1. Introduction

Tens of thousands of manuscripts, weapons, jewelry, and attributes have been brought by Colonial; can be knit back, into a history of art development. For Nusantara ethnic, no longer need to find a new identity,because it already has an identity before. The search for a new identity creates chronic aberrations and consumes too much energy to make it happen. In addition, this can deviate from the previous of form.

The Kuningan people reconstructed their lives socially and geographically in several different groups. There, the beginning of the emergence of intergroup dominance. Competition for dominance is very common. Inaddition to strengthening doctrine, they also strengthen the weapons physically. Thus, his ancestors developed powerful weapons, such as bows and arrows, swords, spears, and clubs. They started using this weapon inorder to gain victory, so the goal became widespread about the weapon' s products. When man becomes a social being, they use the weapon for everyday needs, such as knives, axes, and needles.

Contact with outside cultures, giving a nuances and forms of related cultural art, for example a mixture of traditional Indonesian culture with Europeans, it can show intercultural influences (Fendi Adiatmono, 2016). Itis important, to identify the causes and instability factors appropriately in order to create a successful strategy to provide construction of the resolution of endemic disintegration. The essence of this paper is the handlingof multidisciplinary methods and approaches. Application of methods and approaches adapted to micro history, to explain more extensively (Frank Ankersmit, 1985).

A linkage to the belt and road objective of tribal partnerships becomes a solid foundation for the sustainability of community development. Thus, the strengthening of the heritage of ethnic culture in Indonesia ismarked by the reduction of cases of destruction, disappearance, and disintegration (Karima Benounne, 2012). It is seen to cause the unrest that has been built NKRI (The United of Republic of Indonesia) decades.

Kuningan is able to achieve parity with other nations in the world, because the historical background that encompasses it concretely to be an insight into nationality. The situational awareness attitude that did not beenbuilt up to the level of continuity implementation is an indication of the commencement of an appropriate method to be implemented. That is as a way to break the deadlock.

Special events (micro history) of tribal civilizations in Indonesia in the past have proved successful and the considered capable of being the foundation and shield of national identity strengthening. The method inducesthe thought that departs from the specific rules (events) to determine of the law (rules) are generally more widespread. The point is that each tribe (representative, like Kuningan) in Indonesia (small entity) is always in astate of standby against other countries or large entities (F.W. Dillistone, 2002).

National commission on human rights members personal skills are an important factor in applying the involvement to promote human rights principles and then advocating the field of cultural heritage into somethingurgent to be held soon. Cultural activity is one way to build mutual understanding, and then to be continued with cooperation to improve its capability.

This means re-research, repair, renewal, and transfer if any other country is taking. The effect of this system is that the abandonment of past artifacts that once became a real doctrine of the visual image became morefunctional again through the meaning of a new generation based on the old traditional pattern.

The colonial authority, seeking to maintain a superior dominance built on the field of research applied as a devide et impera (divisive politics) and cutting-edge technology of war equipment, takes a long time todevelop. It can provide a risky situation because the technology diffuses rapidly. The Indonesian nation provides contra with traditional customs and cultural heritage proved to have survived stronger and longer term.Thus, Indonesia can show a more real self-image and physical energy savings more maximally.

The advanced greed of Colonial technology could not be followed the Indonesians, formerly playing an important role in ensuring the success of the mastery. Nevertheless, the quantity, tactics, training of culturalheritage results can outperform the advanced technology. That it cannot be separated from the doctrine of unity and unity in it. The right to own the work and develop it is absolutely necessary in the field of human rightsenforcement regarding the heritage of culture (Mochtar Kusumaatmaja, 1949: 10).

Basically, ethnic groups refer to groups with similarities in ancestry, history and cultural identity such as the similarity of tradition, values, language, and patterns of behavior in real or imagined. The ethnicity of someprimordially has been taken and held firm since childhood, of tradition, customs, beliefs, and everything that is in its first environment. As part of a nation, constructively ethnic is not rigid, but is more open to socialrelations and various layers of experience. The existence of continuous social communication, causing the emergence form of acculturation of culture. The acculturation can eventually be just as powerful (diffusion),imitative (adoptions), and interplay and then create a new culture (acculturation), if one of the cultures disappears then there is a form of assimilation.

