INTRODUCTION
The process of naming or naming a place and building has a very
important role for the thing it is named after. In naming, of course,
it will involve linguistic, semantic, and cultural factors. In
addition, the name also includes individuals and groups that have an
object, culture, history, and other entities. Every culture has its
customs and practices for naming people. Some cultures prefer to use
formal names, while others prefer to use more descriptive names.
Izar in (Manumanasa et al., 2024) said that under naming is an
important part of the people who live there. Messages referred to as
street names are used as a means of communication between senders and
receivers. Initially, naming gave physical characteristics or
location. However, as languages and cultures evolve, naming can become
more complex and varied. For example, a name is an important part of a
business strategy and branding. In addition, naming can also have
political, social, and cultural consequences.
The presence of a name in public spaces gives a rough picture of
the place and provides information to guide people, provide
assistance, and build identity. Reporting from
Kompas.com, the Surakarta Hadiningrat Kasunanan
Palace which is located in the city of Surakarta, Central Java
Province is the official palace of Kasunanan. This palace was founded
by Sri Susuhan Pakubuwana II around 1743-1744 as a replacement for the
Kartasura Palace which collapsed due to the Chinatown
Earthquake in 1743. The total area of the Surakarta Palace
reaches
157 hectares, which includes Baluwarti Fort, Lor
Square, and Kidul Square.
The naming of buildings at the Surakarta Hadiningrat Kasunanan
Palace uses names that have Javanese cultural nuances. In its naming,
the buildings in the Surakarta Hadiningrat Kasunanan Palace certainly
involve linguistic, semantic, and cultural aspects.
At the Surakarta Hadiningrat Kasunanan Palace, the name of the
building has certain meanings and concepts related to Javanese
history, culture, or traditional values. For example, the name
Surakarta Hadiningrat Kasunanan Palace has a meaning that shows the
greatness and greatness of the Kingdom of Surakarta. Pendhapa
Agung is an open-air building inside the
palace complex that is used to hold official events,
ceremonies, and art performances. "Agung" shows the
greatness and importance of this building in the life of the
palace. These names provide an overview of the importance of
cultural, historical, and traditional values in life at the Surakarta
Hadiningrat Kasunanan Palace.
Manumanasa (2025) said how many components are related to naming.
Naming is influenced by (1) Structure of language, naming is
influenced by the dominant language in the region. This includes
grammar, phonological rules, and other components of language
structure, (2) local vocabulary, naming reflects local vocabulary that
includes the use of new or traditional terms. For example, the naming
of Padang Restaurants involving local languages such as Doa
Bundo and the food brand Bakpia Tugu Jogja,
(3) phonological aspects or language sound rules can also affect a
naming. For example, in the naming of the building at the Surakarta
Hadiningrat Kasunanan Palace, namely the Sasana Séwaka
building which has an easy pronunciation, because the sound
of the language in this name involves the phoneme /a/, (4) the naming
is also
influenced by syntactic and morphological aspects. For example, the
naming of the building in the Surakarta Hadiningrat Kasunanan Palace,
namely the Pêngrawit Ward which has historical or
historical value in its naming, (5) the naming is a linguistic
creativity that gives rise to a unique and interesting new name. For
example, the mentions or names of a place, namely Bangsal
Asmarakata, can also be called Bangsal
Marakata or Bangsal Smrakata, and (6) the
influence of foreign languages in multilingual areas. For example,
naming such as Service Center 'service place',
Mobile Phone 'Mobile Phone', Mouse
'mouse', and so on.
Several studies on the Surakarta Hadiningrat Kasunanan Palace have
been conducted by several researchers. However, these studies examined
the Surakarta Hadiningrat Kasunanan Palace which emphasized
architectural morphology, spatial planning concepts, centrality
concepts, spatial planning characteristics, development of the area,
and the naming of the palace building (Muhadiyatiningsih, dkk., 2022;
Santoso, dkk., 2021; Winata & Astrina, 2022) In addition, research
on the Surakarta Hadiningrat Kasunanan Palace only emphasizes changes
in function and meaning, philosophical meaning, cultural symbols, and
aesthetics in the visual forms represented by artifacts
(Muhadiyatiningsih, dkk., 2022; Santosa, 2007; Wardoyo, dkk.,
2017).
