Majapahit - Culture, Art and Architecture

Culture, Art and Architecture

"Of all the buildings, none lack pillars, bearing fine carvings and coloured" "there were elegant pavilions roofed with aren fibre, like the scene in a painting... The petals of the katangga were sprinkled over the roofs for they had fallen in the wind. The roofs were like maidens with flowers arranged in their hair, delighting those who saw them".

— Description of the Majapahit capital from the Old Javanese epic poem Nagarakertagama.

The main event of the administrative calendar took place on the first day of the month of Caitra (March–April) when representatives from all territories paying tax or tribute to Majapahit came to the capital to pay court. Majapahit's territories were roughly divided into three types: the palace and its vicinity; the areas of east Java and Bali which were directly administered by officials appointed by the king; and the outer dependencies which enjoyed substantial internal autonomy.

The capital (Trowulan) was grand and known for its great annual festivities. Buddhism, Shaivism, and Vaishnavism were all practiced, and the king was regarded as the incarnation of the three. The Nagarakertagama does not mention Islam, but there were certainly Muslim courtiers by this time.

Although brick had been used in the candi of Indonesia's classical age, it was Majapahit architects of the 14th and 15th centuries who mastered it. Making use of a vine sap and palm sugar mortar, their temples had a strong geometric quality. The example of Majapahit temples are Brahu temple in Trowulan, Pari in Sidoarjo, Jabung in Probolinggo, and Surawana temple near Kediri. Some of the temples are dated from earlier period but renovated and expanded during Majapahit era, such as Penataran, the largest temple in East Java dated back to Kediri era. This temple was identified in Nagarakretagama as Palah temple and reported being visited by King Hayam Wuruk during his royal tour across East Java.

Some of typical architectural style are believed to be developed during Majapahit era; such as tall and slender roofed red brick gate commonly called as kori agung or paduraksa, and also split gate of candi bentar. The large split gate of Wringin Lawang located at Jatipasar, Trowulan, Mojokerto, East Java, is one of the oldest and the largest surviving candi bentar dated from Majapahit era. The candi bentar took shape of typical Majapahit temple structure — consists of three parts; foot, body and tall roof — evenly split into two mirroring structures to make a passage in the center for people to walk through. This type of split gate has no doors and provides no real defensive purpose but narrowing the passage. It was probably only serve the ceremonial and aesthetic purpose, to create the sense of grandeur, before entering the next compound through tall roof paduraksa gate with enclosed door. The example of kori agung or paduraksa style gate is the elegant Bajang Ratu gate richly decorated with Kala demon, cyclops and also the bas-relief telling the story of Sri Tanjung. Those typical Majapahit architectural style has deeply influenced the Javanese and Balinese architecture of later period. The Majapahit Terracotta art also flourished in this period. Significant numbers of terracotta artifacts were discovered in Trowulan. The artifacts ranges from human and animal figurines, water containers, piggy banks, architectural ornaments, to pipes and roof tiles.

"....the King has subject to himself seven crowned kings. his island is populous, and is the second best of all island that exist.... The king of this island has a palace which is truly marvelous. For it is very great, the stairs and palace interior were coated with gold and silver, even the roof were gilded with gold. Now the Great Khan of China many a time engaged in war with this king; but this king always vanquished and get the better of him."

— Description of Majapahit by Mattiussi (Friar Odoric of Pordenone).

The first European record about Majapahit came from the travel log of the Italian Mattiussi, a Franciscan monk. In his book: "Travels of Friar Odoric of Pordenone", he visited several places in today's Indonesia: Sumatra, Java, and Banjarmasin in Borneo, between 1318–1330. He was sent by the Pope to launch a misson into the Asian interiors. In 1318 he departed from Padua, crossed the Black Sea into Persia, all the way across Calcutta, Madras, and Srilanka. He then headed to Nicobar island all the way to Sumatra, before visiting Java and Banjarmasin. He returned to Italy by land through Vietnam, China, all the way through the silkroad to Europe in 1330.

In his book he mentioned that he visited Java without explaining the exact place he had visited. He said that king of Java ruled over seven other kings (vassals). He also mentioned that in this island was found a lot of clove, cubeb, nutmeg and many other spices. He mentioned that the King of Java had an impressive, grand, and luxurious palace. The stairs and palace interior were coated with gold and silver, and even the roof were gilded. He also recorded that the kings of the Mongol has repeatedly tried to attack Java, but always ended up in failure and managed to be sent back to the mainland. The Javanese kingdom mentioned in this record is Majapahit, and the time of his visit is between 1318–1330 during the reign of Jayanegara.

In later period near the fall of Majapahit, the art and architecture of Majapahit witnessed the revival of indigenous native Austronesian megalithic architectural elements, such as Sukuh and Cetho temples on western slopes of Mount Lawu. Unlike previous Majapahit temples that demonstrate typical Hindu architecture of high-rise towering structure, the shape of these temples are step pyramid, quite similar to Mesoamerican pyramids. The stepped pyramid structure called Punden Berundak (stepped mounds) is a common megalithic structure during Indonesian prehistoric era before the adoption of Hindu-Buddhist culture.