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Arts in Southeast Asia Database
Vishnu on Garuda from Belahan
Keywords : Vishnu, King Airlangga, Garuda, Belahan
| Site common name | Belahan |
|---|---|
| Type of artwork | Sculpture |
| Village | Trowulan Museum |
| Province/City | Modjokerto |
| State | East Java |
| Country | Indonesia |
| Geographic Coordinates Decimal degree | Lat : -7.553333 Long : 112.387222 |
| History of production | Belahan is located in the east of Penangkungan, a holy mountain in Eastern Java art. It is believd that ashes of King Ailangga was buried under this pond. Digging the pond to bury king’s ashes is a unique characteristic of Eastern Java. The father of king Ailangga also dug a pond to bury his own ashes as well. The pond is of square shape and receieves water from a small stream. The wall cuts into a mountain and is barraged by bricks. This directs the water to flow through sculpture inside the niches. There are three niches. The middle one enshrines Vishanu on Garuda ( now moved to Trowulan Museum). The other two niches enshine Laksami and Sri, both of which are Vishanu’s consorts and the goddess of luck. |
|---|---|
| Art | Garuda in this period has a long and protuding mouth, shows a ferocious expressing, turns the face to the side and shows unsemestry movements. These characteristics all represent the essence of being “Eastern Java”. |
| Period | Historical Period |
| Art period | Eastern Javanese Art |
| Age | 16-20 centuries BE. |
| Religion | Brahmanism-Hinduism |
| Sect | Vishanu |
| Religion and belief | Burying ashes with the god sculpture is a tradition of “Teveraja” which beleives that kings are the disguise of the gods. When a king dies, he will be reunited with the god. King Ailangga respects Vishanu as the most holy god; therefore, Vishanu sculpture may represent king Ailangga and Garuda may represent his ministers. Laksami and Sri may represnt king Ailangga’s two wives. |
| Related artwork | Vishanu is seated peacefully in contrast to a ferocius Garuda under him. His two hands are in mediation posture which is a popular posture in Java sculpture. The other two hands hold cornce shell with fire and lasso. The Garuda shows ferocious expression by grimacing the mouth , spreading the wings and using the pawns to catch the Naga below. |
| Type of License | Attribution-NonCommercial-NoDerivs (CC BY-NC-ND) |
|---|---|
| Rights | Princess Maha Chakri Sirindhorn Anthropology Centre |
| Date of record creation | 2015-07-00 |
| Record creator | Chedha Tingsanchali |
