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CULTURAL HERITAGE | RESEARCH ARTICLE
COGENT ARTS & HUMANITIES
2024, VOL. 11, NO. 1, 2426361
Exploring the Sundanese culture in the Makuta Binokasih as a
cultural asset of the Sumedang Larang Kingdom
Fajar Ciptandi, Jeng Oetari and Morinta Rosandini
School of Creative Industries, Telkom University, Bandung, Indonesia
ABSTRACT
Makuta Binokasih is an heirloom of Sundanese cultural heritage stored in Prabu Geusan
Ulun Museum, Sumedang Regency. Since the beginning, thismakuta (crown) has been
used as a symbol at every king’s coronation event in the Sumedang Larang Kingdom.
There are various distinctive ornaments decorating its surface, which have meanings
that align with the philosophy embraced by the Sumedang people. However, this is
only known from information conveyed orally. While documentation is important for
use as a source of data in further research, policymaking related to cultural preservation,
and the development of other innovations. The research method was carried out,
including: (1) collecting data through field observations, deep interviews, and document
studies, then validating using triangulation of data sources; (2) revealing the cultural
values contained in Makuta Binokasih based on Sundanese aesthetic morphology; and
(3) creating the asset documents. The result is a comprehensive description of the
relationship between Sundanese culture and the visual existence of Makuta Binokasih,
which may be useful as a starting point for cultural preservation efforts. In addition, in
the future, these assets can also be used as a reference for researchers, artists, cultural
figures, and designers to create various forms of innovation based on traditional and
cultural insights from the culture.
Introduction
Sumedang is one of the regencies in West Java Province and has an area of around 1,559 km2. According
to Thresnawaty (2011), this area was previously known as one of the regional centers that gave birth to
Sundanese cultural traditions due to the history of the Sumedang Larang Islamic Sultanate, which was
founded in 721 AD and was originally part of the Sunda-Galuh Hindu Kingdom. However, according to
Yulindrasari and Djoehaeni (2019), the existence of culture in Sumedang was different from the culture
born in Java, where there was a center of cultural and spiritual power to influence the whole Java
region. Therefore, Sundanese culture, including Sumedang, tends to have different dialects and cultures
that uniquely represent the region. However, this diversity remains part of a unified cultural treasure, the
cultural wealth of the Indonesian nation, and an asset that is considered valuable and needs to be pro-
tected and preserved.
As an effort to preserve Sundanese culture that remains in Sumedang today, the Sumedang govern-
ment, through Regional Regulation of Sumedang Regency Number 1 year 2020 concerning Sumedang
Puseur Budaya Sunda (meaning: Sumedang Center for Sundanese Culture), stated its commitment to
strengthen the identity of Sumedang community and its regional competitiveness to underpin the
Sundanese culture as a barricade against the shifting values caused by modernization (Thohir, 2013).
Then, in Chapter VI Institutions Paragraph 3, article 19 states that the Sumedang Larang Palace is an
© 2024 The Author(s). Published by Informa UK Limited, trading as Taylor & Francis Group.
CONTACT Fajar Ciptandi fajarciptandi@telkomuniversity.ac.id School of Creative Industries, Telkom University, Bandung, Indonesia
https://doi.org/10.1080/23311983.2024.2426361
This is an Open Access article distributed under the terms of the Creative Commons Attribution License (http://creativecommons.org/licenses/by/4.0/), which
permits unrestricted use, distribution, and reproduction in any medium, provided the original work is properly cited. The terms on which this article has been
published allow the posting of the Accepted Manuscript in a repository by the author(s) or with their consent.
ARTICLE HISTORY
Received 24 January 2024
Revised 9 May 2024
Accepted 1 November
2024
KEYWORDS
Aesthetic asset; culture;
Makuta Binokasih;
Sumedang Larang;
Sundanese
SUBJECTS
Cultural Heritage; Culture;
Art & Visual Culture;
Aesthetics; History
2 F. CIPTANDI ETAL.
institution that carries out the function of preserving, protecting, and developing cultural customs formed
from history, geography, customs in the form of values and structure, position, kinship, and material
things as instruments that firmly in the context of advancing national culture. Then, articles 21 and 22
also explain the duties of the Sumedang Larang Palace, providing information and education about the
history and culture of Sumedang, building Sundanese characters, and preserving local wisdom. Cultural
elements, which are the main targets for cultural advancement, are also regulated in Chapter IV, article
5 concerning Cultural Objects, namely oral traditions, manuscripts, customs, folk games, traditional sports,
traditional knowledge, traditional technology, art artifacts, languages, sites, and cultural heritage.
