THE ACCULTURATION BETWEEN BALINESE AND CHINESE ARCHITECTURAL | Wiriantari | Anala 191 356 1 SM
THE ACCULTURATION BETWEEN BALINESE AND
CHINESE ARCHITECTURAL
(Case Study at Pemedal Agung/Main Gate of The Semara Pura Royal Castle,
Klungkung – Bali)
Frysa Wiriantari
Program Studi Arsitektur Fakultas Teknik Universitas Dwijendra
E-mail: [email protected]
ABSTRACT
I.
INTRODUCTION.
1.1. The Back Ground of Case
Balinese traditional architecture can be divided into some periods fallowing the
history the region. It begins from pre-history period, the coming of Mpu Kuturan period by
the year 1001, the attending of the other nations and up to now, the developed Balinese
traditional architecture.
But one of it that need to be dated is the influence of Chinese architecture. Some buildings
in Balinese traditional architecture show the Chinese style, especially on its ornament called
Patra Cina. The Chinese pattern generally dominates the building facade and it seldom
interferes the Balinese traditional architecture philosophy. Because on the Balinese
traditional architecture, there are some regulations based on Hindu religion. It means that
the form and symbols (as an ornament) have a special meaning and ethic, because
according to Gelebet (1982), every architecture from the other nation that has a frictions with
Balinese architecture, it will be adjusted by the ethic of Balinese architecture philosophy.
On the case of Pemedal Agung, the main gate of the Semara Pura royal castle, we
will find that the Chinese’s influence architectural has a special acculturation, because the
ornaments that available on the building facade are unique and quite different with the
general pattern.
1.2. The Spreading Story of Chinese Architectural.
In 1405, Cheng Hoo and his men are asked for the Chinese Emperor to have a
good will expedition at Asia and Africa continent. Their expedition left some spreading of
new settlement and accommodation of Chinese housing at the area of north east Asia
coast. Formerly the Chinese’s community who continued Cheng Hoo’s expedition came to
Indonesia by trading only, but for a long time they tried to stay in Indonesia
Some of their descendants came to Bali with the similar mission and their socialcultural too. Some inheritances of Chinese social-cultural that left at Bali are divided into two
types, a such as : a) non architectural : the story of Sampik Eng Tai, Chinese coins, and
Chinese plates and bowls, b) architectural : The Balingkang temple of Warmadewa dynasty,
the ornament of Chinese pattern and some sacred buildings are decorated by Chinese
plates and bowls.
By trading, two Chinese merchants (and also expert in architectural) came to
Semara Pura and met the King of Dewa Agung Jambe regarding to the under constructions
1
of the main gate, because there was a serious problem with the gate. The king ordered
them to restore the it. Finally the gate was repaired perfectly till we can see up to now as a
heritage of Balinese .traditional architectural. The two men was given an architectural
particular gift as a reward.
1.3. The Questions of Case.
In special cases are available at main gate of the Semara Pura Royal Castle
because of the acculturation of Balinese architectural influenced by the Chinese ones. So
the questions are :
a) which part of Balinese architectural is changed by the Chinese architectural or
adjusted according to the Balinese architectural philosophy?
b) what is the variant cause factor to explain the acculturation ?
II. DISCUSSION.
2.1. The Main Gate Under Construction of Semara Pura Royal Castle.
The gate was built when The Semara Pura kingdom was governed by the King of
Dewa Agung Jambe in XVII century. The story began when the Gelgel kingdom (Sueca
Pura Castle) was demolished of the betrayal war. The commander in chief (I Gusti Agung
Maruti) carried out of coup d’etat
and conquered the kingdom. The two youth princes
were escaped by the loyal servant to Sidemen village. From this place, One of the youth
prince built a powerful troops with his partner to get his right back. On the heroic battle,
Sueca Pura kingdom could be caught and finally the betrayer could be terminated.
After succeeding in his effort, The older youth prince is inaugurated as a new king
named Ida Dewa Agung Jambe, unfortunately The new king (Dewa Agung Jambe) seemed
to be unhappy of Sueca Pura kingdom, because of his felling that the kingdom had ever
been under command of I Gusti Agung Maruti. (In Balinese terminology is called ketiben
durmenggala), so the king wanted to move his old king to a new one at Klungkung regency
called Semara Pura kingdom (Warna, 1989).
