Symbolic and Aesthetic Representation of the Royal Carriage as a Manifestation of Palace Craft Art: Implications for the Study of Cultural Identity in the Archipelago Symbolic and Aesthetic Representation of the Royal Carriage as a Manifestation of Palace Craft Art:
Implications for the Study of Cultural Identity in the Archipelago Wahyono1.
Guntur2.
Suyanto3.
Eko Supriyanto4 Department of Fine Arts Education.
Faculty of Languages.
Arts, and CultureAos Yogyakarta State University Jl.
Colombo No.
Karang Malang.
Daerah Istimewa Yogyakarta
2,3,4
Indonesian Institute of the Arts Surakarta Jl.
Ki Hajar Dewantara No.
Kota Surakarta.
Jawa Tengah Email: wahyono@uny.
ABSTRACT
Craft art represents a cultural expression reflecting community creativity, identity, and skills.
Indonesia, craft art has a long historical tradition influenced by Hindu-Buddhist.
Islamic, and European colonial cultures.
One prominent manifestation of palace craft art is the royal carriage .
ereta kencan.
, which serves as ceremonial transportation and a symbol of royal authority, social status, and cultural This study investigates the royal carriage's aesthetic, symbolic, and technical representations as a significant artifact of palace craft art.
The research adopts a qualitative approach through literature study, relying on written sources such as books, scientific articles, and historical documents.
Findings indicate that the royal carriage reflects exceptional aesthetic quality and technical mastery through high-quality materials such as teak wood, precious metals, luxurious textiles, and intricate carvings, integrating elements of Hindu-Buddhist.
Islamic, and Western cultures.
Symbols such as Garuda.
Arabic calligraphy, floral and faunal motifs, and Baroque ornaments represent the royal institutionsAo philosophical, spiritual, and political values.
Nevertheless, this research has limitations regarding the empirical exploration of symbolic meaning shifts in modern contexts.
Further studies are recommended to employ ethnographic approaches, material analyses, and conservation strategies utilizing digital technology and artisan regeneration to maintain the relevance of palace craft heritage as a critical part of IndonesiaAos cultural identity.
Keywords: Keraton's Craft Art.
Carriage.
Symbols of Power.
Multiculturalism.
Digital Preservation ABSTRAK Seni kriya merupakan ekspresi budaya yang mencerminkan kreativitas, identitas, dan keterampilan masyarakat.
Di Indonesia, seni kriya memiliki sejarah panjang yang dipengaruhi oleh berbagai budaya seperti Hindu-Buddha.
Islam, dan kolonial Eropa.
Salah satu manifestasi tertinggi seni kriya istana adalah kereta kencana, yang selain berfungsi sebagai alat transportasi dalam upacara kerajaan, juga menjadi simbol kekuasaan, status sosial, serta identitas budaya Penelitian ini bertujuan mengungkap representasi estetis, simbolik, dan teknis pada kereta kencana sebagai artefak kriya istana.
Penelitian dilakukan melalui pendekatan kualitatif dengan metode studi pustaka, menggunakan sumber tertulis seperti buku, artikel ilmiah, dan dokumen Hasil penelitian menunjukkan bahwa kereta kencana mencerminkan keunggulan estetika dan keterampilan teknis yang tinggi melalui penggunaan material berkualitas seperti kayu jati, logam mulia, tekstil mewah, serta ukiran rumit yang menggabungkan unsur-unsur budaya Hindu-Buddha.
Islam, dan Barat.
Simbol-simbol seperti Garuda, kaligrafi Arab.
Jurnal Panggung V35/N3/09/2025 Wahyono.
Guntur.
Suyanto.
Eko Supriyanto motif flora dan fauna, serta ornamen Barok mencerminkan nilai filosofis, spiritual, dan politik Meski demikian, penelitian ini masih memiliki keterbatasan dalam eksplorasi empiris mengenai perubahan makna simbol dalam konteks modern.
Studi lanjutan direkomendasikan menggunakan pendekatan etnografis dan analisis material, serta menyusun strategi pelestarian yang melibatkan teknologi digital dan regenerasi perajin, agar warisan seni kriya istana tetap relevan sebagai bagian penting dari identitas budaya Nusantara.
Kata Kunci: Seni Kerajinan Keraton.
Kereta.
Simbol Kekuasaan.
Multikulturalisme.
Pelestarian Digital INTRODUCTION craft arts is significantly influenced by the Craft is a cultural expression that reflects surrounding cultural context (Prihatin, 2.
a community's creativity, skills, and identity.
