West Java Struggle Monument\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\r\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\n\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\r\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\nWest Java community has accepted tradition since long to get along with nature. Humans are part of nature is a harmonious unity. Picture a harmonious blend it among other things expressed in verse and song, a special characteristic of the release of Tatar Sunda with the weight of gratitude to the Creator. How nature is a source of inspiration, encouragement of life, even into place behind Geusan ngajadi, history is a part of the rhythm of life itself, such as angina rhythm, mountains, trees are:\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\r\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\n• Motion of the past (wangsit seweu siwi)\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\r\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\n• Motion today (Wanci kiwari)\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\r\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\n• Exercise time will come (nu will kasorang)\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\r\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\nThe Movement for the people of West Java, reflected in its dynamic character, pluralist and democratic. Expressed in the proverb: Reparation Foster, Silih Asah, Asih Silih\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\r\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\n\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\r\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\nThe concept of Monuments\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\r\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\n\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\r\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\nSundanese culture does not recognize the center (central). But scattered in various places. It was considered the hallmark of its pluralistic, dynamic and democratic. Feature was composed into a concept which does not form a single monument, but plural. Embodied in the form of monuments five elements forms into one harmonious unity (beungkeutan) which almost resemble one another.\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\r\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\nno struggle without unity so it must be a single bond, (Hiji beungkeutan), but to be a bond of unity requires a struggle, in short: the struggle for unity and unity for struggle. (See: H.A.KUNAEFI. Patterns think the West Java West Java in realizing the national goals of West Java Regional Government 1985). In essence, the characterization of the struggle of the people of western Java from time to time, containing the value of the intrinsic value of culture and the struggle of its people.\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\r\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\nCharacteristics of the struggle was depicted in the form which is one family, in which the shape is complementary, mutual dialogue, just as well as the arms and the main ideas of unity. one family which mutual dialogue is expressed into a clump of bamboo memorable symbolism:\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\r\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\n\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\"Awi Gede Gunanadina kahirupan sapopoe, ti ka mimiti born Nepi maot\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\"\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\r\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\n(Bamboo is useful in everyday life, from birth to death)\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\r\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\n\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\"Bamboo pointy\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\" (the physical means of struggle during the revolution)\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\r\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\n\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\"Palupuh\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\" which can be interpreted as \\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\"Ka Palupuh, nangtung, kapimilik\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\"\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\r\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\n(Palupuh nangtung = cubicle, kapimilik = owned)\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\r\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\n\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\r\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\nExistence Monuments\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\r\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\n\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\r\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\nbased on the above concept, the form of the monument changed not single, but plural. Not rigid, but flexible plastic. As the embodiment of which symbolizes one of the properties the suda, flexible, friendly people (darehdehh, someah) open and not closed. Not massive, but woven with natural space. Surrounding as clumps of architectural composition rhythmic compositions (like kitchen Awi = like clumps). To arrive at the inner core of the monument, visitors must climb the ladder (climbing). Natural light fell on the wall monument that will feature artistic niches, sharp shades.\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\r\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\nNatural light composed, is the part that beautify the monument shape plasticity. monument orientation in all directions compatible with the nature of the Sundanese people who are not covered, open to accept the changes or new things. Order and decorum imah Sundanese reflected into the structuring phase (space) consists of a physical monument golodog, side:, middle, segog, and hunting.\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\r\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\nSilhouette monuments reveal the overall shape of Sundanese traditional lines in the form of home and neighborhood commonly called noble lalaku, oriented north-south axis. The layout of the monument, in addition to the right on the north-south axis, is also right on the forked scissors, the meeting point of the diagonal road. Composition forms monument expresses imah Sundanese characters, such as: Rhino Heuay, Galudra Ngupuk, Julang ngapak and Jangga wiranga. Average overall silhouttenya reveal lalaku knight.\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\r\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\n\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\r\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\nThe history of the monument\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\r\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\n\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\r\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\nmonument struggle of the people of western Java was built as an expression of appreciation for services especially pahlawn hero who came from West Java as well as recommendations to pass on the values ??of the struggle to the next generation. Building monuments struggle of the people of western Java shaped pointy bamboo style combined with modern architecture, designed by the original architect of the city of Bandung which Slamet Wirasonjaya and artists Sunaryo.\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\r\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\nDetermination of the construction site of the monument struggle of the people of western Java is based on the decree of the governor of West Java No. 593.82 / sk.133.Pem.Um / 82, dated January 28, 1982, on the determination of the location for the construction of a monument struggle of the people of western Java.\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\r\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\nDetermination of the location of the pivot on the central government of West Java Province / Sate with a mountain backdrop tangkuban parahu. monument struggle of the people of western Java was inaugurated by the governor of West Java began in 1995, stands on the ground of ± 72 040 m2, with spacious bangunan2.143 m2.\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\r\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\nAt the beginning of development, the management of the monument struggle of the people of western Java several times through the displacement hand, began the foundation of dharma devotion, hall management Sri Baduga Museum as one of the UPT Department of Tourism and Culture of West Java Province, the Bureau of the social development secretariat of the provinces of western Java, the Public Relations Bureau and the General Secretariat of the Regional west Java province along with heroism and kejuangan Subdivision Regional Secretariat of west Java province, and its management is under the porch of the management of cultural heritage, cultural values ??and history of the Department of Tourism and culture of west Java Province.

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