Art and Design, Vol. 1, Issue 1, Sep  2018, Pages 1-13; DOI: 10.31058/j.ad.2017.11001 10.31058/j.ad.2017.11001

The Trisula of Kuningan

Art and Design, Vol. 1, Issue 1, Sep  2018, Pages 1-13.

DOI: 10.31058/j.ad.2017.11001

Fendi Adiatmono 1*

1 Visual Communication Design, Kuningan University, Cijoho, Kuningan Regency, West Java, Indonesia

Received: 22 November 2017; Accepted: 15 December 2017; Published: 11 January 2018

Full-Text HTML | Download PDF | Views 567 | Download 340

Abstract

The existence of a long history of Kuningan society there is uniqueness. It appears in the way that the Kuningan used to defend heirlooms for hundreds of years. The existence of heirloom weapons found in Talaga began to unfold; there is a construction that in the early stages of history in Kuningan, humans use their weapons for self-protection. Stone, bone, and horns are used as weapons, because the material is easy to obtain. The purpose of weapons is protection from disturbance or attack of wild animals. The existence of the weapons chronicle, it takes a arts historical approach, anthropology (human right), symbols, and aesthetic form. A system capable of strengthening from within, considered capable of counteracting the disintegration of the nation and attacks from outside, asylum sanctuary and long-term protection of cultural heritage can be done to maintain the sustainability of its goals. Thus, the inheritance culture that has resulted from the ethnic group should be applied retrofit system, which is digging, rediscovering, applying and preserving to strengthen the Nusantara. The way deliberation of consensus was able to defend the royal heritage. This is a symbol of local wisdom even in the press by the colonial power. It has existed since prehistoric and history times, then stored in Indonesia and European museums. Although under Colonial pressure, the ethnic continued to rely on ancestral heritage as a symbol of unity and wisdom. The abundance of manuscripts, weapons, jewelry, and attributes have been brought by the Colonials, need to be present in Kuningan today (given or lent). Its function is no longer need to find a new identity, because it already has an identity before. Searching for a new identity, can cause chronic division and great energy to make it happen. In addition, it is shown to deviate from the previous protective form.

Keywords

Trisula, Symbols, Kuningan

Copyright

© 2017 by the authors. Licensee International Technology and Science Press Limited. This article is an open access article distributed under the terms and conditions of the Creative Commons Attribution (CC BY) License, which permits unrestricted use, distribution, and reproduction in any medium, provided the original work is properly cited.

References

[1] Adiatmono, Fendi. (2017) Kuninganology. Yogyakarta: Deepublish. ISBN 978-602-453-382-3.
[2] Adiatmono, Fendi. The Heirloom Weapons Kingdom of Gorontalo. The Journal of Aesthetics and Art Criticism Humanities and Social Sciences, 2014, 2(12).
[3] Adiatmono, Fendi. (2016) Gorontalonology. Yogyakarta: Deepublish. ISBN 978-602-401-252-9.
[4] Adiatmono, Fendi. (2014) Weeskamer. Yogyakarta: Deepublish. ISBN 978-602-280-498-7.
[5] Abdullahi Ahmed An-Naim. Human Rights in Cross-Cultural Perspectives A Quest for Consensus. US: University of Pennsylvania Press. 1995.
[6] Agius, A Dionisius. (2013) Decoratifes Motif on Arabian Boats. Saudi Arabia: University of Exeter.
[7] Alamsyah, Bhakti and Julaihi Wahid. (2012) Architecture and Social, Culture of North Sumatra. Yogyakarta: Graha Ilmu.
[8] Alasuutari, Pertti. (1993) Research Culture, Qualitative Methods and Cultural Studies. SAGE Publications Inc.
[9] Ali, Mohammed. Chinese Muslims in Colonial and Postcolonial Indonesia. Journal of Southeast Asian Study, 2007, 7(2), 1-22.
[10] Alston, Philip. A Third Generation of Solidarity Rights: Progressive Development or Obfuscation of International Human Rights Law? Journal of Netherlands International Law Review, 1982, 29(3), 307-322.
[11] Altona. (1785) Secret Symbols of The Rosicrucians of The 16th & 17th Century. Edited J.D.A. Eckhardt Hamburg: Printed J.D.A. Eckhardt.
[12] Ankersmit, F.R. Historiography and Postmodernism, in K. Jenkins ed., “The Postmodern History Reader”. London: 1997.
[13] Arifin, Rosmiaty. Changes in the Identity of Kaili Traditional House in Palu City. Space Journal, 2010, 2(1), Hammer: Tadulako University.
[14] Barberis, Julio A. (1983) Nouvelles questions concernant la personnalite juridique internationale. France: Recueil des cours.
[15] Beer, Robert. (2003) The Eight Auspicious Symbols. Chicago Illinois: Serindia Publication.
[16] Benard, Russell. (1994) Research Methods in Anthropology. London-New Delhi: Sage Publications.
[17] Brown, David S.; Mobarak, Ahmed Mushfiq. The Transforming Power of Democracy U.S. In Journal of American Political Science. 2009, 103. University of Colorado at Boulder and Yale University.
[18] Cassirer, Ernst. (1990) Man and Culture, An Essay on Man. Trans. Alois A. Nugroho. Jakarta: Gramedia.
[19] Ceunfin, Frans, (ed). Human Rights. 2004, 1. Ledalero, Maumere, NTT.
[20] CIA Historical Review Program Release Full, Manuskrip, Basic Dutch-Indonesia Issues and The Linggadjati Agrement, Central Intelligence Group, 9 Juni 1947).
[21] Denis James M.; Wenneker, Lu B. Ornamentation and the Organic Architecture of Frank Lloyd Wright. Art Journal. 1965, 25(1), 2-14.
[22] Dillistone, F.W. The Power of Symbols, trans. A. Widyamartaya. Yogyakarta: Kanisius. 2002.
[23] Ekadjati, Edi S. (2003) History of Kuningan. Bandung: PT Kiblat Buku Utama.
[24] Feldman, Edmund Burke. (1967) Art as Image and Idea. New Jersey: Prentice Hall Inc.
[25] Fraser, Nancy. (1997). Structuralism Or Pragmatics?: On Discourse Theory And Feminist Politics. New York: Routledge
[26] Gupta, Devender; Sangwan, Meenu. Trident: The Aniconic Representation of Siva (Numismatic Study). IJIVR. 2015, 2(10), 4341-4348.
[27] Gustami, SP. (1980). The Excerpt Indonesian Ornaments. Yogyakarta: STSRI ASRI.
[28] Hamlin, A.D.F. (1916) A History of Ornament Ancient and Medieval. Journal of Ornament. New York: Century Company.
[29] Karima Bennoune. (March 10, 2016). Special Rapporteur in the field of cultural rights. The Human Rights Council.
[30] Livanos, Christopher. A Case Study in Byzantine Dragon-Slaying: Digenes and the Serpent. Oral Tradition Journal, 2011, 26(1), 125-144.
[31] Nickel, Helmut. (1991) “The Dragon and the Pearl”. The Metropolitan Museum of Art Journal. Chicago: Metropolitan Museum Journal.
[32] Pateda, Mansoer. (1977) Language Dictionary Gorontalo-Indonesia. Jakarta: Language Development Center, Ministry of Education and Culture.
[33] Provost, René. (2012) “Magic and modernity in Tintin au Congo (1930) and the Sierra Leone Special Court,” Law Text Culture.
[34] Tatt, Ong Hean. (1993) Chinese Animal Symbolisms. Selangor, Darul Ehsan: Pelanduk.

Related Articles