The creation of many artworks, particularly Craft arts encompass various forms of work, ornaments, is influenced by society and its such as handicrafts, textiles, metal crafts, culture (Bahrudin et al.
, 2019.
Wahyono et al.
wood carving, and jewelry, which often serve both practical function and have high aesthetic In Indonesia, these art forms The arrival of Hinduism and Buddhism into Indonesia brought changes not only in a long and rich history, with each region's terms of beliefs but also in social system of characteristics and traditions passed down The structure of the kingdom and the from generation to generation (Sunarya, 2.
caste system gave rise to social status.
Hindu- In this case, craft art reflects ongoing processes Buddhist influence in Indonesia occurred of cultural changes.
Therefore, the creativity of a craftsman, even in small contributions, adaptation brought by traders and priests will affect how the process of cultural change from India to prehistoric cultures in Indonesia.
works (Wahyono et al.
, 2.
The spread of Hindu-Buddhist culture also The practice of craft arts was initially influenced the development of craft arts in intended to make functional items for both Indonesia.
During the Majapahit Kingdom religious purposes and practical needs in .
3Ae1.
, craft art, especially metal crafts human life, such as household appliances from bronze and gold, reached its golden (Prihatin, 2.
For example, artifacts from the During this time, metal crafts not only Stone Age, such as axes and tools, as well as showed technical skills but also reflected the Metal Age relics like nekara, moko, candrasa, majesty and power of the king.
The keris, one vessels, and jewelry-including of the famous crafts of this period, symbolized courage and spirituality, with each keris having beauty and utility function.
These objects were a unique prestige or pattern that is believed to used as jewelry in traditional ceremonies and have magical powers.
Similarly, during the religious activities such as honoring ancestral Mataram Sultanate .
7Ae1.
, textile crafts spirits (Prihatin, 2.
The development of such as batik experienced rapid development.
Jurnal Panggung V35/N3/09/2025 Symbolic and Aesthetic Representation of the Royal Carriage as a Manifestation of Palace Craft Art: Implications for the Study of Cultural Identity in the Archipelago Batik became a symbol of social and spiritual has characteristics that contain aesthetic, status, with specific motifs that can only be worn by the royal family.
Palace batik motifs Its realization requires a high expertise reflected philosophical and spiritual values, and belongs to the group of noble arts.
symbolizing greatness and local wisdom involves manual skills and reflect cultural (Prabowo et al.
, 2024.
Sucitra, 2015.
Zam et al.
expressions and values contained in society (F.
Setyaningrum, 2020.
Sukarini et al.
Craft is a branch of art that emphasizes In this context, craft artworks function hand-based skills.
The term kriya is derived practically and aesthetically , intertwining from the Sanskrit word "kr," which means 'to function and beauty (Bahrudin et al.
, 2.
' From this root, the term evolved into work.
Mastery of craft skills results in products that crafts, and creative activities.
In the context of are not only commercially valuable but also art, kriya means doing something to produce reflect the innovation and creativity of the an object that has artistic value (Sukarni et performers, strengthening their position as , 2022.
The origin of the word kriya in part of the noble arts in Indonesia (Farikha.
Indonesian reflects its long-uncommon use Handakara, 2.
but still refers to activities related to creating The origins of craft art can be traced objects of use and aesthetic value (Yulimarni back to the treasures of Indonesian culture, et al.
, 2.
The word kriya in English can refer exceptionally high Javanese culture, or the to energy or strength, however, in the context culture that developed in the palace and the of art, it is more emphasized on hand skills royal system.
Craft art is palace art.
Denis (Restu & Astuti, 2.
Craft art is identified Lombard, in his book Nusa Java: Lintas Budaya, as a distinctive, meaningful work of art and states that the term kriya, taken from kryan, is a blend of expression, design, and skill indicates the existence of hierarchical strata (Prihatin, 2.
during the Majapahit kingdom: "First there These perspectives converge on craft were Mantri, or high officials, and Arya, or as an intentional practice of making, where nobles, then kryan, who had Kshatriya status, skilled, hand-based techniques transform and saints or officers, who also seem to be a materials into culturally meaningful objects.
kind of inferior nobility" (Masitoh & Kamilah.
This shared emphasis on purposeful doing.
Prihatin, 2022.
Sukarni et al.
, 2022.
professional craft, and the produced artifact Craft is a noble heritage of art and culture provides a transparent bridge to the following that, during the Javanese kingdom, had a higher From the descriptions provided, place than common handicrafts.
The nobility keywords that define craft include work, effort, and elite society consumed crafts, while they and action.
