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Sketches, stitches, and negotiations: Data catalogue

2026-04-03T11:10:14Z

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== Museum Sejarah Nasional (National History Museum) ==
Located in the basement of Monumen Nasional (National Monument), Jakarta, popularly known as Monas. Colloquially, the museum is dubbed as "Museum Monas".

=== Dokumen dan Surat ===
====[https://archive.org/details/19651228-surat-idzin-djalan-menemui-pjm-soekarno Surat Idzin Djalan - Menemui PJM Soekarno]====
*Travel Permit No. 023/Djl./I.J./12/65, issued by the Yogyakarta Palace Household, authorising Edhi Sunarso, Lecturer at A.S.R.I. (Akademi Seni Rupa Indonesia), Yogyakarta, to travel by train to Jakarta to meet His Majesty President Soekarno. The permit designates one accompanying person and is valid for the duration of the visit commencing 29 December 1965. Issued in Yogyakarta on 28 December 1965 at 12.00 Western Indonesian Time, signed by Alip Parintono in his capacity as Supervisor of the Yogyakarta Palace Household, and bearing the official stamp.

====[https://archive.org/details/19660108-surat-keterangan-monas-auri-musi Surat Keterangan Monas, AURI, Musi]====
*Statement Letter No. 7/Ktr./U.P./66, attesting that Edhi Sunarso—Lecturer at A.S.R.I. (Republic of Indonesia) and Head of the Keluarga Arca sculptor team, Yogyakarta—received direct assignment from His Majesty the President as executor and coordinator of several state commissions, including the AURI (Indonesian Air Force) Monument, decorative sculpture for the Musi Bridge project, hotel commissions, and the National Monument (Monas). Issued in Jakarta on 8 January 1966 and signed by Djamin, Presidential Secretary and Head of the Presidential Cabinet, with official stamp.

====[https://archive.org/details/19660114-susunan-personalia-patung-banteng-monas Susunan Personalia Patung Banteng Monas]====
*Document outlining the composition of the personnel of the Jakarta National Monument Bull Statue Implementation Team. The structure lists Soedarsono as Executive Director of the National Monument; Edhi Sunarso and I. Gardono as Persons in Charge of Implementation; Drs. Soepardjo and A. Singgih as Implementation Staff; the Keluarga Arca sculptor team as Planning Team; and Sarpomo, Soewardi, Boediani, Mon Moedjiman, Herjana Iskandar, Askabul, and Harri Djauharuddin as the Core Team of Sculptors. Signed by Edhi Sunarso in Jakarta on 14 January 1966.

====[https://archive.org/details/19660707-surat-keterangan-monas Surat Keterangan MONAS]====
*Certificate issued by the National Monument Implementation Command, Jakarta, on 7 July 1966, identifying Edhi Sunarso, aged 33, as assigned artist to the National Monument (Monas) project at Medan Merdeka. The document confirms residence within the National Monument project housing complex and authorises the holder to perform daily duties within the project area. It further serves as official identification in interactions with military or police authorities, who are directed to contact the Security Division of the National Monument Implementation Command if required. Valid for one month from the date of issuance. Signed by Kunto Sudarsono, Lieutenant Colonel, Military Police Corps (CPM), Service No. 12687, in his capacity as Deputy Commander and Special Assistant for Security Affairs.

====[https://archive.org/details/surat-dinas-project-monas-1 Surat Dinas Project Monas_1]====
*Statement letter issued by the State Secretariat of the Presidential Cabinet, designating Edhi Sunarso—sculptor and Lecturer at A.S.R.I., Yogyakarta—as assigned by His Majesty the President to undertake the following state projects: 1. Air Force Monument Statue; 2. Decorative sculpture for the Musi River Bridge project; 3. Coordination of special projects as directed by the President. Drawn up in Jakarta on 29 January 1965 and signed by Djamin, Presidential Secretary and Head of the Presidential Cabinet, with official stamp.

====[https://archive.org/details/surat-dinas-project-monas-2 Surat Dinas Project Monas_2]====
*Official duty order issued by A.S.R.I., Yogyakarta, for Edhi Sunarso (also recorded as Edy Sunarso), Lecturer at the Academy with a stated basic salary of Rp. 1,764, assigning travel to Jakarta for official purposes in relation to the National Monument project. The order authorises accompaniment of the Director of A.S.R.I. and is valid from 11 February 1966 until completion of the assignment. Issued in Yogyakarta on 10 February 1966, signed by Alibasjah as Director of A.S.R.I., and acknowledged by Edhi Sunarso as letter holder.

===Foto===
====Foto diorama MONAS oleh Ary "Jimged" Sendy====
[https://archive.org/details/01-masyarakat-indonesia-purba-3000-2000-sm-img-9473 MASYARAKAT INDONESIA PURBA, 3000-2000 SM]
*DIORAMA 1: MASYARAKAT INDONESIA PURBA (3.000 - 2.000 SM)
::Nenek moyang Bangsa Indonesia (Paleo-Mongoloid) pada Zaman Megalithikum sudah hidup dalam masyarakat teratur. Mereka sudah mempunyai tempat tinggal tetap, sebagian sudah jadi pelaut dan sebagian lagi hidup sebagai petani. Selain pakaian dari kulit kayu sudah dikenal juga pakaian dari tenunan. Hasil budaya Megalithikum yang terpenting diantaranya adalah alat-alat serpih (flakes, pebbles dan bones), menhir (tiang batu), dolmen (meja batu), sarcophagus, kubur batu (peti mayat batu), punden berundak-undak (bangunan pemujaan) dan arca. Benda-benda peninggalan budaya Megalithikum it tersebar di seluruh Indonesia, tetapi yang terpenting terdapat di Pasemah (daerah pegunungan yang terletak antara wilayah Palembang dan Bengkulu) dan Besuki (Pulau Jawa). Diorama in menggambarkan kehidupan nenek moyang bangsa Indonesia.

*DIORAMA 1: THE PREHISTORIC INDONESIAN SOCIETY (3.000 - 2.000 BC)
::The Indonesian forefathers (Paleo-Mongoloid) in the Neolithic age had already a sort of ordered society. They had permanent homes making a living as fisher-men or farmers. They knew clothing either woven besides clothing made from the bark of trees. The most important instruments of the Neolithi-cum culture are flakes, pebbles and bones, stone coffin, little houses of worship and even statues. These remains are scattered over the whole of Indonesia, but the most important things are found at the Pasemah plain (between Palembang and Bengkulu) and at Besuki (East Java). The diorama shows the life-style of Indonesian prehistoric society.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.
Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

[https://archive.org/details/02-bandar-sriwijaya-abad-viii-xiii-img-9469https://archive.org/details/02-bandar-sriwijaya-abad-viii-xiii-img-9469, BANDAR SRIWIJAYA, ABAD VIII-XIII]
*DIORAMA 2: BANDAR SRIWIJAYA (ABAD KE 8 - 13)
::Bandar Sriwijaya terletak di persimpangan tiga jalur pelayaran antara Indonesia, Cina dan India. Posisi ini sangat menguntungkan bagi Kerajaan Sriwijaya, sehingga dengan sendirinya memegang peranan penting pula dalam perjalanan perdagangan selama berabad-abad. Kapal-kapal dari negeri Cina yang membawa pendeta-pendeta Budha banyak berlabuh dan sering menetap untuk waktu yang lama. Bandar tersebut akhirnya menjadi pusat perdagangan dan budaya pada waktu itu. Letak Bandar Sriwijaya berada di muara sungai di daerah pertemuan sungai Kampar Kanan dan Kampar Kiri kira-kira 2.5 derajat sebelah Utara Palembang. Diorama ini menggambarkan kegiatan perdagangan di Bandar Sriwijaya.

*DIORAMA 2: THE PORT OF SRIWIJAYA (8TH - 13TH CENTURY)
::The Port of Sriwijaya was very favorably located for the Kingdom as it used to be the crossroad of the prominent trade routes among Indonesia - China - India and brought many windfalls to the Sriwijaya dynasty. Automatically it had a prominent part and influenced the international trade. Strange and foreign vessels fre-quented the Port, moreover, many Buddhist priests from China stopped over, so that finally it became the center of trade and culture. The Port of Sriwijaya is located in mouth of the river Kampar Kanan and Kampar Kiri, about 2,5 degree of the northern of Palembang, South Sumatra. The diorama shows the atmosphere of trading ac-tivities among the merchants.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.
Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

[https://archive.org/details/03-candi-borobudur-824-img-9480 CANDI BOROBUDUR (824)]
*DIORAMA 3: CANDI BOROBUDUR (824)
::Candi Borobudur didirikan pada sekitar tahun 824 M oleh Raja Samaratungga dari keluarga Sailendra. Bangunan candi berbentuk pyramid dan mencerminkan alam semesta. Bangunan ini dibuat dari batu sumbangan para menganut agama Budha dan dibangun dengan cara gotong-royong. Dalam pembangunan Candi Borobudur, hampir dua ratus ribu kaki kubik batu dipergunakan, lebih dari empat puluh ribu kaki kubik masuk dalam tingkat-tingkat terbuat dari batu. Pada candi ini terdapat 505 buah patung Budha dan 1.555 Stupa ukuran besar dan kecil yang melengkapi monumen Budha yang megah ini. Dari pendirian bangunan ini terbukti bahwa kemampuan bangsa Indonesia di bidang teknik dan organisasi sudah baik. Diorama ini menggambarkan tahap akhir pembangunan Candi Borobudur.

*DIORAMA 3: THE BOROBUDUR TEMPLE (824)
::Candi Borobudur was founded by King Samaratungga of the Cailendra dynasty in the year 824 and is a reflection of the universe. It was built by means of contributions from the Buddhist population and mu-tual cooperation of the people. The construction of the Candi has indicated that time the nation had already achieved a high technical knowledge and organization. Candi Borobudur is regarded to be one of the wonders of the world. On the temple founded 505 Buddhist statues and 1.555 large and little "Stupa" which completed the great Buddhist monument. On the temple construction was proved the ability of the Indonesian people in technical and organization. The diorama shows the last stage of the construction

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.
Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

[https://archive.org/details/04-bendungan-waringin-sapta-abad-xi-img-9482 BENDUNGAN WARINGIN SAPTA ABAD XI]
*DIORAMA 4: BENDUNGAN WARINGIN SAPTA (ABAD KE 11)
::Setelah Raja Airlangga memperoleh wilayah yang menjadi haknya, kemudian ia berusaha memakmurkan rakyatnya. Sungai Brantas yang sering meluap dan selalu menimbulkan kerusakan-kerusakan pada tanah-tanah persawahan dibendung dengan mendirikan tanggul di Waringin Sapta. Untuk menjaga supaya tanggul tidak rusak, Raja Airlangga menunjuk rakjat setempat untuk memeliharanya, dan sebagai imbalan daerah tersebut dibebaskan dari kewajibannya membayar pajak. Akibatnya, rakyat makmur, pelayaran di Sungai Brantas bertambah ramai dan Pelabuhan Hujung Galuh menjadi pusat perdagangan antar pulau. Diorama ini menggambarkan ketika sungai Brantas sedang dibendung dekat Kelagen dan diawasi oleh Raja Airlangga.

*DIORAMA 4: WARINGIN SAPTA DAM (11TH CENTURY)
::After King Airlangga obtained his right domain, he endeavored to promote the prosperity and welfare of his people. The Brantas River which frequently over-flowed its bank caused much damage to large areas of the people's rice fields, was dammed up by rearing dike in order to control the flood and provide irrigation. To guard the dike against harm and damage, he ordered the local people to maintain it, and as a compensation he decreed them free from taxes and as a result the people prospered, the trip increased in Brantas river, and Hujung Galuh became the center of inter island trading. The diorama shows the Brantas River being dammed up near the village of Kelagen and King Airlangga supervising.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.
Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

[https://archive.org/details/05-candi-jawi-perpaduan-sivaisme-dan-buddhisme-1292-img-9488 CANDI JAWI PERPADUAN SIVAISME DAN BUDDHISME, 1292]
*DIORAMA 5: CANDI JAWI PERPADUAN SIVAISME-BUDHISME (1292)
::Candi Jawi terletak di Gunung Welirang, sebelah barat daya Pandakan di tepi jalan ke Prigen dan didirikan untuk makam Raja Kertanegara, raja terakhir kerajaan Singasari yang meninggal pada tahun 1292. Dibagian atas candi terdapat arca Budha Aksobhya sedangkan di bagian bawah caridi terdapat arca Siva-Mahadewa. Dari bangunan ini dapat diketahui bahwa pada jaman Singasari dan Majapahit terjadi perpaduan Sivaisme-Budhisme. Diorama ini menggambarkan ketika pemimpin agama Budha serta pengikut-pengikutnya sedang mengadakan upacara keagamaan di Candi Jawi

*DIORAMA 5: JAWI TEMPLE, A BLEND OF SIVAISM-BUDDHISM (1292)
::Candi Jawi is located at Gunung Welirang. South-west of Pandaan along side the road to Prigen, East Java and founded as the grave of King Kartanegara, the last King of the Singasari Dynasty, who died in 1292. It features Buddha statue at its upper part and statue of Siva-Mahadewa at its lower part. From the Candi can be deducted that at time a merging of Sivaism and Buddhism occurred in the era of Singosari and Majapahit dynasties. The diorama shows a Buddhist priest and monks conducting a religious ceremony at Candi Jawi.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.
Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

[https://archive.org/details/06-sumpah-palapa-1331-img-9490 SUMPAH PALAPA 1331]
*DIORAMA 6: SUMPAH PALAPA (1331)
::Dalam rangka membela integrasi Negara Majapahit, Gajah Mada seorang Patih dari Kerajaan Majapahit yang terkenal, bersumpah tidak akan makan Palapa sebelum Nusantara dapat dipersatukan di bawah mahkota Majapahit. Peristiwa ini dikenal dengan nama Sumpah Palapa. Sumpah itu dilakukan di Panangkilan, suatu tempat yang terletak di sebelah selatan alun-alun Majapahit. Pada saat itu banyak rekan-rekan Gajah Mada yang menertawakan dan mencemoohkannya. Namun Gajah Mada tejap teguh pada pendiriannya dan akhirnya berhasil menepati janji itu. Diorama ini menggambarkan Patih Gajah Mada dengan menggenggam sebilah keris mengucapkan Sumpah Palapa di hadapan prajurit-prajurit kerajaan Majapahit.

*DIORAMA 6: THE PLEDGE OF PALAPA (1331)
::In his effort to maintain the integration of Nusantara, Gajah Mada, the famous Vice-regent of the Majapahit Kingdom, pledged not to eat Palapa (rice with side dishes) before Nusantara (the Indonesian Archipelago) has been united under the reign of Majapahit. The pledge took place at Penangkilan, a certain place south of the Alun-alun of Majapahit. Many of his contemporaries laughed and ridiculed him. Gajah Mada. however, held firmly and eventually fulfilled his promise. The diorama shows Gajah Mada being pledged in front of the Gajah Mada troops.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.
Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

[https://archive.org/details/07-armada-perang-majapahit-abad-ke-14-img-9500 ARMADA PERANG MAJAPAHIT ABAD KE-14]
*DIORAMA 7: ARMADA PERANG MAJAPAHIT (ABAD KE 14)
::Setelah Gajah Mada meninggal, timbul kesulitan dalam pemerintahan Raja Hayam Wuruk. Pemerintah yang baru berusaha mengekalkan keutuhan negara. Maka tindakan-tindakan ditujukan kepada kemakmuran rakyat dan keamanan daerah-daerah mendapat prioritas utama. Upaya tersebut dilakukan dengan memperkuat armada Majapahit dengan tujuan untuk menjaga keutuhan Nusantara dan mengatasi tindakan pengacauan yang dilakukan oleh Cina. Diorama ini menggambarkan armada Majapahit sedang menghadang kapal-kapal Cina di perairan Nusantara.

*DIORAMA 7: THE FLEET OF MAJAPAHIT (14TH CENTURY)
::After the death of the prominent figure Gajah Mada. disturbances arose under the reign of King Hayam Wuruk. The new sovereign strove to enforce the unity of Majapahit Kingdom. So, efforts for the people's prosperity and the defence of all territory were given high priority. This was proved by strengthening the Majapahit's fleet with the aim to safeguard Nusantara's unity and resist attempts to create disorders by Chinese fleet, among other things. The diorama shows the Majapahit's fleet succeeds in driving away the Chinese fleet.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.
Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

[https://archive.org/details/08-utusan-china-ke-majapahit-1405-img-9503 UTUSAN CHINA KE MAJAPAHIT 1405]
*DIORAMA 8: UTUSAN CINA KE MAJAPАНІТ (1405)
::Semasa pemerintahan raja Wikrama-wardhana, hubungan persahabatan dengan negara-negara tetangga berlangsung baik. Hal ini terbukti dengan kedatangan Cheng Ho, utusan kerajaan Kaisar Cina ke Majapahit sebagai pengakuan kedaulatan Kerajaan oleh Cina. Diorama ini menggambarkan Cheng Ho sedang membawa hadiah dari Kaisar Cina sedang menghadap raja Wikramawardhana.

*DIORAMA 8: THE CHINESE ENVOY TO MAJAPAHIT (1405)
::In the reign of king Wikramawardhana friendly relations with neighboring states and kingdoms were main-tained in good order. This was confirmed with the com-ing of Cheng Ho, the Emperor of China delegation visiting Majapahit as recognition of the Kingdom's sovereignty by China. The diorama shows Cheng Ho with presents from the Emperor of China makes a formal appearance before King Wikramawardhana.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.
Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

[https://archive.org/details/09-peranan-pesantren-dalam-penyatuan-bangsa-abad-ke-14-img-9507 PERANAN PESANTREN DALAM PENYATUAN BANGSA, ABAD KE-14]
*DIORAMA 9: PESANTREN SEBAGAI PEMERSATU BANGSA INDONESIA (ABAD KE 14)
::Salah satu cara untuk menyebarkan Agama Islam di Indonesia adalah melalui pendidikan di pesantren atau pondok yang diselenggarakan oleh guru-guru agama, kyai-kyai atau ulama. Pesantren merupakan lembaga penting dalam penyebaran agama Islam. Di tempat ini dilakukan pembinaan calon-calon guru agama, kyai-kyai atau ulama. Setelah keluar dari pesantren itu mereka akan kembali ke daerah asal masing-masing. Pesantren-pesantren beserta kyai-kyai mempunyai peranan yang penting dalam proses pengembangan pendidikan masyarakat. Semakin terkenal kyai yang mengajar itu semakin terkenal pesantrennya dan pengaruhnya akan mencapai radius yang lebih jauh lagi. Dengan cara ini integrasi nasional berdasarkan Islam meliputi wilayah yang makin lama makin luas. Diorama ini menggambarkan suasana pengajaran di Pondok Pesantren yang dipimpin oleh Sunan Giri di Jawa Timur.

*DIORAMA 9: MOSLEM BOARDING SCHOOLS IN UNITING THE NATION (14TH CENTURY)
::One of the methods of spreading the Islam in Indonesia is education conducted in the Pesantren (Moslem Boarding Schools) by religious teachers, scholars or kiaies. Pesantrens are significant institution in the spreading of Islam. After graduation, the students return to their homestead or villages. At their homestead they become prominent religious figures and establish their own Pesantrens. The Pesantren and Muslim religious leaders rep-resent an important element in the propagation of Is-lam and the spread of education. The more well-known the kiaies the more well-known his Pesantren and his influence will be widespread. This way the longer the wider the area of integration based on Islam. The diorama shows the atmosphere of Islamic teaching at a pesantren led by Sunan Giri in East Java

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.
Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

[https://archive.org/details/10-pertempuran-pembentukan-jayakarta-22-juni-1527-img-9511 PERTEMPURAN PEMBENTUKAN JAYAKARTA, 22 JUNI 1527]
*DIORAMA 10: PERTEMPURAN SUNDA KELAPA (1527)
::Dalam usaha menyerang Malaka yang diduduki Portugis, Sultan Trenggono dari Demak tidak melakukannya secara langsung melainkan dengan jalan mengisolasi daerahnya dari pengaruh Portugis, terutama daerah-daerah yang pendukungnya belum masuk Islam. Setelah diketahui bahwa Portugis berhubungan dengan Raja Samian yang saat itu menguasai Pelabuhan Sunda Kelapa, Sultan Trenggono segera memerintahkan menantunya, yakni Pangeran Fatahillah, untuk segera menduduki Banten, Sunda Kelapa dan Cirebon. Pada tahun 1522 Penguasa daerah Sunda Kelapa. Raja Samian, mengadakan perjanjian dengan wakil Portugis. Henrique Leme, yang memberikan izin mendirikan benteng bagi Portugis. Ekspedisi Demak yang dipimpin Fatahillah pada tahun 1527 berhasil menduduki Banten, Sunda Kelapa dan Cirebon. Untuk menagih janji Raja Samian, pada tahun 1527 Portugis mengirim ekspedisi terdiri dari 6 buah kapal yang dipimpin oleh Francisco de Sa. Ternyata Portugis tidak lagi berhadapan dengan kerajaan Hindu melainkan dengan kerajaan Islam. Setelah tuntutan mereka ditolak oleh Fatahillah mereka mencoba mendaratkan tentaranya. Usaha tersebut dilawan oleh Fatahillah sehingga terjadilah pertempuran yang berlangsung di Teluk Sunda Kelapa. Armada Portugis akhirnya berhasil dipukul mundur. Peristiwa ini diabadikan dengan mengganti nama Sunda Kelapa menjadi Jayakarta. Diorama ini menggambarkan pertempuran yang berlangsung di Teluk Sunda Kelapa pada tanggal 22 Juni 1527.

*DIORAMA 10: THE BATTLE OF SUNDA KELAPA (1527)
::In the effort to attack Malacca which was ruled by the Portuguese, Sultan Trenggono of Demak did not carry it out directly but he isolated his area from the influence of the Portuguese, especially the area whose inhabitants were not converted yet to Islam. When he realized that the Portuguese was in contact with King Samian, the authority of Sunda Kelapa, Sultan Trenggono immediately ordered his son-in-law to occupy Banten. Sunda Kelapa and Cirebon. In 1522, King Samian signed an agreement with the Portuguese, represented by Henrique Leme which gave the Portuguese the right to build a fortress for his trade interest in Sunda Kelapa. Early in 1522 Demak expedition led by Fatahillah succeeded in occupying Banten, Sunda Kelapa and Cirebon. To press his claim further on King Samian, on 1527, the Portuguese sent an expedition of six ships led by Francisco de Sa. But evidently they did not oppose, a Hindu kingdom anymore, but an Islamic monarch. When their demand were rejected by Fatahillah, they tried to embark with force and so began the siege of the Bay of Sunda Kelapa. The Portuguese was then successfully by Fatahillah's troops. This event is immortalized by changing the name of Sunda Kelapa to Jayakarta (Glorious City). The diorama shows the battle of Sunda Kelapa on A June 22, 1527 when the Prince Fatahillah and his troops defeated the Portuguese fleet off Sunda Kelapa Bay

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.
[https://archive.org/details/11-armada-perang-bugis-abad-ke-15-img-9515 ARMADA PERANG BUGIS, ABAD KE-15]
*DIORAMA 11: ARMADA DAGANG BUGIS (ABAD KE 15)
::Pelayaran orang Makasar dan Bugis dengan pinisi mulai abad ke 15 atau sebelumnya sudah meliputi hampir seluruh perairan Nusantara. Cerita tentang pengembaraan Sawerigading bisa memberi petunjuk tentang luasnya daerah-daerah yang dikunjungi. Gambaran lebih jelas baru diperoleh dari catatan pada masa sesudahnya. Misalnya dalam tulisan tentang hukum laut Amanna Gappa dan juga dari peta laut Bugis. Dari bukti-bukti ini kita melihat bahwa pelayaran mereka sampai ke Aceh. Kedah, Kamboja. ke Timur sampai ke Kei dan Teluk Ternate dan ke Utara sampai ke pulau-pulau Filipina (Sulu) dan Kalimantan Utara (Berau). Selanjutnya, menurut kisah Daeng Saro dari kampung Bontoranu, pelayaran penangkap-penangkap teripang dari Sulawesi Selatan sampai ke Marege, yaitu nama penduduk asli Australia dalam bahasa Bugis dan Makasar mengambil rute Ujung Pandang, Selayar, Wetar, Kisar. Leti dan Moa, selajutnya ke arah Tenggara ke pelabuhan Darwin. Diorama ini menggambarkan pelayaran armada dagang Bugis.