Of the many cultural objects that become royal heirlooms, one that contains important philosophy
and values for the people of Sumedang is the Makuta (Crown) of Binokasih Sang Hyang Pake (Tantowi
& Tamara, 2023). According to Nurusholih and Ilhamsyah (2023) and Sriwigati et al. (2009), Makuta
Binokasih was first created around 1357–1371 for inherent power because, at that time, the Pajajaran
Kingdom was experiencing attacks from the combined forces of Banten, Cirebon, and Demak. The han-
dover of Makuta Binokasih and all royal attributes from Prabu Siliwangi to Prabu Geusan Ulun was
intended so that the Kingdom of Sumedang Larang could become the successor to Pajajaran’s power.
Currently, Makuta Binokasih is in the collection of Prabu Geusan Ulun Museum, the largest museum in
West Java located in Sumedang Regency (see Figure 1).
Obtaining more detailed information regarding the tangible and intangible aspects of Makuta
Binokasih is difficult because there are no well-recorded archives and documents. In addition, if informa-
tion about Makuta Binokasih is gained from different sources, different explanations are often obtained.
According to Prihandini and Nugraha (2012) and Abd (2016), this is influenced by how Sundanese people
share knowledge and insights regarding their traditions and cultures that use speech and literature cul-
ture. This speech culture is a custom of Sundanese people who prefer to tell stories in Sundanese to
describe things. According to Riyanto et al. (2018), this is common because Sundanese is the second
largest language after Javanese in Indonesia, and most of the population residing in West Java Province
is fluent in Sundanese. According to Gunawan and Evi (2021), Sundanese has various dialect variations
but does not cause differences in understanding even though its distribution is extensive. This is what
makes speech culture so popular because it is considered the most effective way of communication.
Apart from that, related to culture, Sundanese literature is more prevalent in Dangding, in the form of
17 pupuh. Pupuh is poetry that has certain rules, including the number of lines in each stanza, the num-
ber of ‘engangs’ or syllables in each line, and the ‘larik’, namely the final sound of each line (Malki et al.,
2023; Apriyanto & Nunuy, 2021; Arifin, 2018). Each pupuh generally describes things that are Sufi in
nature regarding the path of human life, starting from birth until returning to the owner of life (God).
(Isnendes, 2013; Van, 1984; Maulana, 2021).
Because the information on Makuta Binokasih is limited, an assessment needs to be carried out to
identify and reveal information and data regarding the tangible and intangible aspects of the heirlooms
of Sumedang Larang Kingdom in the form of visual asset documents. This aligns with the Sumedang
Figure 1. Makuta Binokasih Sang Hyang Pake: (A) front view; (B) side view; (C) rear view; and (D) display case of
Makuta Binokasih in Prabu Geusan Ulun Museum.
Source: Personal Documentation, 2022.
COGENT ARTS & HUMANITIES 3
Center for Sundanese culture policy, which is carried out through efforts to inventory, excavate, and
document the history of Sundanese socio-cultural values by identifying objects that promote culture
through compiling and re-representing cultural values.
Sumedang Puseur Budaya Sunda (Sumedang Center for Sundanese Culture)
Currently, Makuta Binokasih has been visualized as a symbol in the Sumedang Puseur Budaya Sunda
logo, which contains the meaning that to achieve lofty ideals, unity is needed within the framework
of the spirit of ‘Silih Asuh’ (meaning: loving each other) of a ‘Prabu’ (meaning: government
administrators).
Sumedang comes from the word ‘ingSun MEdal ingsun maDANGan’, which was then shortened to
‘Sumedang’. These words were uttered by Prabu Tajimalela, an expert in Kasumedangan, when he was
meditating on Mount Cakrabuana. These words mean ‘I was born to give light’, which has the philosoph-
ical meaning that every Sumedang community must have the enthusiasm and determination to contrib-
ute their best and selfless thoughts and real work for the benefit of the nation and state whenever and
wherever they are (Saldhi et al., 2022). Etymologically, ‘Sumedang Larang’ is a form of ‘S u ’, which means
good, ‘Medang’ which means broad, and ‘Larang’, which means rarely compared. So, it can be concluded
that ‘Sumedang Larang’ means a large and beautiful land that is rarely compared (Nurusholih & Ilhamsyah,
2023; Burhanudin, 2012).
Amid the current progress of the times, the concept of Sumedang Puseur Budaya Sunda (SPBS) is like
a fortress to anticipate the growth of development, which loses the cultural spirit and only relies on
modern and economic values. (Herdiana, 2023; Nugraha etal., 2022). So, according to Regent’s Regulation
No. 1 of 2020, SPBS, in carrying out its strategy, needs to pay attention to aspects, including (1) religious
values; (2) traditions, values, norms, ethics, and customary law; (3) the nature of confidentiality and sanc-
tity of cultural elements maintained by society; (4) public interests, community interests and group inter-
ests in society; (5) national identity; (6) benefits for society; (7) statutory regulations. Relevantly, this
strategy is translated into objectives which include:
1. Cultural Reconstruction by carrying out an inventory of Sundanese history, ancient manuscripts, cus-
toms, and socio-cultural values and preparing documentation of cultural source materials.