In this context, it is interpreted as were supported by the general public or the the creation of art pieces supported by high ordinary people, i.
, people living outside the levels of skill (Sunarya, 2.
palace walls.
Craft art is seen as unique and of Craft art is a unique work of art and high quality because it is supported by high Jurnal Panggung V35/N3/09/2025 Wahyono.
Guntur.
Suyanto.
Eko Supriyanto expertise, while everyday crafts are seen as carriage's beauty and luxury reflect its owner's rough and incomplete (Sunarya, 2.
high position.
The royal carriage is often The difference in crafts can be seen passed down from generation to generation, in their professionalism.
In the past, crafts symbolizing cultural continuity and heritage.
in the palace environment were given the Each decorative element on the royal carriage title of master to those who made them.
carries symbolic meaning, reflecting cultural its realization, this is very important to the values and beliefs (Basoeki & Mingchang, aesthetic value and the quality of skills (Eskak.
Meanwhile, crafts that grow outside The Yogyakarta Palace has several the palace environment are called AupandheAy.
famous golden carriages, including the Kiai The realization of craft objects only prioritizes Garudayaksa Carriage, which was created function and use, which is intended to in 1867 and is used in important ceremonies.
support the practical needs of the community In addition, there is also the Kiai Jongwiyat (Wicaksono, 2.
Thus, repetition and lack Carriage, used by Sultan Hamengkubuwono of artistic or aesthetic thought are signs of craft Vi, and the Kiai Roto Biru Carriage, with a objects (Nabila, 2.
more modern concept and used by Sultan The history of palace crafts reflects the Hamengkubuwono IX.
These royal carriages luxury, power, and aesthetics of kingdoms function as ceremonial vehicles and represent and palaces in different parts of the world.
the high aesthetic and technical standards of Palace crafts typically include various arts court craftsmanship, as reflected in the unique and crafts made with high skill and often characteristics of YogyakartaAos traditional use valuable materials.
Through skills and arts (Eskak, 2.
The intricate designs and refined details of these carriages underscore generation, palace crafts function as tools and the cultural values and artisanal excellence decorations and symbolize status, power, and cultivated within the aristocratic environment.
cultural identity (Sunarya, 2.
Thus, the Similarly, as Lestari et al.
describe in craft palace will always be an essential part the context of the Cirebon Palace, such artistic of Indonesia's cultural heritage, linking the expressions are integral to preserving tradition past to the present and preserving a rich and and showcasing the cultural sophistication diverse cultural identity.
Crafts in the palace and artistic skills of court artisans.
This are insight into the splendor and beauty of highlights the close connection between past cultures, as well as inspiration to preserve craftsmanship, beauty, and cultural heritage and preserve our cultural heritage (Wahyono in royal institutions.
et al.
, 2.
In addition to the Yogyakarta Palace.
In addition to textile, metal, and wood the Surakarta Palace has several golden palace crafts, one of the most remarkable carriages, such as the Kencana Nyai Jimat artistic creations is the royal carriage.
The Carriage and the Kiai Garudayaksa Carriage.
carriage is a symbol of status and power.
The As in Yogyakarta, these carriages are used in Jurnal Panggung V35/N3/09/2025 Symbolic and Aesthetic Representation of the Royal Carriage as a Manifestation of Palace Craft Art: Implications for the Study of Cultural Identity in the Archipelago major ceremonies.
Other examples are the METHODS Singa Barong Carriage from the Kasepuhan The article used a qualitative approach Palace in Cirebon and the Paksi Naga Liman through library research or literature study.
Carriage from the Kanoman Palace in Cirebon This research relies on written sources as the (P.
Setyaningrum, 2.
primary data, such as books, scientific articles.
The palace carriage is an important historical documents, and artworks related to symbol of Indonesia's rich culture and history.
palace crafts.
This method was chosen because From its function in royal ceremonies to its it is appropriate to explore the symbolic, role in tourism and research, the carriage aesthetic, and technical meanings of palace remains relevant and valued today.
Preserving craftsAiparticularly and understanding the carriage helps us context of cultural representation.
The data appreciate our rich and diverse cultural collected were narratives, descriptions, and heritage and ensures that these traditions can interpretations that were studied in depth.
continue to be enjoyed by future generations.
Data carriageAiin The above description implies that the royal systematically through the stages of data carriage that symbolizes palace crafts has reduction .
electing and filtering relevant aesthetic, symbolic, and technical content, informatio.
, data presentation .
rganizing thus presenting noble and monumental works and classifying finding.
, and interpretation throughout the ages.
nterpreting the meaning of the data that Based on the above thoughts, it is has been presente.