*DIORAMA 11: THE BUGINESE MERCANTILE FLEET (15TH CENTURY)
::The voyages of the Makassarese and Buginese using pinisi (Bugis traditional cargo boat) in the 15th cen-tury and before reached almost all the outskirts of the Indonesian archipelago and beyond. The story of Sawerigading adventures showed how wide was their visitation area. The figure became cleaner when the new evidence was obtained from the sea law Amanna Gappa and the Buginese nautical chart. From these evidences we could see that their voy-ages reached Aceh, Kedah, Cambodia, and east to Kei islands and Ternate Bay, and north to the Philippines archipelago (Sulu) and northern Kalimantan (Borneo). Furthermore, according to Daeng Saro story of the Bontoranu village, the voyages of fishermen from South Sulawesi to Marega took the route Ujung Pandang, Selayar, Wetar, Kisar, Leti and Moa, and then to south-east heading for Darwin sea port. The diorama shows a number of the Buginese mercantile fleet being ready to sail away.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.
Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

[https://archive.org/details/12-perang-makassar-1654-1668-img-9517 PERANG MAKASSAR, 1654-1668]
*DIORAMA 12: PERANG MAKASAR (1654 - 1668)
::Saingan V.O.C. dalam perdagangan abad ke 17 adalah Makasar. Sultan Makasar, Hasanuddin, membuka pelabuhannya untuk negara asing yang mau berhubungan dagang dengan Makasar. Melihat perkembangan Makasar dan sikap Sultan yang menjalankan politik bebas dalam perdagangan itu. Kompeni kemudian menggunakan politik pecah belah dan kuasai dengan menunggangi Aru Palaka. Sultan Hasanuddin terpaksa menerima perjanjian Bonggaya yang ditandatangani tanggal 18 November 1667. Dalam perjanjian ini V.O.C. diberi hak untuk membuat benteng di Makasar yang akhirnya mengurangi ruang gerat bagi pelaut Makasar. Diorama ini mnggambarkan Sultan Hasanuddin memimpin pertempuran mempertahankan benteng Sombaopu dari serbuan Belanda pada tnggal 8-9 Agustus 1668.

*DIORAMA 12: MAKASSAR WAR (1654-1668)
::The V.O.C. trading competitor on 17th century was Makassar. Sultan Hasanuddin of Makassar adopted a policy of free trade with all nations, he opened his Port for foreign traders who desired to trade with Makassar. Observing the growth and development of Sultan's policy, the V.O.C. (the Dutch East Indies Com-pany that held a monopoly in Indonesia 1602-1799) decided to use its 'the divide and rule' policy by using Aru Palaka. Sultan Hasanuddin was forced to accept the Bonggaya treaty which was signed on 18 Novem-ber 1667. The V.O.C. was given the right to build a fortress in Makassar and afterwards was able to decrease the space of activities of the Makassar fleet. The diorama shows Sultan Hasanuddin personally leads the fight defending Sombaopu fortress against the Dutch attack on 8-9 August 1668.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.
Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

[https://archive.org/details/13-perlawanan-pattimura-1817-img-9519 PERLAWANAN PATTIMURA, 1817]
*DIORAMA 13: PERLAWANAN PATTIMURA (1817)
::Berdasarkan Konvensi London tahun 1814, Belanda berkuasa kembali di Indonesia serta mengulangi menjalankan monopolinya di mana segala sesuatu yang bersifat eksploitasi dilaksanakan kembali. Rakyat Maluku dipimpin oleh Pattimura dan dibantu oleh Christina Martha Tiahahu menolak politik monopoli tersebut kemudian memberontak terhadap Belanda. Diorama ini menggambarkan serbuan rakyat Maluku di bawah pimpinan Pattimura pada tanggal 15 Mei 1817 berhasil merebut benteng Duurstede di Pulau Saparua di mana hampir seluruh tentara Belanda di dalam benteng ini terbunuh.

*DIORAMA 13: PATTIMURA UPRISING (1817)
::Based on the London Convention in 1814, the Dutch Government reclaimed their sovereignty in Indonesia and re-established their policy of monopoly in trade by reinforcing their method o f exploitation. The people of the Mollucas led by Pattimura and assisted by Christina Martha Tiahahu rejected the monopoly policy and then revolted against the Dutch. The diorama shows Pattimura and his troops succeeding in capturing the Dutch fortress Duurstede. The uprising broke out on May 15th, 1817, on Saparua island whereby most of the Dutch soldiers were killed in the fortress.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.
Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

[https://archive.org/details/14-perang-diponegoro-1825-1830-img-9521 PERANG DIPONEGORO, 1825-1830]
*DIORAMA 14: PERANG DIPONEGORO (1825 - 1830)
::Perang yang dicetuskan pada tahun 1825 oleh Pangeran Diponegoro merupakan suatu perlawanan rakyat semesta. Perang selama 5 tahun itu (1825-1830) berlangsung secara terus menerus sehingga Belanda menderita kerugian sebanyak 15.000 tentara dan biaya sekitar 20 juta gulden. Diponegoro beserta para pembantunya seperti Mangkubumi. Kyai Modjo, Sentot Prawirodiredjo dan pahlawan-pahlawan lainnya hingga tahun 1828 menguasai medan perang. Untuk mengakhiri perang. jerideral de Kock menggunakan siasat benteng stelsel dengan tujuan mempersempit daerah operasi Diponegoro dan mendesaknya ke daerah selatan. namun tidak berhasil. Dengan perangkap berkedok perundingan, akhirnya Diponegoro pada tanggal 28 Maret 1830 ditangkap di Magelang. Diponegoro meninggal dunia dalam benteng Belanda Ujung Pandang di Makasar pada tanggal 8 Januari 1855. Diorama ini menggambarkan pertempuran di tepi sungai Bogowonto di mana Diponegoro berhasil mengalahkan pasukan Kavaleri Belanda.

*DIORAMA 14: THE DIPONEGORO WAR (1825-1830)
::The war ignited in 1825 by Prince Diponegoro constituted a total war involving the whole population. That five-year war in Central Java went on continuously caused the Dutch lost 15,000 soldiers and 20 million guilders. In 1825 Diponegoro and his assistants such as Mangkubumi, Kyai Mojo, Sentot Prawirodirjo and other heroes dominated the battle field. In his effort to win the war, General de Kock applied the benteng stelsel (Fortress System) with the aim to decrease Prince Diponegoro's operational areas and drive him south-ward, but without success. Pretending that they were willing to negotiate, the Dutch lured the Prince into cap-tivity on 28 March 1830 in Magelang. Prince Diponegoro died on 8 January 1855 in the Dutch fortress in Ujung Pandang. The diorama shows the battle near the Bogowonto River where Prince Diponegoro and his troops defeated the Dutch troops.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.
Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.
[https://archive.org/details/15-perang-imam-bonjol-1821-1837-img-9524 PERANG IMAM BONJOL, 1821-1837]

*DIORAMA 15: PERANG IMAM BONJOL (1821 - 1837)
::Perang yang berlangsung dari tahun 1821 - 1837 itu dapat dibagi dalam 3 tahap. Tahap pertama, perang antara kaum adat dengan kaum agama. Hal ini terjadi setelah kembalinya 3 orang ulama dari tanah suci. Mereka melihat keadaan kehidupan di tanah airnya jauh dari pada kesesuaian dengan ajaran-ajaran Islam. Oleh karena itu, mereka bermaksud hendak mengadakan pembaruan-pembaruan, tetapi ditentang oleh kaum adat. Pemimpin kaum ulama yang menjadi terkenal dalam perang ini ialah Tuanku Imam Bonjol. Tahap kedua: Kaum adat dibantu Belanda melawan kaum ulama. Pertempuran-pertempuran yang terjadi antara tahun 1821 1825 di Sulit Air, Para Palam dan Sawah Tengah. Tahap ketiga: Setelah Perang Diponegoro berakhir, perlawanan terhadap Belanda dilakukan oleh kaum ulama bersama kaum adat. Barulah dengan kekuatan militer yang besar pada tahun 1837 Belanda berhasil merebut Bonjol, daerah pertahanan terakhir Tuanku Imam Bonjol. Diorama ini menggambarkan tatkala Tuanku Imam Bonjol memimpin perlawanan terhadap Belanda.

*DIORAMA 15: THE IMAM BONJOL WAR (1821 - 1837)
::The war which took place in 1821 - 1837 could be divided into three phases. The first phase: the war between the traditionalists against the religious group from Mecca. They were observing the backward way of life a far cry from the Islamic teachings. They tried to bring upon innovations which the traditionalists rejected. A leading prominent figure who became famous in this war was Tuanku Imam Bonjol. The second phase: After the Dutch government decided to take side with the traditionalists against the religious group. The battle broke out in Sulit Air, Para Palam and Sawah Tengah in 1821-1825. The third phase: After the Diponegoro war ended, both opponents came together and opened the resis-tance struggle against the Dutch. Eventually with large military force in 1837, the Dutch was able to seize Bonjol, the last resistance stronghold of Tuanku Imam Bonjol. The diorama shows Tuanku Imam Bonjol who per-sonally leads the fighting against the Dutch

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.
Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

[https://archive.org/details/20-tanam-paksa-1830-1870-img-9548 PERANG BANJAR, 1859-1905]
*DIORAMA 16: PERANG BANJAR (1859-1905)
::Sudah sejak beberapa waktu Belanda memperoleh hak ikut campur tangan mengatur penggantian Sultan Banjar. Pada tahun 1824 timbul persoalan penggantian Sultan dimana Belanda memaksakan kehendaknya untuk menempatkan calon pilihannya. Hal ini ditentang oleh Sultan dan rakyatnya. Putra Mahkota yang ditunjuk oleh Sultan yaitu Prabu Anom ditawan oleh Belanda di Banjarmasin. Calon lainnya, Pangeran Hidayatullah, juga ditawan oleh Belanda dan dibawa ke Jawa. Inilah yang menyebabkan Pangeran Antasari dan rakyat Banjar mengangkat senjata melawan Belanda pada tahun 1859. Pada tanggal 9 -10 Mei 1859 Pangeran Antasari melakukan pengepungan dan penyerangan terhadap tambang batu bara Belanda di Pengaron. Diorama ini menggambarkan rakyat Banjar dipimpin oleh Pangeran Suropati menyerang kapal Belanda di Lontartur, sungai Kapuas.

*DIORAMA 16: THE BANJAR WAR (1859-1905)
::From some period of time, the Dutch government created a right to have a say in choosing the crown suc-cessor of the Sultan of Banjarmasin and eventually in 1824 arose the matter to replace the Crown Prince in which the Dutch forced their decision to place their nominee. This was opposed by the Sultan and his people. The Crown Prince of the Sultan's choice, Prabu Anom, was captured by the Dutch in Banjarmasin. An-other successor, Prince Hidayatullah, was also captured and exiled to Java. This caused Prince Antasari and his people opposed the Dutch intervention in the adminis-tration affairs of the Sultanate of Banjar in South of Kalimantan in 1859. On 9-10 May 1859 Prince Antasari and the Banjar people encircled and attacked the Dutch coal mine in Pengaron. The diorama shows the people of Banjar led by Prince Suropati attack the Dutch sailing vessel in Lontartur, Kapuas river.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.
Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

[https://archive.org/details/17-perang-aceh-1873-1904-img-9532 PERANG ACEH, 1873-1904]
*DIORAMA 17: PERANG ACЕН (1873 - 1904)
::Pada tahun 1871 Belanda dan Inggris mengadakan perubahan Traktat London sebagai rangkaian dari Konvensi London tahun 1814. Pembaruan terakhir bernama Traktat Sumatra yang memberikan kepada Belanda kekuasaan atas Sumatra. Perjanjian ini membuka jalan kepada Belanda untuk menduduki Aceh. Perang Aceh pecah akibat konflik yang semakin meruncing ketika pada tahun 1873 Belanda menuntut agar Aceh menghentikan hubungannya dengan negara-negara lain ditolak. Belanda segera mengirimkan ekspedisi militer ke Aceh, tetapi merekadikalahkan, bahkan panglimanya JHR Kohler tewas dalam pertempuran tanggal 13-14 April 1973 di depan Masjid Agung Baiturrahim. Diorama ini menggambarkan pertempuran sengit di halaman Masjid Agung Baiturrahim ketika JHR Kohler menjadi korban penembak jitu Aceh.

*DIORAMA 17: THE ACEH WAR (1873 - 1904)
::In 1871 the Dutch and the British amended the London Treaty as an attachment to the London Con-vention 1814. The last renewal was the Sumatra Treaty which gave the Dutch sovereignty over Sumatra. This treaty opened the way for the Dutch to occupy Aceh. The Aceh war broke out as a result of mounting conflicts when in 1873 the Dutch demanded the de-crease of Aceh's relation with foreign countries but it was rejected by the Aceh authority. The Dutch immediately sent in a military expedi-tion to Aceh, but they were defeated, more over the army commander JHR Kohler was killed in a battle near the grand Mosque Baiturrahim. The diorama shows the fierce fighting on 13 April 1973 around the Baiturrahim grand Mosque when JHR Kohler was hit by Acehnese sniper.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.
Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

[https://archive.org/details/18-perlawanan-sisimangaraja-1877-1907-img-9536 PERLAWANAN SISIMANGARAJA, 1877-1907]
*DIORAMA 18: PERLAWANAN SI SINGAMANGARAJA (1877 - 1907)
::Dengan dalih bahwa zending sering diganggu oleh pasukan Si Singamangaraja, Belanda mendapatkan kesempatan melakukan ekspedisi ke Tanah Batak, Tapanuli. Bentrokan pertama dengan Belanda terjadi pada tanggal 15 Februari 1878, setelah terlebih dahulu Si Singamangaraja memberi peringatan kepada pasukan Belanda supaya meninggalkan Tapanuli. Perlawanan terhadap kolonialis Belanda ternyata mendapat bantuan dari rakyat Aceh dan Minangkabau. Penyerangan besar-besaran terhadap markas Belanda dengan bantuan rakyat kedua daerah tersebut dilakukan pada tahun 1887. Perjuangan Si Singamangaraja berlangsung hingga awal abad ke dua puluh. Si Singamangaraja gugur dalam pertempuran di Pearaja Diri pada tanggal 17 Juni 1907. Diorama ini menggambarkan pertempuran di Tanggabatu dekat kota Balige pada tahun 1884 ketika Si Singamangaraja berhasil memukul mundur pasukan Belanda.

*DIORAMA 18: SI SINGAMANGARAJA REVOLT (1877 - 1907)
::With the excuse that the missionaries were frequently assaulted by Si Singamangaraja, the Dutch government seized at the opportunity to expand their territory to land of Batak People, Tapanuli. The first con-tact took place on February 15, 1878, after Si Singamangaraja reminded the Dutch to leave Tapanuli. The resistance movement against the Dutch was aided by the people of Aceh and Minangkabau. The large scale offensive to the Dutch headquarter with the assistance of both neighboring people took place in 1887. Si Singamangaraja's struggle went on until the beginning of the twentieth century. He was killed in a battle in Pearaja Diri on June 15, 1907. The diorama shows the battle at Tanggabatu near Balige in 1884 where Si Singamangaraja repulsed the Dutch troops.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.
Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

[https://archive.org/details/19-pertempuran-jagaraga-1848-1849-img-9544 PERTEMPURAN JAGARAGA, 1848-1849]
*DIORAMA 19: PERTEMPURAN JAGARAGA (1848-1849)
::Pada tahun 1841 Belanda memaksakan penghapusan peraturan tawan karang yang diakui sebagai lembaga hukum adat di Bali. Menurut peraturan tawan-karang semua muatan kapal yang kandas menjadi milik raja dan penduduk pantai, sedang penumpangnya dijadikan budak. Beberapa kerajaan di Bali menerima peraturan Belanda itu, kecuali Buleleng dan Karangasem. Dua kali Buleleng mengenakan tawan-karang terhadap kapal-kapal Belanda yang terdampar di daerahnya. Belanda menuntut agar muatan dan isi kapal itu dikembalikan, tetapi ditolak oleh Raja Buleleng sehingga perang tidak dapat dihindarkan lagi. Meskipun dalam serangan Belanda tahun 1846 Buleleng dan Karangasem dapat diduduki namun semangat juang rakyat tetap berkobar dan mereka menyiapkan pertahanan di jagaraga. Diorama ini menggambarkan pertempuran yang terjadi di muka Pura Dalem Jagaraga yang berakhir dengan gugurnya seisi Pura.

*DIORAMA 19: THE BATTLE OF JAGARAGA (1848-1849)
::In 1841 the Dutch government tried to enforce the abolition of the Balinese customary law of Tawan Karang. According to the rule of Tawan Karang, the people and his King had the right to appropriate the goods of stranded ships and to enslave all passengers and crew alike. Several Kingdoms in Bali accepted this rule, except the Kingdoms of Buleleng and Karangasem. Twice the King of Buleleng applied the customary law to the Dutch stranded ship in his domain. The Dutch demanded the return of all merchandises and personnels but this was rejected by King of Buleleng caused the war could not be avoided. Although in the Dutch attack in 1846 Buleleng and Karangasem was occupied, the fighting spirit of the people was constantly exuberant and they developed a stronghold in Jagaraga. The diorama shows the tremendous battle in front of the Pura Dalem of Jagaraga, which ends with the fall of all Pura's occupants.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.
Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

[https://archive.org/details/20-tanam-paksa-1830-1870-img-9548 TANAM PAKSA, 1830-1870]
*DIORAMA 20: TANAM PAKSA (CULTUUR STELSEL) (1830-1870)
::Perang Diponegoro yang berlangsung selama lima tahun (1825-1830) mengakibatkan krisis keuangan bagi kerajaan Belanda. Tetapi di daerah kerajaan Mataram, Belanda berhasil menduduki wilayah seluas 3000 km persegi yang terdiri dari tanah yang subur. Untuk mengatasi keadaan krisis itu muncul gagasan Gubernur Jenderal Van Den Bosch untuk menjadikan tanah Jawa sebagai perkebunan yang besar atas dasar perjanjian antara pemerintah Hindia Belanda dan petani. Pemerintah Belanda akan menjadi pedagang dan tuan kebun, Tanaman yang akan ditanam di Jawa haruslah tanaman yang sangat laku di pasar Eropa, seperti nila, gula, teh, lada, kopi dan kayumanis. Gagasan Van Den Bosch disetujui oleh Raja Belanda dan realisasi di Jawa dimulai tahun 1830. Dalam kenyataannya tidak terdapat kontrak antara pemerintah kolonial dengan rakyat petani, melainkan hubungan paksa. Sejak inilah dimulai periode eksploitasi tenaga rakyat secara besar-besaran. Bagi rakyat yang tidak memiliki tanah diharuskan bekerja pada perkebunan nila (indigo) seperti yang terjadi di Jawa Barat. Mereka tidak diperkenankan pulang dari tempat bekerja yang letaknya puluhan kilometer dari kampung halamannya. Mereka yang dianggap malas dikenai hukuman cambuk dan siksaan lainnya. Tanam paksa ini memberikan keuntungan luar biasa bagi pemerintah Belanda, sedangkan bagi rakyat Indo-nesia mengakibatkan penderitaan yang sangat berat. Rakyat kelaparan karena mereka tidak berkesempatan menggarap sawah dan ladangnya. Diorama ini menggambarkan penderitaan rakyat In-donesia yang dipaksa untuk bekerja keras di daerah perkebunan disertai dengan siksaan fisik.

*DIORAMA 20: THE FORCED CULTURE SYSTEM (1830-1870)
::The Diponegoro War which had lasted for a term of five years (1825-1830) caused a financial crisis for the Dutch Crown. But in Mataram Kingdom area, the Dutch succeeded in controlling a 3000 km square land comprising of fertile soil. To overcome this crisis Governor General Van Den Bosch conceived the idea of making the land of Java into a big plantation on the basis of an agreement between the Dutch Indies government and the farmers. The Dutch Indies government would be the trader as well as land-lord. The plants which would be cultivated in Java ought to produce commodities being much in demand in Europe, such as indigo, sugar, tea, pepper and cinnamon. Bosch's idea was approved by the King of Netherlands and its implementation was started in 1830 in Java. In fact the work contract had never been made between the colonial government and the farmers, rather it was a forced relation. So began the extortion and the oppression of the people. Those who did not own land were forced to work in the indigo plantation for free as was known in West Java. They were forbidden to go home as they worked tens kilometers away from home. Those who were thought lazy were imposed whipping punishment and other physical torture. This system was indeed very profitable for the Dutch, on the contrary it was a misery for the Javanese people. The farmers died of starvation as they had no time at all to cultivate their own land. The diorama shows how cruelly the people are forced to work under physical torture and other punishment.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.
Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

[https://archive.org/details/21-peranan-gereja-protestan-dalam-penyatuan-bangsa-1930-img-9552 PERANAN GEREJA PROTESTAN DALAM PENYATUAN BANGSA, 1930]
*DIORAMA 21: KEGIATAN GEREJA PROTESTAN DALAM PROSES PENYATUAN BANGSA (Abad ke 20)
::Gereja Protestan dengan zendingnya giat mengadakan propaganda terutama di daerah-daerah yang masih terbelakang. Selain bergerak dalam bidang keagamaan, gereja Protestan giat bergerak dalam bidang pendidikan sehingga secara langsung telah membantu menyatukan bangsa Indonesia dari berbagai suku yang sedang mengalami proses penyatuan. Selain di beberapa daerah dan kota-kota di Jawa. pusat-pusat agama Kristen terutama terdapat di Ambon. Minahasa dan Tapanuli. Pada tahun 1930 berdiri Perserikatan Kaum Christen (PKC) dan Partai Kaum Masehi Indonesia, keduanya merupakan bagian dari gerakan nasional untuk Indonesia merdeka. Diorama ini menggambarkan kegiatan umat Kristen Protestan dalam bidang sosial, pendidikan dan keagamaan.

*DIORAMA 21: THE ACTIVITIES OF THE PROTESTANT CHURCH IN UNITING THE NATION (20TH CENTURY)
::The activities of the Protestant church in the field of propagation of the Protestant faith were of great sig-nificance, especially in backward areas. Apart from that, the Protestant church were active in the educational field so that it directly gave contribution in process of unification of several ethnics groups in Indonesia. Besides several regions and cities in Java, Protes-tant centers are mostly found in Ambon, Minahasa and Tapanuli. In 1930 Perserikatan Kaum Christen (Christian Association) and Partai Masehi Indonesia (Indonesian Christian Party) were set up, both were part of the national movement for the independence of Indonesia. The diorama shows the activities of the Protestant in the social and educational fields and religious affairs.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.
Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

[https://archive.org/details/22-ra-kartini-1879-1904-img-9554 RA KARTINI, 1879-1904]
*DIORAMA 22: PERJUANGAN KARTINI (1879-1904)
::Gerakan mengejar kemajuan pada akhir abad ke 19 terbukti dari kebutuhan akan pendidikan dan pengajaran yang semakin besar Tetapi pandangan umum masih dihinggapi konservatisme yang kuat bagi anak perempuan. Lahir di Jepara pada tanggal 21 April 1879 Kartını berjuang untuk memperoleh persamaan hak bagi kaum wanita dan melepaskan diri darı kungkungan dan prasangka tradisi dan adat. Kumpulan surat-surat yang dikirimkan kepada sahabat-sahabatnya di mana dia mengungkapkan buah pikiran dan cita-citanya telah diterbitkan dalam sebuah buku yang menarik berjudul Habis Gelap Terbitlah Terang (aslinya Door Duisternis tot Licht). Diorama ini menggambarkan Kartini menyelenggarakan sekolah untuk pendidikan anak-anak perempuan

*DIORAMA 22: THE STRUGGLE OF KARTINI (1879-1904)
::The movement to achieve progress at the end of the 19th century was confirmed by the increasing de mands for education and studies, but the public opinion was still under great influence of the prevailing tradi tion, especially for women. Born in Jepara on 21 April1879, Kartini fought for equal rights for the Indonesian women and her libera-tion from the shackles and prejudice of the customary law and tradition. A collection of her letters to friends in which she express her thoughts and opinion were subsequently published as an interesting book entitled Letters of A Javanese Princess (onginally Door Duisternis tot Licht). The diorama shows Kartini personally conducting a class of girls students.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.
Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

[https://archive.org/details/23-kebangkitan-nasional-20-mei-1908-img-9556 KEBANGKITAN NASIONAL, 20 MEI 1908]
*DIORAMA 23: KEBANGKITAN NASIONAL (20 MEI 1908)
::Menjelang akhir abad ke 19 masyarakat Indonesia masih terbelakang baik di bidang politik, ekonomi, maupun sosial budaya termasuk pendidikan. Keadaan ini adalah akibat langsung dari politik kolonial Belanda yang tidak menghendaki rakyat Indonesia menjadi cerdas, karena hal itu akan membahayakan kedudukannya. Tetapi kemudian kaum kolonialis terpaksa juga memberikan pendidikan modern kepada pemuda-pemuda Indonesia, pertama untuk memenuhi kebutuhannya akan tenaga-tenaga terdidik di perusahaan-perusahaannya dan kedua untuk meningkatkan potensi masyarakat Indonesia sebagai pasar bagi industrinya. Sebagai hasil dari pendidikan itu timbul suatu generasi pemuda Indonesia yang terkena gagasan-gagasan nasionalisme dan modernisasi yang menyebar dani Eropa. Pemuda-pemuda itulah yang kemudian mengorganisir pergerakan Nasional sebagai perwujudan dan Kebangkitan Nasional rakyat Indonesia. Yang dianggap manifestasi pertama dan Kebangkitan Nasional tu adalah pembentukan organisasi modern yang pertama oleh orang Indonesia, yakni Budi Utomo. Budi Utomo dibentuk atas prakarsa beberapa mahasiswa Sekolah Dokter Jawa (School Tot Opleiding Van Indische Artsen STOVIA), seperti Sutomo, Gunawan Mangunkusumo, dan lain-lain dengan Dokter Wahidin Sudirohusodo sebagai penasehatnya. Kemudian lahirlah organisasi lain seperti Sarikat Is-lam, Indische Party, Muhammadiyah, dan lain-lain yang dalam perkembangan selanjutnya bertujuan Indonesia Merdeka. Diorama ini menggambarkan suasana Kongres Budi Utomo Pertama yang diadakan di Yogyakarta.