The design of the new castle including the main gate fallowed the old one (Sueca
Pura) in related with the background history. As the architect, the king asked for the two
grand children of the Sueca Pura kingdom founder/architect. The castle consists of some
buildings such as : Bale Kambang as a meeting room and Bale Keretagosa as a court of
justice surrounded by a remarkable pond that we can find up to now. The scattered
pavilions were constructed in inner level (Saren) for the king’s and his family rest room.
Some buildings that mentioning secondly have disappeared because of the Dutch attack
on the biggest Klungkung battle known as Puputan Klungkung.
The interesting building constructed at the castle is the main gate or Pemedel Agung,
because it had a special history of its under construction.
The construction began when the King asked two brothers i.e. I Ungu and I Kidal for
developing the main gate or the Pemedal Agung. The brother was the grandchildren of the
Sueca Pura kingdom architect at Gelgel. They had a unique relationship on his brotherhood
that they were not talking each other. So in under construction of the Pemdal Agung, I Kidal
started form the south side and I Ungu from the north side. Since The foundation was
constructed until finished, there was not any communication both of them. They were busy
on their work and responsibility. The consequence was the main gate had an aslant of
some degrees northward. The main gate position was not desperately right angle
Looking through to the phenomenon, the King was disappointed enough of the
result. Then he gave utterance to the two brothers solving the problem. If they could not be
able to handle it, the worse punishment was dead. Then They invited two Chinese
2
merchants to met the king regarding the way out to set up the solution. Before They started
giving the solution, they had an appointment to the King, if they succeeded in their effort,
they asked only for some permissions from the King to put their Chinese architectural
symbolic on Pemedal Agung façade.
By their suggestion, the two brother filled adequately the southern foundation with tin. The
adding of tin as a foundation material was ever founded by some Japanese soldiers that
they ordered the youths Balinese cultivating the empty land around the main gate with
castor-oil plants. (Sidemen, 2004). When digging, their hatchet hit a hard material, and after
analyzing it is a lot of tin.
Because of this tin, the askew of Pemedal Agung was getting
up right. Finally, the main gate does not leans anymore that we can see up to now.
2.2. The Acculturation of Balinese and Chinese Architectural.
After solving the askew problem of the main gate, the two brother was released from
their punishment and was given the best reward, meanwhile the two Chinese merchants
was allowed to put four Chinese statues in front of main gate and some at upper part. (
Figure 2)
Front Elevation Of Pemeda Agung
3
Four statues at front of the Pemedal Agung
and
at upper part
Figura 2. Chinese Statues Change The Balinese Symbolic Statues.
Resource : Fieldwork observation (2004)
According to the Balinese architectural philosophy, any kind of the Balinese gate
such as Kori Agung, Pemedal Agung and Candi Bentar are completed by two symbolic
statues of Asura called Dwarapala in front of each gate. The Asura means the demigod of
heaven gate guard. They have a duty to
keep watch over anyone who wants to enter the
inner level of the heaven. This symbolic is adopted and transformed on the Balinese
traditional architectural. The logical reason is because the Balinese traditional gates have
a similar meaning of the heaven gate.
For Instance, in a Pura or Hindu temple, anyone who wants to pray, when they are at Jaba
Tengah (lower level) they have to prepare and maintain their good attitude to enter Jaroan
(inner level) through the gate with the couple of Dwarapala. As the temple guard,
Dwarapala keeps the temple holiness and remains the prayer in other to be polite and in a
proper clothes. Analogically, anyone who wants to enter the castle of Semara Pura
kingdom, when He is at Jaba Sisi area, he has to change his mind and manner if he wants
to meet the king. And the architectural symbolic that can remain him of the atmosphere
above is the Dwarapala statue.
In the contex within the symbolic of Dwarapala statues above, at the fieldwork we
find that there a specific phenomenon where the four Chinese statues change the Balinese
architectural symbolic, that is the position and the role of dwarapala as the gate guard.
2.3. The Relationship between the Ethic and Symbolic on Balinese Architectural
In Balinese traditional architectural, there is a closed relationship between the ethic
and symbolic. It means that the ethic and symbolic are united. Every architectural symbolic
has the ethic of philosophy, placement, and contextual. So we can’t use the architectural
symbolic without paying attention to the three aspects above. If there is an influence of
another architectural (for example Dutch, Egypt or Chinese architectural), Balinese
traditional architectural will adopt and receive it, but the other architectural has to be
adjusted firstly based on the philosophy and principals of Balinese traditional architectural,
then which one of the other can be received or refused. And it is named according to
where the architecture come from The flexibility of Balinese in receiving outside influence is
4
also stated by the expert, such as Robi Sularto (1993) says that : ……” seni yang lahir dari
ungkapan syukur, sungguh sangat kreatif dan mampu menggugah segala hal yang baru
dan berkembang dalam kehidupan mereka tanpa kehilangan jati diri dan harga diri. Masingmasing desa menampilkan gaya serta ungkapan jati diri, pengaruh-pengaruh luar dikunyah
dengan melumatnya (lihat patra Cina, patra Walanda dan patra Mesir)…………….”