Furthermore, research on names in public spaces (Andriyanti, 2019;
Ardhian et al., 2023; Ardhian & Fajar, 2017; Erikha, 2018; Harbon
& Halimi, 2019; Mauliddian et al., 2021; Motschenbacher, 2020;
Pertiwi, dkk., 2021; Pütz, 2020; Wang, 2015; Widiyanto, 2019;
Wijayanti & Diani, 2022; Yelenevskaya & Fialkova, 2017).
Based on the background and literature above ,
this study solves problems
related to the cultural meaning contained in the name of the
building. Research on the names of buildings in the Surakarta
Hadiningrat Kasunanan Palace has been researched by Nilasari (2013).
Nilasari's research is limited to discussing morphosemantics in the
names of buildings in the Surakarta Hadiningrat Kasunanan Palace.
Therefore, this research focuses and aims to know, explore, and
describe the cultural meaning of the building names in the Surakarta
Hadiningrat Kasunanan Palace.
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Figure 1. Central Java Province Plan
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Figure 2. Surakarta City Plan
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Figure 3. Map of the Surakarta Hadiningrat
Palace
LITERATURE REVIEW
Previous Research
Previous research using the object of the Surakarta Hadiningrat
Kasunanan Palace which emphasizes architectural morphology, spatial
planning concepts, centrality concepts, spatial planning
characteristics, regional development, and naming in the Palace
building (Muhadiyatiningsih, dkk., 2022; Santoso, dkk., 2021; Winata
& Astrina, 2022) In addition, research on the Surakarta
Hadiningrat Kasunanan Palace only emphasizes changes in function and
meaning, philosophical meaning, cultural symbols, and aesthetics in
the visual forms represented by artifacts (Muhadiyatiningsih, dkk.,
2022; Santosa, 2007; Wardoyo, dkk., 2017). This research will solve
the problem of cultural
meaning contained in the name of the building in the Surakarta
Hadiningrat Kasunanan Palace.
Research on names has also been carried out by (Andriyanti, 2019;
Ardhian et al., 2023; Ardhian & Fajar, 2017; Erikha, 2018;
Harbon & Halimi, 2019; Mauliddian et al., 2021; Motschenbacher,
2020; Pertiwi, dkk., 2021; Pütz, 2020; Wang, 2015; Widiyanto, 2019;
Wijayanti & Diani, 2022; Yelenevskaya & Fialkova, 2017;
Zuhria et al., 2022) In the study, there was only an exploration of
the use of language in place names, signs and highways. There has
been no exploration of the cultural meaning contained in these
names.
Semantics Cultural
Cultural semantics is a meaning that is possessed by a language
according to the culture of its speakers (Subroto, 1998 in Wakit,
2013:16). Cultural semantics is used to reveal the meaning of
language contained in the culture of the local community so that it
can be understood by others.
Cultural semantics is also used to translate the meaning of
verbal language expressions, so that knowledge systems can be known
that are reflected in the mindset, outlook on life and views based
on cultural context. It can be concluded that cultural semantics are
used to solve language activities that are reflected by speakers in
a particular ethnicity. In addition, it reveals the cultural meaning
of the language spoken by the speaker.
METHODOLOGY
This research is a qualitative descriptive research. This is based
on the purpose of research, which is to know, explore, and describe
cultural phenomena that are hidden or unknown to people. The focus of
this research is the names of buildings in the Surakarta Hadinngrat
Kasunanan Palace that have cultural significance.
The source of data for this research is the names of buildings in
the Surakarta Hadiningrat Kasunanan Palace. The data of this research
is the name of the building in the Surakarta Hadingrat Kasunanan
Palace which has cultural significance. In addition, supporting data
for this research includes archives or records about the building of
the Surakarta Hadiningrat Kasunanan Palace.
Data collection in this study uses observation methods with
recording and listening techniques, interview methods, and document
analysis methods. The obversari method is used to see the condition of
the building in the Surakarta Hadiningrat Kasunanan Palace.
Furthermore, the recording and viewing technique is used to record the
location or information contained in the Surakarta Hadiningrat
Kasunanan Palace building.
Furthermore, the interview method was carried out to dig deeper
into information related to the names and cultural meanings of the
buildings at the Surakarta Hadiningrat Kasunanan Palace. Finally, the
document analysis technique was used to analyze the results of
interviews or book sources related to the names of buildings in the
Surakarta Hadiningrat Kasunanan Palace.