*DIORAMA 23: The National Resurgence (20 May 1908)
::By the end of 19th century, Indonesian people were still backward politically, economically and socio-cultural including education. This was a direct result of the Dutch colonialism policy that did not want to see Indonesia become smart and intelligent as these would endanger their position. Finally, however, the colonialist had to give modern education to Indonesian youth to meet the needs for educated people at their enterprises and secondly to increase Indonesia's potentials for their market. As a result of the modern education, a younger generation of people were born who had nationalism and modernization ideals that came from Europe. Those young people who then organized the National Move-ment as the realizations of the Indonesian people's national resurgence. The first manifestation of the national resurgence was the establishment of the first modern organization by the Indonesian, Budi Utomo. Budi Utomo was established by students of native Medical College (STOVIA: School Tot Opleiding Van Indische Artsen) such as Sutomo, Gunawan Mangunkusumo etc. and Dr. Wahidin Sudirohusodo as the adviser. Afterward other organizations were established such as Sarikat Islam (Islamic Association), Indische Party (Indies Party), Muhammadiyah (an important Islamic modernist organization), and others which in their fur-ther development wanted an Independent Indonesia. This diorama shows the first congress of Budi Utomo (High Endeavor) held in Yogyakarta.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.
Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

[https://archive.org/details/24-taman-siswa-3-juli-1922-img-9558 TAMAN SISWA, 3 JULI 1922]
*DIORAMA 24: TAMAN SISWA (3 JULI 1922)
::Politik pendidikan pada jaman penjajahan tidak dapat dipisahkan dari kepentingan kolonial. Sebagai suatu reaksi politik, pada tanggal 3 Juli 1922 Ki Hajar Dewantara mendinkan perguruan Taman Siswa di Yogyakarta. Perkembangan perguruan ini sangat pesat sehingga pemerintah merasa khawatir. Pada tahun 1922 pemerintah mengeluarkan Ordonansi Sekolah Liar hingga praktis sekolah-sekolah swasta kehilangan identitasnya. Protes timbul dari berbagai pihak, sehingga ordonansi tersebut dicabut kembali. Semangat nasionalisme sangat menjiwai kehidupan Perguruan Taman Siswa. Pada tahun 1935 berlangsung Kongres Pendidikan Nasional yang pertama dengan tujuan hendak menggalang persatuan nasional dan mencari perumusan tentang pendidikan dan pengajaran yang bersifat nasional. Diorama ini menggambarkan Ki Hajar Dewantara yang pada tahun 1921 mendirikan organisasi nasionalis kebudayaan Indonesia yang sangat penting menyambut orang tua murid di perguruan Taman Siswa

*DIORAMA 24: TAMAN SISWA (3 JULY 1922)
::The educational policy under colonial regime was inseparable from its interest. As a political reaction, on 3 July 1922 Ki Hajar Dewantara set up Taman Siswa Institution in Yogyakarta. This institution expanded rap-idly caused apprehension among the Dutch authorities In 1932 the Dutch government issued an ordinance on regulating the activities of non governmental schools. known as ordinance of illegal school. Practically it made private school lost its identity. Protest sprang up from everywhere caused the revocation of the ordinance. The spint of nationalisms inspired the existence of Taman Siswa. In 1935 the first National Education Congress took place which had the insistence on giving national unity a firm platform and setting the platform for national education and teaching. The diorama shows Ki Hajar Dewantara who in 1921 founded the very important Indonesian cultural nationalist organization Taman Siswa welcoming the students parents at Taman Siswa.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.
Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

[https://archive.org/details/25-muhammadiyah-18-november-1912-img-9572 MUHAMMADIYAH, 18 NOVEMBER 1912]
*DIORAMA 25: MUHAMMADIYAH (18 NOVEMBER 1912)
::Keadaan masyarakat Islam Indonesia pada abad sembilan belas dan permulaan abad dua puluh sangat menyedihkan. KH. Ahmad Dahlan tampil ke depan dengan mendirikan Muhammadiyah pada tanggal 18 November 1912 di Yogyakarta dengan tujuan untuk mengembalikan kemurnian ajaran Islam dan memperbaiki kesejahteraan masyarakat. Di dalam kegiatannya Muhammadiyah mendinkan sekolah, rumah yatim piatu, rumah-rumah sakit, pelatihan bag juru dakwah, dan organisasi kepanduan. Saat ini organisasi tersebut merupakan salah satu lembaga Islam terbesar di Indonesia. Diorama menggambarkan salah satu kegiatan kepanduan Hizbul Wathan disaksikan oleh K.H. Ahmad Dahlan

*DIORAMA 25: MUHAMMADIYAH (18 NOVEMBER 1912)
::In the nineteenth century and the beginning of the twentieth century the situation of the community of Islam in Indonesia was very saddening indeed. K.H. Ahmad Dahlan came forward by setting up Muhammadiyah on 18 November 1912 in Yogyakarta. The objective of Muhammadiyah was to rejuvenate the teaching of Islam and improve the people's welfare. In its activities. Muhammadiyah established a large number of schools, orphanages, hospitals, a training course for missionaries, and scout club. Today the organization is still one of the largest Muslim bodies in the country. The diorama shows one of the activities of the Hizbul Wathan Scout Club, witnessed by K.H. Ahmad Dahlan.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.
Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

[https://archive.org/details/26-perhimpunan-indonesia-1922-img-9575 PERHIMPUNAN INDONESIA, 1922]
*DIORAMA 26: PERHIMPUNAN INDONESIA (1925)
::Perjuangan mencapai Indonesia Merdeka di luar negeri dipelopori oleh mahasiswa-mahasiswa Indonesia yang belajar di Negeri Belanda. Pada tahun 1908 berdiri Indische Vereeniging (Perhimpunan Hindia) yang pada mulanya bersifat sosial degan tujuan sebagai forum tempat bertemu orang-orang termasuk para pelajar yang merantau ke negeri Belanda. Pada tanggal 19 Februari 1922 perhimpunan ini mengadakan pertemuan di Den Haag dan salah satu keputusan penting yang diambil dalam pertemuan tersebut adalah penggantian nama dari Indische Vereeniging menjadi Indonesisch Vereeniging. Kemudian pada tanggal 8 Februari 1925 nama tersebut berganti menjadi Perhimpunan Indonesia. Mereka menuntut agar pemerintah Hindia Belanda bertanggung. jawab kepada rakyat Indonesia dan bukan kepada pemerintah Belanda. Akhirnya mereka menuntut kemerdekaan Indonesia yang berdasarkan kepada kekuatan din sendiri. Dibandingkan dengan rekan-rekan mereka di Indonesia, mereka lebih banyak memperoleh kebebasan bergerak. Pada bulan Februan 1927 Perhimpunan Indonesia berjuang di forum internasional dengan mengambil bagian dalam Kongres Menentang Imperialisme dan Penindasan Kolonial yang diadakan oleh Liga Anti Imperialisme dan Bagi Kemerdekaan Nasional di Brussels. Selanjutnya, propagada Perhimpunan Indonesia, semakin berani dan tajam sehingga pemerintah Belanda mengadakan penangkapan terhadap pimpinannya, yaitu Mohammad Hatta, Abdul Majid Joyohadiningrat, Ali Sastroamidjojo dan Nasir Pamuncak dengan tuduhan menjadi anggota perkumpulan terlarang, terlibat dalam pemberontakan dan menghasut untuk menentang kerajaan Belanda. Tetapi, pengadilan membebaskan mereka dari semua tuduhan. Diorama ini menggambarkan suasana pertemuan perhimpunan Indonesia yang dipimpin oleh Mohammad Hatta.

*DIORAMA 26: THE INDONESIAN ASSOCIATION (1925)
::The struggle for national independence abroad was spearheaded by the Indonesian students in the Netherlands. In 1908 The Indische Vereeniging (Indies Association) was established which at first had a societal function as a meeting forum for the people included the Indonesian students who went overseas in the Netherlan's. On February 1922. the association held a meeting in The Hague and an important decision taken at this meeting was a change of the name from Indische Vereeniging to Indonesische Vereeniging. Then, on 8 February 1925 the later name was changed into the new name Perhimpunan Indonesia (Indonesian Association). They demanded that the Netherlands Indies government to be responsible to the people of Indonesia not to the Dutch government. Finally they demanded the independence of Indonesia on the basis of their own power. In comparison with their colleagues in Indonesia, they had more freedom of action. In February 1927 the Indonesian Association brought their struggle to the international forum by taking part in the Congress of Anti Colonialism and Colonial Oppression held by the League Against Imperialism and for National Inde-pendence in Brussels. Furthermore, the propaganda of Perhimpunan Indonesia became brave and sharp that its leaders Mohammad Hatta, Ali Sastroamidjojo. Nasir Pamuncak and Abdul Majid Joyohadiningrat were arrested on charges: being a member of prohibited organization, being involved in a rebellion, and instigating opposition to the Dutch crown. But then they were acquitted of all charges. The diorama shows Mohammad Hatta chairing the meeting of the association.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.
Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

[https://archive.org/details/27-the-stovia-1898-1926-img-9577 THE STOVIA, 1898-1926]
*DIORAMA 27: STOVIA SEBAGAI TEMPAT PERSEMAIAN PERGERAKAN PEMUDA INDONESIA (1926)
::Kemiskinan bangsa Indonesia dalam arti lahir dan batin yang juga dirasakan oleh beberapa orang terpelajar, telah menggerakkan hati mereka untuk mempertinggi derajat bangsa Usaha dr. Wahidin Sudirohusodo mendirikan dana belajar tidak berjalan sebagaimana yang diharapkan. Namun cita-cita luhur yang terkandung di dalamnya telah menggugah semangat pelajar-pelajar STOVIA (School Tot Opleiding Van Indische Artsen -Sekolah Dokter Bumi Putera) di Jakarta. Pada hari bersejarah tanggal 8 Mei 1908 mereka mendirikan perserikatan bernama Budi Utomo. Kenyataannya, para lulusan dan mahasiswa STOVIA memainkan peranan penting dalam pertumbuhan gerakan nasional Indonesia modern. Diorama ini menggambarkan pertemuan yang diadakan oleh pelajar-pelajar STOVIA di gedung STOVIA yang lebih dikenal sekarang sebagai gedung Museum Kebangkitan Nasional, Jakarta. Pertemuan pertemuan semacam ini sering kali dilakukan yang merupakan kegiatan para pelajar STOVIA untuk membebaskan negerinya dari penjajahan dan keterbelakangan.

*DIORAMA 27: STOVIA AS THE PLACE FOR SEEDBED OF INDONESIA'S YOUTH MOVEMENT(1926)
::The poverty of body and mind of the little men in Indonesia which strongly felt by several educated men arose their anxiety to bring enlightenment. Dr. Wahidin Sudirohusodo's effort to establish study fund did not meet the expectations, but his aspiration had awaken the STOVIA (School Tot Opleiding Van Indische Artsen) student's sprint. On the historical day, May 8, 1908 they founded Budi Utomo (High Endeavour). It was al ready known that the graduates and students of the STOVIA (a medical training college) played an impor ant role in the genesis of the modern Indonesian nationalist movement. The diorama shows the meeting of STOVIA held in STOVIA building which is known as The Museum of National Resurrection, Jakarta. Such meetings were held frequently as their activities to liberate their country from colonialism and backwardness.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.
Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

[https://archive.org/details/28-digul-1926-1927-img-9580 DIGUL, 1926-1927]
*DIORAMA 28: DIGUL (1927)
::Pada tahun 1926 di Pulau Jawa timbul pemberontakan melawan pemerintahkolonial Pemberontakan ini merupakan puncak dari gerakan tani yang mula-mula pecah di Banten kemudian menjalar ke Jawa Barat dan Jawa Tengah. Pada Januari 1927 pecah pula pemberontakan serupa di Sumatra Barat, akan tetapi dapat ditumpas dengan kejam. 13.000 orang ditangkap, diantaranya 4.500 dijatuhi hukuman dan 1.300 dibuang ke Tanah Merah, Digul Atas, Irian Jaya. Kemudian Digul Atas menjadi tempat pengasingan bagi tokoh-tokoh pergerakan nasional. Sebagai tawanan, di samping harus mencukupi kebutuhannya sendiri, mereka harus tahan melawan hawa panas dan penyakit malaria yang ganas. Diantara semua penderitaan itu yang sangat berat adalah penderitaan tekanan jiwa, sehingga di tempat pengasingan ini tercapailah puncak, penderitaan lahir dan batin. Hingga kini Digul Atas menjadi lambang pengorbanan pemimpin-pemimpin nasional kita dari generasi sebelum Perang Dunia II. Diorama ini menggambarkan sebagian tokoh-tokoh pergerakan nasional di tempat pengasingan Digul Atas. antara lain Mohammad Hatta dan Sutan Syahrir.

*DIORAMA 28: DIGUL (1927)
::In the year 1926, a rebellion rose in Java against the colonial government. This rebellion was the culmination of the farmers' movement in Banten, West Java that spread through Central Java. In January 1927, in West Sumatra the same uprising broke out. Within short time both up risings were cruelly suppressed. 13.000 men were ar rested among which 4.500 were imprisoned and 1.300 exiled to Tanah Merah, Upper Digul in West Irian. Afterwards the swampy forest of Digul, in West Irian served as a home for Indonesian nationalists exiled by the Dutch colonial regime. As prisoners besides having to sustain themselves they had to stand the heat and over bearing malaria, but uppermost and culminating point of body and mental suffering. Up to the present time Digul is the symbol of sacrifice for national leaders of the generation before the second World War. The diorama shows a number of prominent figures in the national movement organizations being in exile in Upper Digul, Inan, among others. Mohammad Hatta and Sutan Syahrir.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.
Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

[https://archive.org/details/29-sumpah-pemuda-28-oktober-1928-img-9582 SUMPAH PEMUDA, 28 OKTOBER 1928]
*DIORAMA 29: SUMPAH PEMUDA (28 OCTOBER 1928)
::Dalam lingkungan pergerakan nasional Indonesia para pemuda telah melahirkan berbagai ragam organisasi pemuda, seperti Jong Ambon, Jong Bataks, Jong Celebes, Jong Islamiten Bond, jong Java and Jong Sumatranen Bond. Organisasi-organisasi ini pada umumnya bersifat kedaerahan dan masing-masing tidak mempunyai hubungan dengan yang lain. Lama-kelamaan iklim persatuan Indonesia mempengaruhi meseka pula dan terasa dorongan untuk membina suatu pergerakan pemuda Indonesia yang berjiwa nasional kesatuan. Usaha ke arah itu dilakukan dalam serangkaian kongres pemuda. Pada Kongres Pemuda kedua tanggal 28 Oktober 1928 di Jakarta dicetuskan Sumpah Pemuda 1. Kami putra dan putri Indonesia mengaku berbangsa yang satu. Bangsa Indonesia.2. Kami putra dan putri Indonesia mengaku bertanah air yang satu. Tumpah Darah Indonesia.3. Kami putra dan putri Indonesia menjunjung bahasa persatuan, Bahasa Indonesia. Diorama ini menggambarkan suasana Kongres Pemuda Kedua pada tanggal 28 Oktober 1928 di Jakarta.

*DIORAMA 29: THE YOUTH PLEDGE (28 OCTOBER 1928)
::In the circle of national movement the Indonesian youth gave birth to heterogeneous youth organizations. such as: Jong Ambon, Jong Bataks, Jong Celebes, Jong Islamiten Bond, Jong Java and Jong Sumatranen Bond. Most of these organizations had the nature of regional ism and each had no relation to others. Eventually the climate of Indonesia's unity had influenced each other and felt the willpower to found a unifying youth move-ment in the spirit of national unity. In a senes of youth congress they managed to make concrete efforts towards the youth unity. In the Second Youth Congress held on 28 October 1928 in Jakarta the youth proclaimed the Youth Pledge 1. We the Indonesia's youth admit to having one nation, Indonesia. 2. We the Indonesia's youth admit to having one motherland, Indonesia 3. We the Indonesia's youth have respect for unity language, Indonesian language.The diorama shows the atmosphere of the Second Youth Congress on 28 October 1928 in Jakarta.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.
Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

[https://archive.org/details/30-romusha-1942-1945-img-9585 ROMUSHA, 1942-1945]
*DIORAMA 30: ROMUSHA, 1942-1945
::Pada tanggal 8 Maret 1942, Panglima Tentera Hindia Belanda menyerah kepada Jenderal Hitoshi Imamura Panglima tentara ekspedisi Jepang di Kalijati. Jawa Barat. Dalam upaya memenangkan Perang Pasifik. Jepang mengerahkan seluruh tenaga dan kekayaan bumi Indonesia tanpa pembatasan apapun. Dengan meningkatya situasi perang. Jepang mengerahkan secara paksa orang Indonesia untuk dipekerjakan pada objek-objek vital dan bangunan-bangunan militer. Sebelum diangkut ke tempat-tempat yang dituju, mereka dibujuk dan diberi predikat muluk sebagai prajurit pekerja atau romusya. Dalam prakteknya mereka melaksanakan kerja-paksa dengan mengalami siksaan-siksaan tanpa diberi makan dan minum yang cukup menyebabkan puluhan ribu romusya Indonesia menemui ajalnya. Diorama ini menggambarkan bagaimana para romusya dalam keadaan kurus kering dan lemah lunglai dipaksa bekerja berat di bawah pengawasan tentara Jepang.

*DIORAMA 30: THE JAPANESE FORCED LABOUR, 1942-1945
::On 8 March 1942 the Commander of the Netherlands East Indies army General Ter Poorten surrendered to General Hitoshi Imamura, the japanese expedition army commander in Kalijati, West Java. In its effort to win the Pacific War, the Japanese occupational army exploited Indonesia's human and natural resources. Since the intensity of the Pacific War increased the Japanese army conscripted Indonesian workers to forced labour to vital Japanese military installations and buildings. Before leaving for the destination places they were urged and given pomposity predicate as militia workers or romushas. in actual practice, they were sent to do forced labour under torture without enough food and drink caused tens of thousand Indonesia's romushas met their end. The diorama shows how hard the weak and emaciated labours are forced to work under the Japanese army supervision.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.
Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

[https://archive.org/details/31-pemberontakan-tentara-peta-di-blitar-14-februari-1945-img-9586 PEMBERONTAKAN TENTARA PETA DI BLITAR, 14 FEBRUARI 1945]
*DIORAMA 31: PEMBERONTAKAN TENTARA PETA DI BLITAR (14 FEBRUARI 1945)
::Pada bulan Oktober 1943 Pemerintah Pendudukan Jepang mengeluarkan Osamu Seiroi No. 44/1943 tentang pembentukan pasukan sukarela untuk membela Tanah Jawa. Peraturan ini mendapat sambutan hangat dari kalangan masyarakat Indonesia, khususnya para pemuda yang benar-benar berhasrat untuk membela tanah air. Dengan berbondong-bondong mereka. mendaftarkan diri menjadi anggota Tentara Pembela Tanah Air (PETA). Tentara PETA dibagi atas daidan-daidan (batalyon) yang tidak ada hubungan organisatoris satu sama lainnya. Segenap Perwira. Bintara dan Tamtama Tentara PETA adalah orang Indonesia, akan tetapi mereka didampingi orang Jepang sebagai pelatih merangkap pengawas. Di Blitar terdapat pula suatu batalyon yang seperti batalyon-batalyon lainnya juga melaksanakan tugas membangun kubu-kubu pertahanan dengan memakai romusya sebagai tenaga kasar. Perasaan benci terhadap Jepang yang sudah timbul di kalangan mereka menjadi semakin mendalam setelah mengetahui keadaan keluarga mereka yang menderita sebagai akibat tindakan-tindakan Jepang ketika mereka bertugas bersama para romusya. Mereka tidak tahan menyaksikan bangsanya diperas tenaganya dan mati kelaparan. Ditambah dengan faktor aspirasi kemerdekaan, pelbagai faktor itu menyebabkan tekad bulat di kalangan mereka untuk memberontak. Dengan dipimpin oleh Suprijadi, Muradi and mendapat nasehat dari dr. Ismangil, mereka mengadakan serangkaian rapat-rapat persiapan. Dan pada tanggal 14 Pebruari 1945 pukul 03.30 dinihari mulailah pemberontakan. Mereka membunuh beberapa orang Jepang lalu mengingkir ke luar kota. Pemberontakan berhasil ditumpas oleh pihak Jepang. Suprijadi, pemimpin pemberontakan menghilang. Pemimpin-pemimpin lainnya seperti dr. Ismangil, Muradi, Sunanto, Halir dan kawan-kawannya tertangkap lalu dibawa di Jakarta pada tanggal 8 Maret 1945. Selanjutnya pada tanggal 14-16 Maret 1945 dihadapkan ke Mahkamah Militer. 6 orang dijatuhi hukuman mati, 3 orang dijatuhi hukuman seumur hidup. dan yang lainnya dijatuhi hukuman antara dua sampai limabelas tahun. Diorama ini menggambarkan serangan tentara PETA terhadap markas militer Jepang di Blitar pada tanggal 14 Februari 1945.

*DIORAMA 31: THE MUTINY OF JAPANESE TRAINED PETA ARMY IN BLITAR (14 FEBRUARY 1945)
::In October 1943, the Government of the Japanese occupational army issued the Osamu Seiro No.44/1943 on the forming of the volunteer troops to defend Java. This ordinance was received with enthu-siasm by youth movements, who were very eager to defend their country. In hordes they came to enlist as soldier of the PETA (The Defenders of The Mother land). PETA was divided into several Daidans (battalions) which had no organizational connections with each other. Every private, subaltern, officer and commanding officer was an Indonesian with Japanese as instructor who also held position as supervisor. In Blitar, East Java, there was also a daidan with the same formations and construction with romushas as the main labour force which had orders to set up fortifications. A hatred feeling that had already emerged among the PETA soldiers was growing more and more when they discovered their relatives who worked with them as romusha suffered from Japanese action Obviously they could not stand seeing the people were exploited and died of starvation. All of those factors and spir ited by their aspiration for national independence caused a great deal willpower to stage a mutiny. Led by Suprijadi and Muradi, after getting dr. Ismangil's advice, they held a series of preparation meetings. On 14 February 1945 at 03.00 am the revolt against Japa-nese broke out in Blitar. They killed a number of Japa-nese and then moved to a safe place out of the city. The revolt was annihilated by Japanese. Suprijadi, the leader disappeared. Other leaders such as dr. Ismangil, Muradi, Sunanto, Halir and their compan-ions were captured and then brought to Jakarta on 8 March 1945. In 14-16 March 1945 they were brought to military court. 6 were sentenced to death, 3 were sentenced for life, and the others got two to fifteen years. This diorama shows the PETA soldiers attack the Japanese army post on 14 February 1945 in Blitar.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.
Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

[https://archive.org/details/32-proklamasi-kemerdekaan-indonesia-17-agustus-1945-img-9593 PROKLAMASI KEMERDEKAAN INDONESIA, 17 AGUSTUS 1945]
*DIORAMA 32: PROKLAMASI (17 AGUSTUS 1945)
::Pada tanggal 17 Agustus 1945 dinihari teks Proklamasi: selesai dirumuskan oleh Ir. Soekarno. Drs. Mohammad Hatta dan Mr. Ahmad Subardjo. Beberapa jam kemudian, yaitu pada pukul 10.00 Proklamasi Kemerdekaan dibacakan oleh Ir. Soekarno yang didampingi oleh Drs. Mohammad Hatta bertempat di Jalan Pegangsaan Timur Nomor 56 Jakarta.Hadir pada saat pengucapan teks Proklamasi itu adalah: 1. Abikusno Tjokrosujoso, Sukardjo Wirja-pranoto. Sukardjo Kartohadikusumo, KHA Wahid Hasjim dan Dr. Radjiman Widiodiningrat. 2. Wakil Walikota, Suwirjo. 3. Ibu Fatmawati. 4. Ny. SK. Trimurti. 5. Para perwira PETA: Abdul Kadir, Latif Hendraningrat. dan dr. Soetjipto, Kemal Idris, Daan Jahja, Arifin Abdurrachman dan Singgih. 6. Barisan Pelopor: Dr. Muwardi dan Asmarahadi. 7. Barisan Pelopor Istimewa: Soediro, Soehoed Sastro Koesoemo, Djohar Nur dan Soepeno. 8. Pers: Soeroto, S.F. Mendoer dan Sjahruddin.Diorama ini menggambarkan peristiwa detik-detik Proklamasi Kemerdekaan Indonesia 17 Agustus 1945.

