indahnesia.com - Solo (Surakarta) - The kraton of Solo - The two 'palaces' that devided the city

The kraton, or palace of Solo, was constructed between 1743 and 1746 on the banks of the mighty Bengawan Solo, Java's longest river. As within the Yogyakarta palace, Solo's kraton simultaneously defined the center of the town and the kingdom, as well asl, metaphysically, the hub of the cosmos.

Indeed, the similarities between the two courts, built within 10 years of each other, are striking. Both have a thick outer wall enclosing a network of narrow lanes and smaller compounds, two large squares, a mosque, and a central or inner royal residential complex. Perhaps the major difference is that Solo has no north-soiuth processional boulevard or pleasure palace.

Entering the kraton precincts from the north gate, one crosses the main square (alun-alun lor) between the two royal banyan trees and stops in front of the pale blue Pagelaran performance pavilion, with its shining expanse of cool marble tiles. Behind the Pagelaran is the royal audience pavilion (sittinggil); behind that is an immense gate leading to the front, or north, door of the palace.

Casual visitors are never permitted to enter this north door, which is kept closed except on special occasions, but must, instead, walk around to the east and pay a small fee for a guided tour of the museum and the inner sanctum. Here, shaded by groves of leafy leaves, between which flit the bare-shouldered adidalem or female attendants, is the large throne hall of the Susuhunan.

The inner columns supporting the roof are richly carved and gilded, crystal chandeliers hang from the rafters and marble statues, cast-iron columns and Chinese blue-and-white vases line the walkways. As if to underscore the sanctity of this place, you are instructed to remove your shoes and refrain from taking photographs. Notice the royal meditation tower to one side - if it looks familiar, that's because it's essentially a Dutch windmill without the arms.

Picture: Waringin on alun-alun lor

Perhaps the real reason that Solo is less well-known than Yogyakarta is that it has fewer connecting flights and is farther from the ancient monuments of Borobudur and Prambanan. But, in fact, it is only an hour from Jogja by rail or road, and is certainly worth visiting, even if for a single day.

The kraton museum was established in 1963 and contains ancient Hindu-Javanese bronzes, traditional Javanese weapons and three marvelous coaches. The oldest coach - a lumbering, deep-bodied carriage built around 1740 - was a gift from the Dutch East India Company to Pakubuwono II. The museum also displays some remarkable figureheads from the old royal barges, including Kyai Rajamala, a giant of surpassing ugliness, who once adorned the bow of the Susuhunan's private boat and is said even now to emit a fishy odor when daily offerings are not forthcoming.

After visiting the kraton, stroll through the narrow lanes outside and be sure to pay a visit to nearby sasana mulya - the music and dance pavilion of the Indonesian performing Arts Academy (ASKI), located just to the west of the main or north palace gate. This is an art school with an illustrious history, for it was here that the first musical notation for gamelan was devised at the turn of the century. Serious students or gamelan music, traditional dance and wayang kulit attend classes and rehearsals here daily. Visitors are welcome to listen an d observe, provided done unobtruviosly.

Solo's 'other' palace

About one kilometer to the west and north of the main kraton, a branch of the Solo royal family has constructed their own smaller, more intimate palace. Begun by Mangkunegara II at the end of the 18th century and completed in 1866, the Pura Mangkunegaran is also open to the public. Upon entering the grounds via the east of west gates, report to the reception office just inside the east gate and pay a small fee for a guided tour.

The outer pendopo or audience pavilion of the Mangkunegara is said to be the largest in Java - built of solid teak wood, and jointed and fitted in the traditional manner, without the use of nails. Note the brightly-painted ceiling, with the eight mystical Javanese colors in the center, highlighted by a flame motif and bordered by symbols of the Javanese zodiac. The gamelan set in the southwest corner of the pendopo is known as Kyai Kanyut Mesem ('enchanting smiles'). Try to visit the palace on Wednesday mornings, when it is struck to accompany an informal dance rehearsal before noon.

The museum is in the ceremonial hall of the palace, directly behind the pendopo, and it mainly houses the private collections of Mangkunegara IV: dance ornaments, topeng masks, jewelry (including two silver chastity belts), ancient Javanese and Chinese coins, bronze figures and a superb set of ceremonial keris blades.