CANDI KIDAL

The story of "Garudeya" is closely related to the story of Samodramantana or Amretamantana is one episode of the story contained in the first part (parwa) epic Mahabharata, namely Adiparwa. The subject of the story concerns the family of Viyasa, precisely the story of Vyasa (Byasa) ganeologis with his two wives, Winata and Kadru along with dramatic events around the offspring of both of them. Upon request of each of his wives, who could not bear (stiril, barren), then Vyasa gave three eggs to Winata to be incubated. However, the successful hatch and perfect monster birth is just a, in the form of an anthrophomorphic (half-bird) creature called "Garudeya". The hundred eggs grown by Kadru, all hatched, in the form of a hundred snakes. Although Adiparwa's textual literature has been translated and translated in the Dharmmavamsa Tguh government (beginning of the XI AD) from Sanskreta to the Old Javanese letters and languages, but in the form of new visual literature comes as a temple relief during Majapahit (XIV century AD ). For example in Candi Kidal - the renovation of the Majapahit Golden Age, Kedaton and Sukuh. Among the three, the relief Garudeya in Kedaton Temple is the most number of panels reliefnya and coherent. While on Candi Kidal, only the key scene (scene scene), as many as three panels, carved in the pilaster (quasi-pole) the middle of the temple batur (soubasement) south, east and north. Directions read this relief prasawya, ie counterclockwise. There are structural considerations of determining the number of panels of reliefs and stories. Panil I (south side) binary opposite with panel III (north side). Whereas panel II (east side) becomes the liaison and also the key solution for changing the condition told in panil I to the condition told in panel III. Panil I recounts when Winata and her youngest son, Garudeya, lived life as slaves from Kadru. Garudeya's duties take care of the snakes of Kadru's son, as is visualized in this panel. In the relief depicted Garudeya shouldered the snakes on his shoulders. Winata and his son became slaves of the Kadru family, because he was defeated in a cunning manner by Kadru when betting in guessing the color of the horse Uchaiswara that poked out from the samodra of milk (samodra / ksirarwana) In accordance with the agreement, the losers became slaves of the winner. , the core conditions described are slavery or the shackles of human colonization over other human beings (imperalism, colonialism). Panil III recounts the incident when Garudeya managed to free or free her mother (Winata) from the practice of slavery Kadru. In this relief Garudeya depicted holding her mother on her back (carrying buri) to be flown leaving Kadru's residence. Thus, the core of events described is liberation or freedom. If panel I is positioned with panel III, then the binnery opposition, ie slavery (colonialism) versus freedom (independence). The transition of conditions from colonized to independence is explained by panel II, thanks to Garudeya's success in obtaining amreta (water of life, water of immortality) as a 'redeemer' for his enslavement, Garudeya must struggle to obtain Tirtha Amreta - as samodra sari milk - secured by Lord Vishnu, so much so that in the battle between Garudeya against Vishnu for amreta, Vishnu was almost invincible by it, it was agreed that Wisnu was willing to 'lend' the amreta for the redemption, provided that Garudeya wanted to be a vehicle ) In this panel II Garudeya is depicted amusing amreta in a container that resembles a cup of recording (kamandalu) .The essence of the events told is the struggle to free themselves from the bondage of slavery (colonialism) in order to gain freedom (independence). If the above three panels are lined linearly into right-handed pivils (Il), middle (II) and left (III), then it implies the following message: (a) right-end pane>