*DIORAMA 32: PROCLAMATION OF INDEPENDENCE (17 AUGUST 1945)
::Early at dawn on 17 August 1945, the text for Proclamation of Indonesian Independence was drafted by Soekamo, Mohammad Hatta and Ahmad Subardjo. A few hours later, at ten o'clock in the morning the Proclamation of Indonesia's Independence was read out by Soekarno in the company of Mohammad Hatta at Pegangsaan Timur 56 Jakarta. Present at the reading out the text of Proclamation were: 1. Abikusno Tjokrosujoso. Sukardjo Wirjopranoto. Sukardjo Kartohadikusumo, KHA Wahid Hasyim and dr. Radjiman Widiodiningrat. 2. Vice Mayor Suwirjo. 3. Ms. Fatmawati. 4. Ms. SK. Trimurti. 5. PETA officers: Abdul Kadir, Latif Hendraningrat. dr. Soetjipto, Kemal Idris. Daan Jahja, Arifin Abdurrachman and Singgih. 6. Pioneer Troops: Dr. Muwardi and Asmarahadi. 7. Special Pioneer Troops: Soediro, Soehoed Sastro Koesoemo, Djohar Nur and Soepeno. 8. Press: Soerato, S.F. Mendoer and Sjahruddin.The diorama shows the very moment of the Proclamation of Indonesia's Independence 17 August 1945.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.
Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

[https://archive.org/details/33-pengesahan-pancasila-dan-undang-undang-dasar-1945-18-agustus-1945-img-9600 PENGESAHAN PANCASILA DAN UNDANG-UNDANG DASAR 1945, 18 AGUSTUS 1945]
*DIORAMA 33: PENGESAHAN PANCASILA SEBAGAI LANDASAN FALSAFAH NEGARA DAN U.U.D. 1945
::Sebelum kemerdekaan Indonesia diproklamasikan tanggal 17 Agustus 1945, Badan Penyelidik Usaha-usaha Persiapan Kemerdekaan Indonesia membahas berbagai konsep falsafah negara. Diantara konsep yang terpenting adalah konsep Mr. Muhammad Yamin yang diajukan tanggal 29 Mei 1945, konsep Ir. Soekamo yang diajukan tanggal I juni 1945, lengkap dengan namanya, yakni PANCASILA dan konsep Panitia Sembilan yang biasa disebut Piagam Jakarta disusun tanggal 22 Juni 1945. Dalam sidang PPPKI tanggal 10-16 Juli 1945. disusunlah konsep Undang-Undang Dasar negara Indonesia beserta mukadimahnya. Mukadimah itu ada dalam Piagam Jakarta yang mengandung pula dasar falsafah negara. Konsep tersebut, setelah diperbaiki, disahkan oleh sidang pertama Panitia Persiapan Kemerdekaan Indonesia tanggal 18 Agustus 1945 di Jakarta sebagai Undang-Undang Dasar Negara Republik Indonesia yang kemudian dikenal sebagai Undang-Undang Dasar 1945. Diorama ini menggambarkan suasana sidang Panitia Persiapan Kemerdekaan Indonesia yang berakhir dengan disahkannya Pancasila Landasan (Dasar) Falsafah Negara dan Undang-Undang Dasar 1945.

*DIORAMA 33: THE RATIFICATION OF PANCASILA AND THE 1945 CONSTITUTION
::Before the Independence of Indonesia was pro claimed, the Committee to Investigate Preparations for Indonesian Independence had studied several concepts for the state philosophy, particularly Mr. Muhammad Yamin's concept. Ir. Soekarno's concept, which outlined the Pancasila, the Five Principles. Concept of the Committee of Nine, known as the Jakarta Charter, which was drawn up on 22 June 1945. In July 10-16 1945 the Committee to Investigate Preparations for indonesian Independence composed the draft of the Constitution of the Republic of Indonesia along with its Preambule. The preambule to the Constitution was found in the Jakarta Charter which also contained the philosophy of the state. The concept, after revised, was legalized by the Indonesian Independence Preparatory Committee at its first meeting on 18 August 1945 in Jakarta as the Constitution of the Republic of Indonesia, known as the 1945 Constitution. The diorama shows the atmosphere of the meeting of the Indonesian Independence Preparatory Committee, which afterwards ratifies the Pancasila as the State Philosophy and the 1945 Constitution as the Constitution of the Republic of Indonesia.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.
Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

[https://archive.org/details/34-hari-abri-5-oktober-1945-img-9603 HARI ABRI, 5 OKTOBER 1945]
*DIORAMA 34: HARI LAHIR ABRI (5 OKTOBER 1945)
::Dalam Sidang Panitia Persiapan Kemerdekaan Indonesia (PPKI) tanggal 22 Agustus 1945 ditetapkan pembentukan Badan Keamanan Rakyat (BKR) yang bertugas memelihara keamanan dan ketertiban umum di daerahnya masing-masing. Untuk memperkuat perasaan keamanan umum maka pada tanggal 5 Oktober 1945 dibentuk Tentara Keamanan Rakyat. Peristiwa ini diperingati sebagai Hari Angkatan Bersenjata Republik Indonesia. Diorama ini menggambarkan Jenderal Sudirman sedang memeriksa pasukan Tentara Nasional Indone sia yang pada waktu itu anggota-anggotanya masih belum memiliki peralatan lengkap.

*DIORAMA 34: ARMED FORCES DAY (5 OCTOBER 1945)
::At the meeting of the Indonesian Independence Preparatory Committee, on August 22, 1945, it was decided to set up the organization of the Badan Keamanan Rakyat (People's Security Body) with the task of maintaining the security in their territory. To strengthen public confidence and order, on 5 October 1945 the People's Security Army was formed. This event is subsequently commemorated as the Republic of Indonesia Armed Forces Day. The diorama shows General Sudirman inspecting Indonesian National Army troops the members of which, at that time, were not well equipped yet.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.
Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

[https://archive.org/details/35-pertempuran-surabaya-10-november-1945-img-9608 PERTEMPURAN SURABAYA, 10 NOVEMBER 1945]
*DIORAMA 35: PERTEMPURAN SURABAYA (10 NOPEMBER 1945)
::Pada bulan Oktober 1945 Tentara Sekutu (Inggris) mendarat di Surabaya untuk melaksnakan tugas melucuti pasukan-pasukan Jepang dan membebaskan orang-orang Sekutu yang ditawan oleh Jepang. Mereka berjanji tidak mencampuri urusan dalam negeri Republik Indonesia. Ternyata Sekutu tidak menepati janjinya, sehingga menimbulkan beberapa insiden yang kemudian meningkat menjadi pertempuran. Campur tangan Pemerintah Republik Indonesia untuk menciptakan keadaan yang tenang tidak berhasil. Dalam salah satu insiden, komandan Brigade Inggris Brigjen Mallaby tertembak mati. Panglima Sekutu untuk daerah Jawa Timur, Mayjen Mansergh, mengultimatum agar rakyat Surabaya termasuk para pejabatnya menyerahkan senjatanya masing-masing sebelum pukul 06.00 tanggal 10 Nopember 1945. Ultimatum itu tidak dihiraukan rakyat Surabaya, mereka sama sekali tidak mengakui wewenang pihak Sekutu (Inggris) untuk memerintah Surabaya. Mereka hanya tunduk dan taat kepada Republik Indonesia. Pada tanggal 10 Nopember 1945 Sekutu mengerahkan segala kekuatannya di darat, laut dan udara dalam usaha membinasakan pejuang-pejuang di Surabaya. Serangan tersebut disambut dengan tekad pantang mundur oleh para pejuang sehingga beribu mereka gugur sebagai pahlawan kusuma bangsa. Diorama ini menggambarkan Pertempuran Surabaya, 10 Nopember 1945 yang kemudian diperingati secara resmi sebagai Hari Pahlawan.

*DIORAMA 35: BATTLE OF SURABAYA (10 NOVEMBER 1945)
::In October 1945, the Allied Forces (British Troops) landed in Surabaya to disarm Japanese forces and to set free Allied prisoners of war arrested by Japanese. The Allied Forces promised not to interfere in the domestic affairs of the Republic of Indonesia. As a matter of fact, the Allied Forces did not keep their words and some minor incidents occurred which finally broke out in battle. The government of the Republic of Indonesia endeavored to mediate but was unsuccessful. In one of the incidents, the British Brigade Com-mander, Brigadier General Mallaby, was assassinated. Major General Mansergh, the Allied Commander in East Java, issued an ultimatum calling the Surabaya people, including their leaders to surrender all their firearms to the Allied Forces before 06.00 a.m. on November 10, 1945. The people of Surabaya ignored the ultimatum as they did not recognize the Allied (British) to govern them. They only adhered to the government of the Republic of Indonesia. On November 10, 1945 the Allied land, sea and air forces attacked the Surabaya freedom fighters. The attack was met with bravery by the freedom fighters and a great many of them died in the battle as national heroes. The diorama shows the Battle of Surabaya 10 November 1945 which is then officially comтето-rated as National Heroes Day.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.
Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

[https://archive.org/details/36-peranan-gereja-katolik-roma-dalam-proses-penyatuan-bangsa-img-9610 PERANAN GEREJA KATOLIK ROMA DALAM PROSES PENYATUAN BANGSA]
*DIORAMA 36: KEGIATAN GEREJA KATHOLIK ROMA DALAM PROSES PENYATUAN BANGSA (1947)
::Gereja Katholik-Roma melalui misinya mengumpulkan pemuda-pemuda dari berbagai suku dan daerah di bawah naungan agamanya Dengan demikian terbentuk suatu masyarakat Katholik-Roma yang di dalamnya bersemi pula semangat nasioalisme Indonesia. Mereka giat mendirikan rumah sakit dan sekolah. Terhadap cita Gita Indonesia Merdeka Perhimpunan Politik Katolik Indonesia ikut menandatangani petisi Soetardjo tahun 1936 yang menuntut kepada pemerintah kolonial untuk memberikan kemerdekaan kepada bangsa Indonesia Demikian pula dalam masa perang kemerdekaan 1945-1949 mereka bersatu dengan segenap lapisan dan golongan untuk mengusir penjajah dan memper tahankan kemerdekaan. Diorama ini menggambarkan suasana perayaan Natal yang diadakan di Semarang dan dihadiri oleh hampir segenap lapisan masyarakat

*DIORAMA 36: THE ACTIVITY OF THE CATHOLIC CHURCH IN UNITING THE NATION (1947)
::The role of the Roman Catholic Church in the propagation of the Christian faith and the promotion of educational activities by the Roman Catholic missionaries contributed significantly to the unification of the nation. Besides, they were very active in building hospitals and schools. Having the Independence of Indonesia as its ideal. the Political Association of the Indonesian Catholic jointly signed the Soetardjo Petition in 1936 demand-ing the colonial government to give independence to the people of Indonesia. During the war defending the independence 19456 1949, the Roman Catholic Church united with other social groups and strata firmly to drive out the colonizer and defend freedom and independence. The diorama shows the atmosphere of the celebration of Christmas in Semarang Central Java, in the year 1947

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.
Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

[https://archive.org/details/37-gerilya-mempertahankan-kemerdekaan-1945-1949-img-9616 GERILYA MEMPERTAHANKAN KEMERDEKAAN, 1945-1949]
*DIORAMA 37: GERILYA DALAM PERANG KEMERDEKAAN (1945-1949)
::Pada masa perang kemerdekaan Angkatan Bersenjata Republik Indonesia masih memiliki peralatan yang sederhana untuk melawan musuh yang memiliki perlengkapan modern Perang Dunia II Angkatan bersenjata kita menggunakan taktik geniya, menyerang secara mendadak lalu menghilang. Gerilya ini kemudian dilaksanakan sebagai Perang Rakyat Semesta Di daerah-daerah yang dikuasai musuh disusun kantong kantong gerilya untuk menegakkan kekuasaan Republik Indonesia. Sistim tersebut berkembang menjadi sistim Wehrkreise dengan menyusun daerah pertempuran dalam lingkaran lingkaran yang dapat melaksanakan pertahanan secara berdiri sendiri dengan integrasi segenap kekuatan politik, ekonomi sosial budaya dan militer. Diorama ini menggambarkan keberhasilan sejumlah kecil pasukan gerilya menghadang serta menghancurkan iring iringan pasukan Belanda di Ambarawa

*DIORAMA 37: GEURRILLA IN INDEPENDENCE WAR (1945-1949)
::With the aid of obsolete weapons, the Indonesian Armed Forces and the civilian population conducted a guerrilla warfare against the Allied Forces who were trying to reinstall the Dutch colonial regime. Our troops applied the guerrilla tactics which were then camed out as a total war involving the whole population. In the region occupied by the enemy, pockets of the guerrillas were formed to establish the authority of the Republic of Indonesia. This system was developed into the Wehrinese system with the forming of operational areas in self Sustaining penmeters with the thoroughly integrated forces in the economic social, political and military elements. The diorama shows the Indonesian Armed Forces succeeding in attacking the Dutch Military convoy in Ambarawa

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.
Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

[https://archive.org/details/38-jenderal-soedirman-1948-img-9617 JENDERAL SOEDIRMAN, 1948]
*DIORAMA 38: JENDERAL SUDIRMAN MEMIMPIN PERJUANGAN GERILYA (1948-1949)
::Pada tanggal 19 Desember 1948 Belanda melancarkan aksı militer kedua dengan menyerang Yogyakarta. Ibukota Republik Indonesia. Pemerintah menunjuk Syafruddin Prawiranegara membentuk Pemerintah Darurat di Bukittinggi untuk mengambil alih sementara fungsi Pemerintah Pusat. Pada waktu itu Panglima Besar Jenderal Sudirman memutuskan untuk memimpin sendiri perjuangan gerilya. Walaupun penyakit beliau bertambah parah. nyala semangat juang beliau untuk memimpin gerilya tidak pernah terpadamkan Beliau baru kembali ke Yogyakarta pada bulan Juli 1949 setelah pemulihan kembali Ibukota Republik Indonesia di Yogyakarta. Diorama ini menggambarkan Jenderal Sudirman. memberikan dorongan semangat kepada prajurit TNI bahwa dalam keadaan sulit sekalipun pemimpin mereka tetap setia untuk memimpin perjuangan gerilya mempertahankan kemerdekaan

*DIORAMA 38: GENERAL SUDIRMAN LED A GUERRILLA STRUGGLE (1948-1949)
::On 19 December 1948 the Dutch launched the second military action by attacking Yogyakarta, the capital city of the Republic of Indonesia The government authorized Syafruddin Prawiranegara in Bukittinggi to form an emergency government to take over temporarily the function of the central government. At that time it was already known that the Com mander in Chief of the army, General Sudirman, who was being very sick, had decided that he himself would lead the guerrilla struggle. Eventhough he was be coming very ill, he never gave up and his sprint to lead the guernila forces was not extinguishable. He returned to Yogyakarta in July 1949 only after the capital city of the Republic of Indonesia reinstated in Yogyakarta. The diorama shows that General Sudirman gives TNI soldiers a great moral support and strong conviction that in whatever severe situation, he shall keep his promise and lead the fight.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.
Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

[https://archive.org/details/39-pengakuan-kedaulatan-27-desember-1949-img-9620 PENGAKUAN KEDAULATAN, 27 DESEMBER 1949]
*DIORAMA 39: PENGAKUAN KEDAULATAN (27 DESEMBER 1949)
::Perjuangan gigih rakyat Indonesia melawan agresi militer kedua Belanda dan adanya desakan Dewan Keamanan PBB memaksa Pemerintah Belanda untuk kembali ke meja perundingan Perundingan tersebut diadakan di Jakarta yang menghasilkan perjanjian Roem Van Royen pada tanggal 13 Mei 1949. Isinya adalah pemulihan pemerintahan Republik Indonesia di Yogyakarta, persiapan untuk mengadakan suatu Konferensi Meja Bundar dan penarikan tentara Belanda dari Yogyakarta. Konferensi Meja Bundar dibuka pada tanggal 23 Agustus 1949 di Den Haag, berakhir 29 Oktober dan ketetapan terpentingnya adalah Kerajaan Belanda mengakui kedaulatan atas Indonesia pada Republik Indonesia Serikat. Upacara resmi pengakuan kedaulatan tersebut berlangsung tanggal 27 Desember 1949 di Amsterdam dan pada hari yang sama upacara serupa diadakan di Jakarta. Diorama ini menggambarkan pengibaran bendera Merah Putih di Istana Merdeka Jakarta, dipimpin oleh Sultan Hamengku Buwono pada upacara pengakuan kedaulatan Republik Indonesia Serikat tanggal 27 Desember 1949.

*DIORAMA 39: RECOGNITION OF SOVEREIGNTY (27 DECEMBER 1949)
::The unyielding struggle against the second Dutch military action and the pressure of the United Nations Security Council forced the Dutch to return to the conference table. The conference was held in Jakarta which resulted in the Roem-Van Royen agreement on 13 May 1949. It contains that the Republic of Indonesia should be reinstated in Yogyakarta, the Round Table Conference should be conducted: and the Dutch army should be withdrawn from Yogyakarta. The Round Table Conference was opened in The Hague on 23 August 1949. It concluded on 29 October and its important provision that the Kingdom of the Netherlands recognized sovereignty over Indonesia to the Republic of the United States of Indonesia. The formal ceremony transferring sovereignty over Indonesia was held in Amsterdam, on 27 December 1949 On the same day a similar ceremony took place in Jakarta. The diorama shows the red and white flag raises in the Merdeka Palace in Jakarta at the recognition sovereignty ceremony led by Sultan Hamengku Buwono on 27 December 1949

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.
Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

[https://archive.org/details/40-kembali-ke-negara-kesatuan-1950-img-9621 KEMBALI KE NEGARA KESATUAN, 1950]
*DIORAMA 40: KEMBALI KE NEGARA KESATUAN (1950)
::Pengakuan kedaulatan terhadap Republik Indonesia Serikat diberikan pada tanggal 27 Desember 1949 oleh Kerajaan Belanda. Bentuk negara Serikat bukan tujuan bangsa Indonesia melainkan terpaksa diterima sebagai hasil kompromi dengan Belanda. Rakyat di setiap daerah menuntut agar bentuk negara federal dihapuskan dan diberlakukan kembali bentuk negara kesatuan. Beberapa negara bagian secara spontan menyatakan bergabung dengan Republik Indonesia yang pada waktu itu merupakan bagian dan Republik Indonesia Serikat. Puncak dan perjuangan itu adalah perundingan antara RIS dengan negara bagian Republik Indonesia yang menghasilkan keputusan tentang penghapusan bentuk negara Serikat dan pembentukan lærmbali negara kesatuan Republik Indonesia pada tanggal 17 Agustus 1950. Diorama ini menggambarkan Soepomo berpidato di hadapan massa menandai kembali terbentuknya Negara Kesatuan Republik Indonesia

*DIORAMA 40: RETURN TO THE UNITARY STATE (1950)
::The recognition of the sovereignty over Indonesia to the Republic of the United States of Indonesia was given by the Kingdom of the Netherlands on 27 December 1949. The Federation States was not the main purpose of the Indonesian people but was forced upon them and was only tolerated as a result of compromise. The people in the regions had rejected to have the form of a federal states and they demanded the return to the Unitary State Consequently, several members of the United States of Indonesia spontaneously declared unification in the Republic of Indonesia. The struggle to return to the Unitary State reached its peak with the abolishment of the Federal States and the declaration of return to the Unitary State of the Republic of Indonesia on 17 August 1950 as the result of the Interstate Conference. The diorama shows Soepomo gives his speeches before the mass meeting signifying the return to the Unitary State of the Republic of Indonesia

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.
Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

[https://archive.org/details/41-indonesia-menjadi-anggota-pbb-28-sepetember-1950-img-9625 INDONESIA MENJADI ANGGOTA PBB, 28 SEPETEMBER 1950]
*DIORAMA 41: INDONESIA MENJADI ANGGOTA PERSERIKATAN BANGSA-BANGSA (28 SEPTEMBER 1950)
::Perserikatan Bangsa-Bangsa memainkan peranan penting dalam memelihara perdamaian dunia serta mengatasi perbedaan diantara negara-negara di dunia, dan membantu mempercepat proses dekolonisasi. PBB serta organisasi bawahannya membantu menyelesaikan sengketa Indonesia-Belanda, maka Indonesia cenderung menjadi anggota badan dunia tersebut. Pada tanggal 28 September 1950, dalam Sidang Umum PBB di Flushing Meadow, Lake Success, Indonesia dengan suara bulat resmi diterima menjadi anggota PBB. Diorama ini menggambarkan upacara pengibaran bendera Merah Putih di PBB, New York yang menandai masuknya Indonesia menjadi anggota PBB

*DIORAMA 41: THE UNITED NATION MEMBERSHIP (28 SEPTEMBER 1950)
::The United Nations Organization plays an important role in maintaining world peace and overcoming differences among nations. It also helps in accelerating the process of decolonization in the world. It was already known that the United Nations and its subordinate agencies had assisted in settling the dispute between Indonesia and the Dutch. Therefore, Indo-nesia felt the urgency to become member of the world body. On 28 September 1950 the United Nation Gen-eral Assembly held in Flushing, Lake Success unani-mously approved Indonesia as its sixtieth member. The diorama shows on 28 September 1950 the Red and White flag raises at the ceremony admitting the membership of Indonesia to the United Nations.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.
Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

[https://archive.org/details/42-konferensi-asia-afrika-18-24-april-1955-img-9627 KONFERENSI ASIA AFRIKA, 18-24 APRIL 1955]
*DIORAMA 42: KONPERENSI ASIA-AFRIKA (18 - 24 APRIL 1955)
::Sesudah berakhirnya Perang Dunia II muncul Blok Barat dan Blok Timur. Sejak saat itu dunia diliputi mendung ketidakpastian dan merasakan ketegangan karena kedua Blok tersebut terlibat perebutan pengaruh serta perlombaan persenjataan yang setiap saat dapat memicu perang nuklir. Menyadari akan bahaya ini rakyat Asia-Afrika yang berbeda-beda sistim politiknya mencari suatu persatuan untuk bersama-sama berusaha menyelamatkan dunia dari kehancuran nuklir dan membentuk dunia baru yang damai dan sejahtera bebas dari kolonialisme dan imperialisme. Melalui konperensi-konperensi di Kolombo tanggal 28 April 2 Mei 1954 dan di Bogor tanggal 28 - 31 Desember 1954 lima negara sponsor konperensi Asia-Afrika, Indonesia, India, Birma, Pakistan dan Srilanka menetapkan langkah-langkah yang lebih konkrit untuk konperensi Asia-Afrika. Konperensi Asia-Afrika yang kemudian dilaksanakan di Bandung tanggal 18-24 April 1955, dihadiri oleh 30 negara-negara Asia-Afrika dan menghasilkan suatu keputusan yang terkenal dengan nama "Dasasila Bandung". Diorama ini menggambarkan Presiden Republik Indonesia menyampaikan pidato pada upacara pembukaan Konperensi Asia-Afrika tanggal 18 April 1955 di Bandung.