Particular emphasis is necessary to examine how the royal carriage placed on the depth of meaning behind the represents the existence of palace crafts.
The symbols of craft art and their historical and results of this research are very beneficial for cultural context.
This research also applies the general public, the academic community, critical reflection on the literature studies to and the government.
This article aims to expand understanding of cultural identity explain how this royal carriage represents as manifested in the craft art of the golden palace crafts through symbolic, aesthetic, and carriage as a palace artifact.
This research relies technical aspects.
This paper contributes to on various literary works to obtain qualitative studying the art of palace crafts developed data presented in words or descriptions.
This in royal carriages and palaces.
However, research can refer to similar or related research royal carriages in various cultures have their (Fadli, 2.
Researchers are dealing directly characteristics and uniqueness that reflect with data taken from secondary sources and the aesthetics and values of each culture.
The not first-hand original data.
library data is not royal carriage not only reflects the splendor limited by space and time (Abdussamad, 2022.
and strength of the past but is also a bridge Ulum et al.
, 2.
that connects us with the rich history and This method is used because it presents traditions of the kingdoms of the archipelago.
a direct relationship between the author and the respondent, is more sensitive, and can Jurnal Panggung V35/N3/09/2025 Wahyono.
Guntur.
Suyanto.
Eko Supriyanto adapt to the value patterns encountered.
The and porcelain were used to decorate the qualitative method pays attention to the depth Pharaoh's palace.
Furthermore, during the of information, explores the meaning behind classical Greek and Roman periods, palace the phenomena, emphasizes case studies, and crafts flourished through marble sculptures, presents results in narrative form (Moleong, bronze carvings, and mosaics, which were used to decorate palace buildings and places Data analysis or interpretation was carried out by systematically compiling In Japan, palace craft includes Byobu paintings in the form of folding screens often observation and other relevant sources to decorated with landscapes, birds, and flowers improve the researcher's understanding of using the Sumi-e ink technique.
Another craft the focus of study.
The analysis also provides is ikebana, an elegant flower arrangement editing, clarifying, reducing, and presenting art which was often displayed in palace the data (Qomaruddin & Sa'diyah, 2.
The Similarly.
Chinese ceramics, including data analysis technique involves several steps, porcelain, have been a symbol of quality and namely reducing data, where the researcher beauty in craft art throughout their history, particularly during the Ming and Qing unnecessary one.
The next step is to present Dynasties.
Ceramic techniques and styles data that has gone through the data reduction experienced significant development in that Moreover, the data that has been period (Nor Huda Ali & Yanto, 2.
of worship (Andono & Rispul, 2.
presented will be interpreted through the data During the Middle Ages.
Islamic craft analysis process.
Artistic research provides a art flourished in palaces such as the Umayyad different framework for approaching research and Abbasid Caliphates.
This can be seen from in the arts in general.
This research emphasizes the improved technique and quality of art reflection, analysis, and interpretation of the produced during this period, where various results of artistic practice (Rohidi, 2.
art forms, including calligraphy, carving, and mosaics, were used to decorate palaces and mosques (Ibrahim, 2.
This aesthetic RESULTS AND DISCUSSION process not only shows luxury but also serves Development of Palace Craft Arts to convey the value and beauty contained in Palace crafts have a long and rich history.
Islamic traditions.
Craft arts grew and evolved spanning empires and periods in different in Europe, including fine arts such as wood parts of the world.
Craft art has existed and stone carving, stained glass, and textiles since ancient times in the Mesopotamian to decorate castles and royal palaces.
During the Renaissance period in Italy, craftsmanship Mesopotamia, crafts were used to create flourished in palaces such as the Medici Palace reliefs and carvings on palace walls, while in in Florence and the Vatican Palace in Rome.
Ancient Egypt, crafts such as carvings, gold.
These crafts include paintings, sculptures, and Ancient Egyptian Jurnal Panggung V35/N3/09/2025 Symbolic and Aesthetic Representation of the Royal Carriage as a Manifestation of Palace Craft Art: Implications for the Study of Cultural Identity in the Archipelago other decorative artworks.
In the subsequent as a component of belief or religion but also Baroque Period in Europe, which featured for the consumption of the aristocratic elite the splendor of Crafts in palaces such as the as a marker of social status.
This condition Palace of Versailles in France and the Palace gives craft art a high status because it occupies of Schynbrunn in Austria.
Baroque Crafts a respectable position in its time, in contrast featured magnificent architecture, carvings, to crafts that tend to grow among ordinary people or the lower class (Zam et al.