(the art that was born from the grateful expression , it is a very creative and can realize
everything that is new and developing in their lifestyle without losing their identity and pride.
Each village shows its style and pride expression, the outside influences are chewed by
pulverizing it ( see patra Cina, patra Walanda and patra Mesir).
In the case of Pemedal Agung, It seems that the influence of Chinese architectural
replace the principals and symbolic of Balinese architectural. Because :
1. the Chinese statue at upper part of Pemedal Agung is not suitable according to the Ethic
on Balinese traditional architectural. The only ornament that fitted properly to this part is
a bird (or something can fly related to the philosophy of Hindu religion, such as the
Garuda as the vehicle of Sri Wisnu).
2. four Chinese statue in front of main gate change the role Dwarapala as the gate guard
on Balinese traditional architectural. Dwarapala has a function to remain Balinese people
to set up their attitude and manner when they want to enter the inner level. So the
question, what is the role of four Chinese statue or Is the role of four Chinese stature as
same as the Dwarapala ?. According to Tresnasih (1998), if we take a look at one of
the four Chinese which is carrying a big-blade sword, He is a war demigod. I thing that
the role both of them (The four Chinese statue and Dwarapala) are not same. The fact is
someone who wants to enter the gate is not in war situation. Perhaps He wants to meet
the King or something else.
In context within the era of Balinese kingdoms, the was a special terminology that we
called “kultus desa-raja”. It means that the king was the descendant of god. Everything he
said that was the law or order. Regarding the Pemedal Agung, the king owed to two
Chinese merchants of repairing its askew. Because of them, the king was avoided of
embarrassing situation. Then the King kept his promise to allow them putting four Chinese
statue. Anyway, the Chinese merchants was a brilliant men because they put the statue at a
strategic place that is at front of Pemedal Agung. So anybody can see it clearly. Anyhow,
The king had decided it and his decision was the law. And as a “descendent” of god, it was
no problem weather his policy to change the symbolic of Dwarapala to Chinese war statue
was right or wrong, but the fact, the society consider that the king’s policy above was also a
principal of Balinese traditional architectural.
III. CONCLUSION
From the discussion mentioned above, we can decide some conclusions as pointing
below :
1. the part of Balinese architectural changed by Chinese architectural is the guard of the
main gate or Dwarapala to four Chinese war-god statue. Both of the place and the role
with its philosophy were moved.
2. the cause factor to explain the acculturation is : (a) firstly, the king wanted to keep his
promises to the Chinese merchants of what they had done to repair the aslant of the
main gate, (b) second , the existence of specific Balinese terminology “kultus dewa raja”
which the society consider that the king was the descendant of the god. So it’s no
problem weather His policy changed the Dwarapala was right or wrong.
5
REFERENCE :
Istanto, H. Freddy, 2003, Semangat Admiral Cheng Hood dan Ekspresi Toleransi Masjid
Muhammad Cheng Hoo Indonesia, Jurnal Dimensi Teknik Arsitektur Volume 31 No.
1 Juli 2003. LPM Univ. Kristen Petra Surabaya.
Tresnasih, I Gusti Ayu, 1998, Ikonograsi Arca-Arca Cina pada Masa Balingkang (Dinasti
Warmadewa), Skripsi Jurusan Arkeologi Fakultas Sastra Universitas Udayana,
Denpasar.
Ida Bagus Rai Pidada, 1990, Babad Dalem (manuskrip), edisi terjemahan, Gria Pidada,
Klungkung.
Sidemen, Ida Bagus, dkk, 2001, Sejarah Klungkung,Dari Semarapura sampai Puputan,
Pemerintah Kabupaten Klungkung,
Gelebet, I Nyoman, 1982, Arsitektur Tradisional Daerah Bali, Depertemen Pendidikan dan
Kebudayaan, Denpasar.
