Lonely Planet Indonesia

by Lonely Planet

  Like the other arts, architecture has traditionally served the religious life of Bali. Balinese houses, although attractive, have never been lavished with the architectural attention that is given to temples. Even Balinese palaces are modest compared with the more important temples. Temples are designed to fixed rules and formulas, with sculpture serving as an adjunct, a finishing touch to these design guidelines.

  Mosques

  Mosque interiors are normally empty except for five main features: the mihrab (a wall niche marking the direction of Mecca); the mimbar (a raised pulpit, often canopied, with a staircase); a stand to hold the Koran; a screen to provide privacy for important worshippers; and a water source for ablutions. There are no seats and if there is any ornamentation at all, it will be verses from the Koran, although Indonesia's growing economy has fueled a construction boom of new and elaborately designed mosques.

  All mosques are primarily places of prayer, but their specific functions vary: the jami mesjid is used for Friday prayer meetings; a musalla is used Sunday to Thursday; and the mashad is found in a tomb compound.

  It's generally no problem for travellers to visit mosques, as long as appropriately modest clothing is worn – there is usually a place to leave shoes, and headscarves are often available for hire.

  JAVA'S TOP FIVE CLASSICAL MOSQUES

  Indonesia's most revered mosques tend to be those built in the 15th and 16th centuries in Javanese towns that were among the first to convert to Islam. The 'classical' architectural style of these mosques includes tiered roofs clearly influenced by the Hindu culture that Islam had then only recently supplanted. They are curiously reminiscent of the Hindu temples still seen on Bali today. During the Suharto era in the late 20th century, hundreds of standardised, prefabricated mosques were shipped and erected all around Indonesia in pale imitation of this classical Javanese style.

  Mesjid Agung, Demak

  Mesjid Al-Manar, Kudus

  Mesjid Agung, Solo

  Mesjid Agung, Banten

  Masjid Kuno Bayan Beleq, Lombok

  Crafts

  History, religion, custom and modern styles are all reflected in Indonesia's vastly diverse range of crafts, which fills many an extra bag when visitors return home. Broadly speaking, there are three major influences: animism – traditions of animism and ancestor worship form the basis of many Indonesian crafts, particularly in Sumatra, Kalimantan, Sulawesi, Nusa Tenggara, Maluku and Papua; South Asian – the wave of Indian, and to a lesser extent Indo-Chinese, culture brought by extensive trading contacts created the Hindu-Buddhist techniques and styles reflected in Javanese and Balinese temple carvings, art forms, and crafts; and Islam – the third major influence only modified existing traditions. In fact Islam actively employed arts and crafts for dissemination of the religion. The highly stylised floral motifs on Jepara woodcarvings, for example, reflect Islam's ban on human and animal representation.

  Though the religious significance or practical function of many traditional objects is disappearing, the level of craftsmanship remains high. The sophistication and innovation of the craft industry is growing throughout the archipelago, driven by more discerning tourist tastes and by a booming export market. Javanese woodcarvers are turning out magnificent traditional panels and innovative furniture commissioned by large hotels, and Balinese jewellers influenced by Western designs are producing works of stunning quality.

  Tourist centres are fostering an increasing cross-fertilisation of craft styles: the 'primitive' Kalimantan statues, so in vogue in Balinese art shops, may well have been carved behind the shop or – more likely – in the vast crafts factories of Java.

  Made in Indonesia: A Tribute to the Country's Craftspeople (2005), by Warwick Purser with photos by the ubiquitous Rio Helmi, provides beautiful images and background information on the crafts of the country.

  Woodcarving

  Though the forests are vanishing, woodcarving traditions are flourishing. Often woodcarving is practised in conjunction with more practical activities such as house building. All traditional Indonesian dwellings have some provision for repelling unwanted spirits. The horned lion heads of Batak houses, the water buffalo representations on Toraja houses and the serpent carvings on Dayak houses all serve to protect inhabitants from evil influences.

