• Panji Amongragaa, 136 x 30 cm, (2019), Acrylic on Canvas
  • Panji Bahni Maya Pramana, 155 x 153 cm, (2019), Acrylic on Canvas
  • Panji Baita Amot Samudra, 109 x 98cm, (2019), Acrylic on Canvas
  • Panji Buta Kembar Amangku Jagad, 159 x 156 cm, (2019), Acrylic on Canvas
  • Panji Kinepung Wakul Baya Mangap, 99 x 79 cm, (2019), Acrylic on Canvas
  • Panji Lampor Lumaksita, 112 x 49.5cm, 2019, Acrylic on Canvas
  • Panji Ngangsu Rambatan Toya, 80 x 28 cm, (2019), Acrylic on Canvas
  • Panji Ngayah Aruna, 59 x 15 cm, (2019), Acrylic on Canvas
  • Panji Pacar Wutah Ing Jaladri, 71 x 59 cm, (2019), Acrylic on Canvas
  • Panji Praba Kabali Murda, 59 x 15 cm, (2019), Acrylic on Canvas
  • Panji Segara Anakan, 99 x 33.5 cm, (2019), Acrylic on Canvas
  • Panji Semar Ambarang Jantur, 109 x 54 cm, (2019), Acrylic on Canvas
  • Panji Sirna Ilang Kertaning Bumi, 115.5 x 33 cm, (2019), Acrylic on Canvas
  • Panji Sri Gunung Jagabaya, 159 x 154 cm, (2019), Acrylic on Canvas
  • Panji Tidak Teridentifikasi (Untitled), 41 x 39 cm, (2019), Acrylic on Canvas
  • Panji Tidak Teridentifikasi (Untitled), 54 x 34 cm, (2019), Acrylic on Canvas
  • Panji Tidak Teridentifikasi (Untitled), 59 x 15 cm, (2019), Acrylic on Canvas
  • Panji Tidak Teridentifikasi (Untitled), 80x28cm, (2019), Acrylic on Canvas
  • Panji Tidak Teridentifikasi (Untitled), 59 x 15 cm, (2019), Acrylic on Canvas
  • Panji Tunjung Salin Salaga, 115 x 35 cm, (2019), Acrylic on Canvas
  • Panji Yatna Yuwana Lena Kena, 115 x 35 cm, (2019), Acrylic on Canvas

TAN HANA DHARMA MANGRWA

5 January - 10 February 2019

Gegerboyo

Gegerboyo is a collaborative project between Vendy Methodos, EnkaNkmr, Dian Suci Rahmawati, Ipeh Nur and Prihatmoko Moki, and was established in June 2016 in Yogyakarta. Gegerboyo is much inspired by traditions of Javanese culture, urban culture, the relation in between and the correlation with the current socio-political phenomena. In this project, Gegerboyo works on panji or pennant or flag, and symbols commonly used on a pennant or a flag, as a visual reference to their work and it also shows conceptual exploration related to the symbols and the function of the pennant as identification of a particular group, and its historical juxtaposition with war. Historically, pennants or flags were closely related to war, and Indonesian word  for flag ‘bendera’ came from Spanish bandera which means ‘flag’ and could also be interpreted as ‘a battalion-equivalent in the Spanish Legion’.

Tan Hana Dharma Mangrwa is a fragment from one of the most important sentence in Kakawin Sutasoma –work of Mpu Tantular, 1400s, where its first fragment was proposed by Mohammad Yamin as the country’s motto, Bhineka Tunggal Ika. Bhineka Tunggal Ika (that one is diverse), Tan Hana Dharma Mangrwa (there is no forked truth or truth is unambiguous), so that is the full version of the motto. Bhineka Tunggal Ika shows the importance of tolerance and Majapahit Kingdom’s pluralism at the time, particularly tolerance between religions. ‘That one is diverse’ could be interpreted that in one Majapahit Kingdom there were various beliefs, groups and tribes, and ‘there is no forked truth or truth is unambiguous’ shows that those different faiths, groups, and tribes of Majapahit Kingdom believed and united in one truth, which in this case is Metaphysical Truth and could be equated with the concept of Human Truth (anthropon dikaiosune) –concept of truth that places emphasis on people’s virtue to the others and in which also reflects his virtue to his God.

The words ‘mangrwa’ or ‘forking, becoming two, or ambiguous’ (‘rwa’ means ‘two’) is absorbing, for number two itself was frequently flourishing Majapahit’s history; for example, two wangsa or two royal dynasties (Rajasa and Sinelir), two royal religions (Shaivism and Buddhism), two colors of imperial flag (red and white), and the philosophical dualism concept of rwa bhinedda (two opposites) –duality that is balancing each other, such as: men and women, day and night, good and bad, birth and death, and so forth. Likewise Modern life, it is flourished with dualistic phenomena, for example: strife between two opposite political groups, matches between two football clubs, friction between two different sects of a religion –each of them has its own respective pennant, they are balancing and complementing each other and unified in one; the two political groups fight for one country, the two different football clubs fight in one match, and those sects blame one another under one religion. The concept of Bhineka Tunggal Ika as a unity is already reflected in Gegerboyo as a body of collaborative project which successfully unites the diversity of its members –who artistically has different character of visualization from one another, but they are one, under one same pennant, and it is Gegerboyo.