Spiritual Value: A Mythological Figure

in Keraton Kanoman Cirebon

Ariesa Pandanwangi

, Dewi Isma Aryani

, Belinda Sukapura Dewi

, Ismet Zaenal Effendi,

Wawan Suryana, Miky Endro Santoso, Leonardo

and Beni Sasmito

Universitas Kristen Maranatha, Indonesia

ismet.ze@art.maranatha.edu, wawan.suryana@art.maranatha.edu, miky.es@art.maranatha.edu,

leonardo@art.maranatha.edu, beni.sasmito@art.maranatha.edu

Keywords: Acculturation, Hybridity, Mythological Figure, Paksi Naga Liman, Spirituality.

Abstract: Keraton Kanoman Cirebon has preserved a lot of priceless authentic cultural assets that are displayed in

public area and Ruang Ndalem Keraton. One of the artefacts is a mythological figure called Paksi Naga

Liman represents the great value of the teachings and wisdom which are respected and inherited by all the

members of Keraton Kanoman Cirebon and its people. This mythological figure is chosen due to uniqueness

and the fact that it can only be found in Keraton Kanoman. Besides, it represents an artwork having the

hybridity of the acculturation of Islam, China, and Hindu (through the figures of the bird/ paksi/ burok, a

dragon, and an elephant respectively). This research aims to describe (1) the visualization concept, (2) the

spiritual value, and (3) the implementation on contemporary arts and designs. The research method used is

descriptive qualitative and the data are collected through library research, historical review, observation, and

interviews. The results show that the visual concept of Paksi Naga Liman is the expression of guide

spirituality to human relationships horizontally (immanent) and vertically (transcendental) through space

and time. The spiritual value is shown by the cultural wealth appreciation which continuously inspires

contemporary arts and designs to this day.

https://orcid.org/0000-0003-1214-1508

https://orcid.org/0000-0003-0929-1716

https://orcid.org/0000-0001-9428-1672

https://orcid.org/0000-0002-9099-762X

https://orcid.org/0000-0002-8597-9574

1 INTRODUCTION

Keraton Kanoman Cirebon was a palace led by a

sultan who is a descendant of the Prophet

Muhammad Rasulullah. This explains why Keraton

Kanoman Cirebon has strong Islamic nuances, both

in the concept of life and buildings which are

symbolically identical to the Prophet’s teachings

(Lestari, Salura, & Fauzy, 2021; Yoyon, 2018). This

palace is a museum which collects heirloom objects

of Cirebon ancestors, including Paksi Naga Liman

carriage (Effendi, 2020).

Almost all the objects originating from and being

kept in the palace have the values of art as well as

the functional values of artefacts of art and culture.

As artefacts, they are not separated from the

symbolical values of religion and magic

(Yudoseputro, 2008). Therefore, it can be confirmed

that Paksi Naga Liman, an artefact in Keraton

Kanoman Cirebon, contains a symbolical value

which is magical and has a religious background.

Paksi Naga Liman is a unique artwork, a

historical inheritance that was made in the period of

Keraton Kanoman in Cirebon (Effendi, 2020). The

uniqueness lies in the figure and its philosophical

meaning contained in an artwork made on a carriage

at that time. Paksi Naga Liman is an artwork that

uses a mythological animal to convey the life

philosophy of the people of Cirebon at that time,

which intends to inherit this teaching to the next

generation in order to continuously give the spirit

(Effendi, 2019). The figure of Paksi Naga Liman is

Pandanwangi, A., Aryani, D., Dewi, B., Effendi, I., Suryana, W., Santoso, M., Leonardo, . and Sasmito, B.

Spiritual Value: A Mythological Figure in Keraton Kanoman Cirebon.

DOI: 10.5220/0010750200003112

In Proceedings of the 1st International Conference on Emerging Issues in Humanity Studies and Social Sciences (ICE-HUMS 2021), pages 205-210

ISBN: 978-989-758-604-0

205

the result of a cross culture that is adapted from

three main animals, namely Paksi (bird), Naga

(dragon), and Liman (elephant), which have two

principal meanings. The first is the mutual respect

towards different cultures or multiculturalism.