  On the outer islands, woodcarvings and statues are crafted to represent the spirit world and the ancestors who live there. Woodcarving is an intrinsic part of the Toraja's famed funerals: the deceased is represented by a tau tau (a life-sized wooden statue), and the coffin is adorned with carved animal heads. In the Ngaju and Dusun Dayak villages in Kalimantan, temadu (giant carved ancestor totems) also depict the dead.

  The most favoured and durable wood in Indonesia is jati (teak), though this is getting increasingly expensive. Sandalwood is occasionally seen in Balinese carvings, as is mahogany and ebony (imported from Sulawesi and Kalimantan). Jackfruit is a common, cheap wood, though it tends to warp and split. Generally, local carvers use woods at hand: heavy ironwood and meranti (a hard wood) in Kalimantan, and belalu (a light wood) in Bali.

  Regional Carving

  Perhaps Indonesia's most famous woodcarvers are the Asmat of southwestern Papua. Shields, canoes, spears and drums are carved, but the most distinctive Asmat woodcarvings are mbis (ancestor poles). These poles show the dead, one above the other, and the open carved 'wing' at the top of the pole is a phallic symbol representing fertility and power. The poles are also an expression of revenge, and were traditionally carved to accompany a feast following a head-hunting raid.

  In many regions, everyday objects are intricately carved. These include baby carriers and stools from Kalimantan, lacquered bowls from South Sumatra, bamboo containers from Sulawesi, doors from West Timor and horse effigies from Sumba.

  Balinese woodcarving is the most ornamental and elaborate in Indonesia. The gods and demons of Balinese cosmology populate statues, temple doors and relief panels throughout the island. Western influence and demand for art and souvenirs has encouraged Balinese woodcarvers to reinvent their craft, echoing the 1930s revolution in Balinese painting by producing simpler, elongated statues of purely ornamental design with a natural finish.

  In Java the centre for woodcarving, especially carved furniture, is Jepara. The intricate crafts share Bali's Hindu-Buddhist tradition, adjusted to reflect Islam's prohibition on human representation. Another Javanese woodcarving centre is Kudus, where elaborate panels for traditional houses are produced.

  EXQUISITE GIFTS

  Amidst the endless piles of tourist tat, Indonesia has truly extraordinary items that make perfect gifts. The secret is finding them. Here are a few ideas:

  West Timor in Nusa Tenggara is home to fab textile markets. Look for shops selling local ikat, antique masks, statues, and carved beams, reliefs and doors from old Timorese homes.

  On South Sumatra, look for ceremonial songket sarongs that are used for marriages and other ceremonies near Palembang. They can take a month to make.

  Dayak rattan, doyo (bark beaten into cloth), carvings and other souvenirs from Kalimantan can be world-class.

  Street vendors in Bandaneira sell scrumptious kenari-nut brittle, a treat found only on the Banda Islands.

  On Bali, intricate and beautiful rattan items made in an ancient village are sold by Ashitaba, which has shops across the island full of exquisite and artful goods.

  Widely available in markets, look for tikar (woven palm leaf mats) that show careful workmanship and can be rolled up for travel.

  Ikat

  The Indonesian word 'ikat', meaning 'to tie' or 'to bind', signifies the intricately patterned cloth of threads that are painstakingly tie-dyed before being woven together. Ikat is produced in many regions, most notably in Nusa Tenggara.

  Ikat garments come in an incredible diversity of colours and patterns: the spectacular ikat of Sumba and the elaborately patterned work of Flores (including kapita, used to wrap the dead) are the best known.

  Ikat Season
s

  There are traditional times for the production of ikat. On Sumba the thread is spun between July and October, and the patterns bound between September and December. After the rains end in April, the dyeing is carried out. In August the weaving starts – more than a year after work on the thread began.

  In Tenganan (Bali), a cloth called gringsing is woven using a rare method of double ikat in which both warp and weft threads are predyed.

