa sekar Padasih. The fourth item is Budeng – budeng continued by Ladrang Sarayuda, both in laras pelog patet nem also preluded by a bawa sekar, Basonto. the last on the program is Lora-loro Topeng in slendro patet manyura going up, minggah, to Ketawang Mijil Wedaringtyas, both popular hot melodies. The program is clossed by the bright Udan Mas meaning literally gold rain.

In the above typical program, the slendro and pelog gamelans are played alternately ranging from the slendro patet sanga to patet manyura and from pelog patat,nem to pelog barang.Each of these patets has its own special character and mood,: During the broadcast the serious music is interrupted only once at the end. He created :

1. Serat Baratayuda

2. Serat Dewaruci

3. Beksan Bandayuda

4. Ladrang Anom

5. Lawung Ageng

6. Gadhung Melathi

7. Puspawarna

8. Masjid Paku alaman

According to Bratadiningrat (1990), genealogy of Paku Alam II : Nama dewasa : R. Tumenggung Nataningrat. 

Wiosan dalem : 

Akat Pon 27 Ruwah Be 1712 Mangsa Kasa Wuku Watugunung Windu Sangara, utawi 25 Juni 1786. 

Jumeneng dalem : 

Senen Pon 9 Rejeb Jimawal 1757. Mangsa Kapitu Wuku Maktal Windu Sangara, utawi 4 Januari 1830. 

Surud dalem : 

Jumah Kliwon 12 Besar Jimakir 1786. Mangsa Kasa Wuku Sungsang Windu Kuntara utawi 23 Juli 1858. Garwa Padmi, G.K.R. Ayu, putri dalem Hingkang Sinuhun Kanjeng Sultan Hamengku Buwono II. Sumare ing Astana Kota Gedhe. Para putra dalem:

1. G.P.H. Suryoputra.

2. G.R.Ay.P. Prawirodiningrat.

3. B.R.Ay. Ronoatmojo

4. B.P.H. Purwaningrat

5. G.P.H. Suryaningrat

6. B.R.Ay. Sosroatmojo

7. K.P.H. Sasraningprang.

8. G.P.H. Nataningprang

9. G.R.A. Harjowinoto

10. B.R.Ay. Sosromijoyo

11. K.P.H. Gondowinoto

12. KGPAA Paku Alam III

13. B.R.Ay. Notoasmoro

14. KGPAA Paku Alam III.

15. B.R.Ay. Sosrosudirjo

16. B.R.Ay. Sosrodigdoyo

☆☆☆☆☆

Baca Tags Terkait:

Hay Friends Of Bitter, Bitter Coffee Park this Time will invite you in the stile of the chat coffe shops on:

Paku Alam V is a professional politicus. This political dispute made the Sultan II he thrown off his throne (1810). His son who had been mature enough it as was appointed as his father replacement. This the new king had the right to posses the royal, name Sultan Hamengku Buwono III. But it only lasted for at year because his father Sultan Hamengku Buwono II. was in throne again for the second time (1812). And war because Sultan Hamengku Buwono II also didnt like British imperialism that took over the power from Netherlands Indies government. the Sultan was once again should lose his thrown. As the new king The British Governor General, Thomas Stamford Raffles (1811-1816) reigned Sultan Hamengku Buwono III in his throne for the second time (1812-1814).

A brother of Sultan Hamengku Buwono II, Prince Noto Kusumo, who had ever been isolated in Cirebon and Surabaya by Daendels because of his hatred towards Netherlands colonialism, sway called back home when British imperialist., took the power over Javanese people. Because lie was supposed not to hate British. Prince Notokusuma was asked to help Sultan Hamengku Buwono III in managing the Kingdom. Prince Notokusunta was appointed as a regent who should rule Adikarto region (in Kulon Progo) and a Kemantren inside Yogyakarta City as his territory. The Prince then was called as Adipati Paku Alam I (1813- 1829) who was in the throne of Paku Alaman Regency which is right now well-known as Puro Puku Alaman.

The existence of the new regency, Paku Alaman actually didnt brother Sultan Hamengku Buwono II who got the throne for the third time in 1826, when he was 72 years old. Because he was old enough for the throne, people called him as Sultan Sepuh. Sultan Sepuh at the last ruled Yogyakarta Sultanate till 1828. His appointment as the sultan for the third time was meant to help Dutch colonialists extinguish the rebellion of Prince Pangeran Diponegoro (1825-1830) who did not like Dutch interference in all governmental affairs in Yogyakarta when Sultan Hamengku Buwono III was in reign.