The method of presenting the results of the data analysts in this
study is carried out in two ways, namely formal and informal methods.
The informal
presentation method is the formulation with ordinary words, while
the formal presentation method is the formulation with signs and
symbols (Sudaryanto, 1993: 145). The results of the analysis of
research data on the cultural significance of building names at the
Surakarta Hadiningrat Kasunanan Palace are in the form of a naming
process.
RESEARCH RESULT
The Surakarta Hadiningrat Kasunanan Palace is divided into seven
complexes consisting of the Lor Square Complex, the Suméwa
Sasana Complex, the Siti Hinggil Lor Complex, the Kamandhungan
Complex, the Sri Manganti Lor Complex, the Kêdhaton
Complex, and the Kêdhaton South Complex.
Of the many building names in the Surakarta Hadiningrat Kasunanan
Palace, 19 building names were found that have cultural significance
in it.
Initially, the author was looking for building name data by means
of observation at the Surakarta Hadiningrat Kasunanan Palace. As a
result, researchers found 128 names of buildings and places in the
Surakarta Hadiningrat Kasunanan Palace. After that, the author
conducted an interview with the Surakarta Hadiningrat Kasunanan Palace
to validate the data that had been found by the author. In addition,
the author also involves books that discuss the Surakarta Hadiningrat
Kasunanan Palace to further confirm the data that has been found.
Finally, the author records all the results of observations and
interview results for further research, especially looking for
building names that contain cultural meaning. In this case, the author
uses document analysis in the form of interview notes and notes when
observations are made. Next, the researcher analyzes the names of the
buildings by looking for lexical meanings first, so that they can then
find their cultural meaning. Because, cultural meaning is a meaning
that depends on the mindset, outlook on life, and view of the cultural
context.
The 19 names of the buildings are as follows.
Tugu Pamandêngan
The Pamandêngan Monument is the first building
located in the Lor Square Complex.
Monument Pamandêngan is a building in the form of
a monument or pole. The Pamandêngan
Monument consists of two words, namely the word
Tugu and the word
Pamandêngan.
Gate of Destruction
The Pamurakan Gate is the second door located
in the Surakarta Hadiningrat Kasunanan Palace.
Masjid Agung
The Great Mosque is a large mosque of the
Surakarta Hadiningrat Kasunanan Palace. The Great
Mosque is a building or place where all religious affairs
are carried out both in terms of sharia, sharia, haki,
makrifat, and the surambi court.
North Wing and South Wing
Pagongan Lor Ward and Pagongan Kidul
Ward are buildings located in the courtyard of
the Great Mosque of the Surakarta Hadiningrat Kasunanan
Palace. The Pagongan Ward is the storage and
storage place for the Kyai Guntur Madu and Kyai Guntur Sari
Gamelan at the Sekaten Ceremony starting from 5
Rabiul Awal to 12 Rabiul Awal. The Pagongan Lor
Ward is the place where
the Kyai Guntur Sari Gamelan is placed which symbolizes the
shahadah of the Prophet, while the Pagongan Kidul
Ward is the place where the Kyai Guntur Madu Gamelan is
placed which symbolizes the creed of monotheism.
Sasana Suméwa
Sasana Suméwa is one of the important places or buildings
located in the Surakarta Hadiningrat Kasunanan Palace. This
building was built by Sinuwun Pakubuwana X in 1913. Sasana
Suméwa is the leading building in the Surakarta
Hadiningrat Kasunanan Palace which is used to face high-ranking
officials in official ceremonies of the Kingdom and where all laws
and regulations of the country are announced.
About the North
Siti Hinggil or Sitinggil Lor
is an area or complex in the Surakarta Hadiningrat Kasunanan
Palace which is built on land higher than the surrounding
area.
Manguntur Tangkil Ward
Manguntur Tangkil Ward is a small house
located in the Séwayana Ward or in the south
which is adjacent to the Witana Ward. This
building has a higher contour and is used as the King's throne
when there are holiday events such as Grebeg
Maulud (12 Rabiyatul Awal), Grebeg Puasa
(1 Shawwal), and Grebeg Besar (Eid al-Adha = Big
10) pisowanan in Sitinggil. In the
Manguntur Tangkil Ward, the Dampar stone of Prabu
Suryawisesa Nalendra was planted in Jenggala, the
stone where Prabu Suryawisesa Raja sat in Jenggala.