*DIORAMA 42: AFRO-ASIAN CONFERENCE (18-24 APRIL 1955)
::After World War II emerged two opposing forces, the West and the East Block. Since then the world was wrapped in a mist of uncertainty and felt the strain, because the two blocks fought for the supremacy in influence and weaponry in a severe cold war, which at anytime threatened the start of a nuclear warfare. Aware of this danger the Asian and African nations which have several different political aspirations tried to wedge a way to unite efforts to save the world from the disaster of nuclear warfare, and form a new world, secure and peaceful free from colonialism and imperialism. Through the preliminary conferences on 28 April -2 May 1954 in Colombo and on 28-31 December 1954 in Bogor five nations that sponsored the Afro-Asian Conference, Indonesia, India, Myanmar, Pakistan and Srilangka set up a concrete platform to hold the conference. On 18 April 1955 in Bandung the Afro-Asian Conference was opened, attended by 30 delegates. It concluded on 24 April and its result was already known as the Declaration of Ten Principles of Bandung. The diorama shows President of the Republic of Indonesia gives his speeches at the opening ceremony of the conference on 18 April 1955 in Bandung.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.
Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

[https://archive.org/details/43-pemilihan-umum-pertama-1955-img-9629 PEMILIHAN UMUM PERTAMA, 1955]
*DIORAMA 43: PEMILIHAN UMUM PERTAΜΑ (1955)
::Sejak semula Pemerintah Republik Indonesia menyadari bahwa pemilihan umum harus dilaksanakan sebagai salah satu sarana demokrasi. Akan tetapi pada tahun-tahun pertama berdirinya. Republik Indonesia harus menghadapi musuh dari luar, sehingga pemilihan umum sulit dilaksanakan. Barulah sesudah tahun 1950 usaha untuk menyelenggarakan pemilihan umum digiatkan kembali dengan pembuatan Undang-Undang Pemilihan Umum. Keinginan untuk melaksanakan pemilihan umum dapat menstabilkan keadaan politik waktu itu dan pembangunan dapat dilaksanakan dengan sebaik-baiknya. Akhirnya semasa kabinet Burhanuddin Harahap. pemilihan umum dapat dilaksanakan, tanggal 29 September 1955 untuk wakil-wakil rakyat di Dewan Perwakilan Rakyat dan tanggal 15 Desember 1955 untuk wakil-wakil rakyat di Dewan Konstituante. Diorama ini menggambarkan peristiwa pemilihan umum pertama di Indonesia tahun 1955.

*DIORAMA 43: THE FIRST GENERAL ELECTION (1955)
::From the very beginning, the Government of the Republic of Indonesia has been aware that there had to be an election in order to implement the principle of democracy. But, since beginning of her existence the Republic of Indonesia had to face enemies from outside, so that it was very difficult to accomplish elections In 1950, efforts to accomplish a general election took a concrete form with the legislation of the law of general election. The desire to act was very great, with the hope that the result of the elections would stabilize the political situation, enabling the building up of the country with the most desirable effect. Finally, under the cabinet of Burhanuddin Harahap administration the election was carried out on 29 September 1955 and on 15 December 1955 respectively for the people's representatives in Legislative Assembly and Constituent Assembly. The diorama shows the atmosphere of the first general election in 1955.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.
Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

[https://archive.org/details/44-pembebasan-irian-jaya-1-mei-1963-img-9631 PEMBEBASAN IRIAN JAYA, 1 MEI 1963]
*DIORAMA 44: PEMBEBASAN IRIAN JAYA (Ι ΜΕΙ 1963)
::Dengan dasar pemikiran bahwa wilayah kekuasaan Republik Indonesia meliputi seluruh wilayah bekas jajahan Hindia Belanda, maka segala upaya pembebasan Irian Jaya terus dijalankan. Usaha-usaha pengembalian Irian Jaya yang masih dikuasai Belanda ke dalam wilayah kekuasaan Republik Indonesia melalui meja perundingan selalu gagal. Begitupun melalui sidang-sidang Majelis Umum Perserikatan Bangsa-Bangsa. Ketika Belanda bermaksud memberikan hak menentukan nasib sendiri pada rakyat Irian Jaya yang menjurus untuk melepaskan dari Republik Indonesia dan membentuk pemerintah boneka, Indonesia memutuskan untuk membebaskan Irian Jaya dengan kekuatan senjata. Dalam rapat umum tanggal 19 Desember 1961 di Yogyakarta, Presiden mengumumkan Tri Komando Rakyat (Trikora), yang meliputi: Gagalkan pembentukan negara Papua bikinan kolonialis Belanda, Kibarkan Sang Merah Putih di Irian Jaya, dan Bersiaplah untuk mobilisasi umum. Satuan tugas dengan nama Komando Mandala dibentuk yang dipimpin oleh Mayor Jenderal Soeharto, dan dengan demikian dimulailah operasi militer ke Irian Jaya. Dalam keadaan demikian pada tanggal 15 Agustus 1962 tercapai Persetujuan New York antara Indonesia-Belanda. Pada tanggal 1 Mei 1963 secara resmi Belanda melalui PBB menyerahkan kekuasaan atas Irian Jaya kepada Indonesia. Diorama ini menggambarkan Sudjarwo Tjondronegoro mewakili Indonesia pada upacara resmi penyerahan kedaulatan Irian kepada Republik Indonesia pada tanggal 1 Mei 1963 di Jayapura. Bendera Belanda diturunkan dan bendera Indonesia dinaikkan.

*DIORAMA 44: THE LIBERATION OF IRIAN JAYA (1 MAY 1963)
::Based on the conception that the Republic of Indonesia teritory of sovereignty consists of the entire former the Netherlands Indies Territory, the Republic kept on taking all necessary measures to liberate Irian. Effort to reclaim Irian back in the unity from the Dutch authority to Indonesia by means of negotiations as well as through the General Assembly of the United Nations Organization had never been successful, When the Dutch intended to give the Irian people the right of self determination which had the tendency to make it an independent state, Indonesia lost its patience which she had been trying to endeavour for 12 years and decided to take Irian by force. On 19 December 1961 at a mass meeting in Yogyakarta President declared The People's Three Commands: Foiling the establishment of the Papua State setting up by the Dutch, Raising the Red and White flag in Irian, and Getting ready for general mobilization. The special task force, known as Mandala Com-mand was set up led by Major General Soeharto and so began the military operations to Irian. Under such circumstances on 15 August 1962 Indonesia and the Dutch reached the New York agree-ment. On May 1963 the Dutch through the good offices of the United Nations officially transferred the sovereignty over Irian to the Republic of Indonesia. The diorama shows Soedjarwo Tjondronegoro, Indonesia's representative, at the ceremony transferring sovereignty over Irian to the Republic of Indonesia on May 1963 in Jayapura. The Dutch flag is lowered and the Indonesian flag raised.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.
Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

[https://archive.org/details/45-hari-kesaktian-pancasila-1-oktober-1965-img-9637 HARI KESAKTIAN PANCASILA, 1 OKTOBER 1965]
*DIORAMA 45: HARI KESAKTIAN PANCASILA (1 OKTOBER 1965)
::Pada masa pemerintahan Orde Lama, PKI meningkatkan serangannya terhadap kekuatan Pancasila. Karena menurunnya kesehatan Presiden Soekarno saat itu. PKI merasa adanya bahaya yang akan mengancam eksistensinya. Yang dianggap bahaya terbesar adalah pihak TNI-Angkatan Darat, karena Pemimpinnya bersikap waspada terhadap kegiatan PKI yang hendak menyelewengkan Pancasila. Untuk mendiskreditkan lawannya itu, PKI membuat fitnah terhadap Pimpinan TNI Angkatan Darat seolah-olah mereka membentuk Dewan Jenderal yang akan merebut kekuasaan negara. Dengan dalih mendahului coup Dewan Jenderal itu maka pada tanggal | Oktober 1965 PKI, dibantu oleh oknum-oknum ABRI, melancarkan Gerakan 30 September dan melakukan pembunuhan terhadap pimpinan TNI-Angkatan Darat di Lubang Buaya, Jakarta Timur. Tetapi rakyat yang berjiwa Pancasila sejati segera sadar bahwa gerakan itu bertujuan untuk melenyapkan Pancasila dan UUD 45. Dibawah pimpinan Mayor Jenderal Soeharto. Panglima Kostrad, usaha perebutan kekuasaan oleh Gerakan 30 September/PKI berhasil digagalkan dan gerakannya ditumpas dalam waktu singkat. Peristiwa ini merupakan kemenangan dari Pancasila yang telah benar-benar dihayati oleh seluruh rakyat. Diorama ini menggambarkan jenazah para Pahlawan Revolusi diangkat dari sumur di Lubang Buaya dipimpin langsung oleh Mayor Jenderal Soeharto.

*DIORAMA 45: PANCASILA SANCTITY DAY (1 OCTOBER 1965)
::During the Old Order regime, the Indonesian Communist Party increased its offensive against the forces of Pancasila. Because of the decline of Presi-dent Soekarno's health, who was its ally and protec-tor, the Indonesian Communist Party felt the danger that threatened its existence. The biggest danger they considered was the Indonesian Army (TNI-AD), because TNI-AD commander were very much alert of the Indonesian Communist Party activities that had the aim of diverting the Pancasila. To bring discredit to his opponent, they slandered the TNI-AD leaders accusing them of forming a Council of General with which to carry out a coup d'etat. With the excuse of intercepting the coup d'etat of the Council of Generals, on October 1, 1965, the In-donesian Communist Party with several officers from the Armed Forces, launched the 30 September Move-ment by killing the top leaders of the army in Lubang Buaya, East Jakarta. But the Indonesian people who are true Pancasialists were immediately aware that the Indonesian Communist Party movement was aimed at destroying the Pancasila state philosophy and the 1945 Constitution. Under the command of Major General Soeharto the effort for a coup d'etat by the Indonesian Commu-nist Party were thwarted, and the movement was destroyed within a very short time. This event proved of the invulnerability of the Pancasila as it is in the soul of the people. The diorama shows on 4 October 1965 the corpses of the Revolution Heroes are lifted from the well in Lubang Buaya led by Major General Soeharto.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.
Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.
[https://archive.org/details/46-aksi-aksi-tri-tuntutan-rakyat-1966-img-9640 AKSI-AKSI TRI TUNTUTAN RAKYAT, 1966]

*DIORAMA 46: AKSI-AKSI TRI TUNTUTAN RAKYAT (1966)
::Semenjak gagalnya coup berdarah yang dilakukan oleh Partai Komunis Indonesia, pemerintahan Orde Lama menjadi goyah. Di samping itu krisis politik dan ekonomi semakin parah. Mahasiswa sebagai generasi muda yang tergabung dalam Kesatuan Aksi Mahasiswa Indonesia (KAMI) mengajukan Tri Tuntutan Rakyat (Tritura), meliputi 1. Bubarkan PKI 2. Bersihkan Kabinet dari unsur-unsur G-30-S/PKI 3. Turunkan harga-harga. Diorama ini menggambarkan suasana gelombang demonstrasi yang pada saat itu diadakan di area Taman Medan Merdeka Utara, Jakarta.

*DIORAMA 46: THE PEOPLE'S THREE DEMAND ACTION (1966)
::Since the failure of the bloody coup d'etat of the Indonesian Communist Party, the Old Order regime became unstable. Besides, political and economical crisis apparent. Throughout the country, universities and high schools students with the support of the Pancasila forces and the Armed Forces, demanded: 1 Banning the Indonesian Communist Party 2. Purging communist elements from the Dwikora Cabinet 3. Lowering prices of basic commodities.The diorama shows the demonstration to voice the people's Three Demands held in northern area of Medan Merdeka Square, Jakarta.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.
Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

[https://archive.org/details/47-surat-perintah-11-maret-1966-img-9645 SURAT PERINTAH 11 MARET 1966]
*DIORAMA 47: SURAT PERINTAH SEBELAS MARET (1966)
::Situasi negara Indonesia sesudah digagalkannya kudeta Gerakan 30 September/PKI merupakan masa kritis yang menggoncangkan sendi-sendi negara. Presiden Soekarno beserta pemerintahannya yang penuh dengan oknum-oknum Gerakan 30 September/PKI sama sekali kehilangan kepercayaan rakyat. Pada tanggal 11 Maret 1966 Presiden Soekarno mengeluarkan Surat Perintah kepada Jenderal Soeharto untuk memulihkan kewibawaan Pemerintah dengan jalan mengambil semua tindakan yang dianggap perlu. Jenderal Soeharto dengan cepat melaksanakan Surat Perintah | Maret 1966 itu dengan memenuhi dua diantara. Tri Tuntutan Rakyat, yakni membubarkan Partai Komunis Indonesia dan membersihkan kabinet dari menteri-menteri yang ada indikasi terlibat Gerakan 30 September/PKI atau memperlihatkan itikad kurang baik terhadap usaha-usaha pemulihan keamanan dan ketertiban. Dalam diorama ini digambarkan tiga Perwira Tinggi Angkatan Darat, yakni Mayjen Basuki Rahmat. Brigjen M. Jusuf dan Brigjen Amir Machmud sedang melaporkan Surat Perintah 11 Maret 1966 kepada Jenderal Soeharto, yang sedang berbaring karena sakit.

*DIORAMA 47:DIORAMA 47: THE WRITTEN ORDER OF MARCH ELEVENTH (1966)
::The time after the failure of the September 30 Movement/the Indonesian Communist Party, a new crisis emerged which shook the foundation of the country. On 11 March 1966 President Soekarno issued his mandate to General Soeharto in order to reinstate the Government authority and restore the national security by taking any necessary measures. General Soeharto immediately executed the or-der by fulfilling two of the People's Three Demands. i.e. Banning the Indonesian Communist Party, and purging the cabinet from the ministers who were involved in the September 30 Movement/ Indonesian Communist Party or those who hampered efforts to recovering security and order. The diorama shows General Soeharto as he was very sick - lying on bed receives, from left to right, army officers Brigadier General Amir Machmud, Major General Basuki Rachmat and Brigadier General M. Jusuf who have come to report the written order of March Eleventh.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.
Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

[https://archive.org/details/48-penentuan-pendapat-rakyat-irian-jaya-1969-img-9646 PENENTUAN PENDAPAT RAKYAT IRIAN JAYA, 1969]
*DIORAMA 48: PENENTUAN PENDAPAT RAKYAT IRIAN BARAT (1969)
::Salah satu isi persetujuan New York tanggal 15 Agustus 1962 mengenai penyerahan Irian Barat kepada Indonesia adalah bahwa pada tahun 1969 harus diadakan Penentuan Pendapat Rakyat (Pepera), apakah memilih Republik Indonesia atau tidak. Pelaksanaannya akan diawasi oleh Perserikatan Bangsa-Bangsa. Timbul masalah dalam pelaksanaannya, apakah setiap orang memberikan suara langsung sebagaimana usul wakil PBB, Duta Besar Bolivia Ortin Sede, atau perwakilan setiap kelompok melalui pemilihan secara bertingkat seperti usul Indonesia. Karena usul wakil PBB adalah amat sulit untuk dilaksanakan dalam kondisi seperti di Irian Barat, usul Indonesia yang diterima. Dengan disaksikan oleh wakil-wakil PBB, pers dalam dan luar negeri serta peninjau-peninjau dari beberapa kedutaan asing di Jakarta, dimulailah Pepera tersebut dari bulan April - Juni 1969, untuk pemilihan anggota Dewan Musyawarah Kabupaten (Regency Consultative Assemblies) di mana terpilih 1026 anggota mewakili 8 kabupaten, diantaranya 43 wanita. Keputusan Dewan Musyawarah Pepera dengan suara bulat memilih Irian Barat tetap merupakan bagian dari Negara Kesatuan Republik Indonesia. Padá tanggal 19 November 1969, PBB mensahkan hasil Pepera tersebut dengan 84 suara setuju, 6 menolak dan 30 suara abstain (terutama negara Afrika). Diorama ini menggambarkan suasana Sidang Musyawarah Penentuan Pendapat Rakyaat Irian Barat pada bulan Juli 1969.

*DIORAMA 48: REFERENDUM OF THE PEOPLE OF WEST IRIAN (1969)
::The contents of the agreement of New York on August 15, 1962, concerning the transfer of sovereignty of West Irian to Indonesia, said that in 1969, the people of Irian should be given the right of self-determination in order to choose whether they would consent to be a part of Indonesia or otherwise. The execution would be under supervision of the United Nations. Complication arose concerning the procedure of execution whether every voter would directly give his vote, as was suggested by the delegation of the United Nations, Bolivian Ambassador Ortin Sede, or repre-sentatives of each group and so voting in stages (Indonesia's proposal). Based on the geographical con-dition in Irian, finally Indonesia's proposal was accepted. From April to June 1969, the Indonesia's govern-ment held a United Nations' supervised referendum in West Irian, witnessed by United Nations representatives, local and foreign journalists and observers from several embassies in Jakarta in which 1026 delegates were elected representing 8 regencies, among them 43 were women. The result was a unanimous option for joining the Republic of Indonesia as an integral part of the Republic. On 19 November the United Nations approved the result of the referendum after taking of a vote, 84 in favor, 6 opposed and 30 abstain (mostly African States). The diorama shows the atmosphere of the People's Referendum Assembly in Irian in July 1969.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.
Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

=====[https://archive.org/details/img-9391a_202603/IMG_9391a.jpg (The museum)]=====

::Interior of Museum Sejarah Nasional (National History Museum), located in the basement of Monas.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

====Hasil Jadi====
*[https://archive.org/details/hasil-jadi-1 MON_JAM_00000]
::Photographic documentation of the installation process of selected dioramas at the National Monument (Monas), undertaken by Edhi Sunarso with the Keluarga Arca sculptor team. The series includes Diorama No. 29, Youth Pledge; No. 17, The Aceh War—initially featuring a miniature structure resembling the Baiturrahman Grand Mosque and subsequently removed from the final display; No. 37, Guerrilla Warfare during the War of Independence; No. 30, Romusha; No. 33, Ratification of Pancasila as the Foundation of the State and the 1945 Constitution (including an artist portrait before the diorama); No. 20, Cultivation System (Forced Planting); No. 23, National Awakening; No. 6, Palapa Oath; and No. 14, Diponegoro War, as well as documentation of sculptural elements in preparation prior to installation. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/hasil-jadi-2 MON_MER_00000]
::Photographic documentation of the installation and completion of the historical dioramas at the National Monument (Monas), undertaken by Edhi Sunarso with the Keluarga Arca sculptor team. The series traces a broad arc of Indonesian history: from early maritime and temple cultures—Sriwijaya Seaport and Borobudur Temple under Construction—to the fleets of Majapahit and Bugis polities and the Palapa Oath; from major regional conflicts, including the Makassar, Imam Bonjol, and Diponegoro wars, and the formation of Jayakarta, to guerrilla warfare during the War of Independence; from the emergence of modern organisations such as STOVIA and the Indonesian Association to the Romusha period; and onward to post-independence milestones, including the Asia–Africa Conference, the Liberation of West Irian, and the Recognition of Sovereignty, culminating in later national events such as the Three Demands of the People (Tritura), Pancasila Sanctity Day, and the Order of 11 March 1966 (Supersemar). The documentation further includes interior views of the diorama chamber and stages of sculptural preparation and installation on site. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/hasil-jadi-3 MON_POST_00000]*
::Photographic documentation of members of the Keluarga Arca sculptor team at work, both in the studio and on site at the National Monument (Monas). The series includes the installation of Diorama No. 7, Majapahit War Fleet; No. 40, Returning to the Unitary State; No. 45, Pancasila Sanctity Day; and No. 46, Three Demands of the People (Tritura), undertaken under the direction of Edhi Sunarso with the Keluarga Arca team. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

====Pemasangan Diorama====
*[https://archive.org/details/mon-bwf-00000 MON_BWF_00000]
::Archival photographs documenting the early site condition and foundational structure of Monumen Nasional, foregrounding Edhi Sunarso and the Keluarga Arca sculptor team across successive stages of preparation, colouring, arrangement, and installation. The images encompass Diorama No. 6 Palapa Oath; No. 14 Diponegoro War; No. 17 Aceh War; No. 18 Sisingamangaraja’s Resistance; No. 20 Forced Cultivation; No. 33 Ratification of Pancasila as the Philosophical Foundation of the State and the 1945 Constitution; No. 39 Recognition of Sovereignty; and No. 46 Three Demands of the People’s Action (Tritura). Together, they trace processes ranging from miniature architectural fabrication and background painting to figure placement and the lived working conditions within the diorama chambers. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/mon-mon-kun-00000 MON_MON_KUN_00000]
::Archival photographs featuring Kustiyah Edhi Sunarso, Edhi Sunarso, and members of the Keluarga Arca sculptor team during the installation of the historical dioramas at Monumen Nasional. The images include Kustiyah Edhi Sunarso standing before Diorama No. 1 Ancient Indonesian Society; artists gathered in front of a diorama chamber under installation; an artist painting the background of a diorama; an artist observing Diorama No. 1; Edhi Sunarso and Kustiyah Edhi Sunarso with fellow artists at the installation site; and the placement of sculptural figures for Diorama No. 30 Romusha. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/mon-mon-mer-00000 MON_MON_MER_00000]
::Archival photographs documenting members of the Keluarga Arca sculptor team during preparatory stages of the diorama installations at Monumen Nasional, including the preparation of sculptural figures prior to placement and the arrangement of diorama chambers before installation. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/pro-mon-jak-00000 PRO_MON_JAK_00000]
::Archival photographs documenting Edhi Sunarso and members of the Keluarga Arca sculptor team during the installation and viewing of dioramas at Monumen Nasional, including scenes from Diorama No. 30 Romusha, No. 45 Pancasila Sanctity Day, and No. 1 Ancient Indonesian Society. The images capture stages of sculptural installation, background painting, and relief-making, as well as moments of artists working within the diorama chambers and standing before completed scenes. Also included are portraits of Edhi Sunarso and Kustiyah Edhi Sunarso with fellow artists at the monument, along with personal photographs depicting family life and travels in Central Indonesia. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

====Pembuatan Diorama====
*[https://archive.org/details/pro-mon-jog-00000 PRO_MON_JOG_00000]
::Archival photographs documenting sculptural production at the Keluarga Arca studio in Yogyakarta for the historical dioramas of Monumen Nasional, including artists modelling clay figures and preparing sculptural groups prior to installation. The images feature works intended for Diorama No. 6 Palapa Oath, No. 18 Sisingamangaraja’s Resistance, No. 29 Youth Pledge, and No. 33 Ratification of Pancasila as the Philosophical Foundation of the State and the 1945 Constitution, alongside views of studio processes, grouped clay figures awaiting transport, and individual sculptural studies. The sequence concludes with a photograph of an artist standing before Diorama No. 1 Ancient Indonesian Society at the monument. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

===Kliping===
*[https://archive.org/details/image-0_202602 Tabloid Selecta No. 796]
::The article “Edhi Sunarso, Creator of Major Statues in Jakarta” in Tabloid Selecta No. 796 summarizes Edhi Sunarso’s journey as an important Indonesian sculptor, starting from his role in creating major monuments such as the Welcome Monument, the West Irian Liberation Monument, and the Dirgantara Monument, his role as Head of the ASRI Sculpture Department, his international achievements in London and India, as well as an explanation of the technical process of making bronze statues and dioramas, to his personal life story full of struggles since childhood, his involvement in the war of independence, his experience of being arrested and tortured by the Dutch, the process of searching for his identity and family, and his determination to pursue art education in Yogyakarta which ultimately led him to become a great artist with works that are recognized and collected nationally and internationally. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

===Patung 4 Sisi (tidak jadi dibuat)===
*[https://archive.org/details/img-000_202603 Amplop Patung Banteng_]
::Archival photographic sets documenting sculptural studies and unrealised monument proposals by Edhi Sunarso and the Keluarga Arca group. The materials include grouped photographs of maquettes for the proposed four-sided statues intended for Monumen Nasional, recorded from multiple angles and in several study sheets titled Monas Study Package 1 and Monas Model Study III. The project was commissioned by President Soekarno but ultimately remained uncompleted. Also included are photographic studies related to other monumental projects, such as sculptural models for the Musi River Monument, including an elephant statue model bearing President Soekarno’s signature on the mounting sheet, and documentation of the statue’s production process. Additional images capture studio and site moments involving members of the Keluarga Arca team, views of sculptural models—including figures holding anchors—and scenes around the Monas complex, including the bull statue and gatherings of artists and visitors. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/mon-pat-4-si-00000 MONAS - Patung 4 Sisi]
::Archival photographs documenting sculptural studies and studio processes at the Keluarga Arca sculpture studio in Yogyakarta, including numerous clay maquettes produced for the proposed four-sided statue project at Monumen Nasional, commissioned by President Soekarno to Edhi Sunarso and the Keluarga Arca group but ultimately unrealised. The materials record multiple views of the clay figure models prepared for the project, alongside studio scenes of sculptors working on statues and relief elements, including warrior figures and other sculptural studies. The set also includes images of Edhi Sunarso modelling clay figures with a live sitter, artists arranging composite statue-and-relief models, and group photographs of Edhi Sunarso with members of the Keluarga Arca team and their sculptural works in the studio. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/studi-patung-banteng-monas Studi Patung Banteng MONAS]
::Documentation photographs of clay bull statue models produced by Edhi Sunarso and the Keluarga Arca group, recorded across multiple study stages: First Study (3 views and 1 additional documentation image), Second Study (3 views), Third Study (2 documentation images), Fourth Study (3 views), Fifth Study (2 views), Sixth Study (3 views), Seventh Study (3 views), Eighth Study (3 documentation images), Ninth Study (3 views), Tenth Study (2 views), Twelfth Study (3 views), and Fourteenth Study (3 views). Several documentation photographs bear the signature of President Soekarno dated 7 January 1966, indicating approval of the proposed model. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

===Penerbitan seputar Monas===
====[https://archive.org/details/katalog-museum-sejarah-nasional-1977 Katalog Museum Sejarah Nasional, 1977]====
::The National History Museum Catalogue (1978) documents the chronological presentation of Indonesian history through a series of dioramas, spanning from prehistoric societies to the national struggle to maintain independence. The publication outlines the historical narratives represented in each diorama, including key events and significant figures, and describes the visual conception of the diorama as a medium for public historical education.

