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Wayang golek (wooden puppet) performance, Indonesia The history of the wayang golek began in the 17th century. Initially, the wayang golek art emerged and was born on the north coast of the island of Java, especially in Cirebon, the wayang used is the wayang cepak in the form of a papak or flat head.
In 1929, Yong Mun Sen was the vice president of Singapore Society of Chinese Artists (SOCA). [3]He also proposed to establish a fine arts school, now known as Nanyang Academy of Fine Arts (NAFA).
It is quite difficult to define Indonesian art, since the country is immensely diverse.The sprawling archipelago nation consists of 17,000 islands. [1] Around 922 of those permanently inhabited, [2] by over 600 ethnic groups, [3] [4] which speak more than 700 living languages.
Parahyangan is a part of the former Sunda Kingdom. The inland mountainous region of Parahyangan was considered sacred in the Sunda Wiwitan beliefs. The kabuyutan or mandala (sacred sanctuary) of Jayagiri was mentioned in ancient Sundanese texts and is located somewhere in Parahyangan highlands, probably north of modern-day Bandung on the slopes ...
The Galuh Kingdom was a medieval Sundanese kingdom located in the eastern part of Tatar Sunda (now West Java province and Banyumasan region of Central Java province), present-day Indonesia. [1] It was established as a breakaway kingdom of the Tarumanagara around the 7th century. [ 2 ]
Nyi Roro Kidul (or Nyai Rara Kidul) is a supernatural being in Indonesian folklore.She is the Queen of the Southern Sea in Sundanese and Javanese mythology.. In Javanese mythology, Kanjeng Ratu Kidul is a creation of Dewa Kaping Telu who fills the realm of life as the goddess of harvest and other goddesses of nature.
The Sundanese (Indonesian: Orang Sunda; Sundanese: ᮅᮛᮀ ᮞᮥᮔ᮪ᮓ, romanized: Urang Sunda) are an Austronesian ethnic group native to western region of Java island in Indonesia, primarily West Java. They number approximately 42 million and form Indonesia's second most populous ethnic group.
While the Sunda King thought that the royal marriage was a sign of a new alliance between Sunda and Majapahit, Gajah Mada thought otherwise. He stated that the Princess of Sunda was not to be hailed as the new queen consort of Majapahit, but merely as a concubine, as a sign of submission of Sunda to Majapahit.