Currently, this figure lives in Cirebon people’s

beliefs, which is Islam, represented by Paksi,

Confucianism, represented by Dragon, and

Hinduism, represented by Liman (Lange, 2019;

Soekarba, 2018; Yang, 2005). This has been

embedded in the society so that they have the

attitudes of respecting and appreciating differences,

which leads to living together in peace.

The second meaning which represents the

Cirebon people’s beliefs is that the universe consists

of three parts; they are Paksi, living in the sky,

symbolizing the Upper World (spiritual life,

goodness); Liman, living on the land, symbolizing

the Middle World (day to day, physical), and

Dragon, living under the earth, symbolizing the

Underworld (spiritual death, evilness) (Sofiyawati,

2017).

The explanation above reveals that Paksi Naga

Liman is the result of acculturation that often

becomes the source of ideas and inspiration for

artists’ and designers’ works. It is this visual

expression of the artists or designers that will be

elaborated on in this research. In this case (Fikriyyati

& Suardana, 2020), it is revealed that Paksi Naga

Liman carriage is a grand carriage owned by the

Sultan of Kanoman. This carriage contains the

teaching of 'HabluMinalAlam', which is the

unification of three animals living in different

natures, namely air, sea, and land. The local

government of Cirebon has not adopted Paksi Naga

Liman in their curriculum as insights for school

children. The method used is descriptive qualitative

and the result of the research shows that each

attribute of Paksi Naga Liman can be found in each

part of the carriage.

Another research (Tresnadi & Sachari, 2015)

states that Cirebon batik can be used as an idea in

the game design as the visual content in Nitiki game.

The descriptive qualitative method is considered

suitable, and it is supported by some data about the

batik decoration style. The data is then sorted and

selected, and reconstructed. The finding claims that

through Nitiki game, people can like batik very

much. Nitiki game that is culture-based can be well

received by the society at large.

In the previous studies, Paksi Naga Liman has

not specifically unveiled the implementation of

Paksi Naga Liman into creative works so that it

becomes an opportunity to analyse the artists’ and

designers’ creation in the contemporary era.

2 METHODS (AND MATERIALS)

This research belongs to social and humanity

research which will elaborate on the philosophical

meaning and cultural roots of the palace in Cirebon,

which will then be implemented into the fields of art

and design. Thus, this research needs a situational

data to understand various situations in the levels of

particular individuals, groups, or society (Saddhono,

Widodo, Al-Makmun, & Tozu, 2014). The method

used in this research is qualitative with a cultural

approach using cultural studies sourced from other

sciences (Creswell, 2014; Sumartono, 2017; Yusuf,

2017). This is a cultural study uncovering ideas,

concepts, and practices that discuss a certain topic,

or the social condition in the society and give

knowledge and behavior related to the present issue

(Hall, 1977).

3 RESULTS AND DISCUSSION

3.1 Paksi Naga Liman Carriage:a

Mythological Figure of a

Cross-cultural Meeting

Indonesia has an important role in the discourse of

“ModerateIslam” so that it is well known as a nation

that historically has a tolerant attitude towards

pluralism (Zakaria, 2020).

The strong influence of Islam makes the safety,

trades, local wisdom, the stability of the Muslim

community, as well as the tolerance driven by

Muslim leaders help spur the intellectual

collaboration so that it encourages scholars from

various cultures, backgrounds, and beliefs to

participate in each scientific activity (Deeb, 2014).

Keraton Kanoman Cirebon owns mythological

objects, one of which is Paksi Naga Liman carriage

which was made in 1350, while according to the

Saka year which refers to the data on the gold

carriage, it was made in 1428 AD (Fikriyyati &

Suardana, 2020; Sofiyawati, 2017). Each nation has

their myths in their cultures, and so does Indonesia,

a country that is very rich of mythologies in its

culture. From Sabangto Merauke, we will find

stories of mythological figures and classic stories

that become the legends in the areas. Despite them

being myths, there are a lot of people believing in

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them. A lot of the stories even inspire artists and

designers who give meanings and reinterpret it into

an art creation that will be discussed in this research.

The word “myth” comes from “mite” (English)

and “muthos” (Ancient Greek), which means a

belief that becomes the life guidance in a community

or an order in a society. A myth is also developed

from traditional folklores that present supernatural

things of the ancestors or heroism that is told in the

primordial style through the primitive people’s

perspectives (Cotterel & Storm, 2007; Nuning

Damayanti, 2018).