Joice Wiener, Margaret, 1980, Visible and Invisible Realty : The Royal House of Klungkung
and the Butch Conquest of Bali, Ph.D dissertation of Chicago University, Illinois.
6
CHINESE ARCHITECTURAL
(Case Study at Pemedal Agung/Main Gate of The Semara Pura Royal Castle,
Klungkung – Bali)
Frysa Wiriantari
Program Studi Arsitektur Fakultas Teknik Universitas Dwijendra
E-mail: [email protected]
ABSTRACT
I.
INTRODUCTION.
1.1. The Back Ground of Case
Balinese traditional architecture can be divided into some periods fallowing the
history the region. It begins from pre-history period, the coming of Mpu Kuturan period by
the year 1001, the attending of the other nations and up to now, the developed Balinese
traditional architecture.
But one of it that need to be dated is the influence of Chinese architecture. Some buildings
in Balinese traditional architecture show the Chinese style, especially on its ornament called
Patra Cina. The Chinese pattern generally dominates the building facade and it seldom
interferes the Balinese traditional architecture philosophy. Because on the Balinese
traditional architecture, there are some regulations based on Hindu religion. It means that
the form and symbols (as an ornament) have a special meaning and ethic, because
according to Gelebet (1982), every architecture from the other nation that has a frictions with
Balinese architecture, it will be adjusted by the ethic of Balinese architecture philosophy.
On the case of Pemedal Agung, the main gate of the Semara Pura royal castle, we
will find that the Chinese’s influence architectural has a special acculturation, because the
ornaments that available on the building facade are unique and quite different with the
general pattern.
1.2. The Spreading Story of Chinese Architectural.
In 1405, Cheng Hoo and his men are asked for the Chinese Emperor to have a
good will expedition at Asia and Africa continent. Their expedition left some spreading of
new settlement and accommodation of Chinese housing at the area of north east Asia
coast. Formerly the Chinese’s community who continued Cheng Hoo’s expedition came to
Indonesia by trading only, but for a long time they tried to stay in Indonesia
Some of their descendants came to Bali with the similar mission and their socialcultural too. Some inheritances of Chinese social-cultural that left at Bali are divided into two
types, a such as : a) non architectural : the story of Sampik Eng Tai, Chinese coins, and
Chinese plates and bowls, b) architectural : The Balingkang temple of Warmadewa dynasty,
the ornament of Chinese pattern and some sacred buildings are decorated by Chinese
plates and bowls.
By trading, two Chinese merchants (and also expert in architectural) came to
Semara Pura and met the King of Dewa Agung Jambe regarding to the under constructions
1
of the main gate, because there was a serious problem with the gate. The king ordered
them to restore the it. Finally the gate was repaired perfectly till we can see up to now as a
heritage of Balinese .traditional architectural. The two men was given an architectural
particular gift as a reward.
1.3. The Questions of Case.
In special cases are available at main gate of the Semara Pura Royal Castle
because of the acculturation of Balinese architectural influenced by the Chinese ones. So
the questions are :
a) which part of Balinese architectural is changed by the Chinese architectural or
adjusted according to the Balinese architectural philosophy?
b) what is the variant cause factor to explain the acculturation ?
II. DISCUSSION.
2.1. The Main Gate Under Construction of Semara Pura Royal Castle.
The gate was built when The Semara Pura kingdom was governed by the King of
Dewa Agung Jambe in XVII century. The story began when the Gelgel kingdom (Sueca
Pura Castle) was demolished of the betrayal war. The commander in chief (I Gusti Agung
Maruti) carried out of coup d’etat
and conquered the kingdom. The two youth princes
were escaped by the loyal servant to Sidemen village. From this place, One of the youth
prince built a powerful troops with his partner to get his right back. On the heroic battle,
Sueca Pura kingdom could be caught and finally the betrayer could be terminated.
After succeeding in his effort, The older youth prince is inaugurated as a new king
named Ida Dewa Agung Jambe, unfortunately The new king (Dewa Agung Jambe) seemed
to be unhappy of Sueca Pura kingdom, because of his felling that the kingdom had ever
been under command of I Gusti Agung Maruti. (In Balinese terminology is called ketiben
durmenggala), so the king wanted to move his old king to a new one at Klungkung regency
called Semara Pura kingdom (Warna, 1989).
The design of the new castle including the main gate fallowed the old one (Sueca
Pura) in related with the background history. As the architect, the king asked for the two
grand children of the Sueca Pura kingdom founder/architect. The castle consists of some
buildings such as : Bale Kambang as a meeting room and Bale Keretagosa as a court of
justice surrounded by a remarkable pond that we can find up to now. The scattered
pavilions were constructed in inner level (Saren) for the king’s and his family rest room.
