Palace Complex Research Articles

Tourism as a promising direction of the development of the Komarno urban community in the Lviv Region

The article presents the theoretical foundations for studying the tourism potential of the Komarno urban community. It has been established that this issue has not been sufficiently covered in foreign and domestic literature. The types of preserved objects within the studied community have been identified. The existing objects of historical and cultural heritage of the Komarno community (in particular, archaeological, historical, architectural, natural, and sacred) are characterized as promising for the development of tourism in the community, and a map of their location has been developed. After processing a significant number of sources, as well as conducting field studies, it has been established that the largest number of tourist sites is concentrated in the city of Komarno, but nearby villages also have attractions of interest in the context of tourism development. It was found that in most villages of the community, sacred objects predominate, in particular, churches. Based on the discovered data on attractions, two tourist routes were developed, focused on objects of historical and cultural heritage, and a corresponding map was created. It has been found that the Komarno urban community has a number of advantages for developing its tourism potential: a relatively large number of historical sites and museums, a favorable geographical position, proper environmental conditions, diverse natural tourism resources, preserved sacred sites (in particular, wooden churches), a palace complex, and the presence of cultural heritage sites of national minorities (for example, Polish heritage). However, there are also problems hindering the development of tourism potential: insufficient attention from the authorities to tourism development in the community, the community’s website does not highlight the tourism potential, the proper condition of monuments is maintained mainly by the local population, the poor condition of some sites, non-implementation of tourist routes (despite the fact that some have been developed), insufficient development of infrastructure, and lack of tourist information support. We believe that the rich historical and cultural heritage of the community, effectively popularized and included in the proposed tourist routes, will contribute to a partial solution to these problems, particularly the insufficient development of infrastructure.

About the Second Koguryo Capital

The article discusses the current issue of studying the second capital of the early medieval state of Koguryo. It reviews and generalizes the limited and somewhat outdated Russian historiography on the topic. In order to reveal the unique features of the capital during the middle period, key Korean and Chinese written and epigraphic sources were examined and analyzed. According to the written data of the “Samguk Sagi”, the existence of the second capital is connected to the period between 3–427 AD. Information regarding the location of the capital remains unclear until the end of the Koguryo period and is only revealed in the subsequent Bohai period. The analysis of written sources is complemented by archaeological data of the ancient Guonei city and Wandu Mountain City located in the Jilin province of China, which correlate with the capital’s sites. Guonei city located in modern Jian city was a large centre; the perimeter of the walls was approximately 2.74 kilometres. In the central part, buildings correlating to administrative or palace buildings were excavated. At the nearby Wandu Mountain City, the perimeter of the walls was approximately 7 kilometres, and a large palace complex stretching over four terraces was discovered. Archaeological information indicates a different time period of the capital as a fortified city, and confirms its functioning as a centre of the district and Huanzhou county throughout the Bohai period. It is believed that initially, the Koguryo leader established a military headquarters in a hard-to-reach mountain valley near Yalu river, which evolved into a big administrative and political centre as the state developed. Further archaeological surveys are needed in the Koguryo capital area to establish a detailed chronology and better understand the futures of the Koguryo capital, and to further explore the connection between archaeology and early chronicle information.

Ancestral origins: northern Levantine Funerary Palaces in the Middle Bronze Age

While typically considered a south Levantine palace form, recent research suggests that the Middle Bronze Age Funerary Palace type has its origins in the northern Levant. The Western Palace at Ebla (Building Q) has long been known to feature similarities in plan, layout and contents with south Levantine forms. Of particular note is the shared funerary association in both southern and northern examples, specifically the discovery of elite, possibly royal interments, and associated retainer burials, in association with these complexes. In addition to Ebla, other palace complexes from the northern Levant, broadly defined, should be considered as examples of the Funerary Palace form, namely Byblos and Tell el-Burak. This paper will outline the evidence in support of this association and explore the ramifications of a broadly northern origin of the Funerary Palace form in wider considerations on the nature of MBA urbanism more generally.

