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18-620: The complex was built in 1755–1756 ( AJ 1682) for Hamengkubuwono I , the first Sultan of Yogyakarta . It was one of the monarch's first acts after the signing of the Treaty of Giyanti , which recognized the creation of the Sultanate of Yogyakarta under the Dutch East India Company . A banyan forest, protected from flooding due to its location between two rivers, was chosen as the site for the palace. On 20 June 1812, Sir Stamford Raffles led

36-571: A 1,200-strong British and Irish force to attack the walled royal city of Yogyakarta. Although they outnumbered the British, the Javanese were unprepared for the attack. Yogyakarta fell in one day, and the palace was sacked and burnt. The attack was the first of its kind on a Javanese court, and the Sultanate briefly became subject to British authority before the British government returned control of Indonesia to

54-420: A specific form. Furthermore, the vowel sound of the final syllable must match a specific pattern (note that this is different from syllable rime , as consonants that follow, if any, do not have to match). The pattern of the length of lines is known as guru wilangan , guru pètungan , or guru wichalan , while the pattern of vowels is known as dhongdhing or guru lagu . In the schemes below, the number represents

72-536: A wall with a regol in semar tinandu style. The palace door is made of thick teak. Behind (or in front of) a gate in Javanese architecture is usually an insulating wall ( Renteng or Baturono ), sometimes with a distinctive, traditional ornament. The wooden buildings of the complex have a traditional Javanese architectural style , decorated with flora, fauna, or nature motifs. Foreign influences ( Portuguese , Dutch , and Chinese ) are also seen. The buildings are of joglo construction. The trapezoidal joglo roof

90-461: A worthy successor of Pakubuwono II (founder of the Surakarta Sunanate ). The palace layout, which followed the basic design of the old city of Yogyakarta, was completed in 1755–1756; another building was added by a later Sultan of Yogyakarta. The complex consists of a courtyard covered with sand from the south coast, a main building, and a secondary building. The buildings are separated by

108-477: Is a palace. Keraton is the living quarters of the royal family. Tamarind and Spanish cherry trees line the road from Krapyak Hunting House to the palace, which runs from Tugu Yogyakarta to the palace. Tugu Yogyakarta (the Gilig golong monument), on the north side of the old city, symbolizes "unification between the king ( golong ) and the people ( gilig )" (Javanese: manunggaling kawulo gusti ). It also symbolizes

126-405: Is hard to know, as the modern form has been influenced by gamelan structures. It may have resembled modern Indian or Balinese chant . The modern form of sekar ageng are always in stanzas of four lines, and the number of syllables in each ( lampah ) is fixed and divided into parts ( pedhotan ) by caesurae. (Vowel length is no longer distinguished.) These indications are ordinarily indicated with

144-400: Is usually covered with red or gray shingles, tiles, or zinc. It is supported by a central pillar ( soko guru ) and secondary pillars. Pillars are usually dark green or black, with yellow, llight green red or gold highlights. Other wooden building elements match the pillars in color. The stone pedestal ( Ompak ), the black color is combined with gold ornamentation. White dominates the walls of

162-563: The Javanese or especially the Kawi language ; Low Javanese: tembang ; High Javanese: sekar ) is traditionally recited in song form. The standard forms are divided into three types, sekar ageng , sekar madya , and sekar macapat , also common with the ngoko terms: tembang gedhé, tembang tengahan, and tembang macapat. All three types follow strict rules of poetic construction. These forms are highly influential in Javanese gamelan . The most sacred are

180-452: The sekar ageng (Low Javanese: tembang gedhé ; "great songs"). These were traditionally held to be the most ancient of the forms, but Jaap Kunst believed that the indigenous forms represented an older tradition. The ancient forms of these, known as kakawin , use meters from Indian poetry , specifying the number of syllables in each line, their vowel length , and the location of caesurae . Exactly how this ancient form sounded when sung

198-514: The Dutch. Most of the current palace was built by Sultan Hamengkubuwono VIII (who reigned from 1921 to 1939) and was rebuilt after earthquakes in 1876 and 2006. The palace's chief architect was Sultan Hamengkubuwono I , who founded the Yogyakarta Sultanate . His architectural expertise was appreciated by the Dutch scientist Theodoor Gautier Thomas Pigeaud and Lucien Adam , who considered him

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216-424: The building and the complex. The floor, usually white marble or patterned tiles, is higher than the sandy courtyard. Some buildings have a higher main floor. Other buildings have a square stone ( Selo Gilang ) for the sultan's throne. Each building is classified by use. The main-class building (used by the sultan) has more ornamentation than the lower-class buildings, which have little or no ornamentation. A kraton

234-566: The final unity of the creator (Khalik) and his subjects. The Gate Donopratoro (gate to the Kedaton quarter) represents "a good person is someone who is generous and knows how to control his lust", and the two Dwarapala statues (Balabuta and Cinkarabala) represent good and evil. The palace's artifacts are believed to have the power to repulse evil. The palace hosts gamelan (music), Javanese dance , macapat (poetry), and wayang (shadow puppetry) performances. The Kraton Ngayogyakarta Hadiningrat

252-508: The form; for example, sekar ageng Bongsa patra , lampah 17, pedhotan 4,6,7. According to Padmasasustra, there are 44 types of sekar ageng used in Surakarta . A sekar ageng is sometimes used as a type of buka (song introduction) known as a bawa . It is sung solo, or may be supported by the gendér . Only the first line is used in the introduction, and the rest may follow in the actual gendhing . Martopangrawit believes that this began only in

270-488: The guru wilangan, while the letter is the guru lagu of the corresponding line. In addition to these formal structures, each of these forms has a specific mood. The typical use is indicated after the form for many of the structures below. Padmasoesastra listed 11 types of sekar madya forms used in Surakarta. Many of them, however, are no longer used. The ones in modern use are: Two meters were classified as macapat forms in

288-425: The late 19th century, at the time of Paku Buwana IX (r. 1861-93). Sekar madya (Low Javanese: Tembang tengahan ; "middle songs") are supposed to lie between the other two genres, but there is no agreement about which genres are considered sekar madya and which are tembang macapat (old orthography: machapat ). Both of these, in contrast to sekar ageng, use varying number of lines of varying length, but always in

306-524: The past, but are now considered sekar madya: The common macapat forms are: As an example, consider the following Kinanthi verse, a stanza from the Serat Centhini : These forms are the basis of kidung poetry. The text for these songs is frequently used in works for the gamelan, frequently sung by the gerong . Indeed, many modern gendhing share common macapat texts, especially Kinanthi, fit into their individual melodic pattern. Sumarsam believes that

324-755: Was the second Pit Stop in The Amazing Race 19 . [REDACTED] Media related to Kraton of Yogyakarta at Wikimedia Commons 7°48′20″S 110°21′51″E  /  7.805689°S 110.36406°E  / -7.805689; 110.36406 Javanese calendar Too Many Requests If you report this error to the Wikimedia System Administrators, please include the details below. Request from 172.68.168.226 via cp1108 cp1108, Varnish XID 764904363 Upstream caches: cp1108 int Error: 429, Too Many Requests at Fri, 29 Nov 2024 05:39:25 GMT Javanese poetry Javanese poetry ( poetry in

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