During the war of Pangeran Diponegoro, or what Dutchmen called as Perang Jawa (Javanese War), Adipati Paku Alam I gave the throne to his son, Adipati Paku Alam II (1829-1858). Anyhow, this Paku Alam Regency that was founded in 1813 still exists till nowadays. After Paku Alaii II descended front the throne, his descendants inherited the throne one after another. They were Adipati Paku Alam III (1858-1864). Adipati Paku Alam IV (1864-1878) Adipati Paku Alam V (1878-1900), Adipati Paku Alam VI (1900-1903), Adipati Paku Alam VII, (1903-1938), Adipati Paku Alam VIII (1938-1999). And right now Adipati Paku Alam IX is in his reign. The interpretation and analysis of song title (for macapatan) illustration the human life from morning to afternoon or from birth to death can be observed in the titles of the song as follows:

1. Mijil: miyos, metu, lahir (Javanese) symbolizes the birth of a baby from his mothers guwa garba (womb). 
2. Sinom: pupus (green leaf): this symbolizes a child growing like a flourish leaf. 
3. Maskumambang: mas = accessories, kumambang: noticeable, visible. This symbolizes the growth of a child who has reached the grown-up period in which he glimmers like golden accessories. 
4. Asmaradana: asmara = love, dana = to give: This symbolizes the development of a teenager who has fallen in love and shared love with someone of opposing sx. Book Asmaradhana also speaks about api asmara (fire of love). Asmara means love, and dahana means fire. 
5. Dhandhanggula: dhandhang = black, gula = legi or sweet: this symbolizes someone who has experienced gula hitam or the sweetness of honey in a marital status.

Kinanthi = invited or taken or being together to establish a harmony life of family. Gambuh: being highly fitting, harmonious, and balanced. This symbolizes a family life that has reached happiness and glory in the world. Durmo: dur = backward, retreat; mo = momor, retreating at the aged from the pleasure and happiness of the worldly life to prepare oneself for the happiness of ukhrawi (life after death). Pangkur = mungkur or withdrawal or alienation from the worldly pleasures and happiness. This symbolizes that human has left behind the deeds prohibited by the religion and always performs good conducts of life and increases the religious ways of life. Megatruh: megat = misah or detach/unfasten, ruh = spirit or soul: symbolizes that human has completed his duties in the world and returns back to the akhirat world or kelanggengan era). Pocung: pocong, religious ritual practiced by the Moslems where the dead man, before the burial, must be cleaned up and wrapped with a white cloth.

One way of guiding peoples moral is through the performance of wayang purwa, in which there are many kinds of arts that can be media for education. The wayang performance contains many moral aspects useful for people life. Wayang is assumed as a traditional art with a wide range of functions and dimensions. It is an encyclopedia of life about the life conducts of human including the spiritual philosophies and teachings. The performance of wayang with its selected shows is highly suitable to the communication of humanity education. When referring to the personal aspects, the personality of human being is to be insan kamil, that is to say it has to be harmonious and balanced, in which the self-reference is transcendental. A man is called perfect when he has reached a full entity, which is human dignity (Supadjar, 1995). The similar meaning, i.e. Ultimate Man, is pointed out by Sri Mangkunegoro IV in Serat Wedhatama of the song couplet Sinom. The song recitations of wayang purwa also contain moral elements related to the nationality values.

For example, regarding to this nationalism feature, in the play Kumbakarna Gugur (the death of Kumbakarna) it is showed how Kumbakarna displays his patriotic spirit by surrendering his life to death for the sake of his countrys dignity and respect. The Javanese culture is popular with its kawruh and piwulang useful for life guidelines. These kawruh and piwulang including life guidelines are the inheritances of the ancestors with ethic-philosophic values particularly in the song rhymes in of the wayang purwa performance for the dispersion of the moral messages to people. Wayang is one of the ways to spread and teach the moral values. In the performance of wayang purwa, the story or play that is full of examples and karawitan or traditional music is positioned as the accompanist of the song recitations including the moral messages and teachings. The song rhymes in the performance of wayang purwa enclose the moral teachings, noble values, ethics, and esthetics.

The harmonious combination between ethics and esthetics is an interesting aspect for the audiences. The ethic values expressed in the rhymes will easily be planted in the heart of the audiences that makes the performance a valuable guideline for life. The inheritance of piwulang luhur is dispersed through the arts. One of the Javanese arts including moral dimension is wayang purwa. The song rhymes in the performance of wayang purwa play an important role in spreading the moral messages that has been establish the Javanese poets. The ethic-philosophic values existing in the song empiric-historically has long been developed and planted in the heart of the people from time to time. And, in further, this is inherited from one generation to another, both in oral and in written.