, 2.
(Andono & Rispul, 2.
This stratification reflects the craft arts' past In the Middle East.
Persia, or modern position and existence.
Craft art is not highly Iran, craftsmanship has a rich heritage, with intense but by high-quality aesthetic values carvings, metal crafts, and textile artwork used and skills.
Meanwhile, craft grows based on to decorate palaces like the Golestan Palace in practical needs, using available materials Tehran.
Persian craft also includes calligraphy and skills through everyday experience.
and ceramic art.
The Ottoman Empire also had As an art form, craft often involves the use a rich crafts tradition, with wood carvings, of local materials that are accessible and metal crafts, and textile arts used to decorate follows methods resulting from traditions and palaces such as Topkapi Palace in Istanbul.
individual experiences in creating products Ottoman crafts also included mosaic and that are both useful and aesthetically valuable stained-glass artwork (Andono & Rispul, (Sukarni et al.
, 2.
One of the landmarks of palace crafts In Indonesia, the palaces of Yogyakarta is the royal carriage.
In Indonesia, especially and Surakarta developed batik as ceremonial in palaces such as Yogyakarta and Surakarta, attire for the sultan and his family.
Other the aesthetics displayed on golden carriages palace crafts include gold and silver jewelry are often influenced by Hindu-Buddhist and and accessories worn by members of the Islamic cultures.
Motifs such as kala-makara royal family.
In addition to Yogyakarta and .
ythological creature.
and reliefs from the Surakarta palaces, several other palaces in Ramayana and Mahabharata stories are often Indonesia have craft art products that are no seen in the wood carvings of royal carriages.
less interesting (Wahyono et al.
, 2.
addition, lotus flower motifs, kalpatara trees.
In general, the craft arts developed and animals such as garuda and dragons carry in the palace reflect the beauty, subtlety, symbolic meaning in Hindu-Buddhist culture.
and high skill possessed by the artists and In addition to Hindu-Buddhist influences, kriyamen-traditional palace craftsmen- of this Islamic culture also shows considerable aristocratic milieu.
Palace craft artworks serve as decorations and everyday fixtures in the kingdoms, such as the Sultanate of Palembang lives of palace residents and as symbols of and Yogyakarta, the influence of Islam can royal power, status, and wealth.
be seen in the use of Arabic calligraphy and The role of craft art has grown, not only Malay geometric motifs.
Carriage decoration in this Jurnal Panggung V35/N3/09/2025 Wahyono.
Guntur.
Suyanto.
Eko Supriyanto region often avoids figurative representations The craftsmanship aesthetic of the and focuses on abstract and arabesque motifs.
carriage reflects the exceptional skill and The influence of European colonialism creativity of the artisans.
Every detail, from can be seen in the design and decoration of the wood carvings to the metal decorations, the royal carriage.
For example, in Indonesia shows the luxury and high status of the during the Dutch colonial period, some carriage owner.
The royal carriage is a means carriages adopted European baroque and of transportation and a work of art with high rococo styles.
The styles are marked by historical and cultural value, symbolizing intricate and decorative ornaments, with royal majesty and power.
In addition, the arches and scrolls characteristic of the baroque craftsmanship of the royal carriage reflects and rococo styles.
both high technical and aesthetic skills, as The royal carriage represents the pinnacle of expertise and aesthetics dedicated to the well as the cultural and historical influences inherent in each kingdom or palace.
kingdom and the palace.
The royal carriage, often used in official ceremonies, processions.
Representation of Palace Craft Techniques and parades, symbolizes luxury, status, and on the Royal carriage The craftsmanship of the royal carriage The materials used in the carriage includes a wide range of techniques and manufacture are high-quality and reflect the decorative elements that are crafted with great status and wealth of the owner.
For example, care and beauty.
The following are some of the teak wood is used as the main structure of aesthetic aspects of craft art that are commonly carriages due to its strength and ability to be found in royal carriages:
carved with intricate details (Gunada, 2.
Wood carving is the dominant element Gold, silver, or other precious metals are in crafting royal carriages.
Intricate and used for ornaments and decorative coatings, symbolic motifs on the train include the giving an impression of luxury and prestige.
chariot body, wheels, and poles.
To complement interior, high-quality fabrics Metal decoration is also an important such as silk and velvet are used for upholstery part of crafting royal carriages in the to enhance comfort and visual beauty form of precious metal crafts such as (Rahmayanti et al.
, 2.
gold, silver, and copper.
This metal In contrast to crafts identified with decoration usually includes ornaments, general people, palace crafts are practiced upholstery, and accessories, beautifying within the scope of the palace .
the chariot.
and created by artisans who are granted the Textile and fabric crafts are made of title of master.