Amber Fort: Its Architectural and Strategic Description 16Th and 17Th century A.D

Abstract: The fort has been concerned to Rulers of the states since ancient times. It was a symbol of prestige, Glory, power of Kingdom or Reign, in the contemporaneous ages of civilization. The skill and practice of constructing forts in India has recorded about 3000B.C. During the Medieval period the Rajput clan of Mewar, India, were prolific builders of Forts, struggle and proud of state and alertness towards security and safety of Forts in their regions. The study reveals that Inspite of harsh physical terrain, relief features, landscape and resources, rigid – intact rocky cliff hillock and strong fortification structure of Amber fort was marked as the architectural marvelous upto 17th century A.D. The architectural features of Amber Fort was known for its artistic Rajput style of elements with its huge ramparts and series of Gates and cobbled, paths and the beneath of these forts their lies a Moata Lake. The water of these lakes was the main source of Amber palace. The fabulous Amber Fort is a widespread palace complex that has been constructed with light yellow and pink sandstone and with white marble. Abul Fazl Akbarnama and Ain-i- Akbari, Abdul Qadar Badaoni Muntakhab - ut - Tawarikh, and Khawaja Niazam–ud- Din Ahmed Tabaqat-i- Akbari gives considerable attention to the significance of this fort from military point of view. The fort of Amber also finds special mention in the Mughal sources.

′Symbols′ as Expression Tools of Islam and Their Usage Methods in Palace Architecture

Islamic architecture consists of religion, politics, philosophy, and aesthetics. The religious expression of symbols in Islamic architecture is also extremely important in architecture. These religious symbols, which are used in palace buildings and generally in administrative places in the Islamic world, are shaped depending on the function of the buildings. In this period, the palace complexes were considered to be the most important structures representing state politics and economy. In this study, the purposes and methods of use of religious symbols used in many palace complexes of Islamic architecture were investigated. While investigating the main source and usage rules of these symbols in palace architecture, the Quran, which is the foundation of Islam, was examined and the dependence of these symbols on numbers was tried to be revealed with examples.

Hellenization of the monumental landscape of the Meroitic kingdom under Natakamani and Amanitore: cultural and historic context

The Meroitic Kush was the largest state on the southern borders of the Roman world. It reached its highest development by the 1st century AD under the rule of Natakamani and Amanitore whose extraordinary building activity attracted many scholars. Withing the framework of a large-scale program of renewing the monumental landscape of their state, the co-rulers erected, rebuilt, and restored cult and palace complexes throughout the country from Amara in the north to Naqa in the south. A characteristic feature of this activity was a wide use of Hellenizing motifs in both architecture and iconography. However, Hellenization did not affect all royal monuments: it was limited to palace complexes and temples of local Kushite gods, predominantly Apedemak, located on main trade routes passing from the inner Africa to the Mediterranean. The paper attempts to explain the reasons for such a striking but, to all appearances, carefully planned phenomenon. The author argues that Natakamani and Amanitore were willing to strengthen their own position within the country and beyond by emphasizing their independence from the northern neighbor through Egyptianization instead of Romanization. The latter could be an attempt to establish themselves as heirs of the Ptolemaic state using Ptolemaic iconography (primarily Dionysiac and solar), Egyptian language, and construction or restoration of the temples of Amun. The case of the Meroitic kingdom under Natakamani and Amanitore may be extremely useful for understanding cultural and historical processes that took place on the outskirts of the Hellenistic and then Roman worlds.

Konstruksi Bangunan dan Ragam Hias pada Arsitektur di Kraton Yogyakarta: Kajian Eksploratif

The Yogyakarta Palace complex as a trace of traditional Javanese architecture is now used as a cultural tourism destination, with at least seven buildings that are open to the public. Unfortunately, there are still not many documented studies discussing these buildings, especially related to architectural construction and art detailing. From this, the author conducted an explorative study with the intention of making it easier for ordinary people and academics to recognize and understand traditional buildings in the Yogyakarta Palace complex. The method used by the author is field survey, photographing and sketching existing architectural elements (construction and decoration), scanning, and data processing with literature study.