Some buildings that mentioning secondly have disappeared because of the Dutch attack
on the biggest Klungkung battle known as Puputan Klungkung.
The interesting building constructed at the castle is the main gate or Pemedel Agung,
because it had a special history of its under construction.
The construction began when the King asked two brothers i.e. I Ungu and I Kidal for
developing the main gate or the Pemedal Agung. The brother was the grandchildren of the
Sueca Pura kingdom architect at Gelgel. They had a unique relationship on his brotherhood
that they were not talking each other. So in under construction of the Pemdal Agung, I Kidal
started form the south side and I Ungu from the north side. Since The foundation was
constructed until finished, there was not any communication both of them. They were busy
on their work and responsibility. The consequence was the main gate had an aslant of
some degrees northward. The main gate position was not desperately right angle
Looking through to the phenomenon, the King was disappointed enough of the
result. Then he gave utterance to the two brothers solving the problem. If they could not be
able to handle it, the worse punishment was dead. Then They invited two Chinese
2
merchants to met the king regarding the way out to set up the solution. Before They started
giving the solution, they had an appointment to the King, if they succeeded in their effort,
they asked only for some permissions from the King to put their Chinese architectural
symbolic on Pemedal Agung façade.
By their suggestion, the two brother filled adequately the southern foundation with tin. The
adding of tin as a foundation material was ever founded by some Japanese soldiers that
they ordered the youths Balinese cultivating the empty land around the main gate with
castor-oil plants. (Sidemen, 2004). When digging, their hatchet hit a hard material, and after
analyzing it is a lot of tin.
Because of this tin, the askew of Pemedal Agung was getting
up right. Finally, the main gate does not leans anymore that we can see up to now.
2.2. The Acculturation of Balinese and Chinese Architectural.
After solving the askew problem of the main gate, the two brother was released from
their punishment and was given the best reward, meanwhile the two Chinese merchants
was allowed to put four Chinese statues in front of main gate and some at upper part. (
Figure 2)
Front Elevation Of Pemeda Agung
3
Four statues at front of the Pemedal Agung
and
at upper part
Figura 2. Chinese Statues Change The Balinese Symbolic Statues.
Resource : Fieldwork observation (2004)
According to the Balinese architectural philosophy, any kind of the Balinese gate
such as Kori Agung, Pemedal Agung and Candi Bentar are completed by two symbolic
statues of Asura called Dwarapala in front of each gate. The Asura means the demigod of
heaven gate guard. They have a duty to
keep watch over anyone who wants to enter the
inner level of the heaven. This symbolic is adopted and transformed on the Balinese
traditional architectural. The logical reason is because the Balinese traditional gates have
a similar meaning of the heaven gate.
For Instance, in a Pura or Hindu temple, anyone who wants to pray, when they are at Jaba
Tengah (lower level) they have to prepare and maintain their good attitude to enter Jaroan
(inner level) through the gate with the couple of Dwarapala. As the temple guard,
Dwarapala keeps the temple holiness and remains the prayer in other to be polite and in a
proper clothes. Analogically, anyone who wants to enter the castle of Semara Pura
kingdom, when He is at Jaba Sisi area, he has to change his mind and manner if he wants
to meet the king. And the architectural symbolic that can remain him of the atmosphere
above is the Dwarapala statue.
In the contex within the symbolic of Dwarapala statues above, at the fieldwork we
find that there a specific phenomenon where the four Chinese statues change the Balinese
architectural symbolic, that is the position and the role of dwarapala as the gate guard.
2.3. The Relationship between the Ethic and Symbolic on Balinese Architectural
In Balinese traditional architectural, there is a closed relationship between the ethic
and symbolic. It means that the ethic and symbolic are united. Every architectural symbolic
has the ethic of philosophy, placement, and contextual. So we can’t use the architectural
symbolic without paying attention to the three aspects above. If there is an influence of
another architectural (for example Dutch, Egypt or Chinese architectural), Balinese
traditional architectural will adopt and receive it, but the other architectural has to be
adjusted firstly based on the philosophy and principals of Balinese traditional architectural,
then which one of the other can be received or refused. And it is named according to
where the architecture come from The flexibility of Balinese in receiving outside influence is
4
also stated by the expert, such as Robi Sularto (1993) says that : ……” seni yang lahir dari
ungkapan syukur, sungguh sangat kreatif dan mampu menggugah segala hal yang baru
dan berkembang dalam kehidupan mereka tanpa kehilangan jati diri dan harga diri. Masingmasing desa menampilkan gaya serta ungkapan jati diri, pengaruh-pengaruh luar dikunyah
dengan melumatnya (lihat patra Cina, patra Walanda dan patra Mesir)…………….”
