Rotterdam stages Majapahit exhibition

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.