Из истории ремонтных работ в Бахчисарайском дворце в конце XVIII в.: хроника восстановлений и разрушений

This article uses published documents and unpublished archival sources as the background to analyse the works on repair and restoration undertaken in the Palace of Bakhchisarai on the eve and after the visit of Catherine II to the Crimea. The conclusion is that the preparation of the imperial journey became an important incentive for the local authorities to carry out the necessary repair and restoration works in the palace. After the visit, the period of gradual deterioration of the palace infrastructure began. Later on, all subsequent large-scale renovations of the palace complex were connected with the czars’ visits. An important factor in supporting the infrastructure of the Palace of Bakhchisarai was the transfer of the monument, in 1799, to the disposal of the Hof-Quartermaster’s Office. In 1802, the Palace of Bakhchisarai was removed from the direct control of the Hof-Quartermaster’s Office and transferred to under the local authorities, though it kept a special status of an “absent place” (otsutstvennoe mesto) accountable to the imperial court. At the same time, the staff of the palace and the annual expenditures for its ongoing repairs were approved by the emperor. It was a guaranteed minimum, the abolition of which required a special decision of the czar.

An Exploration of Consolidants for Ancient Egyptian Limestone

ABSTRACT The Penn Museum has many monumental architectural elements of the Palace Complex of Merenptah, a 19th Dynasty Egyptian pharaoh. The palace was excavated in Memphis by Clarence Fisher and elements of it, including columns, doorways, and windows, were brought to Philadelphia and installed in the Museum in 1926. The limestone architectural pieces exhibit various condition issues including powdering, flaking, and cracking. In preparation for reinstallation in the Museum’s renovated Egyptian galleries, methods and materials for strengthening and stabilizing the stone were investigated. First, the stone was characterized using thin-section petrographic analysis. After a literature search, the following consolidation materials were selected for initial testing: Conservare, CaLoSil E5, CaLoSil E25, CaLoSil E50, CaLoSil IP5, CaLoSil IP25, diammonium phosphate (DAP), and M-3P bacterial nurturing solution. Test areas were evaluated for reduced powdering, improved strength, and minimal visual change (if any). CaLoSil E5 and M-3P were then further tested to better compare their performance with each other. Paraloid B-72 was also considered for this project and selected for stabilizing areas with structural damages like breaks and cleavage. This article outlines the steps taken and results of testing. It also addresses the treatment choices made for these architectural elements, and the rationale for them.

Fragments of luxury: Opaque glass from the Palace of Mystras, Greece

The present study focuses on the analysis of nine opaque or translucent glass samples of white, grey/blue and red colour, recovered from the Palace Complex of Mystras in southern Peloponnese, Greece. Their date cannot be determined with specificity but has to span between the mid-13th and mid-19th c. AD, the period since the construction of the site and throughout its continuous use as the administrative centre of the Despotate of Mystras. The extremely rare occurrence of opaque glass vessels of this period in Greece, as well as the recovery of most samples within Building E of the Complex, suggest that the samples were precious objects, possibly owned by high ranking members of the Palace. A multi-technique approach, including Optical microscopy, SEM/EDS, Raman spectroscopy and TEM analysis, was implemented in order to determine the microstructure and raw materials of the samples.Despite the small number of samples, a remarkable variability was revealed in terms of the raw materials and manufacturing processes employed. Overall, three different opacification techniques were documented among the white and grey/blue samples: The Na-rich glasses were opacified using either cassiterite, a typical opacifier for the period, or calcium antimonate, a less common opacifier in the post-Medieval glassmaking. The K-rich white glasses were opacified with the addition of the ashes of animal bones, as suggested by the presence of calcium phosphates, a Byzantine tradition that was possibly also used by Bohemian glassmakers.Finally, the red glasses present certain atypical traits in their microstructure and chemical composition. The samples contain multiple calcite, tin oxide and lead oxide particles. The colour is due to copper, which could only be identified with the application of TEM analysis, in the form of copper oxide nanoparticles.The present study highlights the complicated traditions employed for the production of opaque glass in the post-Medieval European workshops and it underscores the need for a more thorough study of related material.

Political and cultural complexity in north-west China during the Western Zhou Period (1045–771 BC): new evidence from Yaoheyuan

During the early first millennium BC, having deposed the Shang dynasty, the Western Zhou exerted power over large parts of China. Archaeologically, however, the Western Zhou are less well known than their predecessors in terms of north-west China. The site of Yaoheyuan is one of the most important recent discoveries of the Western Zhou period in north-west China. Investigations have revealed a walled urban centre, with high-status cemeteries and sacrificial pits, a palace complex, a bronze-casting foundry, pottery workshops and inscribed oracle bones. These unparalleled finds provide significant new evidence with which to examine the political and cultural landscape of north-west China and, more broadly, to reassess the relationships between centres and peripheries during the Chinese late Bronze Age.

