The scenery on the 40-kilometer journey from Bandung to Sumedang must be among the most consistently attractive anywhere across Java.
The rolling hills, if not carpeted in tea plantations, are covered by thick jungle-like forestation. At times the hills rise steeply, creating dramatic peaks and valleys. Views back across country roads already traversed practically compel a pause for appreciation.
At the end of this pleasant trip is Prabu Geusan Ulun, a small, charming museum in the center of Sumedang. This is the home of a collection of artifacts that, in particular, represent the local Sundanese culture.
The museum sits in an official administrative building complex just off the central town square, or alun-alun. The museum itself is comprised of a collection of buildings each containing certain aspects of the museum’s overall collection. The entrance building is a plain but nevertheless impressive building, with its huge arched windows and large overhanging eaves.
This building, known as the Srimanganti Building, which dates back to the early 18th century, is the earliest here. Originally used by the regent of Sumedang, today it is used to house an auditorium and mixed collection of furniture, including a bed said to have been used by Pangeran Kornel.
Pangeran Kornel was a Sundanese prince governing Sumedang at the time of Dutch colonial rule in the early 19th century. He is famous in these parts and near the bed is a large painting commemorating the principal reason for his fame: The painting depicts a moment of defiance against that colonial rule that made Pangeran Kornel nothing short of a local hero.
The Dutch were determined to build roads across Java to move their small army and exert control; to achieve this, they enlisted – or perhaps “forced” would be more accurate – the help of local laborers. On the road between Bandung and Sumedang – which today is so scenic – the laborers struggled to break through the hard rock of the hills.
With little more than blunt hand tools, the laborers’ task was near impossible and so they laid down those tools. The governing Dutch were forced to come and negotiate with Pangeran Kornel for a solution. The moment of this meeting is depicted in the painting: The Dutch official, Willem Daendels, offers to shakes hands but Pangeran Kornel is a figure of defiance as he keeps one hand on his kris (dagger).
It seems Kornel had no need, ultimately, to use that kris – also part of this museum’s collection – as the Dutch conceded that the terrain was too tough and so supplied explosives to clear the way for the road.
Other antique furniture in this first building originates from Jepara and is both delicate and ornate in its carving.
Through to the back of the building and we encounter a small collection of royal uniforms and small cannons dating from colonial times. Then we are into the precincts of the museum and can see the various buildings that collectively make it up. Directly ahead is the Bumi Kaler Building, which houses an at times curious collection of Sundanese and Arabic manuscripts along with old coins, banknotes and stamps.
This seems an odd introduction to the next building, which in many ways has to be considered the most important in the museum. This is the Pusaka Building, which houses an impressive collection of traditional weaponry and royal regalia. Here may be found traditional weapons such as kris, badik and kujang – daggers, swords, spears and pikes all kept in glazed cabinets.
In the center of this single-roomed building is an umbrella-like glass display cabinet that contains crowns for both men and women, along with bracelets, necklaces, belts, hairpins and other ornaments that would have been worn by parading royalty. To protect these precious and sacred items, the building is kept locked and only opened by an accompanying curator.
After the sense of awe provided by the contents of the Pusaka Building, the museum’s two remaining buildings are almost an anti-climax.
The Gamelan Building houses a range of gamelan, including the very well-traveled Sari Oneng Parakan Salak. This gamelan was exhibited in Amsterdam in 1883, it was then in Paris in 1889 during the opening of the Eiffel Tower and in 1893 it was on show in Chicago.
In 1942, this apparently coveted gamelan was given to the regent of Sukabumi who bequeathed it to the museum in 1975.
However, its huge gong was left behind in Amsterdam and it was not until 1989 that the then Dutch ambassador handed it back to Indonesia to be reunited with the rest of the orchestra.
After this artifact that has traveled, the last of the museum’s buildings is dedicated to artifacts for travel. The Kereta Building contains horse-drawn carriages and even an old bicycle. Among the carriages are two Naga Barong, which are highly decorated carriages in the shape of (frankly rather ugly) dragon-like creatures.
Overall, Museum Prabu Geusan Ulun amounts to an interesting, and often curious, collection of Sundanese culture and some remnants of the colonial era. Overall, it is a little gem nestled in this quiet town, where children play football in the town square and scream and shout in joy, oblivious to the monuments and officialdom all around them on the alun-alun.
The museum highlights the region’s local culture and history modestly but attractively, if at times rather quaintly, but its collection and maintenance make it one of Java’s better museums.
Photos by Simon Marcus Gower
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