2. Cultural Revitalization by reviving cultural values, objects of cultural advancement, cultural institu-
tions, cultural human resources, cultural facilities, and infrastructure through consolidation with exist-
ing traditional institutions in the Sumedang district.
3. Cultural Reactualization in the form of refreshing and renewing life values in society through the
continuity of cultural values relevant to the context of current developments manifested in superior
Sundanese cultural activities.
The relationship between SPBS and Makuta Binokasih can be seen in its logo, Binokasih Kencana (see
Figure 2). The symbolic elements in the logo can be described as follows:
1. The image of the Wijaya Kusumah Flower symbolizes that to achieve lofty goals. Wisdom is needed
within the ‘Silih Asah’ spirit framework from the domain of ‘Resi’, namely the ulama and intelligent
people.
2. The traditional weapon ‘Kujang’ image symbolizes that to achieve lofty goals. Wisdom is needed
within the ‘Silih Asih’ spirit framework from the ‘Rama’ domain, namely community leaders in the
eld.
3. The image of Makuta Binokasih symbolizes that to achieve lofty ideals, kepamongan (caretaker/
guardian) is needed within the framework of ‘Silih Asuh’ spirit from the domain of ‘Prabu’, namely the
government administrators.
4. The image of the Manuk Julang (hornbill) Wings symbolizes that achieving lofty goals and realizing
high levels in life requires sincere struggle and sacrice.
5. The image of an oval symbolizes that achieving lofty goals requires steady and unanimous determi-
nation from all regional components.
4 F. CIPTANDI ETAL.
6. ‘Ingsun Medal Ingsun Madangan’ means ‘I was born to give light’. A noble value of the Sumedang
people is to provide information or devotional service for the interests of the nation and state.
7. 7. The ribbon image symbolizes the rope of unity to achieve lofty goals.
8. Color: Red symbolizes courage and responsibility in carrying out one’s duties, and yellow represents
prosperity, a noble ideal.
In the concept of Silih Asah (learning from each other), Silih Asih (caring for each other), and Silih Asuh
(loving each other/guiding each other), there is Sundanese Trias Politika concept in the form of ‘Rama’,
‘Resi’, and ‘Prabu’ or what is known as ‘Tritangtu’ which is the principle of Sundanese Cosmology.
Sundanese Cosmology
According to Padmawijaya and Siti (2019), the Sumedang Larang Palace in West Java province was part
of what was known as ‘Tatar Sunda’ or ‘Pasundan’. In carrying out its system of power and state admin-
istration, Sumedang Larang Palace applies a system like that of the previous Tatar Sunda kingdoms, namely
‘Tri-Tangtu Di Buana (Trias Politica ParaHyang: Resi-Rama-Ratu)’. Sundanese model of power distribution
theory is contained in the text ‘Sanghyang Siksa Kanda Ng Karesian’ (around 1440 Saka/1518 AD), which
was believed to be a compilation of the teachings of Prabu Guru Darmasiksa (around 1297 AD). According
to Sumardjo (2009), three things are interpreted as determining things in the world, including:
The Resi, responsible for security matters, can implement basic rules for peace throughout the country. –- The
Prabu, responsible for government aairs, can formulate basic rules for order in the leader (king) position. –-
Rama groups responsible for guidance can formulate basic rules for orderly government laws.
Morjuangsah (2012) explains that in Sundanese Cosmology, the idea of Tri Tangtu, which originates
from ancestral teachings, is symbolized as ‘Tiga Buana’ (three worlds), namely:
1. Buana Nyungcung (Resi, above, sky, water, woman), All actions originate from a will. Resi is the holder
of the highest authority in state law and represents natural elements that provide for life’s needs.
2. Buana Pancatengah (Ratu, middle, human, rock, male-female) is the ‘bridge’ between will and mind.
The Queen acts as a representative of the human element whose job is to look after all the activities
and assets of the country in the form of government leaders (pamong or pangereh).
3. Buana Larang (Rama, bottom, earth, land, man) is the mind, which represents the element of God,
manifested in tasks in the spiritual eld. Rama is a human who has abandoned worldly and external
interests, so he can be considered wise.
Hence, the idea of Tri Tangtu in Sundanese culture is not ‘central’ but harmony, where the three do
not overpower each other but create harmony. With a division of power like this, there is no centralized
Figure 2. The logo of Sumedang Puseur Budaya Sunda.
Source: Regional Regulation Document of Sumedangg Regency Nomor 1 Tahun 2020 about Sumedang Puseur Budaya
Sunda.