FEATURES OF SPATIAL ORGANIZATION OF PARKS, MONUMENT OF GARDEN AND PARK ART IN THE TRANSCARPATHIAN REGION

The article presents the results of the study of the spatial organization of parks, monuments of garden and park art in the Transcarpathian region, the structural elements of the park composition, directions for optimizing the territory are determined.
 An important component of the cultural and historical heritage of Transcarpathia are man-made landscapes-monuments of garden and park art Historically, most parks and squares were created on the territories of castle and palace complexes, private estates, and were established as arboretums – collections of rare plants. Bushes and trees were successfully acclimatized on their territories, which later replenished the assortment of species for industrial forestry, greening of cities and villages. The most interesting from the point of view of spatial organization are parks, which architectural works – monuments of architecture of different periods and styles.
 In many cases, it is the buildings that determine the features of the architectural and planning solutions of the parks; they are the centers to which the elements and components of the garden and park composition obey. The authors of the planning decisions of Transcarpathian parks-monuments are unknown, they were probably laid out by the owners of estates, guided by their vision of the style of gardens and parks.
 However, all the studied objects have special features characteristic of works of art: harmony, scale, proportionality of elements, emphasis on the main thing in the composition, attention to details. Seven parks meet these requirements: Shenborn, Grabar, Ploteni, Pereni, Podzamkovy, Wagner, Loudon, Square. They are different in area, located in different conditions, consist of different elements, but fully reflect the relationship of man to nature as a source of inspiration and beauty.

PALLADIAN ARCHITECTURAL UTOPIA OF HAGA PALACE

The article considers the architecture of Swedish classicism on the example of the history of the project creation of the Haga Palace near Stockholm, the most grandiose Palladian ensemble of the 18th century in Sweden. The description of the project’s specific features is made against the background of an analysis of the general historical and cultural background of the era. The role and influence of the personality of the customer and practical co-author of the palace project, King Gustav III, an enlightened Voltairian monarch, is revealed in particular detail. The characteristic features of the Swedish line of the Palladian movement and their manifestation in the Haga ensemble are analysed. The definition of the national style of Gustavian classicism, the actual synonym of the Palladian style in Sweden, is given, and, at the same time, its differences from other branches of the development of Palladianism are highlighted. The article tells in detail about the stages of creating the Grand Palace project. The chronology of the work on the project of various architects, in particular O.S.Tempelman and L.J.Desprez, their contribution to the planning solution of the ensemble, the development of the facade and the specifics of interior decoration are described. In addition, the experience of creating an English landscape park in the royal estate of Haga, designed by court gardener F.M.Piper, is shown. The connections between the architectural style of the project and French classicism and neoclassicism are revealed. Analogies with A.Palladio’s project of the Doge's Palace in Venice and the ideas of the late Renaissance are drawn. Similar features of the megalithic scope of the Haga Palace complex and the project of the ensemble of the Grand Kremlin Palace by V.Bazhenov are pointed out. An assessment of the practical significance of this colossal construction project for the development of architecture in Sweden is given.

:The Archaeology of Roman Macedonia: Urban and Rural Environments

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Ансамбль тверского Императорского путевого дворца: столичное и региональное в архитектурной истории памятника

The history of the formation of the ensemble of the Imperial Travel Palace in Tver goes back to the deep Middle Ages, when there were two palace complexes (Princely and Vladychny (Archbishop’s) on the territory of the Kremlin. The first one ceased to exist during the period of the Troubles of the beginning of the 17th century, and by the end of the 17th century Vladychny consisted of several stone buildings of the 15th — 17th centuries. This ensemble was severely damaged during the fire in 1736, which led to the creation of a new Archbishop’s palace, erected near the dismantled chambers. The building of the 1730s stood for less than 30 years, because in 1763 it was damaged by fire again. As a result, the building, built according to the project of the capital architect I. F. Michurin, was replaced by a palace complex, the construction of which was supervised by the Moscow architect P. R. Nikitin. At the same time, its baroque decorative forms with the inclusion of late medieval elements in the mid — second half of the 1760s gave way to openly Baroque architecture, and the project of this building was probably approved without much doubt by Catherine II, who decided in the 1770s to make the newly rebuilt Vladychny palace her residence in Tver. Since then, a new stage in the biography of this complex begins, but during the early 19th century another metropolitan master K. I. Rossi expertly deprived the Imperial Travel Palace of its original appearance, informing its facades with a classic style. And finally, the royal architect A. I. Rezanov in the 60s – 70s of the 19th century changed the facade decoration of the Tver Palace again, bringing it into the context of many-sided eclecticism.