The intensity of communication and cultural contact that occurs is the reality of cultural exchange (Koentjaraningrat, 1958). In the course of the culture of society in Indonesia experiencing dynamic changes to theinfluence of small entities and large entities. Thus, Indonesian form of culture in multiethnic mix that grows and fits with intrinsic and extrinsic meaning (Fendi Adiatmono, 2016). The context of the multiethnic workbecomes the right of their ownership. Human rights are related to two things. First, about rights and second, about man. The linking of both human rights is primarily a part of the moral rights that exist in one' s humanity.Moral rights are rights based on norms and moral values. Thus, the direct source of human rights is the noble dignity, which is the inherent value in every human being. Therefore, literally, human rights mean the rightsthat a person possesses solely because he is human (Ceunfin, 2004: 6).

The conscious attitude about the importance of human rights is strengthening, along with the growing moral awareness of mankind. Reward and recognition of rights, integrating integrally with values, especiallymorals. In relation to human rights, the award is a moral imperative and a personal decision or sympathy (Ceunfin, 2004: xxi). The imperative belief is present in response to the human virtues that convert thefundamental right order to life. Violation or degradation of rights may diminish the dignity of the human being so that for any reason, the right should not be diminished, violated, and ignored. Although a person makesan agreement to surrender or reduce his freedom, the contract will not be considered valid and the essence of his or her human rights will not be reduced (Onaga & Manuel, 2004: 8). Accordingly, the moral imperative isa response that deterrent effect of human goodness and improvement.

All the heirlooms were successfully documented by the Secretary of Bataviasch Genootschap in 1900. In the visual image of the heirloom, the Europeans have made documentation in detail the shape of the heritage.For hundreds of years, the Kuningan people used the heritage for the protection and the greatness of the greatness of the work. This heritage is calculated from the years of the Majapahit Maritime Empire, the Kingdomof Sunda, and the Kingdom of Old Mataram (Fendi Adiatmono, 2017).

The people of Kuningan become a magnet for the ongoing mixing of culture or acculturation. This is due to the abundant natural wealth. Some of these attractions are cotton, rice, and wood especially in the area ofMount of Tellu which is useful for shipbuilding (Fendi Adiatmono, 2016). The natural potential of the area, also good for plantations. Natural area of Kuningan in the shade by Mount of Ceremai. This is what makesother nations interested in mastering the area of Kuningan. Contract agreement the Linggadjati is a symbol that Kuningan as a neutral premises that became the goal of the Indonesian and Europe (CIA Historical ReviewProgram Release Full, 9 Juni 1947).

2. Literature Review

The literature used as the foundation is as follows.

1. Kuninganologi (2017) described as artevaktual found encountered in Telaga, then obtained a foothold that in the early stages of history in Kuningan, humans use weapons for self-protection.

2. Had been analyzed of A.N.J. Th. Th. Van der Hoop (1949: 70) which reveals about Javanese ornamental varieties placed on heirloom weapons.

3. Script of Jaka Mursita in " Spear Eyes the Kasepuhan of Cirebon" (2012), explains the type of heritage of the kingdom of Cirebon, it is a relation with Kuningan.

4. Ekadjati, Edi S. at History of Kuningan (2003), explains the behavior of the Kuningan people in their self-defense efforts against outside attacks.

5. In 1871 J.T.F. Riede describes in the sketch of the people conducting deliberations continued the death ritual. The sketches can be explained by the opinion of Koentjaraningrat that explains the religious principle.

From the literature review decomposed above, it is concluded that there has been no similar study with this research topic, so it can be stated originality.

3. Problems

In broad outline, culture and human rights, its relevance can be influenced by several things, namely: (1) The small entity can be a word, a utterance, an object, an event, a pattern, a drama, or a person; (2) Largeentities, meaning, reality, ideals, values, circumstances, institutions, or concepts; And (3) Representation, in the form of representations, illustrations, signs, memories, references, or arbitrary features (Dillistone, 2002: 20).

Kuningan region with a history of the kingdom, through a long journey produces some sharp weapons, especially the type of trisula and kujang. Not without cause, Kuningan in its history sometimes faced with warsituation that require strong defense and resistance.

An Indian study of Devender Gupta (2015: 4) on the trisula, indicates that in the early stages, the trident or trisula symbol is a major component. The worship of Siva, commonly seen as the first symbol of the highvalue of a trisula.

The trisula of Kuningan, made of wrought iron (Fe) with three branches. The form of in the middle it is higher than both branches. It is a symbol of Ceremai mountain, as the highest mithos after Balong and Cigugur.The symbol of the trisula is also considered a representation of Siva. The form of three-dimensional had become the reference of functional object of Kuningan people.