Kori Talang Patén
Kori Talang Patén is a gate located on the
west side of Kamandhungan and Kori Gapit
Kulon. This door was used as a way to remove the body of
a servant who died in the
Kêdhaton area of the Surakarta Hadiningrat
Kasunanan Palace
Sri Manganti Lor
Sri Manganti Lor is one of the main complexes
located in the Surakarta Hadiningrat Kasunanan Palace. The
Sri Manganti Complex is located behind the
Kamchungan Complex.
Sasana Séwaka
The Spaniards were the king's seat when
the king came in . Sasana Séwaka
is a large pendapa in the Surakarta Hadiningrat Kasunanan Palace
which faces east.
Bangsal Paningrat
The Paningrat Ward is a terrace that surrounds
the large pendapa of the Séwaka Gym which is used
for people who have a kinship relationship with the King
Dalem Agêng Prabasuyasa
Dalêm Agêng Prabasuyasa is the most important
of all the buildings in the Surakarta Hadiningrat Kasunanan
Palace. This building is also a place to store various heirlooms
and the King's throne which is a symbol of the Kingdom is stored
and a place to take the oath of a King when he starts to take the
throne before the coronation ceremony in
Sitinggil.
Stage Sagittarius
The Sangga Buwana Stage is one of the tallest
buildings in the Surakarta Hadiningrat Kasunanan Palace area. This
building is in the form of an octagonal tower consisting of five
floors with a height of 35 meters. The Sangga
Buwana Stage is located in two Complexes,
namely the Sri Manganti Complex and the
Kêdhaton Complex.
Ward Bêdhaya
Bêdhaya Ward is a place used as a sacred dance
presentation of the Surakarta Hadiningrat Kasunanan Palace.
Argapura
Argapura is a place that is located around
the Pudyasana Mosque and has a small pavilion
building with a terrace. Argapura is a place
where Sri Sunan rests and meditates in tranquility
Sumur Sanga
Sanga Well is a well located in the middle of
the Surakarta Hadiningrat Kasunanan Palace Museum area
Kêraton Kilén ing Prabasana
Kêraton Kilén in Prabasana is located to the
south of Taman Sari Bandêngan
which was built during the reign of Sri Susuhunan Pakubuwana X
in 1904
Pléngkung Gadhing
Plêngkung Gadhing or Gadhing
Gate is the last gate to the south of Surakarta
Hadiningrat Province Plêngkung Gadhing or
Gadhing Gate is the last gate to the south of
Surakarta Hadiningrat Province.
DISCUSSION
In the discussion section, the researcher will explain and describe
the results of the above research related to the cultural significance
contained in the 19 building names at the Surakarta Hadiningrat
Kasunanan Palace. The cultural significance of the 19 building names
in the Surakarta Hadiningrat Kasunanan Palace, is as follows.
Tugu Pamandêngan
The word Tugu in the Javanese Dictionary is
defined as a large building made of stone, used
as 'a large building built from a stone and for a
marker'. Furthermore, the word Pamandêngan comes
from the word Pandêng which in the Javanese
Dictionary means diêlêng mata tak kêdhèp-kêdhèp, anything
that is seen, which is diincêng, sawangan 'seen the eyes
do not close, whatever is seen, what is glanced, seen'.
The Pamandêngan Monument has cultural
significance, namely as the focal point of the king's view when he
sat in the Sumiwi Temple in Sasana
Suméwa and sat in the Pêngrawit Ward.
When the King sits, the King must be silent and focus his mind so
that when in front of the people, the King can make good and
correct decisions. When the King sits, the King must have three
revelations or hidayat, namely Wahyu Nurbuah (the
teachings of the prophet), Wahyu Kufumah (law or
justice), and Wahyu Waliyah (territory).
Pamurakan
In the Javanese dictionary, the word Gapura
means a gate in the yard; regol; door; gate; door;
door 'a gate'. Furthermore, the word
Pamurakan has the basic form of the word
purak. The word purak has the
meaning of mothèng-mothèng Rajakaya and etc.
"to divide the produce of the earth or other."