According to Bratadiningrat (1990), genealogy of Paku Alam V : name timur : B.R.M. Notowiliyo. Wiosan dalem : Akat Wage 5 Sapar Wawu 1761 Mangsa Kasa Wuku Wuye Windu Sangara, 23 Juni 1833. Jumeneng dalem : Kemis Wage 13 Sawal Dal 1807 Mangsa Kapat Wuku Julungpujut Windu Adi utawi 10 Oktober 1878. Surud dalem : Kemis Kliwon 13 Rejeb Je 1830. Mangsa katiga Wuku Marakeh Windu Sangara utawi 6 September 1900. Sumare Astana Girigondo. Garwa Padmi 2. Ampil wonten 7. Para putra dalem :

1. K.B.R.Ay. Jayengharjo

2. B.R.Ay. Notodipuro

3. KGPAA Paku Alam VI, B.R.M. Notokusumo

4. B.R.M.H. Notoatmojo

5. K.P.H. Notodirojo

6. B.R.Ay. Suryokusumo

7. B.R.Ay. Notowinoto

8. K.P.H. Adip Kusumoyudo

9. B.R.Ay. Purbohadikusumo

10. B.R.Aj. Miryam

11. B.R.M.H. Suryoputro

12. B.R.M.H. Notowiroyo

13. B.R.Ay. Notosubroto

14. K.P.H. Notoatmojo

15. B.R.M.H. Suryodirjo

16. B.R.Ay. Suryopurnomo

17. B.R.M.H. Notoasmoro 

☆☆☆☆☆

Baca Tags Terkait:

Hay Friends Of Bitter, Bitter Coffee Park this Time will invite you in the stile of the chat coffe shops on:

Paku Alam IV replaced Paku Alam III who like to think philosophy topic. The Javanese philosophy is still debatable for those who are interested in wayang because of the differences in conception or point of view. This is not a serious problem because differences are normal and take place every. Even the differences are necessary, since they can complement one to another for the enrichment of philosophic discourse. If in the West philosophy is defined as love of wisdom, then in Java it means love of perfection or ngudi kasampurnan or wisdom. In the West the emphasis is on the result of reflection using reasoning or logic and means knowledge of many kinds of aspects guiding the daily implementation. In the Javanese culture, perfection means knowledge of the onset and the end of life or wikan sangkan paran (Ciptoprawiro, 1986:82).

Wayang as a performance constitutes an expression and display of the considerable religious experiences. It contains far-reaching philosophy and is able to give opportunities for a philosophic analysis and in-depth learning comprehension of morals education. In general, those who are interested in wayang assume that there is no absolute truth and no absolute wrong. Their tolerance is explicitly expressed in the popular selokas such as aja dumeh or dont show up and aja nggugu benere dhewe or dont stick only to oneself truth. The performance of the leather wayang is a symbol of human life from birth to death. Starting from the symbol of birth period, it illustrates that the universe and man are at the beginning created from the non-being by God. This is symbolized by the empty pendhapa suwung.

This all night lasted performance is divided into three phases, each of which symbolizes the childhood, the grown-up period and the aged period. It is also a symbol of human existence ontological-metaphysically, i.e. the existence from the non-being into being and then carrying out a play, death, and back to the non-being again. Based on the understanding of the symbolic value contained in pakeliran in the form of gunungan, man is given advice symbolically expressed in Tembang Ilir-ilir. This song is full of religious moral teachings expressed symbolically or pasemon. It requires that human to prioritize faith, science, and charity before the death comes. That man not to waste the opportunities God has granted. Man has to acquire noble morals while living in the universe as preparation for the more eternal life.

According to Bratadiningrat (1990), genealogy of Paku Alam IV : nama dewasa: B.R.M. Nataningrat. Wiosan dalem : Senen Kliwon 10 Puasa Wawu 1789. Mangsa Kalima Wuku Warigalit Winsu Sancaya utawi 25 Oktober 1841. Jumeneng dalem : Kemis Pon 2 Jumadilakir Wawu 1793 Mangsa Kanem Wuku Kuningan Windu Sangara utawi 1 Desember 1864. Surud dalem : Selasa Pon 27 Puasa Dal 1807. Mangsa Kapat Wuku Langkir Windu Adi. Utawi 24 September 1878. Sumare Astana Kota Gedhe. Garwa putri Bupati Banyumas Garwa ampeyan 3:

1. R. Pujaningrum

2. R. Pujoretno

3. R. Rengganingsih

Para putra dalem :

1. B.R.M.H. Notodiningrat

2. B.R.Ay. Surodiningrat

3. B.R.Ay. Surodirjo.

☆☆☆☆☆

Baca Tags Terkait: