Rotterdam stages Majapahit exhibition

By Kunang Helmi-Picard

ROTTERDAM, the Netherlands (JP): Indonesian history from the late 13th to early 16th century is celebrated in great style in Rotterdam's refurbished Wereldmuseum in a show appropriately named Majapahit: The Golden Age of Indonesian History.

Running until mid-May, the enlarged museum provides a spectacular venue for lovers of Majapahit gold, bronze and stone artifacts. They are able to enjoy a comprehensive view of museum curator Dr. Anneke Djajasoebrata's last show before retiring after 35 years as head of the Indonesian section.

The objects on show come primarily from international private collections which are made available to the general public for the first time thanks to Drs Hugo Kreijger's tireless efforts.

Other pieces are sourced from Dutch museums, including the Municipal Museum in the Hague, the National Museum of Ethnology in Leiden, the Princessenhof in Leuwarden, the Royal Tropical Institute and the Rijksmuseum in Amsterdam, and the Wereldmuseum itself. A film greets visitors with basic information about Indonesia and the Majapahit period.

Unfortunately it proved impossible to borrow artifacts from Indonesian museums. However, a 1994-1995 exhibition in Singapore, The Legacy of Majapahit, put numerous pieces from Indonesian museums into the international spotlight. Another disappointment is the fact that there is no museum publication to accompany the show, although a special 30th anniversary issue of Arts of Asia is devoted to the subject.

A historical background, as well as a learned discussion of the objects on show, are available in this issue, with renowned authors Dr. Jan Fontein, Dr. Marijke Klokke, Dr. Nandana Chutiwongs, Drs Pauline Lunsingh Scheurleer, Mr. Jaap Polak and Drs Hugo Kreijger.

Terracotta and tuffstone pieces were deliberately left out according to Drs Hugo Kreijger due to two reasons. One being space limitations, and the other, more important, that of authenticity problems because many objects might not be original pieces.

Therefore only one sample of each are displayed such as the beautiful 35-cm high terracotta celestial nymph molded on a cylinder which once covered a bamboo pillar.

Majapahit: The Golden Age of Indonesia began with the assassination in 1292 of King Kertanegara of Singhasari and went on to a period of great prosperity under King Hayam Wuruk (1350- 1389) and his prime minister Gajah Mada. Stone images in this show include many pieces from the preceding Singhasari period from Dutch collections.

Dr. Klokke assures visitors that many of the Singhasari images were still being worshiped during the Majapahit period, which was also a peak period for stone sculpture.

Here we witness at least thirty splendid samples of stone sculpture displayed in a spacious room flooded with light and facing the harbor. The bull Nandi, the deity Brahma, the deity Shiwa, Ganesha, Bhima and other pieces, varying between 40cm and 161cm in height, like the fabulous head of a man with his elaborate hairdo from Candi Sukuh, complete the fifty black and white vintage photo prints of temples and other stone details. After the advent of Islam in Java, the Balinese considered themselves the inheritors of Majapahit civilization.

Bronze ritual implements from the Majapahit period prove that Indonesia continued a long history of bronze-casting dating back to prehistoric times. Here expert Chutiwongs explains that the alloy generally referred to as bronze consists of copper and tin as its main ingredients.

Generally much smaller in size than the stone statuary, more elaborate and delicate, these include scepters and priest's bells. Temple bells include decorative elements such as a lady being carried off by Garuda or the demon king with the bottle of elixir of life.

A unique slit drum in bronze, reminiscent of those one still finds in wood in Bali, stands out among many holy water vessels and zodiac beakers. Hanging lamps come in all shapes and sizes together with a variety of incense burners, all either decorated with animal figures or panakawan (a cross between an attendant and a clown).

Mirrors, offering trays and tiny ritual chariots, again feature goddesses or more often animal forms such as an elephant or a mythological animal. In the words of Chutiwongs:

"They are reflections of free and unbound fantasies, of real life and thought current in the kingdom, in which religion and domestic affairs, magic and reality, are closely interwoven."

The collection of the smallest and most precious objects -- made of gold -- is fascinating because of the wealth of detail and fine work in miniature. According to Lunsingh-Scheurleer's introduction into Majapahit ornamentation, Professor Galestin in his 1939 study showed the close connection existing in the Majapahit period between the different art forms: "Decorative motifs applied on gold objects can be found on the walls, terraces, staircases and other parts of stone sanctuaries.

Further, they are often met with on bronze objects and stone images of deities."

Earplugs decorated differently on both sides, exquisite ear ornaments and a marvelous gold and crystal pendant in the shape of an emerging drop of water, are but some of the delicate wonders here. Elaborate gold repoussee modesty plaques compete for attention with elegant celestial nymphs or Prince Sutasoma being carried off by the demon-king Kalmasapada, the latter less than 10cm high.

Jaap Polak focuses on the rare and very large gold modesty plate with Sri Tanjung seated on a makara. This was probably destined to be worn by a ruler retiring from worldly life and dedicating the last years of his life to a religious existence.

For those unable to attend this important show, there is the special 30th anniversary year issue of Arts of Asia or the website www.artsofasianet.com for more fascinating details and lavish photography.