The cultural meaning of the Pamurakan Gate is as
a place where the King and the people become one and there is no
boundary between the life of the palace and the life of the
community. Therefore, in the Pamurakan Gate there
are two banyan trees named ringin Wok and
ringin Beggot. These two trees, such as scholars or
figures who are depicted as having a beard, will
definitely be wise in their actions and words. Wisdom is symbolized
by a fair and equal division between the King's family, Royal
employees, and the people of the Surakarta Hadiningrat Kasunanan
Palace.
Masjid Agung
The word "mosque" refers to a building used as a place
of worship for Muslims, while the term "agung" means
large. The cultural significance of the Great Mosque lies in the
shape or concept of the building. The Great Mosque carries the
concept of Javanese traditional architecture which consists of three
main parts, namely roof, body, and floor. The roof model of their
Great Mosque was influenced by the architectural characteristics of
Majapahit which resembled a temple. The building of the Great Mosque
or known as the Gêdhé Mosque has a square shape,
which symbolizes the symbol of the qibla of the four five pancers,
depicting the power of the four directions: north, south, east, and
west, with a core located in the center. In addition, the pillars of
the Great Mosque or the Gêdhé Mosque consist of four teachers and
twelve responders. These four gurus symbolize the life force that
includes the elements of fire, water, earth, and air.
Furthermore, the Great Mosque has various
religious elements that are included in its building, such as
the concept of Triloka in Hinduism, the concept
of Javanese
customs, the concept of Islam, and the concept of pre-Islam in
the Majapahit era. The Great Mosque of the
Surakarta Hadiningrat Kasunanan Palace is also used as a place to
carry out traditional ceremonies, namely, Sekaten
and Malem 21an or Lailatul
Qadar.
North Wing and South Wing
The roof of the Ward is in the shape of a
limasan, the column of the main room is round, and the porch
column is rectangular. The round column has the meaning of God's
perfection in Javanese society. Furthermore, the rectangular
column symbolizes human imperfections. Pagongan Lor
Ward as a place for Kyai Guntur Sari
gamelan, this gamelan is sounded to accompany Gendhing
Rangkung. Rangkung is taken from the
Arabic word Rahukum which means your soul. This
name is a symbol of the Prophet's creed as a form of respect for
the Prophet Muhammad S.A.W. Furthermore, the Pagongan
Kidul Ward is the place of the Kyai Guntur
Madu gamelan. This gamelan is sounded to accompany the
Gendhing Rambu. The sign is
taken from the Arabic Rabbana which means our
Lord as a tribute to God Almighty. This name is a symbol of the
Shahadah of Tauhid. These two gamelan are sounded alternately at
the end of the month of the Prophet's Birthday or
the traditional ceremony of Sekaten. This gamelan
sounds Gendhing Rambu and Gendhing
Rangkung, as a form of respect for Allah S.W.T. and the
Prophet Muhammad S.A.W.
Sasana Suméwa
This building is supported by 48 pillars, this was influenced
when the construction of Sasana Suméwa or
Pagêlaran or Tratag Rambat Ward,
Paku Buwana X was 48 years old. In addition, the number 48 also
symbolizes the leadership period of Paku Buwana X who had led the
Surakarta Hadiningrat Kasunanan Palace for 48 years from 1822 to
1870. This place is specifically intended for officials, leaders,
and dukes to gather when the Surakarta Hadiningrat Kasunanan Palace
holds important events such as the celebration of Maulid, Sri
Sunan's birthday, commemoration of the ascension, and similar
activities. Apart from officials, leaders, and dukes, Sasana
Suméwa, also known as Pagêlaran or
Tratag Rambat Ward, is not allowed to be accessed
by the general public. Except, if the community or people get an
official call from Sri Sunan to attend Sasana
Suméwa, Pagêlaran, or
Tratag Rambat Ward.
About the North
Sitinggil Lor is in a straight line with the
Pamandêngan Monument between these lines there is a
spiritual line marked by the existence of the Great Mosque and the
Church presents the concept of man in his presentation to God
Almighty, which must be done with a vertical straight attitude
without any deviations. These buildings function as gathering points
or meeting places for the implementation of traditional ceremonies,
such as the Prophet's Birthday, the Sacrifice Day, and the Ramadan
Day. Sitinggil Lor is a location where the people
can meet the King or vice versa. The high place can only be accessed
by the King or Sri Sunan who is in office, as a symbol of his power
in front of the audience. In addition, this higher location is also
designed so that the King or Sri Sunan can see the Royal retainers
who are in Lor Square.