COGENT ARTS & HUMANITIES 5
absolute power in Sunda, and the idea of a king-god does not apply as was common in several king-
doms in the past. The Tri Tangtu concept is depicted in Figure 3.
Regional Regulation Number 1 of 2020 regulates the division of the roles in implementing organizations
in Sumedang based on the principles of Tri Tangtu on Earth, namely: Rama (general public), Resi (knowl-
edgeable people, the intellectuals, religious scholars), and Prabu (Leader, bureaucrat or state administrators).
In an interview with Andi Lesmana as a representative of Purbasura and a representative of the Culture
Council of the Palace, he revealed that in terms of form, Makuta Binokasih Sang Hyang Pake is structured
based on three interconnected levels which adopt the Tri Tangtu di Buana concept. The lowest world is
symbolized as a spiritual world, related to belief in the values of the philosophy of life taught by the
Kesumedangan ancestors. The top Buana symbolizes leadership based on love. Both are then connected to
the values of the Kesumedangan order in the form of the nature and behavior of Silih Asah - Silih Asih - Silih
Asuh. This gives rise to the realization of a social system in people’s lives that is based on an attitude of
loving each other, protecting each other, reminding each other of the path of goodness and preventing
evil, as well as honing each other to become pious, knowledgeable and skilled individuals.
Method
The research data collection stage was carried out qualitatively, including:
1. Direct observation can be made by visiting Sumedang Larang Palace, located in Bale Agung Srimanganti,
Sumedang Regency, and Prabu Geusan Ulun Museum, located in the palace area. Observations were con-
ducted, especially at the Heritage Building, to observe Makuta Binokasih Sang Hyang Pake and collect
visual data on Makuta Binokasih.
2. Literature studies are sourced from journals and books considered relevant to the research topic, and
documents in archives, inventory books, and digital booklets are reviewed.
3. In-depth interviews with internal parties at the palace and the Prabu Geusan Ulun Museum to
explore various information and data from typical Sundanese speech culture. The data in question
include the Tri Tangtu concept of Sundanese culture, the history and philosophy of Makuta, the
meaning of Makuta ornaments, the internal values of the palace, and interventions that inuence
the function and meaning of Makuta. Interviews were conducted with credible sources, including:
• Your Majesty Sri Radya HRI Lukman Soemadisoeria, the King of Sumedang Larang Kingdom
• Radya Anom Raden Luky Djohari is the head of the Cultural Heritage, Revitalization, Museum and
History Division at Sumedang Larang Archipelago Royal Traditional Council.
• Mahapati R. Lily Djamhur Soemawilaga, Executive holder in Sumedang Larang Kingdom
• Abah Rahayadi Jati, Royal Advisor.
• M. Andi Lesmana, Purbasura representatives and representatives of the Culture Council of the Palace.
• Ahmad Iqbal Mendayun, S.Sos., M.Si., The curator of Prabu Geusan Ulun Museum.
Figure 3. Tri Tangtu concept in Sundanese Culture.
Source: Personal Documentation, 2023.
6 F. CIPTANDI ETAL.
The data was then validated using the data source triangulation method, namely confirming the valid-
ity of data obtained from one data collection method with another and concluding the most valid data
(Caillaud et al., 2019).
Next, all validated data are analyzed visually using an approach of aesthetic morphology theory.
According to Rieser (1974), this theory is related to the study of structure and shape in art, which dis-
cusses how an art object’s visual and formal elements can be organized and interpreted. Putra et al.
(2021) explain that the main principles in studying the theory of aesthetic morphology are shape and
structure, which includes elements such as line, color, shape, texture, and space, as well as how all these
elements are organized to form a whole art object that has harmony or contrast that can arouse emo-
tion or understanding in the observer. In aesthetic morphology, according to Al-Atoom and Fuad (2021)
and Hanisa etal. (2021), it is necessary to consider how the shape and structure in art develop over time
so that in explaining the aesthetics of the structure and shape, it must be based on the principles of the
era when the art object was made. All the principles of this theory of aesthetic morphology in the con-
text of an object Makuta Binokasih are analyzed in detail to be able to explain the character of structure
and shape of Makuta Binokasih, as a source of data needed for the preparation of visual asset docu-
ments. Systematic analysis was carried out in four stages, namely:
1. Identify all aesthetic elements in the structure and shape of the heirloom objects Makuta Binokasih,
2. Analyze the organization of aesthetic elements in the structure and shape that create a unied form
of the heirloom objects Makuta Binokasih,
3. Interpret all relationships of the aesthetic elements in the structure and shape of Makuta Binokasih
with values that represent the philosophy of Sundanese culture and conclude.