СИСТЕМА ФИНАНСИРОВАНИЯ СТРОИТЕЛЬСТВА БОЛЬШОГО ДВОРЦА В ЛИВАДИИ В 1910–1912 ГОДАХ

The article deals with an important aspect of the history of constructing and reconstructing imperial palace com-plexes in Crimea. Using materials from the Ministry of the Imperial Court’s archives at the Russian State Historical Archive, the author analyzes the financing of architect N. P. Krasnov’s major project – the construction of the Grand Livadia Palace and several service buildings attached to it. The article notes the exceptional organizational, adminis-trative, and financial status of these works from the beginning. The architect personally managed the work and inter-acted with contractors, forwarding payment invoices to V.N. Kachalov, the manager of the Livadsko-Massandrsky appanage administration. Kachalov then requested appropriations from the Main Directorate of Appanages, which, in turn, sought allocations from the Cabinet of His Imperial Majesty. The multi-stage financing system often caused delays in processing requests from the Crimea and insufficient funds to pay the bills of contractors and suppliers re-ceived from Krasnov. Additionally, the duality of administration hampered the issue of the source of funds to pay for single purchases, and failures in communication between responsible persons led to conflicts in using amounts received from the sale of used materials. The author emphasizes that the established financing scheme allowed the ar-chitect to exceed the preliminary estimate several times when constructing the new palace for the emperor in Livadia. Officials in St. Petersburg did not pay attention to cost overruns for a long time, becoming concerned only at the pro-jec’s final stages, when completing the construction became the only option, despite significant unplanned expenses.

Xiyanglou – “Buildings of the Western Ocean”: Splendor, Poverty and Lessons of the Ruin

The paper gives a complex analysis of the Xiyanglou palace and park complex (“Buildings of the Western Ocean”), located on the current northwestern outskirts of Beijing, designed, and built in 1747–1751 by European masters, led by the Italian Jesuit artist Giuseppe Castiglione (Lang Shining, 1688–1766). Castiglione, best known as a painter, acted in this case as a visionary architect and designer who skillfully integrated the “European part” into the already existing Yuanmingyuan palace complex and received for this his main recognition at the court of the Manchu Emperor Qianlong, who personally oversaw the project. Using the example of the syncretic Sino-European style of the Xiyanglou architectural complex, incorporating European Baroque and Rococo styles and classical Chinese construction principles, the paper demonstrates the European masters’ practical application of the adaptation principles developed by Matteo Ricci, the leader of the Jesuit mission in China when preaching Christianity in China. Separately, the innovative buildings in the Chinese style located in Yuanming Yuan, which incorporated Xiyanglou, are briefly analyzed, the background of the design and creation of Xiyanglou is considered, detailed descriptions of the buildings of the Western Quarter are given, and the fate of the palace and park complex is traced. The author concludes that the Western Quarter, which became a testing ground where were practiced the principles of Occidental art, acted as a focus of mutual influence of European and Chinese artistic trends.

How many churches burned in the Kyiv fire of 1017?

The article examines sources’ reports of a large-scale fire in Kyiv in 1017. The two parallel texts are: the German Latin chronicle by Thietmar of Merseburg (composed in 1018) and the Primary Chronicle of Rus (composed in around 1116), which relied on early Kyivan annals. Thietmar wrote about the fire that damaged the “monasterium sancte Sophiae”. The Primary Chronicle reported of the fire of one church or several churches without specifying them. The main focus of the article is on the textual analysis of two versions of the short account of the event in the copies of the Primary Chronicle. One of the versions implies that it was the fire of one church only. According to another version there were many churches that suffered from the fire. Remarkably, the textual difference between the variants is only two letters – the plural form ending of the verb (“погорѣша цр҃кви” versus “погорѣ цр҃кви”). The dilemma of determining the original variant correlates with the ambiguity of Thietmar’s words, which could denote the fire of either one building or several. The chronicler used the word “monasterium” which could denote both “monastery” (as a complex of church buildings) and “cathedral”. The article provides a comprehensive textual and philological analysis of the variant readings of the Primary Chronicle. At the same time, the authors did not resort to hypothetical reconstructions of the text but proceeded from those readings that are attested by the preserved manuscripts. The analysis revealed the advantages and disadvantages of two textual scenarios, which provided for the originality of one or another version of the fire of 1017. Based on the available copies of the Primary Chronicle, it appeared impossible to unambiguously choose between the variants. This led to modeling two historical scenarios of the event. However, as it was demonstrated recently, the German chronicler meant the Tithe Church (possibly, with a surrounding buildings) by St. Sophia monastery or cathedral. The palace complex centered around the first stone church of Kyiv included other buildings used for ecclesiastical needs. This can explain the ambiguous terminology of the Kyivan and German chronicles. Therefore, as it turned out, regardless of the textual choice, both competing readings can be interpreted in the same sense. Thietmar and the Primary Chronicle unanimously reported about the fire of the Tithe Church.