  Making Ikat

  Traditionally, ikat is made of hand-spun cotton. The whole process of ikat production – from planting the cotton to folding the finished product – is performed by women. Once the cotton is harvested, it is spun with a spindle. The thread is strengthened by immersing it in baths of crushed cassava, rice or maize, then threaded onto a winder.

  Traditional dyes are made from natural sources. The most complex processes result in a rusty colour known as kombu (produced from the bark and roots of the kombu tree). Blue dyes come from the indigo plant, and purple or brown can be produced by dyeing the cloth deep blue and then dyeing it again with kombu.

  Any sections that are not coloured are bound together with dye-resistant fibre. Each colour requires a separate tying-and-dyeing process. The sequence of colouring takes into consideration the effect of each application of dye. This stage requires great skill, as the dyer has to work out – before the threads are woven – exactly which parts of the thread are to receive which colour in order to create the pattern of the final cloth. After the thread has been dyed, the cloth is woven on a simple hand loom.

  Origins & Meaning of Ikat

  Ikat technique was most likely introduced 2000 years ago by Dongson migrants from southern China and Vietnam.

  Ikat styles vary according to the village and the gender of the wearer, and some styles are reserved for special purposes. In parts of Nusa Tenggara, high-quality ikat is part of a bride's dowry. Until recently on Sumba, only members of the highest clans could make and wear ikat textiles. Certain motifs were traditionally reserved for noble families (as on Sumba and Rote) or members of a specific tribe or clan (as on Sabu or among the Atoni of West Timor). The function of ikat as an indicator of social status has since declined.

  Motifs & Patterns

  Some experts believe that motifs found on Sumba, such as front views of people, animals and birds, stem from an artistic tradition even older than Dongson, whose influence was geometric motifs like diamond and key shapes (which often go together), meanders and spirals.

  One strong influence was patola cloth from Gujarat in India. In the 16th and 17th centuries these became highly prized in Indonesia, and one characteristic motif – a hexagon framing a four-pronged star – was copied by local ikat weavers. On the best patola and geometric ikat, repeated small patterns combine to form larger patterns, like a mandala. Over the past century, European styles have influenced the motifs used in ikat.

  CHOOSING IKAT

  Unless you are looking for inexpensive machine-made ikat, shopping is best left to the experts. Even trekking out to an 'ikat village' may be in vain: the photogenic woman sitting at a wooden loom may be only for show. But if you insist, here are some tips on recognising the traditional product:

  Thread Hand-spun cotton has a less perfect 'twist' to it than factory cloth.

  Weave Hand-woven cloth, whether made from hand-spun or factory thread, feels rougher and, when new, stiffer than machine-woven cloth. It will probably have minor imperfections in the weave.

  Dyes Until you've seen enough ikat to get a feel for whether colours are natural or chemical, you often have to rely on your instincts as to whether they are 'earthy' enough. Some cloths contain both natural and artificial dyes.

  Dyeing method The patterns on cloths which have been individually tie-dyed using the traditional method are rarely perfectly defined, but they're unlikely to have the detached specks of colour that often appear on mass-dyed cloth.

  Age No matter what anybody tells you, there are very few antique cloths around. There are several processes to make cloth look old.

  Songket

  Songket is silk cloth interwoven with gold or silver threads, although imitation silver or gold is often used in modern pieces. Songket is most commonly found in heavily Islamic regions, such as Aceh, and among the coastal Malays, but Bali also has a strong songket tradition.

  Batik

  The technique of applying wax or other dye-resistant substances (like rice paste) to cloth to produce a design is found in many parts of the world, but none is as famous as the batik of Java. Javanese batik dates from the 12th century, and opinion is divided as to whether batik is an indigenous craft or imported from India along with Hindu religious and cultural traditions.

  The word 'batik' is an old Javanese word meaning 'to dot'. Javanese batik was a major weapon in the competition for social-status in the royal courts. The ability to devote extensive resources to the painstaking creation of fine batik demonstrated wealth and power. Certain designs indicated courtly rank, and a courtier risked public humiliation, or worse, by daring to wear the wrong sarong.