4. Write the information and data that have been concluded into a document of visual aesthetic asset.
Discussion
Aesthetical morphology of Makuta Binokasih
Currently, there are original Makota Binokasih as well as duplicates. The reason for making this duplica-
tion is that in the past, there was a shift in the form of power in the Sumedang Larang Kingdom. After
King Prabu Geusan Ulun died, ownership of Makuta Binokasih passed to his son, Prince Rangga Gempol.
After the Sumedang Larang Kingdom surrendered to the Mataram Kingdom in 1620, the territory of the
Sumedang Larang Kingdom was called Priangan, and Raja Rangga Gempol was demoted to the level of
Regent but continued to carry out some traditions within the Sumedang Larang Kingdom. (Kustiana
et al., 2022; Widuri, 2016). The king’s descendants still keep this makuta. Since 1578, Makuta Binokasih
has been a symbol of the coronation of the king of Sumedang Larang with the title Prabu Geusan Ulun
(157–1601). After that, Makuta Binokasih was used as a royal identity for the descendants of the
Sumedang Larang Kingdom for generations. However, there was a transformation in function because
the tradition of King Coronation no longer existed. Therefore, Makuta is repurposed for sacred and
important events such as royal family members’ weddings (Nina et al., 2019). Makuta Binokasih is more
than 600 years old, made during the reign of Sang Hyang Bunisora Soeradipati or known as the king of
Kawali/Galuh between 1357–1371. Because of its old age, this original Makuta is no longer used for
family weddings and is even prohibited. So, on September 24, 1971, a duplicate of Makuta Binokasih
Sang Hyang Pake was made complete with supporting jewelry consisting of ‘siger’, ‘shoulder flash’, neck-
lace, belt, bracelet, ‘garuda mungkur’, ‘kembang goyang’ (hair accessories). These duplicates are used as
substitutes for the originals at family weddings (Solihah & Darmawan, 2021; Sriwigati et al., 2009).
Based on information from Radya Anom Raden Luky Djohari, Head of the Cultural Heritage,
Revitalization, Museum, and History Division at the Sumedang Larang Archipelago Royal Traditional
Council. It is now recorded that Prabu Geusan Ulun Museum Pangeran Sumedang Foundation has three
Makuta duplication units, which are still used today during wedding ceremonies. Meanwhile, the original
Makuta is still well preserved in Prabu Geusan Ulun Museum. The study of the aesthetic morphology of
the Makuta Binokasih was carried out on the original Makuta, which was stored safely in a display case
at Prabu Geusan Ulun Museum and did not compare it with the duplicate Makuta. This is to maintain
COGENT ARTS & HUMANITIES 7
the originality of the data source for the research object. Because Makuta Binokasih was stored in a
display case that was difficult to access, documenting the image was carried out by copying or redraw-
ing Makuta Binokasih in detail. Detailed names of Makuta Binokasih parts are in Figure 4.
The visual analysis of Makuta Binokasi begins by identifying all the accessory elements on the Makuta
and capturing details in the shape and ornaments of the Makuta. Next, the meaning contained in these
elements is interpreted based on the shape and composition of the ornament. Every detail in the Makuta
Binokasih element will be re-described in a stylized manner following the form or visual form of the orig-
inal image with the development of line and shape elements that are simplified and clarified. Determining
the interpretation of the meaning of all the ornaments on the Makuta was conducted not only through
interviews to obtain verbal explanations. Still, it was also linked to the trend of ornamental styles during
the Padjadjaran Kingdom, which represented Sundanese identity and showed many curved shapes and
tendrils representing the shoots of young fern leaves. (Sunarya et al., 2014; Gunawan, 2019). Apart from
that, in general, ornaments in the archipelago are similar in terms of visual expression and the meanings
they contain, most of which come from the acculturation of Hindu, Buddhist, Chinese, and Islamic cul-
tures. (Denik et al., 2019; Ciptandi, 2021; Izzati et al., 2021). This analysis is explained in Table 1 below:
Relationship of the concept of Tri Tangtu on Makuta Binokasih
The triple pattern system or Tri Tangtu that is the philosophy of Sundanese society is also reflected in
the shape of Makuta Binokasih Sang Hyang Pake, especially in the three-tiered crown arrangement that
adopts the concept of Tri Tangtu Buana, containing meaning at each level, as in Figure 4.
Based on the description of the philosophical meanings of the detailed symbols of the accessories and
ornamental elements on the Makuta, it can be concluded that Makuta Binokasih is a headdress used
explicitly by kings as a symbol of all the values of Sundanese Tri Tangtu philosophy, which the king must
own as a sign of his wisdom in leading the government. In this Makuta, there is also a spirit that represents
an order of state rules in the Sumedang Larang Kingdom, which must be interpreted wholeheartedly by
those in power and government to create a country that believes God is just, full of compassion and pros-
perity. The basic structure of Makuta Binokasih forms a triple pattern in the philosophy of the Sundanese
people, which represents their concept of life and way of thinking, symbolized in the form of a triangle.