====[https://archive.org/details/keagungan-perjuangan-bangsa-indonesia-1996 Keagungan Perjuangan Bangsa Indonesia, 1996]====
::The book Monumen Nasional: Monumen Perjuangan Bangsa Indonesia yang Agung (1996) documents the history and philosophical meaning of National Monument as a national monument commemorating the Proclamation of Indonesian Independence on 17 August 1945. The publication outlines the origins, objectives, and three principal stages of construction undertaken between 1961 and 1975, and describes key architectural components of the monument, including the History Museum Room, the Independence Room, and the Flame of Independence.

====[https://archive.org/details/rencana-penyempuranaan-diorama-museum-sejarah-di-tugu-nasional Rencana Penyempuranaan Diorama Museum Sejarah di Tugu Nasional]====
::The publication documents the proposed improvement of the dioramas in the National History Museum at the National Monument (Monas), prepared following the Decree of the Minister of State Secretary No. 6 of 2007 concerning the formation of a committee for the enhancement of the museum’s historical diorama displays. The programme involved collaboration between the Indonesian Historians Society, the Faculty of Cultural Sciences, University of Indonesia, architects, and the original diorama designers, and presents recommendations derived from a comprehensive study addressing historical interpretation, factual accuracy, and the technical and aesthetic aspects of the existing diorama installations.

====[https://archive.org/details/tugu-nasional-laporan-pembangunan-1978_202602 Tugu Nasional - Laporan Pembangunan, 1978]====
::National Monument Book: Construction Report (1978) is an official publication documenting the planning, construction, and completion of the National Monument (Monas) as a monument commemorating the Proclamation of Indonesian Independence on 17 August 1945. The volume records the origins of the monument’s conception, the symbolic architectural ideas representing national identity and the spirit of independence, and the stages of construction from initiation to completion, including the participation of architects, engineers, and technical specialists, the use of construction technologies and materials, and the development of internal spaces such as the National History Museum and the summit monument structure. The publication was prepared under the direction of Prayogo and compiled by the DKI Jakarta Office of Building Design and Conservation under the leadership of W. Pragantha, with advisers Soedarmadji and J. H. Damais. Text contributions were written by Soedarsono, Imron Sugiono, and Wahjudiono, with documentation prepared by the Office of Building Design and Conservation as implementing authority for the project, graphic design by Didit Chris, Purnomo M., and Guruh Sulawat, and printing by P.T. Jayakarta Agung Offset.

===Relief dan Benteng Monas===
*[https://archive.org/details/mon-relief-00000 MON_RELIEF_00000]
::Archival photographs documenting the production and installation of narrative reliefs at the National Monument complex, showing artists carving and finishing relief panels, studio and on-site working processes, and scenes of sculptors resting or working collectively under the supervision of Edhi Sunarso. The photographs also record completed and in-progress relief panels depicting figures and episodes from Indonesian national history, including representations of Wage Rudolf Soepratman, Ki Hadjar Dewantara, Tjipto Mangoenkoesoemo, Ernest Douwes Dekker, Mohammad Hatta, and Sukarno. Additional images document supervisory visits, inspection scenes involving project officials, and general views of the relief programme forming part of the historical narrative environment of the monument. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

===Riset diorama===
====[https://archive.org/details/adegan-pepera-irian-barat Adegan Pepera Irian Barat]====
*Archival photographs documenting the Act of Free Choice (Penentuan Pendapat Rakyat / PEPERA) conducted in several locations across West Irian in 1969, recording public assemblies, local participants, and the political process determining the territory’s integration into the Republic of Indonesia. The images were later used as visual research material in the development of historical dioramas depicting the PEPERA episode for the narrative programme of the National Monument. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

====[https://archive.org/details/adegan-tanam-paksa Adegan Tanam Paksa]====
*Archival sketches and documentary photographs assembled as visual research material for the development of historical dioramas depicting the system of Cultivation System (Cultuurstelsel) in the Dutch East Indies. The materials document reference imagery and preparatory studies used by artists in constructing narrative scenes of forced agricultural production for the historical programme of the National Monument. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

====[https://archive.org/details/amp-pot-00 Amplop Potret]====
*Archival photographs, portraits, and sketches assembled as visual reference material for the research and development of historical dioramas at the National Monument. The materials include documentary photographs from Jayapura—including scenes at the Hollandia government building used for diorama studies related to Act of Free Choice—alongside portrait references of prominent Indonesian historical figures such as Ahmad Dahlan, Mas Mansur, Wahid Hasyim, Mohammad Yamin, Wage Rudolf Supratman, Djuanda Kartawidjaja, Ernest Douwes Dekker, Abdul Muis, Sutan Sjahrir, Sam Ratulangi, Pierre Tendean, Ki Hajar Dewantara, Supeno, Ferdinand Lumban Tobing, Soepomo, Oemar Said Tjokroaminoto, Tjipto Mangunkusumo, Raden Mas Tirto Adhi Soerjo, Samanhudi, Albertus Soegijapranata, and Agus Salim. Additional reference images include portraits of other Indonesian figures, a sketch of Tuanku Imam Bonjol, scenes of Indonesian soldiers, diplomatic receptions with the Swiss Guard, and documentary photographs of children in traditional dress, reflecting the diverse visual sources consulted for the construction of historical narrative scenes. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

====[https://archive.org/details/ske-dio-mon-00 Amplop Sketsa Diorama Monas]=====
*A series of photographs of sketches depicting several historical diorama scenes at the National Monument (Monas), including “Youth Pledge,” “The Aceh War,” “The Battle of Surabaya,” “Indonesian Association,” “The Palapa Oath,” “National Awakening,” “The Struggle to Return to the Unitary State,” “The Battle of Jagaraga,” “The Majapahit War Fleet,” “Recognition of Sovereignty,” “The Liberation of Irian,” “The Resistance of Sisingamangaraja,” “Indonesia Becomes a Member of the United Nations,” and “The Diponegoro War,” which were used as visual references in the planning and creation of the Monas historical dioramas. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

====[https://archive.org/details/dari-buku-gambar_202603 Dari Buku Gambar]====
*Documentary photographs and reference materials from a sketchbook used for diorama research at the National Monument (Monas), including images numbered 11–15 depicting research references for the Bugis Incident, Battle of Bogor, Battle of Cibadak, and the Three Regions Incident, with visible documentation of the former Merdeka Hotel and the Pekalongan Residency Office. Additional materials include a map of the Bogor Bus Terminal area, landscape photographs assembled as a collage, photographs related to the Five-Day Battle of Palembang, a collection of rifle models, and a soldier in a guarding position. The collection also contains a documentary reference image with captions “Maluku Expedition Ship Model” and “Indonesian Navy, 1945,” as well as a written document containing research notes for dioramas depicting the suppression of the Three Regions Incident, including the siege and capture of Sardjio’s troops around the Merdeka Hotel by TKR/Police forces, alongside notes for the dioramas Expedition to Maluku and Seaborne Operation from Banyuwangi to Bali, detailing fleet composition and operational context. The document was prepared and signed by Drs. Sukardi, S.H., Head of the ABRI Museum Contents Group. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

====[https://archive.org/details/draaiboek-monas-879pgs-2 Draaiboek Monas - 879pgs 2]====
*Guidelines for the creation of dioramas at the National Monument (Monas), titled: 1. Trikora and/or the Return of West Irian (the return of West Irian to the territory of the Republic of Indonesia). 2. GANEFO (the opening ceremony of GANEFO, 10 October 1963). The document outlines the conceptual and technical direction for the diorama scenes, including the arrangement of miniature figures, architectural elements, and painted backgrounds on the left and right walls of the display. It also contains the historical script underpinning the scenes, detailing key events that form the narrative background, as well as references and sources used in the historical research. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

====[https://archive.org/details/alb-gam-per-idn-00 Gambar-gambar perjuangan indonesia]====
*Collection of documentary photographs recording state and military ceremonies at the northern square (Alun-Alun Utara) of the Yogyakarta Palace, including the Indonesian flag raised on the palace north field, formations of fighters and soldiers marching or standing in ceremonial ranks, and crowds observing official proceedings. The photographs document appearances and speeches by Soekarno and Mohammad Hatta, alongside military and police figures including Sudirman, Raden Said Soekanto Tjokrodiatmodjo, and Hamengkubuwono IX, together with groups of state officials during ceremonies, speeches, and inspections of troops. Additional images show lines of soldiers standing at attention or saluting, armed troops in formation, National Police units including a marching band and members of the Kedoe Police Mobile Brigade demonstrating tactical skills, and scenes of military or police meetings. The set also includes images of President Soekarno inspecting the ranks of soldiers and adjusting a soldier’s uniform attributes, a woman undergoing rifle training, police personnel assembled in groups, and other documentary views of the ceremony grounds and surrounding spectators. One photograph records the presidential oath-taking of Suharto as President of Indonesia. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

====[https://archive.org/details/map-ris-tjg-mor-00000 Peristiwa Tanjung Morawa 16 Maret 1953]====
*Documentary photographs recording sites, equipment, and community presence associated with agricultural activity in North Sumatra, including land belonging to the Department of Agriculture in Tanjung Morawa District, Deli Serdang Regency, a heavy machine used for field or construction work, and a group of community members documented in it. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

==Museum Satriamandala, Jakarta==
Lorem ipsum dolor sit amet, consectetur adipiscing elit. Nunc porttitor mauris metus, vitae venenatis lacus gravida sit amet. Suspendisse cursus lectus eu leo varius, at auctor nibh imperdiet. Nunc consectetur metus eu venenatis commodo.

===[https://archive.org/details/sik-corps-al Album Beberapa Sikap Corps Marinir AL (Jakarta, 22-8-1978)]===
*This photo presents a systematic documentation of standard military drill and parade positions, both armed and unarmed, shown from multiple perspectives (front, rear, right, and left), including formations such as the perfect armed stance, armed salute, armed rest, normal rest unarmed, parade armed rest/guard stance, perfect armed shoulder stance, perfect unarmed stance, and parade rest unarmed, serving as a structured visual reference to ensure accuracy of posture, alignment, and formal disciplinary standards. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

===Album Diorama Proklamasi Museum Eka Ekstrim Kanan Satria Mandala===
*[https://archive.org/details/alb-dio-eka-sat-man-1-00000 Album Diorama Proklamasi Museum Eka Ekstrim Kanan Satria Mandala #1]
::Documentary photographs of miniature figures, architectural elements, and supporting components used in the construction of dioramas at the Satriamandala Museum, Jakarta. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
*[https://archive.org/details/alb-dio-eka-sat-man-2-00000 Album Diorama Proklamasi Museum Eka Ekstrim Kanan Satria Mandala #2]
::Documentary photographs of miniature figures, architectural elements, and supporting components used in the construction of dioramas at the Satriamandala Museum, Jakarta. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

===[https://archive.org/details/gar-mat-mak-00000 Album Foto Perjuangan Indonesia]===
*Documentation of the activities of the X Garuda Mataram Brigade in Makassar under the leadership of Lieutenant Colonel Suharto in military operations to overcome the Makassar Uprising, also known as the Andi Aziz rebellion, in Makassar, South Sulawesi, 1950. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

===[https://archive.org/details/alb-rpkad Album RPKAD]===
*A collection of photo documentation of a series of technical instructions regarding the RPKAD soldiers' marching regulations, which include various basic positions such as perfect stance, normal rest, to armed rest parade in guard position, which are systematically documented from the front, rear, and left and right side perspectives, for diorama research purposes. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

===Buku Panduan Museum Satriamandala===
====[https://archive.org/details/central-museum-of-the-armed-forces-satria-mandala Central Museum Of The Armed Forces SATRIA MANDALA]====
*An operational guidebook for visitors to the ABRI Satriamandala Central Museum in English, which includes information on visiting hours, descriptions of the main exhibition spaces in the First and Second Buildings, supporting facilities, floor plans, location maps, and descriptions of the reliefs. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

====[https://archive.org/details/museum-satria-mandala-buku-panduan Museum Satria Mandala - Buku Panduan]====
*An operational guidebook for visitors to the ABRI Satriamandala Central Museum in Indonesian, which includes information on visiting hours, descriptions of the main exhibition spaces in the First and Second Buildings, supporting facilities, floor plans, location maps, and descriptions of reliefs in Indonesian. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

===Dokumen dan Surat===
====[https://archive.org/details/surat-perintah-kerja-museum-pusat-abri Surat Perintah Kerja Museum Pusat ABRI, 1973]====
*Work Order Letter no. PRINT/1110/PUSJARAH/VIII/73, issued in Jakarta on 25 August 1973 by the ABRI History Center, instructing artist Edhi Sunarso to carry out Phase III construction of the ABRI Central Museum. Based on decrees of the Minister of Defence/Commander of the Armed Forces concerning the formation of the project committee and the 1973–1974 budget allocation, the order authorised the production of 24 diorama dome units with supporting installations (frames, windows, and glass), with a total project value of Rp11,947,000. Signed by Colonel Inf. Soepardijo, Deputy Head of the ABRI History Center, and stamped. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

====[https://archive.org/details/surat-perintah-kerja-diorama-museum-pusat-abri Surat Perintah Kerja Diorama Museum Pusat ABRI, 1974]====
*Work Order Letter no. SPRIN/161/PUSJARAH/XII/74, issued in Jakarta on 19 December 1974 by the ABRI History Center, assigning a team of artists led by Edhi Sunarso (with Saptoto, Ratmoyo, Heri Wibowo, and Ramelan) to conduct field research on historical objects in Java, Bali, Sumatra, and Sulawesi. The research was intended to ensure historical accuracy in the dioramas of the ABRI Satriamandala Museum. Signed by Colonel Inf. Soepardijo, Deputy Head of the ABRI History Center, and stamped. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

====[https://archive.org/details/19750107-surat-perintah-kerja-diorama-museum-pusat-abri Surat Perintah Kerja Diorama Museum Pusat ABRI, 1975]====
*Work Order Letter no. PRIN/02/PUSJARAH/I/73, issued in Jakarta on 7 January 1975 by the ABRI History Center, assigning artist Edhi Sunarso to produce 29 dioramas, including one large-scale diorama measuring 3 × 3 metres, with a total contract value of Rp52,000,000. Signed by Colonel Inf. Soepardijo, Deputy Head of the ABRI History Center, and stamped. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

====[https://archive.org/details/19750823-surat-perintah-kerja-diorama-museum-pusat-abri Surat Perintah Kerja Diorama Museum Pusat ABRI, 1975]====
*Work Order Letter no. SPRIN/167/PUSJARAH/VIII/75, issued in Jakarta on 23 August 1975 by the ABRI History Center, assigning Edhi Sunarso (diorama artist) and Ratmoyo (member of the museum contents team) to conduct in-depth historical research on the Red and White Incident in Manado, the Andi Azis Rebellion, and Westerling’s actions in South Sulawesi, as part of Phase III development of the ABRI Central Museum. Signed by Colonel Inf. Soepardijo, Deputy Head of the ABRI History Center, and stamped. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

====[https://archive.org/details/19750922-kwitansi-museum-pusat-sejarah-abri Kwitansi Museum Pusat Sejarah ABRI, 1975]====
*Payment receipt, issued on 22 September 1975, documenting payment to Edhi Sunarso from the ABRI History Center Museum Development Project “Satria Mandala,” Jakarta, for the fifth instalment of diorama production costs under contract no. 08/PUSJARAH/I/75, amounting to Rp7,800,000 (seven million eight hundred thousand rupiah). --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

====[https://archive.org/details/19751002-berita-acara-pemeriksaan-diorama-museum-pusat-abri Berita Acara Pemeriksaan Diorama Museum Pusat ABRI, 1975]====
*Minutes of Inspection no. BA/1307/PUSJARAH/IX/1975, recording the official verification conducted on 30 September 1975 of the completion of 29 dioramas for the ABRI Central Museum Satriamandala by artist Edhi Sunarso. The inspection team—Colonel Inf. Soepardijo, Drs. Sukardi SHH, and Sri Suko—confirmed that the work complied with the agreement dated 3 January 1975. The results authorised the fifth instalment payment of 15% of the contract value (Rp7,800,000) and stipulated a three-month maintenance period until 22 December 1975. Signed in Jakarta on 2 October 1975. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

====[https://archive.org/details/19751002-berita-acara-penyerahan-pertama-diorama-museum-pusat-abri Berita Acara Penyerahan Pertama Diorama Museum Pusat ABRI, 1975]====
*Minutes of First Handover no. BA/308/PUSJARAH/X/1975, issued on 2 October 1975, documenting the first formal handover of 29 completed diorama units for the ABRI Satriamandala Central Museum from Edhi Sunarso (Second Party/Contractor) to the ABRI History Center (First Party). The works were declared in good condition, with responsibility for maintenance remaining with the contractor during the three-month warranty period until 22 December 1975. The document served as the administrative basis for payment of the fifth instalment (15% of the contract value, Rp7,800,000). Signed by Edhi Sunarso and Colonel Inf. Soepardijo, Deputy Head of the ABRI History Center, and stamped. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

====[https://archive.org/details/19751002-kwitansi-diorama-museum-abri Kwitansi Diorama Museum ABRI, 1975]====
*Payment receipt, issued on 2 October 1975, documenting the transfer of Rp7,800,000 (seven million eight hundred thousand rupiah) from Marine Major (A) Drs. A. Kusaeri, Treasurer of the Wisma Yaso Project, to artist Edhi Sunarso as the fifth instalment payment for the ABRI Satriamandala Museum diorama project. Signed by Marine Major (A) Drs. A. Kusaeri and Edhi Sunarso. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

====[https://archive.org/details/19751200-berita-acara-penyerahan-kedua-diorama-museum-pusat-abri Berita Acara Penyerahan Kedua Diorama Museum Pusat ABRI, 1975]====
*Minutes of Second Handover, issued in Jakarta in December 1975, documenting the final administrative completion of the ABRI Central Museum diorama project. Signed by Brigadier General Drs. Nugroho Notosusanto, Head of the ABRI History Center and Head of the ABRI Museum Project (First Party), and Edhi Sunarso, contractor (Second Party). The document confirms payment of the sixth and final instalment, amounting to 5% of the total contract value (Rp2,600,000). --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

====[https://archive.org/details/19760624-kwitansi-sewa-bus Kwitansi Sewa Bus, 1976]====
*Payment receipt, issued in Yogyakarta on 24 June 1976, documenting payment from ASRI (Indonesian Fine Arts Academy), Yogyakarta, to Johnny for five days of bus rental from 24–28 June 1976 for travel to Jakarta, amounting to Rp200,000 (two hundred thousand rupiah). The receipt is signed by Johnny and affixed with a stamp. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

===EKA===

===Eka Ekstrem Kanan Satya Mandala_(dari meja)===

===Laporan Diorama Museum ABRI===

===MAP BIRU_Museum Satria Mandala===
Folder of archival materials related to the research and preparation of historical dioramas at the Satriamandala Museum. The contents include technical instructions, chronological notes, research photographs, and design sketches used in the development of the dioramas Liberation of Manado City, ABRI Landing in Ambon, People’s Resistance in Biak, and Paratrooper Landing in Teminabuan. The documents function as working references for the visual reconstruction of historical events, outlining scenographic arrangements, troop formations, environmental elements, and supporting military assets guiding the diorama construction process.

====[https://archive.org/details/00-folder-biru-00 Foto]====
::Collection of archival photographs used as research and visual reference materials for the development of historical dioramas at the Satriamandala Museum. The materials support the visual reconstruction of the following scenes: 1. Liberation of Manado City. 2. ABRI Landing in Ambon. 3. People’s Resistance in Biak. 4. Paratrooper Landing in Teminabuan (TRIKORA). The photographs function as reference material informing the historical context, environmental details, and scenographic composition used in the construction of the dioramas. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

====[https://archive.org/details/sketsa-0 Sketsa]====
::Collection of archival sketches used in the development of historical dioramas at the Satriamandala Museum. The drawings function as preparatory design references outlining compositional layout, spatial arrangement, and scenographic elements for the construction of the dioramas. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

====Dokumen====
*[https://archive.org/details/pembebasan-kota-menado Pembebasan Kota Menado]
::Archival document serving as a temporary technical guide and chronological reference for the preparation of a diorama depicting the liberation of Manado City by RPKAD (Army Para-Commando Regiment) and KKO AL (Navy Commando Corps) forces. The instructions outline scenographic elements including the consolidation of four platoons at the Maumbi Village intersection, with road signage, coconut trees, and village rooftops forming the background, while AURI aircraft P-51 Mustang and B-25, appear overhead. The document also records operational notes describing the strategic shift from an initial attack on Tondano to the assault on Manado under the command of Lieutenant Colonel Rukminto, as well as reports of heavy fighting at the Kairagi Bridge against Permesta bunker defenses and heavy weapons. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/pendaratan-abri-di-ambon Pendaratan ABRI di Ambon]
::Archival document serving as a technical guide and chronological reference for the construction of the “ABRI Landing in Ambon” diorama at the Satriamandala Museum. The instructions outline the visual composition of the landing operation at Tulehu Beach, depicting joint forces of KKO (Marine Corps), Army, and Brimob advancing from LCVP landing craft with weapons raised. The scene is framed by coconut groves and coastal vegetation, with naval support represented by the warships RI Rajawali and RI Patti Unus. In the sky, AURI aircraft Dakota C-47, Harvard, and B-25 bomber, are shown providing aerial support. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/gerakan-operasi-militer-iv-r.m.s-tanggal-25-april-1950 Gerakan Operasi Militer IV (R.M.S.) Tanggal 25 April 1950]
::Archival document serving as a technical guide and chronological reference for the construction of the “Military Operation IV (R.M.S.), 25 April 1950” diorama at the Satriamandala Museum. The notes outline the historical background to the conflict, beginning with unrest among KNIL personnel following the Round Table Conference (KMB), the political agitation of Ir. Manusama, and the proclamation of the Republic of South Maluku (RMS) by Dr. Soumokil. The document also records the failure of Dr. Leimena’s peace mission and the subsequent blockade and military mobilization under Colonel A.E. Kawilarang. Visual guidance focuses on the TNI landings in September 1950, including the arrival of Group 3 under Major Suryo Subandrio at Hitu and Group 2 led by Lieutenant Colonel Slamet Rijadi at Tulehu, aimed at cutting enemy supply lines and securing strategic locations such as Passo and Laha airfield. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/perlawanan-rakyat-di-biak Perlawanan Rakyat di Biak]
::Archival document serving as a technical guide and chronological reference for the construction of the “People’s Resistance in Biak” diorama at the Satriamandala Museum. The instructions outline the visual composition of an ambush on a Dutch military truck along the road to Bosnik, depicting West Irian freedom fighters armed with rifles, bows, and machetes surrounding Dutch troops, who retreat while abandoning equipment such as backpacks and personal belongings. The notes also provide historical context on the planned March 1948 uprising, the resistance led by Silas Papare, and the involvement of figures including Dr. Sam Ratulangi in supporting the independence movement in the region. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/penerjunan-di-teminabuan Penerjunan di Teminabuan]

::Archival document serving as a technical guide and chronological notes for the construction of the ""Paratrooper Landing in Teminabuan"" diorama at the Satriamandala Museum, outlining preliminary instructions for the dramatic visualization of the raising of the Indonesian Red and White flag following fierce combat during Operation Wolf (Operasi Serigala). The narrative directs the depiction of the scene in the chaotic front yard of a Dutch barracks, where the remaining members of the AURI's PGT (Quick Action Force) stand in solemn salute as the flag is hoisted, while a torn Dutch flag lies discarded on the ground. These notes also document the heroic struggle of the platoon led by Air Sergeant I Martin Paulus Mengko, who jumped on May 19, 1962, their success in capturing Teminabuan on May 29, 1962, and the great sacrifice of 14 soldiers who fell as national heroes while defending the area against Dutch counterattacks. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