АНТИЧНІ ОБРАЗИ І ФОРМИ В АРХІТЕКТУРІ ПАЛАЦІВ КІН. XVIII – ПОЧ. XIX СТ.

The article defines antique images and forms in the architecture of palaces of the late 18th and early 19th century It was determined that the architectural and artistic system of classicism, preserving and repeating stable antique images and forms, was established in the compositional solutions of palace buildings on the territory of Ukraine, which for a long period of time preceded, coexisting in parallel with other stylistic currents. The development of the stylistic tendencies of classicism in palace architecture developed in the context of the pan-European architectural school and reflected its ideological and artistic diversity. The architecture of classicist palaces and palace complexes had the imprint of “antiquity” and the influence of the Palladian school, characterized by such typical elements as: water systems – a mandatory element of the palace-park complex; each palace-park complex included not only a well-planned park (garden), but also numerous promenades and a hunting park (forest). The general composition of recreation consisted of the following structural elements: a park (garden) for walks, a menagerie, an orchard, “garden in ants” (an interesting method of growing heat-loving plants in the village of Samchyki, Khmelnytskyi region). Each complex was multifunctional, consisting of such types of buildings as: palace, household, service and cult buildings, a complex of entrance gate and fence buildings, park buildings. The palace was always located on an elevated area with a beautiful view. The architecture of the buildings of the palace and park complexes is characterized by strictness and perfection of style. The facades of the palaces had a clear symmetrical composition, which was decorated with massive porticoes with a colonnade. The main constructive scheme of the palaces was a two-tract scheme (enfilade-type rooms were located along the park and main facades). Rectangular in plan palaces, were supplemented with protruding risalites. The rear facades, like the main ones, were decorated with a portico with a colonnade. The four-pitched roof was decorated with a massive chimney (blocked chimney groupe). Window and door openings are rectangular, discreetly decorated. The tympanums of the pediments are filled with sculptures with cartouches and military elements. Architectural elements used classicist order elements, complemented by sculptures, bas-reliefs and military emblems. The palaces were modestly decorated on the outside and luxuriously decorated on the inside with stucco and distinguished by color. The main decoration of the palace was the living room (mostly with a domed vault, which is decorated with stucco)

Arsitekur Multikultural pada Fasad Masjid Agung Sang Cipta Rasa Cirebon

&lt;p&gt;&lt;em&gt;The Great Mosque of Sang Cipta Rasa is located in front of the Kasepuhan Palace Complex to the west of the square in front of the Kasepuhan Palace, Cirebon. The construction of this mosque was assisted by Sunan Bonang and Sunan Kalijaga. The physical work was carried out by the former Majapahit architect, Raden Sepat, assisted by 500 of his troops who were former Majapahit troops. (Budi, 2015). The religious shift from the end of the Hindu-Buddhist era to the entry of Islam affected the facade of the Great Mosque of Sang Cipta Rasa in Cirebon. Elements forming a building facade generally include the site entrance, ground floor zone, arcades, windows and building entrances, fences, roofs, and signs. and ornaments. This study uses a descriptive technique in its explanation. The research method used is a qualitative method, by observing the variable character of the facade of the Great Mosque of Sang Cipta. The purpose of this paper is to examine how the facade design of the Great Mosque of Sang Cipta on doors, windows, walls, and ornaments contains elements and components of Hindu, Javanese, Chinese and Islamic historical influences.&lt;/em&gt;&lt;/p&gt;