The recommendations of Makuta Binokasih Sang Hyang Pake visual asset document
The formulation of the Makuta Binokasih Sang Hyang Pake visual asset document was prepared in the
form of a recommendation table containing data regarding the elements and information of the Makuta
object, which was also validated by validators from representatives of the Sumedang Larang Kingdom
Figure 4. The stylization of the shapes and names of Makuta Binokasih accessories: (A) front view; (B) side view.
Source: Personal Documentation, 2023.
8 F. CIPTANDI ETAL.
Table 1. Morphological and aesthetical analysis of the accessories elements of Makuta Binokasih.
Makuta level Accessories elements photos on Makuta Stylization and description of meaning
Upper Stupa 1. The shape of the Stupa at the top of Makuta Binokasih is an acculturation of Hindu culture in Sunda, which
has a lotus-shaped ornamental outline, which means the human mind learns to achieve perfection in living
life as capital for making wise decisions. So, leaders must exercise their power by taking actions and
decisions based on wise thinking. (Trisno et al., 2020).
2. The details on the petals of the Lotus Stupa are taken from the shape of the Patran leaf ornament, which in
Sundanese philosophy is interpreted as a symbol of perfect beauty. (Prasetyo, 2019; Rosyid, 2022). This, when
combined with the Lotus Stupa, means that the peak of perfection of a king’s power comes from his
wisdom, which can radiate beauty to others.
Stupa’s ornamental stylization is as follows:
Middle Ron Tumpal
(Triangular leaves)
The ornament adapts the style of the Padjadjaran Kingdom era, which shows many curved and tendril
shapes, representing the shoots of young fern leaves. Meanwhile, details on the ornaments include:
1. Trubusan: Small leaves that grow around the main leaves.
2. Endhong: Leaves that grow behind the main leaves in a tiered shape from the bottom to the top of
the main leaves.
3. Main leaves: main shoots as the precursor to the emergence of the main leaves.
This ornament has a symbolic meaning: just as a shoot grows, a leader must always carry out the
process of thinking and acting to convey decisions and desires to achieve perfection.
Ron Tumpal’s ornamental stylization is as follows:
Middle Garuda Mungkur Details of the lling ornaments of Garuda Mungkur’s decoration were inspired by Padjajaran ornaments,
which consist of 1. Tree leaves; 2. Trubusan; 3. Endhong.
Garuda Mungkur’s decoration is adapted from the Gelung (tied and rolled hair) accessory on wayang
characters (including typical Sundanese wayang: wayang golek). It is an acculturation with Hindu
culture (Azizi & Anggraini, 2020). The word Garuda refers to a mystical bird from Hindu mythology,
which is the vehicle of Vishnu, the embodiment of the character of a brave, strong, and intelligent
warrior. In contrast, the word Mungkur in Javanese means upside down. According to Purnengsih
(2019), Garuda Mungkur means safety, courage and good luck. So, for a king, this symbolizes that
the king’s actions and deeds must be based on the safety of the people, dare to make sacrices, and
be responsible, and hopefully, he will be blessed with good luck.
Garuda Mungkur’s ornamental stylization is as follows:
(Continued)
COGENT ARTS & HUMANITIES 9
Makuta level Accessories elements photos on Makuta Stylization and description of meaning
Down Jamang Samping
(Headdresses on
left and right)
Jamang Samping consists of a combination of 2 elements, namely:
1. Jamang, which has a pair on the left and right just above the ear position with three layers as a
symbol of the Tri Tangtu concept
2. Patran leaf symbol in the middle of Jamang
These Jamang Samping decorations and ornaments symbolize that leaders must be willing to hear the
truth to be fair and wise.
Jamang Samping’s ornamental stylization is as follows:
Down Jamang Turidha
(Three layers of
headdress on the
forehead)
The ornament consists of (1) Three layers of Jamang, a symbol of the Sundanese philosophical concept
of the ‘Tri Tangtu’ (Resi, Rama, Ratu), which a state government must have. In the center of Jamang is
a symbol of the Patran leaf, which symbolizes the radiance of goodness, beauty, and perfection of a
government for its people. To achieve this perfection, the government should implement the
philosophy of young fern shoots as found in the ornamental symbols inspired by the ornamental style
of the Padjadjaran Kingdom, namely: Main leaves (2); Trubusan (3) and Endhong (4) so that a
government is always in the process of growing and developing to improve its quality.
This Jamang Turidha is found in the middle of the crown as a symbol that this is an important balance
point in carrying out power in government.