Meanwhile, the craft derived velvet, silk, and brocade.
from the word "diligent" is outside the palace Variety environment, performed by the general public, ornaments enhance chariotsAo beauty and and the practitioner is or panda (Gustami, 2.
Craft is the root of Jurnal Panggung V35/N3/09/2025 called a craftsman Symbolic and Aesthetic Representation of the Royal Carriage as a Manifestation of Palace Craft Art: Implications for the Study of Cultural Identity in the Archipelago visual art.
Kriya is a visual work of art that is Symbolic Representation of Palace Craft Art distinctive, full of meaning, and results from on the Royal carriage a combination of expression, design, and high skill (Wahyono, 2.
The golden carriage serves as a means of transportation and symbolizes power Palaces are characterized by complex and and status.
In many cultures, the chariot is aesthetically pleasing relief carving techniques.
used in official processions to emphasize the These techniques create a vivid and dynamic legitimacy and splendor of rulers.
The use three-dimensional effect with the images of royal carriages in royal ceremonies, such carved to stand out from the background.
This as coronation p or royal weddings that used technique is widely used in train carvings in to transport kings or queens is undoubtedly Europe and Asia, giving depth and detail to intended to show royal power and splendor.
the carved motifs.
This technique is called The craftsmanship of royal chariot is a intaglio, in which images are carved into the manifestation of its rich culture and history.
material's surface to reveal fine details and These chariots are not only vehicles but The intaglio technique is often seen also work of art that reflect the luxury and in small parts and details of carriages, such as beauty of the palace.
Through carvings, metal metal ornaments and accessories.
decorations, paintings, and textiles, each In addition, the creation of palace crafts carriage tells a story about the traditions and involve high skill and expertise.
Each palace values upheld by the community (Wibawanto craft artwork is made with great care and using high-quality materials.
Palace crafts and conservation efforts ensure that future are a manifestation of the creativity, skill, generations can enjoy and learn about this and identity of a kingdom.
In Indonesia, heritage, connecting us to a past full of palace crafts possess a long and rich history, beauty and cultural richness.
Nevertheless, reflecting each kingdom's characteristics and many cultural artifacts may also be affected uniqueness (Bahrudin et al.
, 2.
by modern interpretations and the use of Technically, the royal carriage as a palace Prihatin.
Careful technology (Prada Nyyez et al.
, 2.
craft involves a complex process and artisans The palace carriage is an important with special skills.
These include wood symbol in history of Indonesian kingdoms.
craftsmen who are responsible for carving The chariot served as a means of transportation motifs on the wooden parts of the carriage, such and a symbol of royal power, grandeur, and as the body and wheels, metalworkers who Historically, the royal carriage was make ornaments out of metal, including gold first introduced by Europeans, especially and silver plating, and additional accessories.
the Dutch and Portuguese, who brought Painters and cloth artisans decorate the cars the tradition of horse-drawn carriage to with luxurious paintings and fabrics to give Indonesia in the 16th and 17th centuries.
The them an aesthetic finish.
kingdoms in the archipelago then adapted this influence to show their wealth and majesty.
Jurnal Panggung V35/N3/09/2025 Wahyono.
Guntur.
Suyanto.
Eko Supriyanto The European animals, and royal symbols are common especially the Dutch, played significant role elements in these carvings (Wibowo, 2.
in developing Indonesia's golden chariot.
The At the time, the royal carriage was often Dutch introduced carriage-making technique used in various traditional ceremonies and and Western aesthetics, which were then royal events, such as coronations.
During adapted to the local styleAifor example, gold this occasion, the royal carriage was used to decorations and Javanese or Balinese carvings transport the new king in a grand procession, combined with Western-style chariot designs.
marking the start of a new reign.
Beyond In Indonesian royal tradition, the royal coronation, the royal carriage is usually used carriage is usually used in various ceremonies, for events such as royal birthday, and wedding, such as coronations, weddings, and other enhancing a grand and sacred impression of important events.
These chariots are often ceremonies (Lahelma, 2.
decorated with gold ornaments, beautiful Over time, many royal carriages have carvings, and various royal symbols (Wibowo, become historical artifacts preserved in palace Due to their sacredness and high For example, the Yogyakarta historical value, palace carriages are usually Palace and the Surakarta Palace have notable well-preserved and regularly maintained.
museums that display their golden carriages.
They are often exhibited in palace museums The Yogyakarta Palace Railway Museum as part of cultural collections preserved for houses various collections of historical golden future generations.
