Gladhag and Pamurakan

Gapuro Gladag, one of the gates leading to the Karaton Area

Originally Gapuro Gladhag served as the northern entrance to the court. The gate, decorated with various wild animals, was made of iron. A double set of twin gates now defines this area. The twin gates are known as candi bentar because they resemble an ancient candi or temple, split in two. The pair of candi bentar gates at Gladhag are decorated with 48 motifs and 48 fence-posts, a number that

commemorates the age of Sinuhun Paku Buwono X (b. 1866 - r. 1893-1939) when he had it rebuilt in its present form. On guard on either side in front of the first set of gates are two identical, fierce-looking statues, known as Pandito Yakso. Similar statues, sometimes smaller, sometimes larger, are found in many places in Java, usually in pairs, and notably in places where the preIslamic influence of the Hindu-Buddhist realm of Majapahit has been strong.

In former times wild animals captured while hunting were kept in the shady narrow lane just south of the second set of Gladhag gates. Here they were digladhag,'forced, 'compelled, before they were slaughtered and prepared for consumption at the court and in the city. Later, when this was no longer practiced and the city had several professional butcheries, Gladhag became a traditional open market.

On a philosophical or spiritual level the whole Gladhag area symbolizes the initial experience of an individual on the spiritual path to manunggaling kawulo gusti, being in pursuit of 'achieving complete one-ness with God'. This is illustrated with various elements found here.

For instance the two fierce-looking and awe inspiring Pandito Yakso statues symbolize that one has to be alert and prepare oneself, strengthening one's spirit and developing a sense of self-confidence striving to achieve a state of manunggaling kawulo gusti, a process full of dangers and other fearsome obstacles.

The numerous statues of monsters and wild, untamed animal figures refer not only to former times, when wild animals

to man's 'untamed' character which one should learn to control, for it is believed that upon entering the karaton area one takes the first step on the path of seeking perfection. The Gladhag area symbolizes the Javanese mystical and Islamic teachings that anyone who intends to explore and experience the union of the physical and spiritual realm, must be able to control luamah, one's individual, I untamed'animal urges.

The narrow lane between Gladhag's second and third gateways is called Pamurakan: here the captive wild animals were murak, I slaughtered'. The meat was divided among sentono, courtiers, and abdi dalem, retainers at the court who happened to be nearby. The slaughtering took place in a small building, Bangsal Pamurakan. Decorative designs found here include flames and the sun, and two centheng, large stone cubes with square depressions in the center and a spout on one side. These are believed to be over 500 years old, and were originally bases for Siva Lingga, dating back to Java's pre-Islamic period. In the Surakarta period they were used for burning incense during the slaughtering. The motifs of flames, sun, and centheng stones found in the Pamurakan area are regarded by some as remnants of Brahmanic worship. On the other hand, both in Javanese mysticism and Islamic Tasawuf, butchering hunted and captured wild animals symbolizes the rejection of the emotion of anger.

Following the Gladhag road further to the south, one passes its last set of gateways and reaches the great open field known as Alun-alun Lor, I northern Alun-Alun'.