Manguntur Tangkil Ward
When the King sits in the Manguntur Tangkil
Ward, the King will give a speech or order in front of the
people of the Surakarta Hadiningrat Kasunanan Palace. This order
will be delivered by Palace officials which will then be conveyed to
the people of the Surakarta Hadiningrat Palace. The King's throne
during Eid events such as Grebeg Maulud (12
Rabiyatul Awal), Grebeg Puasa (1 Shawwal), and
Grebeg Besar (Eid al-Adha = 10 Besar) in
Sitinggil. In the Manguntur Tangkil
Ward, the Dampar stone of Prabu Suryawisesa Nalendra was
planted in Jenggala, the stone where Prabu
Suryawisesa Raja sat in Jenggala.
Kori Talang Patén
Kori Talang Patén is a door used to remove the
bodies of the King and his family. The meaning contained in
Kori Talang Patén is that the body that has been
removed must not pass through the south door and must pass through
the west door. Kori Talang Patén gives a difference
in degree or rank between the Royal family and its employees. The
courtiers who died must pass through Kori
Talang Patén and must not pass through the
southern part of the palace which is reserved for
the body of the deceased King or Sri Sunan.
Sri Manganti Lor
Sri Manganti Lor is found in the
sengkalan on the door which reads sanjata
kasalira rasaning nalendra or the year 1685 which is the
year this door was made. This dispute has a
meaning, namely the King must be able to stop a dispute and
Creating harmony is a fundamental thing. Furthermore, sengkalan
can also be found in the western and eastern parts, which reads
"sarmata flour rasaning janma" and
contains the meaning that the King has the authority to punish
guilty individuals.
In addition, Sri Manganti Lor has reliefs on the
left and right sides depicting male and female symbols. The meaning
of the relief is that life takes place through the intercession of a
father and mother who have been blessed by God Almighty. In
addition, the symbol of women contains a meaning as a reminder to
mankind that to be born in a more beautiful place, they should carry
out worship properly and correctly.
Sasana Séwaka
Sasana Séwaka has a distinctive color on its
building which is red, yellow, green, and gold. This color is a
color containing the symbol of Javanese philosophy, namely
padhang ning ora mblerengi, shining or nyulapi
which means bright but not performing. This meaning is in line with
the traits that must be possessed by a King or Sri Sunan, namely
being powerful but not having an arrogant nature in any way. In
addition, Sasana Séwaka is seen in the sacredness
as the King's seat when the courtiers enter to
face. This creates a stigma that only an elected King is allowed to
sit in Sasana Séwaka .
Bangsal Paningrat
The Paningrat Ward is a place dedicated to
believers and people who have blood relations with Sri Sunan Keraton
Kasunanan Surakarta Hadiningrat, while the
courtiers sit in the courtyard. This gave rise to
the mindset that there was a difference in degrees between the royal
family and its employees. Only selected people who are known or
appointed by the Sunan Keraton Kasunanan Surakarta Hadiningrat can
sit in the Paningrat Ward.
Dalem Agêng Prabasuyasa
Dalêm Agêng Prabasuyasa is a place where
heirlooms and the King's throne are buried as a symbol of the
Palace. Dalêm Agêng Prabasuyasa is also where the
King takes the oath of office before the coronation ceremony in
front of the people in Sitinggil Lor. Because of
the specificity of this place, Dalêm Agêng
Prabasuyasa is seen as a sacred place. This is because
Dalêm Agêng Prabasuyasa was used as a place to
store heirlooms, the king's throne, and the taking of oaths by
Sunan who was to be inaugurated.
Stage Sagittarius
The Sangga Buwana Stage Building is in the
form of a towering tower, so it can be seen from a distant place.
This building is in the shape of an octagonal 'Hasta
Wolu' with a height of 30 meters and is divided into four
levels. In this building there is a landmark and a sign
work which means a signal or sign of the time. Another
name of the Sangga Buwana Stage is the
Sangga Buwana Upper Stage.
The name is the year of the dispute at the time this building was
erected, namely in 1708 or 1782 AD. Stage word: 8, word
Dhuwur: 0, word Sangga: 7, and
word
Buwana: 1.