===Map Hijau EKA #2===
*[https://archive.org/details/map-ijo-eka-00000 MAP_IJO_EKA_00000]
::Archival document from the Indonesian Air Force (1974) providing technical instructions for the production of a diorama depicting the “Paratrooper Landing in Teminabuan.” The document outlines scenographic details for representing a combat setting, including fallen trees, specialized parachutes, and Dutch P2V Neptune aircraft conducting air strikes. It also includes references to PGT (Pasukan Gerak Tjepat, -Quick Action Force) uniforms and technical sketches of Dutch aircraft insignia. Supplementary visual materials feature photographs of Lockheed Neptune aircraft from the Trikora era, a naval vessel bearing hull number 1006, documentation of KRI Dewaruci, photo of a life buoy bearing the words RI DEWARUTJI and a plaque commemorating ""Captain Cook's Bicentennial Celebration"", and an illustration of a colonial-style building. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

===MAP HIJAU_Angkatan Udara RI===
*[https://archive.org/details/map-ijo-tni-au-00000 MAP_IJO_TNI-AU_00000]
::Collection of archival documentation from the AURI (Indonesian Air Force) Museum, dated 1974, relating to the downing of a B-26 aircraft piloted by Allen Lawrence Pope during the Permesta conflict. The material includes photographs of a formation of P-51 Mustang aircraft—among them unit number 7-321 flown by Captain Dewanto in the interception—as well as images documenting the judicial proceedings, including the presentation and examination of related evidence. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

===Pembuatan Diorama "Eka-Ekstrimkanan" Satria Mandala Jakarta Tahun 1976===
*[https://archive.org/details/proses-eka-1976-00000 PROSES_EKA_1976_00000]
::Collection of documentary photographs taken at the Satriamandala Museum, Jakarta, depicting exhibition displays including historical dioramas and military vehicles. The images record elements of the museum’s permanent collection and exhibition environment, documenting the visual narratives and material artefacts presented within the Indonesian Armed Forces’ central military museum. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

===Potret Jendral-Jendral===
*[https://archive.org/details/pot-jen-00000 POT_JEN_00000]
::Collection of photographic documentation depicting Indonesian military figures, including portraits of Brigadier General Ignatius Slamet Rijadi (two images), I Gusti Ngurah Rai with Ciung Wanara troops, General Basuki Rahmat, General Ahmad Yani, and Lieutenant General R. Suprapto. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

===Proses revisi===

====Dokumen dan Surat====
*[https://archive.org/details/19780731-surat-perintah-kerja-museum-abri-satria-manda Surat Perintah Kerja_Museum ABRI Satria Mandala]
::Work Order Letter with letter number SPK/105/PUSJARAH/III/78 issued by the Department of Defense and Security in Jakarta on 31st July 1978 to Edhi Sunarso, to carry out the work of making ABRI uniform mannequins, to be installed at the ABRI Satriamandala Museum. The letter also explains the number of mannequins complete with their bases, the uniform period, the wholesale price, and the deadline for the work. This letter was signed by Brigadier General TNI Drs. Nugroho Notosusanto, as Head of the ABRI History Center, and stamped. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/19791016-surat-petunjuk-perubahan-dan-perubahandari-kapusjarah Surat Petunjuk Perubahan dan Perubahan dari Kapusjarah]
::Letter from the Head of ABRI History Center, dated 16th October, 1979, contains instructions for improvements and changes to technical details for a diorama project undertaken by Edy Sunarso (also known as Edhi Sunarso). These changes included adjustments to the posture of the WARA (Women of the Air Force) figures, clothing details, and the addition of military attributes to several historical scenes, such as the struggle institutions, the Morokrembangan scene, the Student Army (T.P.), and the Guerrillas. These improvements were urgent because the new multi-purpose building housing the work was soon to be inaugurated by the WAPANGAB (Deputy Commander of the Armed Forces). Specifically, the instructions emphasized aspects of historical realism, such as the mud effect on the feet, variations in uniforms, and corrections to the direction of the commander's gaze. This letter was signed by Lieutenant Colonel of the Navy (A) Drs. A Kusaeri, on behalf of the History Team. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/19791022-surat-laporan-hasil-koreksi-gam Surat Laporan Hasil Koreksi GAM]
::A letter addressed to the Head of the History Center (KAPUSJARAH), for the attention of the ASOPS PUSJARAH (Assistant Operations of History Center) ABRI, containing a report on the results of corrections to the uniform on the 1st floor as a follow-up to the report of Lieutenant Colonel A. Kusaeri dated 17th October 1979, and submitting proposals and suggestions for changes regarding the uniform itself. This letter was made in Jakarta, and signed by the Head of the ABRI Museum Uniform Team, Major of Infantry Saleh A. Djamhari on 22nd October 1979. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/19791023-laporan-hasil-koreksi-gam Laporan Hasil Koreksi GAM]
::A document containing detailed corrections to the uniforms on the uniform mannequins for the Indonesian Army, Air Force, Navy, and Police. This document was published in Jakarta by the ABRI History Center, Department of Security and Defense on 23rd October 1979, and signed by Major of Infantry Saleh A. Djamhari, head of the ABRI museum uniform team. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/usul-perubahan-gam Usul Perubahan GAM]
::A document containing proposed uniform changes (GAM) for the Indonesian Army, Navy, Air Force, and National Police. This document was signed by the Head of the ABRI Museum Uniform Team, Major of Infantry Saleh A. Djamhari, in Jakarta on 23rd October 1979. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/19791024-nota-dinas-gam-kadet-taruna-abri Nota Dinas GAM Kadet Taruna ABRI]
::An official memo addressed to the Head of the ABRI Uniform Team, containing a report on the preliminary results of research in Jakarta on ABRI Cadet/Taruna data and the challenges in obtaining additional information. This required out-of-town business permits to bring photography equipment to the Police Cadet Museum of the Indonesian Military Academy (AKABRI) in Sukabumi, the Army Technical Academy (ATEKAD) in Bandung, the Air Force Museum and the Secodiningratan Police School in Yogyakarta, and the Army Museum of the AKABRI in Magelang. The official memo was signed by Major Adm. GSK Marsudi, a member of the ABRI Uniform Team, on 24th October 1979, in Jakarta. The following pages contain information on ABRI Cadet/Taruna uniforms obtained in Jakarta through interviews with retired Brigadier General Soekasno Poespomidjojo, retired Colonel Soebarjo for information on the Indonesian Army uniform, and retired Police General Hugeng for information on the Indonesian National Police uniform. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/19791100-surat-perihal-pakaian-seragam-taruna Surat Perihal Pakaian Seragam Taruna]
::The official official letter from the ABRI History Center, Department of Defense and Security, issued in November 1979, addressed to Mr. Edy Sunarso (also known as Edhi Sunarso) in Yogyakarta. It requests prioritization of unfinished work, including improvements to posture, facial features, and additional equipment, as outlined in the previous letter. It also discusses the need for nine sets of cadet uniforms and plans to discuss the cost of these additional uniforms. The letter is signed by Navy Lieutenant Colonel Drs. A. Kusaeri on behalf of the ABRI Museum Project Team. The following page lists the nine sets of uniforms to be produced as an attachment to the letter. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/19791107-laporan-hasil-koreksi-gam-notes Laporan Hasil Koreksi GAM_notes]
::Official Memo addressed to Edy Sunarso (Edhi Sunarso) as the executor to pay attention to the continuation of the correction of the ABRI Museum ABRI Uniform Doll, immediately complete the repairs according to the corrections listed in the first and second letters, and submit a completion report so that when the Head of the Center arrives, all problems have been resolved. Official Memo from KOPKAMTIB (Operation Command for the Restoration of Security and Order), the Department of Research on the Development of Communist Problems was written and signed by Lieutenant Colonel A. Kusaeri in Jakarta on 7th November 1979. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/19791116-hasil-koreksi-terhadap-gam-tahun-1964-1975 Hasil Koreksi Terhadap GAM tahun 1964-1975]
::A letter containing the results of corrections to the uniforms of the Indonesian Army, Air Force, Navy, and Police from 1964 to 1975, located on the first floor. The letter provides detailed information on the condition of the uniforms at that time, and the condition of the uniforms that should have been (after corrections). The letter was signed by Lieutenant Colonel of the Navy, Drs. A. Kusaeri as Head of the Personnel and Logistics Section of the ABRI History Center, on 16th October 1979 in Jakarta. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/19791220-surat-tugas-survei-seragam Surat Tugas Survei seragam]
::A letter of assignment addressed to Ari Sutondo Tc, a member of the team producing replica figures for the historical display of ABRI uniforms, to conduct a survey and study the uniforms of cadets from the AMN (National Military Forces), AAU (Air Force Academy), and AAL (Naval Academy), to complete the data for ABRI uniforms to be exhibited in the ABRI uniform display room at the ABRI Satria Mandala Central Museum. The letter was signed by Edhi Sunarso, a lecturer at the ASRI Yogyakarta Fine Arts College, who was also tasked with filling the historical/uniform display room at the ABRI Satria Mandala Central Museum, on 20th December 1979, in Yogyakarta. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

====Lembar Panduan====
*[https://archive.org/details/19750522-pakaian-dinas-upacara-abri Pakaian Dinas Upacara ABRI]
::This document serves as an official guideline or regulation for the use of uniforms (attributes) of the Indonesian Armed Forces Ceremonial Service Uniform I (PDU-I) which displays illustrations of official ceremonial uniforms for the four branches, namely the Indonesian Army (AD), the Indonesian Navy (AL), the Indonesian Air Force (AU), and the Indonesian National Police (POLRI), then the Indonesian Armed Forces Ceremonial Service Uniform II (PDU-II) which displays illustrations of other versions of the ceremonial uniforms used in the military and police environment of the Republic of Indonesia during that period. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/19780803-deskripsi-tokoh-tokoh-gam-1964-sekarang Deskripsi Tokoh Tokoh GAM 1964-sekarang]
::This document is a technical guide regarding the description of the official uniforms of the four services (TNI Army, Navy, Air Force and POLRI) for the period 1964 until now. This guideline was prepared specifically for the purpose of filling in dummy models in the exhibition space on the ground floor of the Satriamandala ABRI Central Museum Building. The inventory in this document includes in-depth details regarding the origin of the force, year of service, service clothing category, rank level, body posture (gesture), as well as the completeness of the attributes and equipment that accompanies it. This document was ratified in Jakarta on August 3, 1978 through the signature and official stamp of Infantry Major Drs. Saleh AD, as Head of the Team to Fill the GAM ABRI Exhibition Space at the Satriamandala ABRI Central Museum. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/19781109-deskripsi-tokoh-tokoh-gam-1950-1964 Deskripsi Tokoh Tokoh GAM 1950-1964]
::This document is a technical guide regarding the description of the official uniforms of the four services (Army, Navy, Air Force, and POLRI) for the period from 1950 to 1964. This guide was prepared specifically for the purpose of filling in dummy models in the exhibition space on the top floor of the Satriamandala ABRI Central Museum Building. The inventory in this document includes in-depth details regarding the origin of the force, year of service, service clothing category, rank level, body posture (gesture), as well as the completeness of the attributes and equipment that accompanies it. This document was ratified in Jakarta on 9 November 1978 through the signature of Infantry Major Supardi Rapanoi, as Secretary of the Team for Filling the ABRI GAM Exhibition Room at the Satriamandala ABRI Central Museum, and was stamped. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/gam-abri-black-tie-bentuk-i-au GAM ABRI_Black Tie Bentuk I AU]
::This document contains the uniform specifications for the First Form Black Tie category for the Air Force, the uniform for Air Force Lieutenant Colonels/Flight Lieutenant Colonels in a casual position during receptions. The uniform details are as follows: - Headgear: No headgear. - Bodywear: Shirt: Special fancy shirt with black bow tie. - Jacket (Black):Opens with one button, Black material with a satin collar, Has two inside pockets at the bottom (without flaps) and one upper pocket on the left (without flaps). - Pants: Black. - Footwear: Black cruiser shoes and black socks. This document also includes hand-drawn sketches showing the front and back of the uniform and details of the shirt with its pleats. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/gam-abri-korsik-i-iv GAM ABRI_Korsik I-IV]
::Sketch of 4 types of ABRI music corps uniforms --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/gam-abri-mess-dress-i-au GAM ABRI_Mess Dress I AU]
::This technical specification guide document for the 1st Air Force Mess Dress uniform, intended for officers with the rank of Colonel for casual activities during receptions. The guide details the types of materials and other details that characterize the uniform. The document also includes a picture of the uniform with details to note. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/gam-abri-pakaian-dinner-jaket-kowal GAM ABRI_Pakaian Dinner Jaket Kowal]
::Formal uniform specification for officers of the Indonesian Naval Women’s Corps (KOWAL) during the ABRI era, intended for lieutenant-rank personnel attending official evening functions. The regulation details a white Wave Topi made of mercerized drill; a cropped white dinner jacket with six gold anchor buttons; and a long-sleeved pleated shirt worn with a black ribbon tie. The ensemble is completed with a black semi-fitted gabardine wool skirt, 5 cm black heels, and a matching black clutch bag. Accompanying hand-drawn sketches function as technical references for tailoring, uniform construction, and standardized military presentation. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/gam-abri-pd-harian-hijau-al GAM ABRI_PD Harian Hijau AL]
::Regulation sheet specifying the Green Daily Service Uniform (PDH) for Indonesian Navy personnel of the rank Kopral I. The uniform comprises a green drill field cap, short-sleeved shirt with two pleated breast pockets and shoulder straps, and matching trousers. Technical details include a 3.5 cm green belt with brass buckle and the ALRI insignia placed above the left pocket (3 × 9.5 cm). Completed with black low-cut shoes and black socks for daily naval duties. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/gam-abri-pd-pesiar-al GAM ABRI_PD Pesiar AL]
::Regulation sheet outlining the Liberty Service Uniform (PD Pesiar) for Indonesian Navy personnel of the rank Kelasi I. The ensemble includes a dark-blue wool beret worn tilted to the right with enlisted metal insignia, a light-gray short-sleeved jacket-style shirt, dark-gray drill trousers, and a long black necktie. Rank and corps insignia appear on the sleeves, with service ribbons above the left pocket. Completed with a dark-gray belt, black shoes, and black socks. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/gam-abri-pd-upacara-al GAM ABRI_PD Upacara AL]
::Regulation sheet establishing the Ceremonial Service Uniform (PD Upacara) for Indonesian Navy personnel of the rank Kelasi II, illustrated in an at-ease position with a SAFN rifle. The uniform consists of a white drill dop (sailor hat), white long-sleeved Blauwkraag sailor shirt, and white drill trousers secured with a 3.5 cm white belt and brass buckle. Rank insignia and Tanda Vak specialty marks appear on the sleeves. Completed with black shoes and black socks. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/gam-abri-pdh-abu-abu-al GAM ABRI_PDH Abu-abu AL]
::Regulation sheet defining the Gray Daily Service Uniform (PDH Abu-abu) for Indonesian Navy officers of the rank Letda Supply on picket duty with sidearm. The uniform includes a gray gabardine pet (service cap), light-gray short-sleeved drill shirt with pleated breast pockets, and dark-gray drill trousers. Rank insignia appear on shoulder straps and corps insignia on the collar. Completed with a dark-blue belt, black low-cut shoes, and short black socks. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/gam-abri-pdh-khusus-al GAM ABRI_PDH Khusus AL]
::Regulation sheet establishing the Special Daily Service Uniform (PDH Khusus) for Indonesian Navy officers of the rank Captain or Technical Captain. The uniform comprises a dark-gray officer’s pet, gray drill Wavel Dress jacket with open collar and four pockets, and a matching external belt with brass buckle and gold anchor buttons. Rank insignia are placed on the shoulder straps. Completed with gray trousers and black low-cut shoes for formal daily service. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/gam-abri-pdh-pol GAM ABRI_PDH POL]
::Regulation sheet outlining the Daily Service Uniform (PDH) for Police personnel of the rank Brigadir Polisi / Serma Pol. (Perintis) assigned to guard duty with a jungle rifle. The uniform includes a khaki drill shirt with pleated pockets, brown drill trousers, and a service pet bearing the police insignia. A black utility belt secures the ensemble. Completed with black low-cut shoes and black socks for operational service duties. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/gam-abri-pdh-tenue-iii-al GAM ABRI_PDH Tenue III AL]
::Regulation sheet describing PDH Tenue III for KKO (Marine Corps) personnel of sergeant rank. The uniform features a dark-gray gabardine peci (songkok) with blue piping and anchor–Garuda emblem, a light-gray short-sleeved sport shirt without shoulder straps, and dark-gray trousers. Ribbon-style service medals are worn on the left chest. The ensemble reflects the Marine Corps’ distinctive adaptation of daily service attire. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/gam-abri-pdl-pol GAM ABRI_PDL POL]
::Regulation sheet specifying the Field Service Uniform (PDL) for Police personnel of the rank Bharada on guard duty with an SKS rifle. The ensemble includes a brown field cap, khaki drill shirt with standing collar, and brown drill trousers. A black koppelriem combat belt functions as the primary equipment support. Designed for operational field service, the uniform emphasizes durability and mobility. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/gam-abri-pds-hamil-kowad GAM ABRI_PDS Hamil KOWAD]
::Regulation sheet defining the Maternity Service Uniform (PDS Hamil) for the Army Women’s Corps (KOWAD). The uniform consists of a light-green blouse paired with a dark-green skirt and is worn without headgear. The ensemble includes low-heeled black shoes and a black daily handbag bearing the “Dharma Puspa” emblem, maintaining institutional identity during maternity duty assignments. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/gam-abri-pds-hamil-wara GAM ABRI_PDS Hamil WARA]
::Regulation sheet defining the Maternity Service Uniform (PDS Hamil) for the Air Force Women’s Corps (WARA). The uniform consists of a light-blue blouse and dark-blue skirt worn without headgear. Accessories include low-heeled black shoes and a black daily handbag bearing the “Swa Bhuwana Paksa” emblem, reflecting Air Force institutional identity during maternity service assignments. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/gam-abri-pds-korsik-ii-au GAM ABRI_PDS Korsik II AU]
::Regulation sheet specifying the PDS Korsik II uniform and equipment for the Indonesian Air Force Music Corps (Korsik), rank Peltu, serving as ensemble conductor. The uniform includes an Air Force blue service cap with the Swa Bhuwana Paksa emblem, light-blue shirt, and dark-blue trousers marked with a 2 cm yellow stripe. Equipment includes baton, black leather koppelriem, and Raras-wara Andrepati buckle for ceremonial command during military performances. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/gam-abri-pds-pembawa-panji-al GAM ABRI_PDS Pembawa Panji AL]
::Regulation sheet specifying the PDS Pembawa Panji (Color Guard/Standard Bearer) uniform for Indonesian Navy personnel of the rank Letda. The ceremonial ensemble consists of a white helmet with light-blue stripes and the Jalesveva Jayamahe emblem, white tunic, and trousers with yellow side stripes. Accessories include white webbing set, gloves, scarf, and white field boots, worn with full decorations during naval ceremonial processions. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/gam-abri-pdu-b-malam-kowad GAM ABRI_PDU B Malam KOWAD]
::Regulation sheet specifying the PDU B Malam (Evening Grand Ceremonial Uniform) for the Army Women’s Corps (KOWAD). The ensemble comprises a white linen tunic with a 3 cm standing collar and decorative pockets, paired with a tapered black wool skirt with four front pleats. Accessories include a black peaked cap bearing the Kartika Eka Paksi emblem, wide-heeled dress shoes, and ceremonial insignia including TPU, corps badges, and medals. Precise tailoring standards include a skirt hem set 39 cm above the ground. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/gam-abri-pdu-i-ad GAM ABRI_PDU I AD]
::Regulation sheet specifying PDU I (Grand Ceremonial Dress I) for Indonesian Army officers, illustrated for the rank Mayor Infanteri. The uniform consists of a hijau Kanada tunic and trousers worn with an olive-green shirt and hijau tahi kuda necktie. A black peaked cap with the Kartika Eka Paksi emblem and gold buttons completes the ensemble. Ceremonial insignia include TPU, TNI badges, and service decorations. Completed with black dress shoes and socks for formal state ceremonies. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/gam-abri-pdu-i-pol GAM ABRI_PDU I POL]
::Regulation sheet defining PDU I (Type I Ceremonial Dress) for the Indonesian National Police, illustrated for the rank First Police Inspector (Lettu Pol.). The uniform comprises a brown peaked cap, white long-sleeved shirt with black tie, and khaki gabardine tunic with four external pockets. The ensemble is paired with brown trousers and black dress shoes. Accompanying diagrams indicate the placement of shoulder epaulettes and insignia, establishing formal standards for police ceremonial protocol. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/gam-abri-pdu-ii-polri GAM ABRI_PDU II POLRI]
::Regulation sheet specifying PDU II (Type II Ceremonial Dress) for the Indonesian National Police, illustrated for the rank AIPDA / Pelda Pol. The ensemble includes a white peaked cap, white long-sleeved shirt with black bow tie, white tunic, and black trousers marked with a yellow side stripe. Accessories include white gloves and small ceremonial decorations. The uniform is completed with black dress shoes and socks, forming the prescribed attire for specific ceremonial duties. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/gam-abri-pdu-iii-au-1 GAM ABRI_PDU III AU_1]
::Regulation sheet specifying PDU III (Type III Ceremonial Dress) for the Indonesian Air Force, illustrated for the rank Kapten Meteo. The uniform includes an Air Force blue peaked cap and Trivera-fabric tunic with four-button closure, upper flap pockets, and internal lower pockets. The ensemble is worn with a white shirt, black necktie, and blue trousers secured with a 3.5 cm belt. Ceremonial rank insignia, TNI badge, and service ribbons complete the formal presentation. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/gam-abri-pdu-iii-au GAM ABRI_PDU III AU]
::Regulation sheet defining PDU III ceremonial dress for Indonesian Air Force enlisted personnel, illustrated for the rank Serma. The uniform consists of a blue peaked cap with the Swa Bhuwana Paksa emblem, blue tunic and trousers, white shirt, and black necktie. Ceremonial insignia include TPU, TNI badge, and service ribbons or decorations. Skill badges may also be displayed. Completed with black dress shoes and socks in accordance with formal Air Force protocol. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/gam-abri-pdu-kebesaran-kowal GAM ABRI_PDU Kebesaran KOWAL]
::Regulation sheet defining PDU Kebesaran (Grand Ceremonial Dress) and PDL (Field Service Uniform) for the Women’s Naval Corps (KOWAL), illustrated for the rank Lettu. The ceremonial ensemble includes a white bivouac cap with officer emblem, white tunic with gold buttons, white skirt, and high-heeled shoes with gloves and leather handbag. The accompanying field uniform specifies a black beret, green service shirt and trousers, black field boots, and green koppelriem belt. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/gam-abri-pdu-malam-tenue-iib-al GAM ABRI_PDU Malam Tenue IIB AL]
::Regulation sheet specifying PDU Malam Tenue II B (Evening Ceremonial Uniform) for Indonesian Navy officers, illustrated for the rank Kapten Elektro. The uniform includes a dark-gray peaked cap with officer emblem and gold sierband, worn with a gray gabardine tunic featuring anchor buttons and four pockets. The ensemble is paired with a light-gray shirt, black tie, and dark-gray trousers with light-gray piping. Completed with ceremonial rank insignia and black dress shoes. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/gam-abri-pdu-parade-polri GAM ABRI_PDU Parade POLRI]
::Regulation sheet specifying PDU Parade for Indonesian National Police personnel, illustrated for the rank Bhayangkara I. The tactical-ceremonial uniform includes a khaki drill shirt, brown trousers, and a black webbing set worn with a peaked cap. Accessories include high black boots, white gloves, and field rank insignia. Unit scarves indicate service divisions—yellow for Sabhara, white for Traffic, and blue for Airud. Parade formation includes the carrying of an SKS rifle with bayonet. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/gam-abri-pdu-siang-al GAM ABRI_PDU Siang AL]
::Regulation sheet specifying PDU Siang Tenue I / II A (Day Ceremonial Uniform) for Indonesian Navy officers, illustrated for the rank Mayor Pelaut. The ensemble consists of a white peaked cap with officer emblem and gold sierband, a white high-collared tunic with anchor buttons, and matching white trousers. The uniform is worn with a white belt, white dress shoes, and ceremonial rank insignia on the shoulders, with corps insignia and service medals positioned above the left chest pocket. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/gam-abri-pdub-ad GAM ABRI_PDUB AD]
::Regulation sheet specifying PDU B (Pakaian Dinas Upacara Besar / Grand Ceremonial Dress) for the Indonesian Army (AD). The ensemble includes a black peci with yellow piping and a bronze Bhinneka Tunggal Ika emblem, worn with a khaki wavel shirt and double-pleated trousers secured by a belt. The uniform is completed with black dress shoes and khaki socks. Ceremonial rank insignia (TPU) are placed on both shoulders with corps insignia positioned above, forming the prescribed appearance for formal military ceremonies. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/gam-abri-pduk-polwan GAM ABRI_PDUK POLWAN]
::Regulation sheet specifying PDUK (Pakaian Dinas Upacara Kecil / Minor Ceremonial Dress) for Women’s Police Corps (POLWAN) personnel, illustrated for the rank First Police Inspector (Lettu Polwan). The uniform consists of a POLWAN peaked cap with police emblem, a long-sleeved tunic with shielerkraag collar and two lower flap pockets, and a decorative belt (sabuk hias). The ensemble is worn with a service skirt and black dress shoes. Daily rank insignia are required, with white gloves worn only when ordered. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/gam-abri-pduk-tenue-iic-al GAM ABRI_PDUK Tenue IIC AL]
::Regulation sheet specifying PDUK Tenue IIC (Minor Ceremonial Dress) for Indonesian Navy (AL) personnel, illustrated for the rank Serma. The uniform includes a dark-grey peaked cap of Gabardine Tetoron with officer emblem, a light-grey short-sleeved drill shirt with two breast pockets and sewn shoulder loops, and dark-grey drill trousers secured by a 3.5 cm belt. Daily rank insignia are worn on the shoulder loops with corps insignia on the collar. Completed with black dress shoes and socks. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/gam-abri-pdukb-pol GAM ABRI_PDUKB POL]
::Regulation sheet specifying PDUKB (Minor Grand Ceremonial Dress) for Women’s Police Corps (POLWAN) officers, illustrated for the rank Kompol / Mayor Polwan. The uniform comprises a white peaked cap with police emblem and a white tunic styled after Baju Bodo, featuring a standing collar, gold buttons, and corded cuffs. The tunic is paired with a black skirt with five front pleats and black dress shoes. Daily rank insignia and white gloves are prescribed, with aiguillettes (nestles) worn according to regulation. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/gam-abri-ps-bentuk-pa-a-1-au GAM ABRI_PS Bentuk Pa-A-1 AU]
::Regulation sheet specifying PS (Pakaian Seragam / Service Uniform), Bentuk Pa-A-1, for Indonesian Air Force (AU) officers, illustrated for the rank Mayor Udara / Mayor Pas. The ensemble includes an Air Force Blue (AFB) peaked cap, white long-sleeved shirt with black tie, and open AFB wool tunic with four buttons and flap pockets, worn with matching trousers. Formal protocol requires ceremonial insignia, service ribbons, and gold buttons. For parade duties the officer may carry a pistol and ceremonial sword with white gloves. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/gam-abri-ps-parade-au GAM ABRI_PS Parade AU]
::Regulation sheet specifying the Parade Service Uniform (PS) for Indonesian Air Force (AU) personnel, illustrated for the rank Serda (Second Air Sergeant). The uniform includes an AFB wool peci, khaki drill shirt with four pockets and brass buttons, and matching trousers. Equipment includes black combat boots, a koppelriem belt with ammunition pouches, and webbing set. Parade formation requires the carrying of a Senapan Cung rifle with bayonet, accompanied by rank insignia, name tag, service stars, and qualification badges. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/gam-abri-psu-kecil-au GAM ABRI_PSU Kecil AU]
::Regulation sheet specifying PSU Kecil (Minor Ceremonial Service Uniform) for Indonesian Air Force (AU) enlisted personnel, illustrated for the ranks Kopral II Udara / Serma. The uniform consists of an AFB enlisted peci, short-sleeved khaki drill tunic with four pockets and external fabric belt, and blue trousers secured with a 3.5 cm belt. Rank insignia are worn on both sleeves with unit badges and service ribbons. The ensemble is completed with black dress shoes and worn during ceremonial rifle salutes. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/gam-abri-psub-i-au GAM ABRI_PSUB I AU]
::Regulation sheet specifying PSUB I (Pakaian Seragam Upacara Besar I / Grand Ceremonial Uniform I) for Indonesian Air Force (AU) officers, illustrated for the rank Letnan Udara I. The ensemble includes an AFB peaked cap, white long-sleeved shirt with black tie, and open AFB tunic with flap pockets and shoulder loops. Matching trousers and black dress shoes complete the uniform. Ceremonial rank insignia, corps badges, and service medals are worn in accordance with official regulations. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/gam-abri-psub-i-wara GAM ABRI_PSUB I WARA]
::Regulation sheet specifying PSUB I (Grand Ceremonial Uniform I) for Women’s Air Force (WARA) personnel, illustrated for the rank Letnan Udara II. The uniform includes a WARA Air Force Blue cap, white shirt with black tie, and AFB wool jacket with gold buttons and shoulder tabs, worn with a matching skirt. Ceremonial rank insignia, corps badges, medals, and brevet wings complete the ensemble, establishing the formal appearance of female officers during official Air Force ceremonies. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/gam-abri-psub-ii-wara GAM ABRI_PSUB II WARA]
::Regulation sheet specifying PSUB II (Grand Ceremonial Uniform II) for Women’s Air Force (WARA) officers, illustrated for the rank Letnan Udara I. The ensemble comprises a khaki wool jacket and skirt worn with a white shirt and black tie. The uniform includes a WARA Air Force Blue cap, high-heeled shoes, and ceremonial insignia including rank, corps badges, medals, and brevet wings. The regulation establishes formal standards for the appearance of female Air Force officers in ceremonial protocol. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/gam-abri-psub-ii GAM ABRI_PSUB II]
::Regulation sheet specifying PSUB II (Grand Ceremonial Uniform II) for Indonesian Air Force (AU) officers and warrant officers. The uniform includes an Air Force Blue peaked cap, khaki wool tunic with four buttoned pockets and shoulder straps, worn over a white shirt with black tie. Matching trousers and black dress shoes complete the ensemble. Full ceremonial insignia—including rank, corps badges, medals, and brevet wings—are worn during official state or military ceremonies. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/gam-abri-psuk-wara-au GAM ABRI_PSUK WARA AU]
::Regulation sheet specifying PSUK (Pakaian Seragam Upacara Kecil / Minor Ceremonial Uniform) for Women’s Air Force (WARA) personnel, illustrated for the ranks Sersan Udara / Serda. The ensemble comprises a khaki wool skirt and open-style tunic with three-quarter sleeves, shoulder straps, and gold buttons. The uniform is worn with a WARA Air Force Blue cap and high-heeled shoes. Daily rank insignia, unit badges, and service ribbons complete the prescribed appearance for minor ceremonial duties. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

