Gedong Kirtya preserves tradition in computer age<\/p>\n
By Nyoman Suwela<\/p>\n
DENPASAR (JP): In the current era of advanced electronic
\ntechnology, with computers replacing typewriters and disks have
\nreplacing paper, the Gedong Kirtya library continues its careful
\npreservation of palm leaf manuscripts.<\/p>\n
This unique library in Singaraja, the capital of Buleleng
\nregency, collects, copies and stores thousands of lontar (palm
\nleaf) manuscripts. Books in Balinese, Indonesian, Dutch and
\nGerman dealing with Balinese culture are also available at Gedong
\nKirtya.<\/p>\n
The only library of its kind in the world, Gedong Kirtya is
\nlocated at Jalan Veteran No. 20, Singaraja, next to the Sasana
\nBudaya Cultural Center (formerly the Buleleng Palace). It is
\nfrequently visited by tourists and local residents interested in
\nlearning about Balinese culture.<\/p>\n
The library was established on June 2, 1928, by L.J.J. Caron,
\nwho was then the \"resident\" (a Dutch colonial government
\nofficial) of Bali and Lombok. Gedong Kirtya was officially opened
\nto the public on Sept.14, 1928, by A.C.D.de Graff, then the
\nGovernor of the East Indies.<\/p>\n
Gedong Kirtya commemorates the work and dedication of two
\nDutch scholars, F.A. Liefrienk and Dr.N.Van der Tuuk. These men
\nextensively researched the Balinese language, customs and
\nculture.<\/p>\n
The place was originally called after its foundation,
\nStichting van der Tuuk. Its name was later changed to Gedong
\nKirtya under the advice of I Gusti Putu Djelantik, then the King
\nof Buleleng. Kirtya is derived from a Sanskrit word meaning \"to
\ndo\" or \"to endeavor\" and gedong means building.<\/p>\n
The foundation was avidly supported by many scholars
\ninterested in learning more about Hindu-based culture in
\nIndonesia. Among them were Dr. R.Ng.Pubacaraka, Dr. W.F.
\nStuterheim, Dr. R.Goris, Dr. Th. Pigeand and Dr. C.Hooykaas.<\/p>\n
The many manuscripts stored so carefully in this library are
\nmade of the leaves of the lontar palm tree, which is called the
\n\"fan tree\" because of the shape of its leaves. These leaves are
\nwidely used in Bali for mat plaiting, palm sugar wrappers, water
\nscoops, ornaments and ritual items.<\/p>\n
Lontar books were made from specially selected leaves with
\ntips of about 2.5 centimeters wide. After a leaf was dried for
\none day, it center spine was removed and the unusable parts
\ndiscarded.<\/p>\n
The leaf was then soaked in water for three days to remove the
\nchlorophyll, which made it green. A coconut fiber brush was used
\nto clean off any insect eggs and dirt. It was later dried again
\nfor another day.<\/p>\n
The next process was the steaming of the leaf until it became
\nyellowish red in color. The water used for steaming had to
\ncontain a dye made from liligundi (vitex trifolia) leaves and a
\ncertain amount of gambir (uncaria). Too much gambir would make
\nthe red too dominant.<\/p>\n
The leaf was later dried slowly in a damp place to prevent it
\nfrom becoming wrinkled.<\/p>\n
The processed leaves were then piled up and pressed. Holes
\nwere made in each leaf for the binding. But this was not the end
\nof the process.<\/p>\n
Each lontar leaf needed to be pressed again, trimmed and
\ncolored with kincu (a sort of lipstick). The leaves were then
\nstored for about six months before anything could be inscribed
\nupon them. The longer a leaf was stored, the straighter and
\ntighter it would be and therefore easier to write on.<\/p>\n
A special tool called pengutik or pengerupak was used for
\nwriting on the lontar leaves. The tool was made of iron with the
\ntip sharpened into a triangular shape so that the scratch could
\nbe made either thick or thin. There were different pengerupak for
\nwriting, drawing and cutting.<\/p>\n
The library also has a collection of prasi. Prasi is lontar
\nwith pictures depicting shadow puppet (wayang) play characters.<\/p>\n
A great deal of perseverance and patience was required to draw
\na prasi. Each scratch and line had to be engraved carefully. No
\nscratch was meaningless. When transcribing a wayang character, no
\ndetails could be left out. Talent and patience was a must in the
\ncreation of a beautiful and harmonious drawing. Most of the
\ndrawings came with texts, including poems.<\/p>\n
Because the lontar manuscripts tell not only the history of
\nBali, but also of the arts and the culture of its people, the
\nlontar collection at the Gedong Kirtya library is obviously a
\nvery important part of this nation's heritage.<\/p>",
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