  In 2009 Unesco added Indonesian batik to its Intangible Cultural Heritage list.

  Batik painting, an odd blend of craft and art that all-too-often is neither, remains popular in Yogyakarta, where it was invented as a pastime for unemployed youth. Though most batik painting is tourist schlock, there are some talented artists working in the medium.

  Making Batik

  The finest batik is batik tulis (hand-painted or literally 'written' batik). Designs are first traced out onto cloth, then patterns are drawn in hot wax with a canting, a pen-like instrument. The wax-covered areas resist colour change when immersed in a dye bath. The waxing and dyeing, with increasingly darker shades, continues until the final colours are achieved. Wax is added to protect previously dyed areas or scraped off to expose new areas to the dye. Finally, all the wax is scraped off and the cloth boiled to remove all traces of wax.

  GIFTS FROM THE HEART

  Looking to show close friends and relatives just how deep you plunged into Indonesian culture? Then give them a penis gourd.

  Papua is the sweet spot for Indonesian penis gourds. Traditionally used by indigenous men in the province's highlands, they are attached to the testicles by a small loop of fibre. Sizes, shapes and colours vary across cultural groups but you can pick one up for around 5000Rp to 60,000Rp. A good place to check out the merchandise is Wamena. Remember: bargain hard as competition is stiff.

  If you'd rather not give something as intimate as a penis gourd, then perhaps you should do just the opposite and give the prized possession of head-hunters everywhere: a mandau from Kalimantan. Once the Dayak weapon of choice, this indigenous machete is still slung from the hips of most men in the Kalimantan interior. A good place to shop is in the longhouse village of Tanjung Isuy.

  Obviously, you'll need to check a bag to get a mandau home, but you can probably simply wear your new gourd. And if your visit doesn't take you near these places, you can always buy the top-selling souvenir on Bali: a bottle opener shaped like a penis.

  Basketwork & Beadwork

  Some of the finest basketwork in Indonesia comes from Lombok. The spiral woven rattan work is very fine and large baskets are woven using this method; smaller receptacles topped with wooden carvings are also popular.

  In Java, Tasikmalaya is a major cane-weaving centre, often adapting baskets and vessels to modern uses with the introduction of zips and plastic linings. The Minangkabau people, centred around Bukittinggi, also produce interesting palm-leaf bags and purses, while the lontar palm is used extensively in weaving on West Timor, Rote and other outer eastern islands. The Dayak of Kalimantan produce some superb woven baskets and string bags.

  Some of the most colourful and attractive beadwork is made by the Toraja of Sulawesi. Beadwork can be found all over Nusa Tenggara and in the Dayak region of Kalimantan. Small, highly prized cowrie shells are used like beads and are found on Dayak and Lombok works, though the best app
lication of these shells is as intricate beading in Sumbanese tapestries.

  Kris

  No ordinary knife, the wavy-bladed traditional dagger known as a kris is a mandatory possession of a Javanese gentleman; it's said to be endowed with supernatural powers and is to be treated with the utmost respect. A kris owner ritually bathes and polishes his weapon, stores it in an auspicious location, and pays close attention to every rattle and scrape emanating from the blade and sheath in the dead of the night.

  Some think the Javanese kris (from iris, meaning 'to cut') is derived from the bronze daggers produced by the Dongson around the 1st century AD. Bas-reliefs of a kris appear in the 14th-century Panataran temple complex in East Java, and the carrying of the kris as a custom in Java was noted in 15th-century Chinese records. The kris remains an integral part of men's ceremonial dress.

  Distinctive features, the number of curves in the blade and the damascene design on the blade are read to indicate good or bad fortune for its owner. The number of curves in the blade has symbolic meaning: five curves symbolise the five Pandava brothers of the Mahabharata epic; three represents fire, ardour and passion. Although the blade is the most important part of the kris, the hilt and scabbard are also beautifully decorated.

  Although the kris is mostly associated with Java and Bali, larger and less ornate variations are found in Sumatra, Kalimantan and Sulawesi.