Based on the comparison of the results of visual image KITLV Leiden analyzed and Jaka Mursita script in " Eye Spears from Kasepuhan Cirebon" (2012), the authors conclude that there is a difference of eye spear ofthe Kuningan trisula, between Kuningan, Kendal, Jogjakarta, and Cirebon Kingdom. The difference lies in the dragon' s motif, fin, and texture of the central trisula eye dimension.

There are two dragon motifs on the handle of the trisula of Kuningan. The dragon in the metaphysical world it identified with big snakes and sea rulers as well as dragon legend in China, Middle East, and evenIndonesia itself know the figure of a serpent and headed human Nyai Roro Kidul as the ruler of Java Sea.

Nagari has the origin of the word from the dragon o' reyi which means dragon and reyi or dragon that lined up (Mansoer Pateda, 1977: 200 & 246), as a symbol of prosperity. Chinese ethnic from Bugis carries variousinfluences such as motifs on ceki cards in which dragon images are the highest God. For the Kuningan ethnic in seeing the Chinese, it is a symbol of a power of power for the Chinese. On the dragon ornament motif(Draco) the Chinese in Kuningan means symbolic. The motive is thought to have disappeared, the same time with the disappearance of the Kuningan Royal motifs. Dragon motif used and applied well in Cirebon, butdifferent from Kuningan, who do not wear that motif at the present time. The dragon' s motif becomes an important element so it is placed right on the royal building as a symbol of the government holder. In Kuningan,the dragon motif of form with hulangili-hulalata, is on the board of horses applied to the temple. Dragons that attempt to swallow pearls are a sign of a solar eclipse and a moon. Helmut Nickel (1991: 139) explains thatthe pearl literature is not referred to as one of the celestial bodies, but is seen as an object to tame a dragon. Dragon symbols were discovered during the Han Dynasty period of 206 BC, but two combinations of dragonand pearl motifs appear to have appeared only in the early Tang Dynasty. Under the Tang Dynasty in 618-907 BC, the motif spread to Central Asia to Indonesia. The Chinese pray to the dragon to ask for rain. Thedragon/nagari motif is used to represent imperial powers considered to be dragon or " dragon-throne" dragons. According to Christopher Livanos (2011: 4), in Europe, the motif of the dragon is symbolized as theembodiment of evil beings. By Ong Hean Tatt (1993: 25-28) dragon motif is also called lung, which means wisdom, welfare, majesty, might, and long life.

The dragon concept mythology is codetermination (as a high decision). Social interaction, action, knowledge, strength, virtue and interdependence and many based on the supreme spiritual power of the dragon, hisstrength and wisdom. The dragon lives in water and in the sky brings people' s hope, prosperity, cognitive world and becomes an individual agent and lives as a symbol in the perception of the masses. Thus, the Kuningandragon is representing the celestial (terrestrial) and terrestrial forces (land). It is a mythical creature that has great power to fly and walk with great power and has the ability to change power quickly. To illustrate that thedragon flies, there are two Copsychus malabaricus above the head, and the fan as a symbol of the spirit. As proof of good self-esteem, the Kuningan people are seen holding a three-pronged dragon tail.

The meaning of the three eyes of the spear on the trisula of Kuningan is a triple relationship on the dimensions of human life. The dimension is to know itself, God, and creation. The application of symbolic meaningto the ornament is an effective medium in communication, interaction, and socialization.

4. Problem Formulation

This study relates to the heirlooms of the Kuningan kingdom as a cultural heritage of the archipelago and the relevant sociocultural supporting factors. The existence of historical chronicles in the late nineteenth toearly twenty-first centuries is important in this manuscript. The chronology of interest increase is as follows.

1. After doing the research of cultural heritage in Kuningani, starting with finding some of the weapons of the Kuningan people in the 19th century. There is something unique that raises some questions about thebackground of Kuningan cultural heritage. In addition, there is a void of cultural heritage research that causes historical blindness. After conducting historical literature studies in Indonesia and the Netherlands, there arehistorical events and evidence of monumental original artifacts.

2. The turning point of Kuningan society after the inter-royal dispute and the economic crisis, 1800-1900 began to be resolved. Then, the Kuningan ethnic began searching for the lost in their cultural heritage.

3. Increased activity in ports in European, then many visits and migration of people from the Netherlands to Sulawesi in the 20th century showed the decline of Kuningan ethnic artifacts.

4. The existence of cultural heritage tradition through the media of unification in Kuningan. The above description, it is necessary to take appropriate action for data collection that has lost inheritance and brought it.