(the art that was born from the grateful expression , it is a very creative and can realize
everything that is new and developing in their lifestyle without losing their identity and pride.
Each village shows its style and pride expression, the outside influences are chewed by
pulverizing it ( see patra Cina, patra Walanda and patra Mesir).
In the case of Pemedal Agung, It seems that the influence of Chinese architectural
replace the principals and symbolic of Balinese architectural. Because :
1. the Chinese statue at upper part of Pemedal Agung is not suitable according to the Ethic
on Balinese traditional architectural. The only ornament that fitted properly to this part is
a bird (or something can fly related to the philosophy of Hindu religion, such as the
Garuda as the vehicle of Sri Wisnu).
2. four Chinese statue in front of main gate change the role Dwarapala as the gate guard
on Balinese traditional architectural. Dwarapala has a function to remain Balinese people
to set up their attitude and manner when they want to enter the inner level. So the
question, what is the role of four Chinese statue or Is the role of four Chinese stature as
same as the Dwarapala ?. According to Tresnasih (1998), if we take a look at one of
the four Chinese which is carrying a big-blade sword, He is a war demigod. I thing that
the role both of them (The four Chinese statue and Dwarapala) are not same. The fact is
someone who wants to enter the gate is not in war situation. Perhaps He wants to meet
the King or something else.
In context within the era of Balinese kingdoms, the was a special terminology that we
called “kultus desa-raja”. It means that the king was the descendant of god. Everything he
said that was the law or order. Regarding the Pemedal Agung, the king owed to two
Chinese merchants of repairing its askew. Because of them, the king was avoided of
embarrassing situation. Then the King kept his promise to allow them putting four Chinese
statue. Anyway, the Chinese merchants was a brilliant men because they put the statue at a
strategic place that is at front of Pemedal Agung. So anybody can see it clearly. Anyhow,
The king had decided it and his decision was the law. And as a “descendent” of god, it was
no problem weather his policy to change the symbolic of Dwarapala to Chinese war statue
was right or wrong, but the fact, the society consider that the king’s policy above was also a
principal of Balinese traditional architectural.
III. CONCLUSION
From the discussion mentioned above, we can decide some conclusions as pointing
below :
1. the part of Balinese architectural changed by Chinese architectural is the guard of the
main gate or Dwarapala to four Chinese war-god statue. Both of the place and the role
with its philosophy were moved.
2. the cause factor to explain the acculturation is : (a) firstly, the king wanted to keep his
promises to the Chinese merchants of what they had done to repair the aslant of the
main gate, (b) second , the existence of specific Balinese terminology “kultus dewa raja”
which the society consider that the king was the descendant of the god. So it’s no
problem weather His policy changed the Dwarapala was right or wrong.
5
REFERENCE :
Istanto, H. Freddy, 2003, Semangat Admiral Cheng Hood dan Ekspresi Toleransi Masjid
Muhammad Cheng Hoo Indonesia, Jurnal Dimensi Teknik Arsitektur Volume 31 No.
1 Juli 2003. LPM Univ. Kristen Petra Surabaya.
Tresnasih, I Gusti Ayu, 1998, Ikonograsi Arca-Arca Cina pada Masa Balingkang (Dinasti
Warmadewa), Skripsi Jurusan Arkeologi Fakultas Sastra Universitas Udayana,
Denpasar.
Ida Bagus Rai Pidada, 1990, Babad Dalem (manuskrip), edisi terjemahan, Gria Pidada,
Klungkung.
Sidemen, Ida Bagus, dkk, 2001, Sejarah Klungkung,Dari Semarapura sampai Puputan,
Pemerintah Kabupaten Klungkung,
Gelebet, I Nyoman, 1982, Arsitektur Tradisional Daerah Bali, Depertemen Pendidikan dan
Kebudayaan, Denpasar.
Joice Wiener, Margaret, 1980, Visible and Invisible Realty : The Royal House of Klungkung
and the Butch Conquest of Bali, Ph.D dissertation of Chicago University, Illinois.
6