Jamang Turidha’s ornamental stylization is as follows:
Down Sumping Sumping is an ornament commonly worn by kings and queens that is placed behind the ears and is
inspired by the shape of young fern shoots. In Makuta Binokasih, the details of the ornaments found
on Sumping are (1) Trubusan, (2) Endhong; (3) Main leaves. The symbolic meaning of Sumping is so
that leaders can act like shoots that continue to develop and continuously improve their quality.
(Yusuf, 2021).
Sumping’s ornamental stylization is as follows:
Down Bees Ornaments This means that it resembles the nature of bees, which are hardworking and greatly benetting others.
Apart from that, the number 5 represents the ve pillars of Islam. In its development, Makuta
Binokasih also means that married life can be as sweet as honey. (Ulum etal., 2022).
Table 1. Continued.
(Continued)
10 F. CIPTANDI ETAL.
Makuta level Accessories elements photos on Makuta Stylization and description of meaning
Down Kuluk (Black hat
inside Makuta)
Kuluk is part of the clothing worn by the kings of Islamic kingdoms as a symbol of authority, obedience
to religious teachings, and obedience to God.
Down Cucumber Seed Chain On the left and right, under Ron Tumpal, there are ve cucumber seeds, which symbolize the number of
prayer times for Muslims in a day, which symbolizes that a king must carry out his obligations to
worship God.
The whole surface Background
Ornaments
The detail of the Makuta Binokasih background ornament contains a typical Padjajan ornament in a
curved oral shape, representing the buds and leaves of young fern plants. More information: 1.
Trubusan; 2. Endhong. Both ll in the background of an empty eld, meaning that the king can
constantly grow and develop more.
The background’s ornamental stylization is as follows:
Table 1. Continued.
COGENT ARTS & HUMANITIES 11
Table 2. Recommendations for documenting Makuta Binokasih’s visual assets.
No Elements Information Justication
1Type of Collection Head accessories in the form of a crown Clear Information
2Name of Collection Makuta Binokasih Sang Hyang Pake
3Origin of the Collection Batara Guru in Jampang during the time of King Pajajaran
Prabu Bunisora Suradipati (1357–1371)
‘Verbal’ information from the kingdom is
validated based on information from
journal literature (Widuri, 2016) and
books (Sriwigati et al., 2009), as well as
checking government and royal archives.
4Real Function of the Collection Symbol of the king’s coronation
5History of the king’s coronation
with Makuta Binokasih
Prabu Niskala Wastu Kancana (1371–1475), Prabu Susuktunggal
(1382–1482), Prabu Sri Baduga Maharaja (1482–1521)
6Collection Materials 18 karat gold Royal information and archives.
7Collection Weight 5,720 Kilogram
8Collection Storage Prabu Geusan Ulun Museum Clear Information
9Collection Storage Address Jl. Prabu Geusan Ulun No. 40B, Regol Wetan, Kec.
Sumedang Selatan, Kab. Sumedang, Jawa Barat
Clear Information
10 Final Condition of the Collection The shape is still intact, at the front center of the crown, the
green emerald stone (2cm x 3cm) is missing.
Information from the Geusan Ulun
Museum and direct observations of
the objects being studied.
11 Collection Ownership The Foundation of Nazhir Wakaf Pangeran Sumedang Royal information and archives
12 General Meaning of Collections A symbol of a king’s coronation, which contains the meaning
of glory, wisdom, and prayer for the new king.
Data source triangulation:
(1) Narratives from sources from the
kingdom and museums; (2) Journal
literature, books, and documents of
royal and museum archives; (3)
Interpretation by linking
information about lost and
unrevealed philosophical meanings
in the Makuta Binokasih objects
with other objects that are
considered to be similar.
In the interpretation section, the
kingdom and museums have been
conrmed to obtain validation.
13 Special
Meaning of
Collection
Stupa The peak of perfection of a king’s power comes from his
wisdom, which radiates the beauty of spirituality.
Ron Tumpal A leader must be wise in making decisions through a
perfect process of thinking, acting, and willing.
Jamang Samping Leaders must be willing to hear the truth to be fair and wise.
Jamang Turidha The form of wisdom of a country (Resi, Rama, Queen) is the key
to achieving perfection and beauty in life. To achieve
perfection, he should always improve his quality continuously.
Garuda Mungkur The character of the knight is brave and very strong.
Kuluk Obedience to religious teachings and maintaining
obedience to God.
Bees Ornaments Hard work and broad benets to others.
Sumping Leaders should act like young fern shoots that continue to
develop and continuously improve their quality.
Cucumber Seed
Chain
Symbolizes the number of days and prayer times for
Muslims in a day so that a king must carry out his
obligation to worship God.
14 Ornament Preferences There are 35 ornamental (visual) stylized references, which
become symbols representing the meaning of the
crown. (according to Table 1).