This is warranted, as the carriages (Ratnasari, 2.
Although royal golden chariot is a means of transportation and carriages are rarely used in modern times, a symbol of the king's power and sovereignty.
they still have a strong symbolic role.
The The ornaments and decorations on these royal carriage is often used at official royal chariots often have deep philosophical and and national events, such as Independence religious meanings, reflecting the cultural Day beliefs and values of the people (Basoeki Although & Mingchang, 2.
The Indonesian royal evolved, traditional and cultural values are carriage is valuable cultural heritage, reflecting still respected and maintained.
Sanggit is a the long and rich history of the archipelago's form of reproduction with innovative works Each carriage has its own story and and serves the concept of revitalization.
This meaning, contributing as an important part of Sanggit work is important for preserving the royal identity and traditions.
traditional art by providing alternative works Gold carriages are usually crafted with intricate details and require high skill from (Zam et al.
, 2.
the artisans.
Palace carriage ornaments and In addition to the palaces of Yogyakarta carvings often serve intricate designs that and Surakarta, several other kingdoms in tell stories from traditional epics, mythology, the archipelago also had royal carriages with or royal history.
Floral motifs, mythological unique characteristics.
For example, the Royal Jurnal Panggung V35/N3/09/2025 Symbolic and Aesthetic Representation of the Royal Carriage as a Manifestation of Palace Craft Art: Implications for the Study of Cultural Identity in the Archipelago Table 1.
Some common symbolisms in carving carriage decorations from different cultures.
Form Lotus Flower Dragon Garuda Phoenixes Arabic Arabesque Batik kawung and European crosses and Christian Picture Meaning Applications In many Asian cultures, the lotus flower symbolizes purity, enlightenment, andawakening.
thecontext of chariots, lotuses were often carvedto show the nobility and wisdom of the ruler.
Lotuses are often seen on royal carriages in Indonesia and China,decorating the bodyand roof of the carriage.
Garuda is a mythologicalcreature that symbolizes wisdom, strength and In Hindu-Buddhist culture inIndonesia.
Garuda is the vehicle of God Vishnu.
Royal carriages such asthe Kiai Garudayaksa Chariot at theYogyakarta Palace are decorated with Garuda carvings, showing the power and glory of the king.
Dragons are a symbol of strength, courage andprotection in Asian culture, especially in China.
Dragons were also consideredprotectors of the emperor and symbols of the empire.
Carvings of dragons often adorned thecarriages of Chinese emperors, giving the impression of power and In Chinese culture, the phoenix symbolizes resurrection and Phoenixesare often carved together with dragons, symbolizing the balance of yin and yang forces.
Carvings of crowns and thrones are often found on European royalcarriages, whilephoenixes and dragons often adorn Chinese In Islamic culture.
Arabic calligraphy is often used to write versesof the Koran, bringing blessings and The arabesque, with its geometric patterns andscrolling plants,symbolizes the beauty and infinity of God's creation.
Batik patterns such as kawung and parang have philosophical meaning in Javanese culture.
Kawung symbolizes justice and wisdom, while parang symbolizes strength and courage.
European chariots,crosses and Christian symbols were often carved to show piety and divine protection.
Golden carriages in the Sultanates of Yogyakarta and Surakarta are often decorated with calligraphy and arabesques, reflecting grandeur andspirituality.
Carvings with batikpatterns are often seen on golden trains in Java, providing a deep touch of local culture.
Carved crosses on coronation carriages in Europe.
Jurnal Panggung V35/N3/09/2025 Wahyono.
Guntur.
Suyanto.
Eko Supriyanto Mantras and of HinduBuddha Lions Sun and Moon Water and Waves Fire and Flame Swans and Peacocks Roses Jurnal Panggung V35/N3/09/2025 Mantras and religious symbols such as Om, swastikas, and mandalas are often carved on royal carriages in South and Southeast Asia.
The Om symbol on achariot in India.
Lions are often carved assymbols of courage,strength, and justice.
many cultures, lions are considered The royal carriages of England and several other Europeancountries are often decorated with lion statues to emphasize the power and of the king.
The sun represents power, energy, andvitality, while the moon represents calm and spiritual influence.
Bothare often used to reflect cosmic balance and divine power.
Carvings of the sun and moon are often seen on chariots in India and Japan,reflecting the concept of natural balance and the relationship between the ruler and the universe.
Water symbolizes life, fertility, and the flow of time.
Waves and water currents are often used toshow the abundance and power of nature.
Fire transformation, passion,and The flames are often carvedto show courage and purity.