The Paksi Naga Liman carriage is Prince

Walangsungsang Cakrabuana’s relic, and it was

grandson) (Lasmiyati, 2013). Almost all objects

coming from and being kept in the palace show the

artistic and functional values as an artwork. They are

not separated from products of art and culture, and

not separated from the religious and magical

characteristics of the symbolical value (Agustina,

Hindersah, & Asiyawati, 2017; Yudoseputro, 2008;

Zainal Effendi, 2019), either. Thus, it can be

confirmed that the artefacts in Keraton Kanoman

Cirebon also have the symbolical values that are

magical and have religious background.

3.2 Implication of the Conceptof Paksi

Naga Limanon Art and Design

The analysis of this research focuses on the result of

an artwork or design which is based on the concept

of Paksi Naga Liman. The choice of the object to

discuss fulfils the indicatorsthat are determined and

are in accordance with the purpose of the study.

Below is the idea for the big companies in the

United States.

Figure 1: American Chopper called Kebo Bule, inspired

by the gold carriage of Sunan Gunung Jati (Retro Classic

Cycles). Source: shorturl.at/aqEL9.

American Chopper is an innovative product

adopting Paksi Naga Liman (Figure 1). The

innovation which starts with the birth of new ideas is

an action that gives new resources in the form of

strength and ability to create arts. A product is the

result of the production of an artwork or design,

which will be offered to the society to gain

appreciation, attention, or consumed to satisfy the

user’s desire and need. A designer explores how he

can respond to the concept of Paksi Naga Liman

from Indonesia in the creation process, which is

startedfrom literature study, survey, and experiment

so that he can succeed in integrating the installation

of art technology. The big motorcycle’s designer

seems to have been successful in responding to the

characteristics of Paksi Naga Liman through the

dialogue done by a designer on his study.

Another idea in art is a painting (Figure 2) made

by Ismet Zainal Effendi, which is entitled “The

Breed of Paksi Naga Liman”. The media used is oil

on canvas of 110 cm x 120 cm and it was made in

2018.

Figure 2: The Breed of Paksi Naga Liman, Ismet Zainal

Effendi, Oil on Canvas 110 x 120 cm, 2018.

Source: Researcher Team. 2021.

This work presents the reproduction of the

mythological figure Paksi Naga Liman with a stocky

body and small wings. The condition of this kind of

society keeps on existing all the time so that the

population of materialistic people keeps increasing

and developing and it dominates the life in this

world. This is seen as worrisome. It is as if we are

living in the dark and we only have the materialistic

values, whereas the spiritual values are just treated

as ornaments. In fact, since we are born, we have the

potential to achieve all these.

Another work by the artist Ismet Zainal Effendi

has the theme of The Anti-Traditional Paksi Naga

Liman”.The media used is Acrylic on Printed-Fabric

of 110cm X 185 cm, and it was made in 2018.

Spiritual Value: A Mythological Figure in Keraton Kanoman Cirebon

207

Figure 3: The Anti-Traditional Paksi Naga Liman. Ismet

Zainal Effendi. Acrylic on Printed-Fabric. 110 X 185 cm,

2018. Source: Researcher Team. 2021.

This work (Figure 3) presents Paksi Naga Liman

which is made on batik cloth. This work presents a

modern society that upholds tradition, the modern

way of thinking that is later deconstructed by the

traditionalism; the concept of traditional aesthetics

that is then presented with modern aesthetics. This is

a symbol of the condition of the society at present,

who ignores the philosophies of the ancestors and

who are against the modern ways of thinking

visualized in the pattern of daily life.

Another work is the batik motif that visualizes

Paksi Naga Liman carriage which is a gold carriage

owned by Keraton Kanoman.

Figure 4: Paksi Naga Liman Motif. Source: Repro

Researcher Team. 2021.

Paksi Naga Liman is a gold carriage which has a

symbolic value with a religious background.

Currently, the carriage is displayed in a museum as

an heirloom. Yet, people do not feel they miss this

figure because Paksi Naga Liman is duplicated in

different media, including the batik media.

The figure of Paksi Naga Liman gold carriage is

duplicated on batik cloth with no perspective.As can

be seen in the batik painting, Paksi Naga Liman is

drawn symmetrically like the gunungan (a Javanese

word for “mountain”) that are drawn face to face.