Panggung Sangga Buwana hanya dapat dimasuki oleh
Sri Sunan Keraton Kasunanan Surakarta Hadiningrat untuk melakukan
meditasi dan bertemu dengan Nyi Roro Kidul. Hal ini
menimbulkan pola pikir masyarakat yang memandang bangunan
Panggung Sangga Buwana sebagai tempat yang sangat
amat sakral, karena hanya Sunan saja yang dapat memasuki bahkan
bertemu dengan penguasa pantai selatan yaitu Nyi Roro
Kidul. Persepsi yang tersebar ketika Sri Sunan dan
Nyi Roro Kidul bertemu adalah untuk melakukan
hubungan suami istri, yang dimana itu merupakan salah satu syarat
agar Sunan dapat memperoleh kemakmuran, kesejahteraan, dan
kebahagaiaan yang melindungi semua masyarakat di lingkungan Keraton
Kasunanan Surakarta Hadiningrat.
Bangsal Bêdhaya
Pada bangunan Bangsal Bêdhaya digunakan untuk
menyajikan Tari Bêdhaya Kêtawang. Tari Bêdhaya
Kêtawang merupakan tarian sakral yang dimiliki oleh
Keraton Kasunanan Surakarta Hadiningrat dan menjadi lambang
kebesaran Keraton. Tarian ini hanya disajikan ketika ada acara
besar seperti, Jumenengan, Tingalan Dalem, dan
lain sebagainya. Penari dalam tarian Bêdhaya
Kêtawang tidak boleh sembarang orang. Penari tersebut
harus memenuhi syarat seperti, Perempuan yang masih suci atau
dengan kata lain masih perawan. Para penari juga harus melakukan
puasa yang telah ditentukan selama beberapa hari.
Argapura
Argapura is a replica of Mount Meru which is
the symbol of the center of the universe in pre-Islamic Javanese
mythology. Argapura was also used as a hiding
place for Sri Sunan and his family if the enemy succeeded in
controlling the Surakarta Hadiningrat Kasunanan Palace.
Sumur Sanga
Sanga Well is a well that was discovered and
made during the reign of Sri Sunan Pakubuwana IX. This affects the
naming of this well, namely the addition of Sanga
which marks that this well was discovered during the reign of Sri
Sunan Pakubuwana IX. According to the belief in the Surakarta
Hadiningrat Kasunanan Palace, the water that comes from
the Sanga Well is considered holy water that can
cure various diseases. However, the nature of water is only as an
intermediary. When you want to drink water from the Sanga
Well, you must still pray to God Almighty.
Kêraton Kilén ing Prabasana
Kêraton Kilén di Prabasana means a light that
emits a freshness of nature. The hijalu color on this building
symbolizes the love between Sri Sunan's family and love for the
people. In addition, Kêraton Kilén in Prabasana
is where Sri Susuhunan Pakubuwana X received a supernatural clue
about the history of the Surakarta Hadiningrat Kasunanan Palace
which only reached the age of 200 years. The construction
of Kêraton Kilén in Prabasana is expected to be
an effort so that the Surakarta Hadiningrat Kasunanan Palace can
have a very long life.
Pléngkung Gadhing
The cultural meaning of Pléngkung Gadhing,
namely every King or Sunan of the Surakarta Hadiningrat Kasunanan
Palace who is still alive is not allowed to pass through
Pléngkung Gadhing. This is believed to cause bad things
for the Royal family and even the Surakarta Hadiningrat Palace.
Pléngkung Gadhing was only passed by the King or
Sunan who had passed away. Sri Sunan's body will pass
through Pléngkung Gadhing to be delivered to the
special cemetery of the King in the land of Java who has passed
away.
Based on the description of the cultural meaning in the name of
the building in the Surakarta Hadiningrat Kasunanan Palace. Subroto,
1998 in Wakit, (2013:16) states that cultural meaning or cultural
semantics is used to reveal the meaning of language contained in the
culture of the ethnic community so that it can be understood by
others. Cultural semantics is also used to translate the meaning of
verbal language expressions, so that knowledge systems can be known
that are reflected in the mindset, outlook on life and views based
on cultural context.
Cultural semantics in this study produced a mindset, lifestyle,
and view of the buildings in the Surakarta Hadiningrat Kasunanan
Palace such as the specificity of the place, the sacredness of the
place, the analaogy of a building, and a view of life that focuses
on the building.