Carvings of the sun andmoon are often seen onchariots in India and Japan, reflecting the concept of natural balance and the relationship between the ruler and theuniverse.
Water wave carvingsare onchariots in Japan and China, symbolizing the harmonious relationship betweenhumans and nature.
Motifs of fire andflame are often foundon chariots in India,symbolizing spiritual power and cleansing.
The swan symbolizeselegance and spirituality,while the peacock symbolizes beauty andpride.
These two birds are often carved to show the glory and beauty of royalty.
Carvings of swans and peacocks often adornedthe chariots of India and Persia, reflectingthe beauty and splendorof their cultures.
Roses are oftenassociated with love, beauty and mystery.
In a royal context, roses cansymbolize elegance Chariots in Europe, especially in England,were often decoratedwith rose motifs, whichwere also an important heraldic symbol.
Symbolic and Aesthetic Representation of the Royal Carriage as a Manifestation of Palace Craft Art: Implications for the Study of Cultural Identity in the Archipelago Skulls and Bones Skulls and bones,although rare, are sometimes used to symbolize death This couldindicate the power overlife and death that the ruler possessed.
carriage of the Pagaruyung Palace in West These Some chariotsin Europe at certaintimes may have had this symbol, especially in the context of war orconquest.
Sumatra was used by the King of Minangkabau, decorative elements but also as markers of and the Royal carriage in the Sultanate of status, political legitimacy, and spiritual Palembang with designs influenced by Malay However, this study has not and Islamic cultures.
examined the shifting meaning of these As a work of palace craft art, the royal symbols in the modern context or their material preservation techniques.
Hence, it needs to be carvings that serve both decorative element complemented by ethnographic studies and and deep symbolism.
The motifs and symbols material analysis for sustainable preservation.
carved on the chariot reflect the cultural values, beliefs, and power of the kingdom or palace findings is a comprehensive map of royal that owns it (Wahyono et al.
, 2.
Table 1 are carriage symbolism that connects aesthetics, some common symbolisms in carving carriage power, and cultural identity, highlighting the decorations from different cultures.
urgency of documenting before this traditional The data above reveals the various knowledge disappears.
symbols that adorn the palace carriage, each bearing a specific philosophical meaning and function in the context of power and culture.
CONCLUSION
Floral motifs such as lotus .
urity, wisdo.
and This article examines the carriage's fauna such as Garuda .
trength, glor.
reflect the noble values of the ruler, while Arabic calligraphy and arabesque affirm Islamic especially in Yogyakarta and Surakarta.
The evident in the combination of Hindu-Buddhist carriage serves as a means of transportation symbols (Om, swastik.
Chinese motifs and a symbol of power and cultural identity .
ragon, phoeni.
, and European elements .
ross, lio.
, showing cultural acculturation in and European colonial influences through the palace's craft art.
The elements of nature ornaments such as Garuda motifs.
Arabic .
un, moon, fire, wate.
symbolize the cosmic balance and the harmonious relationship production involves high-quality materials between the ruler and the universe.
and the high skill of the palace artisans.
Multicultural Hindu-Buddhist.
Baroque Islamic.
Its Jurnal Panggung V35/N3/09/2025 Wahyono.
Guntur.
Suyanto.
Eko Supriyanto distinguishing it from the more functional Bahrudin.
Wahyono.
, & Yuzaili, folk crafts.
Although this study explores in unraveling the cultural and technical dan Teknik Laminasi dalam Proses Pembuatan Produk Kriya Kayu sebagai empirical data and analysis of the impact of Upaya Efisiensi Bahan.
Panggung, modernization open up opportunities for 29.
further studies.
Future research can deepen ethnographic approaches, material analysis, .
Teknik Potong Miring https://doi.
org/10.
Basoeki.
, & Mingchang.
and exploration of the transformation of INTERNALIZATION
carriage functions in contemporary contexts VALUES IN THE 21st CENTURY CONSTRUCTION
ISLAMIC
ORNAMENTS.
involving digital technology and artisan Religio Education, 1.
, 97Ae105.
https:// Thus, the heritage of the palace's org/10.
17509/re.
craft art can remain relevant as part of the Eskak.
Pemanfaatan Limbah Ranting cultural identity of the archipelago in the Kayu Manis (Cinnamomun Burmani.
Penciptaan Seni Kerajinan dengan Teknik Laminasi.
Dinamika Kerajinan Dan Batik: Majalah Ilmiah, 31.
, 65.
https://doi.
org/10.
22322/dkb.
***
Eskak.
Potensi seni kriya istimewa
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