According to Jakob Sumardjoin Estetika Paradoks,

the drawing of Paksi Naga Liman in batik uses the

composition of three colours, namely black, white,

and yellow, which have meanings. Black refers to

the colour of the north; white refers to the colour of

the east, and yellow refers to the colour of the west,

while red is the colour of the south (Sumarjo, 2014).

These four colours are universal symbols of

directions. In batik cap or printed batik, the colours

used experience changes, for example the inclusion

of dark blue and dark brown, which is not in

accordance with the traditional standard. This is

apparent in the dark brown colour of the body in

Paksi Naga Liman, and the yellow colour for the

back, stomach, and wings. The dark blue colour is

used on the crown and the trunk holding an arrow.

Besides the dark blue colour, dark brown and black

lines are also used, which are used in the tail,

umbrella, and carving, which all give a strong

impression to Paksi Naga Liman figure.

The figure of Paksi Naga Liman is drawn from

the side so that the characteristic features are very

clear and distinctive, illustrating a dragon, complete

with the scales on its body. The elephant’s face and

trunk are seen from the side (looking very

distinctive); it holds the arrow that is aiming at

something, so that the arrow is seen very clearly.

The fangs are rotated so that they are seen from the

side (looking distinctive). The eyes are seen from the

front, while the face is seen from the side; therefore,

this part is called multi visible. The wings on the left

and right are rotated so that they can be seen from

the top; the lines of the wing feathers look expanded

as if they were flying.

The carriage wheels are different in size; the rear

wheel is bigger than the front wheel, and it has a

higher position. The wheels on the other side are

moved so that they appear on the other side and look

smaller, as if the wheels were moving. The different

sizes of the wheels are not because of perspective,

but because of movement, just like three Phoenixes

flying to the left and right showing movements.

The umbrella with a holder which becomes part

of the gold carriage is illustrated as transparent or

can be seen through. On the top left of the umbrella

there is a big Phoenix which is flying, with the body,

face, and legs drawn from the side,but the tail is

rotated so that it is facing up in order to show the

beauty of the tail.

The way of drawing on Flat Time Space on batik

is clearly visible and the use of typical looks, various

looks, movement, top view, and transparency prove

that traditional drawings are still used, despite being

on printed batik.

The four works of art are interpretation of each

artist or designer on the result of acculturation in the

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past, specifically in Cirebon, Indonesia. As time

goes by, the local wisdom, namely multiculturalism,

is regarded to influence the interest of the global

culture, artists or designers through Paksi Naga

Liman that have produced the process of creating

contemporary artworks and competitive designs,

through the process of knowledge transfer and the

exploration of brilliant ideas, so that the culture does

not fade or even extinct. The implementation of

traditional cultures that have been worldwide

produces a global identity brought up by the

traditional idioms. It is expected that the result will

be able to promote culture and continuous

preservation, and the recognition of professionals in

the eyes of the world.

4 CONCLUSIONS

Paksi Naga Liman has given a lot of ideas in the

creation process of artists and designers. The study

has proven that Paksi Naga Liman is special as it

sharpens the creativity of product creators in art and

design. The multicultural values contained in Paksi

Naga Liman carriage; those with spiritual values,

with essence and characteristics, are collected,

evaluated, processed, and proven to be implemented

as elements in the creation. The findings in this

research show that 1) the concept that is brought up

deals with the multicultural Paksi Naga Liman, the

historical local identity, the essence of the local

wisdom, and acculturation, and they become the

creative ideas in the process of the work creation, 2)

there is a shift of religious valuesadjusted with the

concept brought up by the artists, and adapted with

the current situation and condition, as well as the

purpose of creating the work itself, 3) the

contemporary works of art and designs brought up

as the response towards the local genius are artworks

and designs with a global value that brings the

wealth of Indonesian cultures. Besides, they have a

strong message to be conveyed to the public in order

that the creation can show the character concept,

have innovation in the model, structure, as well as

being artworks that have novelty in the process of

visualization materials.

ACKNOWLEDGEMENTS

Our sincere gratitude to Universitas Kristen

Maranatha for funding this research, and also for the

good cooperation of all the team.

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