Figure 5. Relationship of Tri Tangtu concepts on Makuta Binokasih elements.
Source: Personal Documentation, 2023.
12 F. CIPTANDI ETAL.
and Geusan Ulun Museum through a Group Discussion. They are Sri Radya HRI Lukman Soemadisoeria
(The King of Sumedang Larang), Mahapati R. Lily Djamhur Soemawilaga (An Executive in Sumedang
Larang Kingdom), Abah Rahayadi Jati (The Royal Advisor), and Ahmad Iqbal Mendayun, S.Sos., M.Si (The
Curator of Prabu Geusan Ulun Museum).
The recommendations formulated in Table 2 summarize all the information that has not been owned
by the Sumedang Larang Kingdom and the Geusan Ulun Museum, especially on the visual relationship
of objects (including shape, ornamentation, and detail) with the aesthetics they contain in the form of
philosophical meaning represented by symbolic visual objects. The information in this table connects all
important aspects to explain the Makuta Binokasih Sang Hyang Pake heirloom objects comprehensively.
Previously, the information was like a puzzle that was spread out so that it could be collected in a
document.
Conclusion
Based on research that has been carried out on the cultural heritage objects Makuta Binokasih Sang
Hyang Pake through revealing the values, meanings, and aesthetic morphology contained behind the
shapes and symbols of Makuta Binokasih, it can be concluded that in terms of elements of aesthetic
meaning, it can be seen that all the shapes and details of the ornaments on Makuta Binokasih have an
inseparable connection with Sundanese aesthetics, namely the concept of Tri Tangtu Cosmology in
Buana. This is the basis behind the formation of Makuta Binokasih’s aesthetic morphology, symbolized in
shapes and ornaments, as well as the relationship between these shapes and ornaments and the mean-
ing they contain. The Sundanese cosmology Tri Tangtu, which is specifically implemented in the form of
Makuta Binokasih, generally refers to the explanation of the return of the entire center of life to God
through practice at the earthly (worldly) level, which has been documented in detail (in Table 1, Table 2,
and Figure 5), which can be divided into three parts, namely:
a. Buana Nyungcung is found at the top of the crown (i.e. Stupa), which symbolically and meaningfully
explains the sources of the leader’s wisdom, which originate from elements at the level of Buana
Panca Tengah and Buana Larang. In this way, the leader’s wisdom can become a provider for the
interests of a happy community life.
b. Buana Panca Tengah, which is found in the middle of the crown (namely: Ron Tumpal and Garuda
Mungkur), symbolically and meaningfully explains the results in the form of safety and good luck
obtained from the attitude, deeds, and actions of a leader who must be able to protect the entire
community by having courage and chivalry.
c. Buana Larang, which is found at the bottom of the crown (namely: Jamang Samping, Jamang Turidha,
Kuluk, bee ornament, Sumping, and Cucumber Seed Chain), has a symbolic meaning, namely the
application of spiritual values and teachings originating from Islamic teachings and ancestral teach-
ings. as the foundation of all forms of rules and actions taken by a king in a kingdom.
Recommendation
The research results that have been presented may also be recommendations for use in the future,
among others:
1. The value, meaning, and aesthetic morphology of Makuta Binokasih previously could not be explained
comprehensively because the information was not well collected. Sundanese people in Sumedang
are used to documenting it orally, so it cannot be used as a scientic reference because there are
often interpretations of speakers that are considered subjective. So, this research, which uses scien-
tic and systematic methods, has formulated and united all the information and data in the form of
Makuta Binokasih visual aesthetic asset documents, which generally contain the aesthetic meaning
element and the physical element of the crown, which are interconnected. These results are in the
form of recommendations that should be considered for other research with a similar study focus to
COGENT ARTS & HUMANITIES 13
undertake further examination, as well as for legalization by the government or kingdom into an
ocial rule or policy.
2. In terms of visual and physical elements, a re-stylization of the ornament symbols on Makuta
Binokasih has been carried out, producing 35 ornament modules. In the future, these can be used
as a preference in developing various forms of typical Sumedang products based on traditional visu-
alization inspiration.
Disclosure statement
No potential conict of interest was reported by the author(s).
About the author
Assoc. Prof. Fajar Ciptandi is a Master of Design lecturer specializing in Craft at Telkom University, Indonesia. He is
part of the Research Group Aesthetic, Culture, and Conservation. His research interests are the study of traditional
values and traditional culture in Indonesia and exploring strategic approaches to produce innovation in tradition-based
craft in Indonesia for future benets. More specically, his research leads to the development of tradition-based craft
design by exploring the fundamental values of tradition to collaborate with factors driving innovation through var-
ious interventions. He is also a supervisor at ‘Gedog Lowo’, a community-based traditional textiles innovation research
lab in Tuban, East Java, Indonesia.
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