===[https://archive.org/details/ris-ser-tni-al Riset seragam TNI AL]===

*Photo documentation of Indonesian uniforms from the era of the Maritime Homeland Defense Forces (PETA Laut, 1946) to standardization in 1975. The scope includes various categories of service clothing (Daily, Ceremonial, and Servant) as well as special uniforms for the Navy Women's Corps and Military Police. This information includes technical details of materials (drill, gabardine, tetoron), colors (white, gray, Navy green), and specifications for the front and back of the clothing pieces stored at the Indonesian Navy National Armed Forces Museum, Morokrembangan, Surabaya. contains 34 photos (only 26 found, ed. Hyphen —)

===[https://archive.org/details/sejarah-singkat-hakekat-museum-sejarah-dan-perpustakaan Sejarah Singkat, Hakekat Museum, Sejarah, dan Perpustakaan, 1978]===

*This book details the history of the founding of the Indonesian Air Force Central Museum "Dirgantara Mandala", which began with the idea of the AURI leadership in 1960 to immortalize the historical events of the air force, until its inauguration in Jakarta in 1969 and its relocation to Yogyakarta in 1978 due to the historical value of the city as the birthplace of the Indonesian Air Force.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

Sketches, stitches, and negotiations: Data catalogue

2026-03-11T09:56:14Z

Wikihyphen:

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== Museum Sejarah Nasional (National History Museum) ==
Located in the basement of Monumen Nasional (National Monument), Jakarta, popularly known as Monas. Colloquially, the museum is dubbed as "Museum Monas".

=== Dokumen dan Surat ===
====[https://archive.org/details/19651228-surat-idzin-djalan-menemui-pjm-soekarno Surat Idzin Djalan - Menemui PJM Soekarno]====
*Travel Permit No. 023/Djl./I.J./12/65, issued by the Yogyakarta Palace Household, authorising Edhi Sunarso, Lecturer at A.S.R.I. (Akademi Seni Rupa Indonesia), Yogyakarta, to travel by train to Jakarta to meet His Majesty President Soekarno. The permit designates one accompanying person and is valid for the duration of the visit commencing 29 December 1965. Issued in Yogyakarta on 28 December 1965 at 12.00 Western Indonesian Time, signed by Alip Parintono in his capacity as Supervisor of the Yogyakarta Palace Household, and bearing the official stamp.

====[https://archive.org/details/19660108-surat-keterangan-monas-auri-musi Surat Keterangan Monas, AURI, Musi]====
*Statement Letter No. 7/Ktr./U.P./66, attesting that Edhi Sunarso—Lecturer at A.S.R.I. (Republic of Indonesia) and Head of the Keluarga Arca sculptor team, Yogyakarta—received direct assignment from His Majesty the President as executor and coordinator of several state commissions, including the AURI (Indonesian Air Force) Monument, decorative sculpture for the Musi Bridge project, hotel commissions, and the National Monument (Monas). Issued in Jakarta on 8 January 1966 and signed by Djamin, Presidential Secretary and Head of the Presidential Cabinet, with official stamp.

====[https://archive.org/details/19660114-susunan-personalia-patung-banteng-monas Susunan Personalia Patung Banteng Monas]====
*Document outlining the composition of the personnel of the Jakarta National Monument Bull Statue Implementation Team. The structure lists Soedarsono as Executive Director of the National Monument; Edhi Sunarso and I. Gardono as Persons in Charge of Implementation; Drs. Soepardjo and A. Singgih as Implementation Staff; the Keluarga Arca sculptor team as Planning Team; and Sarpomo, Soewardi, Boediani, Mon Moedjiman, Herjana Iskandar, Askabul, and Harri Djauharuddin as the Core Team of Sculptors. Signed by Edhi Sunarso in Jakarta on 14 January 1966.

====[https://archive.org/details/19660707-surat-keterangan-monas Surat Keterangan MONAS]====
*Certificate issued by the National Monument Implementation Command, Jakarta, on 7 July 1966, identifying Edhi Sunarso, aged 33, as assigned artist to the National Monument (Monas) project at Medan Merdeka. The document confirms residence within the National Monument project housing complex and authorises the holder to perform daily duties within the project area. It further serves as official identification in interactions with military or police authorities, who are directed to contact the Security Division of the National Monument Implementation Command if required. Valid for one month from the date of issuance. Signed by Kunto Sudarsono, Lieutenant Colonel, Military Police Corps (CPM), Service No. 12687, in his capacity as Deputy Commander and Special Assistant for Security Affairs.

====[https://archive.org/details/surat-dinas-project-monas-1 Surat Dinas Project Monas_1]====
*Statement letter issued by the State Secretariat of the Presidential Cabinet, designating Edhi Sunarso—sculptor and Lecturer at A.S.R.I., Yogyakarta—as assigned by His Majesty the President to undertake the following state projects: 1. Air Force Monument Statue; 2. Decorative sculpture for the Musi River Bridge project; 3. Coordination of special projects as directed by the President. Drawn up in Jakarta on 29 January 1965 and signed by Djamin, Presidential Secretary and Head of the Presidential Cabinet, with official stamp.

====[https://archive.org/details/surat-dinas-project-monas-2 Surat Dinas Project Monas_2]====
*Official duty order issued by A.S.R.I., Yogyakarta, for Edhi Sunarso (also recorded as Edy Sunarso), Lecturer at the Academy with a stated basic salary of Rp. 1,764, assigning travel to Jakarta for official purposes in relation to the National Monument project. The order authorises accompaniment of the Director of A.S.R.I. and is valid from 11 February 1966 until completion of the assignment. Issued in Yogyakarta on 10 February 1966, signed by Alibasjah as Director of A.S.R.I., and acknowledged by Edhi Sunarso as letter holder.

===Foto===
====Foto diorama MONAS oleh Ary "Jimged" Sendy====
[https://archive.org/details/01-masyarakat-indonesia-purba-3000-2000-sm-img-9473 MASYARAKAT INDONESIA PURBA, 3000-2000 SM]
*DIORAMA 1: MASYARAKAT INDONESIA PURBA (3.000 - 2.000 SM)
::Nenek moyang Bangsa Indonesia (Paleo-Mongoloid) pada Zaman Megalithikum sudah hidup dalam masyarakat teratur. Mereka sudah mempunyai tempat tinggal tetap, sebagian sudah jadi pelaut dan sebagian lagi hidup sebagai petani. Selain pakaian dari kulit kayu sudah dikenal juga pakaian dari tenunan. Hasil budaya Megalithikum yang terpenting diantaranya adalah alat-alat serpih (flakes, pebbles dan bones), menhir (tiang batu), dolmen (meja batu), sarcophagus, kubur batu (peti mayat batu), punden berundak-undak (bangunan pemujaan) dan arca. Benda-benda peninggalan budaya Megalithikum it tersebar di seluruh Indonesia, tetapi yang terpenting terdapat di Pasemah (daerah pegunungan yang terletak antara wilayah Palembang dan Bengkulu) dan Besuki (Pulau Jawa). Diorama in menggambarkan kehidupan nenek moyang bangsa Indonesia.

*DIORAMA 1: THE PREHISTORIC INDONESIAN SOCIETY (3.000 - 2.000 BC)
::The Indonesian forefathers (Paleo-Mongoloid) in the Neolithic age had already a sort of ordered society. They had permanent homes making a living as fisher-men or farmers. They knew clothing either woven besides clothing made from the bark of trees. The most important instruments of the Neolithi-cum culture are flakes, pebbles and bones, stone coffin, little houses of worship and even statues. These remains are scattered over the whole of Indonesia, but the most important things are found at the Pasemah plain (between Palembang and Bengkulu) and at Besuki (East Java). The diorama shows the life-style of Indonesian prehistoric society.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.
Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

[https://archive.org/details/02-bandar-sriwijaya-abad-viii-xiii-img-9469https://archive.org/details/02-bandar-sriwijaya-abad-viii-xiii-img-9469, BANDAR SRIWIJAYA, ABAD VIII-XIII]
*DIORAMA 2: BANDAR SRIWIJAYA (ABAD KE 8 - 13)
::Bandar Sriwijaya terletak di persimpangan tiga jalur pelayaran antara Indonesia, Cina dan India. Posisi ini sangat menguntungkan bagi Kerajaan Sriwijaya, sehingga dengan sendirinya memegang peranan penting pula dalam perjalanan perdagangan selama berabad-abad. Kapal-kapal dari negeri Cina yang membawa pendeta-pendeta Budha banyak berlabuh dan sering menetap untuk waktu yang lama. Bandar tersebut akhirnya menjadi pusat perdagangan dan budaya pada waktu itu. Letak Bandar Sriwijaya berada di muara sungai di daerah pertemuan sungai Kampar Kanan dan Kampar Kiri kira-kira 2.5 derajat sebelah Utara Palembang. Diorama ini menggambarkan kegiatan perdagangan di Bandar Sriwijaya.

*DIORAMA 2: THE PORT OF SRIWIJAYA (8TH - 13TH CENTURY)
::The Port of Sriwijaya was very favorably located for the Kingdom as it used to be the crossroad of the prominent trade routes among Indonesia - China - India and brought many windfalls to the Sriwijaya dynasty. Automatically it had a prominent part and influenced the international trade. Strange and foreign vessels fre-quented the Port, moreover, many Buddhist priests from China stopped over, so that finally it became the center of trade and culture. The Port of Sriwijaya is located in mouth of the river Kampar Kanan and Kampar Kiri, about 2,5 degree of the northern of Palembang, South Sumatra. The diorama shows the atmosphere of trading ac-tivities among the merchants.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.
Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

[https://archive.org/details/03-candi-borobudur-824-img-9480 CANDI BOROBUDUR (824)]
*DIORAMA 3: CANDI BOROBUDUR (824)
::Candi Borobudur didirikan pada sekitar tahun 824 M oleh Raja Samaratungga dari keluarga Sailendra. Bangunan candi berbentuk pyramid dan mencerminkan alam semesta. Bangunan ini dibuat dari batu sumbangan para menganut agama Budha dan dibangun dengan cara gotong-royong. Dalam pembangunan Candi Borobudur, hampir dua ratus ribu kaki kubik batu dipergunakan, lebih dari empat puluh ribu kaki kubik masuk dalam tingkat-tingkat terbuat dari batu. Pada candi ini terdapat 505 buah patung Budha dan 1.555 Stupa ukuran besar dan kecil yang melengkapi monumen Budha yang megah ini. Dari pendirian bangunan ini terbukti bahwa kemampuan bangsa Indonesia di bidang teknik dan organisasi sudah baik. Diorama ini menggambarkan tahap akhir pembangunan Candi Borobudur.

*DIORAMA 3: THE BOROBUDUR TEMPLE (824)
::Candi Borobudur was founded by King Samaratungga of the Cailendra dynasty in the year 824 and is a reflection of the universe. It was built by means of contributions from the Buddhist population and mu-tual cooperation of the people. The construction of the Candi has indicated that time the nation had already achieved a high technical knowledge and organization. Candi Borobudur is regarded to be one of the wonders of the world. On the temple founded 505 Buddhist statues and 1.555 large and little "Stupa" which completed the great Buddhist monument. On the temple construction was proved the ability of the Indonesian people in technical and organization. The diorama shows the last stage of the construction

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.
Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

[https://archive.org/details/04-bendungan-waringin-sapta-abad-xi-img-9482 BENDUNGAN WARINGIN SAPTA ABAD XI]
*DIORAMA 4: BENDUNGAN WARINGIN SAPTA (ABAD KE 11)
::Setelah Raja Airlangga memperoleh wilayah yang menjadi haknya, kemudian ia berusaha memakmurkan rakyatnya. Sungai Brantas yang sering meluap dan selalu menimbulkan kerusakan-kerusakan pada tanah-tanah persawahan dibendung dengan mendirikan tanggul di Waringin Sapta. Untuk menjaga supaya tanggul tidak rusak, Raja Airlangga menunjuk rakjat setempat untuk memeliharanya, dan sebagai imbalan daerah tersebut dibebaskan dari kewajibannya membayar pajak. Akibatnya, rakyat makmur, pelayaran di Sungai Brantas bertambah ramai dan Pelabuhan Hujung Galuh menjadi pusat perdagangan antar pulau. Diorama ini menggambarkan ketika sungai Brantas sedang dibendung dekat Kelagen dan diawasi oleh Raja Airlangga.

*DIORAMA 4: WARINGIN SAPTA DAM (11TH CENTURY)
::After King Airlangga obtained his right domain, he endeavored to promote the prosperity and welfare of his people. The Brantas River which frequently over-flowed its bank caused much damage to large areas of the people's rice fields, was dammed up by rearing dike in order to control the flood and provide irrigation. To guard the dike against harm and damage, he ordered the local people to maintain it, and as a compensation he decreed them free from taxes and as a result the people prospered, the trip increased in Brantas river, and Hujung Galuh became the center of inter island trading. The diorama shows the Brantas River being dammed up near the village of Kelagen and King Airlangga supervising.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.
Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

[https://archive.org/details/05-candi-jawi-perpaduan-sivaisme-dan-buddhisme-1292-img-9488 CANDI JAWI PERPADUAN SIVAISME DAN BUDDHISME, 1292]
*DIORAMA 5: CANDI JAWI PERPADUAN SIVAISME-BUDHISME (1292)
::Candi Jawi terletak di Gunung Welirang, sebelah barat daya Pandakan di tepi jalan ke Prigen dan didirikan untuk makam Raja Kertanegara, raja terakhir kerajaan Singasari yang meninggal pada tahun 1292. Dibagian atas candi terdapat arca Budha Aksobhya sedangkan di bagian bawah caridi terdapat arca Siva-Mahadewa. Dari bangunan ini dapat diketahui bahwa pada jaman Singasari dan Majapahit terjadi perpaduan Sivaisme-Budhisme. Diorama ini menggambarkan ketika pemimpin agama Budha serta pengikut-pengikutnya sedang mengadakan upacara keagamaan di Candi Jawi

*DIORAMA 5: JAWI TEMPLE, A BLEND OF SIVAISM-BUDDHISM (1292)
::Candi Jawi is located at Gunung Welirang. South-west of Pandaan along side the road to Prigen, East Java and founded as the grave of King Kartanegara, the last King of the Singasari Dynasty, who died in 1292. It features Buddha statue at its upper part and statue of Siva-Mahadewa at its lower part. From the Candi can be deducted that at time a merging of Sivaism and Buddhism occurred in the era of Singosari and Majapahit dynasties. The diorama shows a Buddhist priest and monks conducting a religious ceremony at Candi Jawi.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.
Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

[https://archive.org/details/06-sumpah-palapa-1331-img-9490 SUMPAH PALAPA 1331]
*DIORAMA 6: SUMPAH PALAPA (1331)
::Dalam rangka membela integrasi Negara Majapahit, Gajah Mada seorang Patih dari Kerajaan Majapahit yang terkenal, bersumpah tidak akan makan Palapa sebelum Nusantara dapat dipersatukan di bawah mahkota Majapahit. Peristiwa ini dikenal dengan nama Sumpah Palapa. Sumpah itu dilakukan di Panangkilan, suatu tempat yang terletak di sebelah selatan alun-alun Majapahit. Pada saat itu banyak rekan-rekan Gajah Mada yang menertawakan dan mencemoohkannya. Namun Gajah Mada tejap teguh pada pendiriannya dan akhirnya berhasil menepati janji itu. Diorama ini menggambarkan Patih Gajah Mada dengan menggenggam sebilah keris mengucapkan Sumpah Palapa di hadapan prajurit-prajurit kerajaan Majapahit.

*DIORAMA 6: THE PLEDGE OF PALAPA (1331)
::In his effort to maintain the integration of Nusantara, Gajah Mada, the famous Vice-regent of the Majapahit Kingdom, pledged not to eat Palapa (rice with side dishes) before Nusantara (the Indonesian Archipelago) has been united under the reign of Majapahit. The pledge took place at Penangkilan, a certain place south of the Alun-alun of Majapahit. Many of his contemporaries laughed and ridiculed him. Gajah Mada. however, held firmly and eventually fulfilled his promise. The diorama shows Gajah Mada being pledged in front of the Gajah Mada troops.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.
Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

[https://archive.org/details/07-armada-perang-majapahit-abad-ke-14-img-9500 ARMADA PERANG MAJAPAHIT ABAD KE-14]
*DIORAMA 7: ARMADA PERANG MAJAPAHIT (ABAD KE 14)
::Setelah Gajah Mada meninggal, timbul kesulitan dalam pemerintahan Raja Hayam Wuruk. Pemerintah yang baru berusaha mengekalkan keutuhan negara. Maka tindakan-tindakan ditujukan kepada kemakmuran rakyat dan keamanan daerah-daerah mendapat prioritas utama. Upaya tersebut dilakukan dengan memperkuat armada Majapahit dengan tujuan untuk menjaga keutuhan Nusantara dan mengatasi tindakan pengacauan yang dilakukan oleh Cina. Diorama ini menggambarkan armada Majapahit sedang menghadang kapal-kapal Cina di perairan Nusantara.

*DIORAMA 7: THE FLEET OF MAJAPAHIT (14TH CENTURY)
::After the death of the prominent figure Gajah Mada. disturbances arose under the reign of King Hayam Wuruk. The new sovereign strove to enforce the unity of Majapahit Kingdom. So, efforts for the people's prosperity and the defence of all territory were given high priority. This was proved by strengthening the Majapahit's fleet with the aim to safeguard Nusantara's unity and resist attempts to create disorders by Chinese fleet, among other things. The diorama shows the Majapahit's fleet succeeds in driving away the Chinese fleet.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.
Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

[https://archive.org/details/08-utusan-china-ke-majapahit-1405-img-9503 UTUSAN CHINA KE MAJAPAHIT 1405]
*DIORAMA 8: UTUSAN CINA KE MAJAPАНІТ (1405)
::Semasa pemerintahan raja Wikrama-wardhana, hubungan persahabatan dengan negara-negara tetangga berlangsung baik. Hal ini terbukti dengan kedatangan Cheng Ho, utusan kerajaan Kaisar Cina ke Majapahit sebagai pengakuan kedaulatan Kerajaan oleh Cina. Diorama ini menggambarkan Cheng Ho sedang membawa hadiah dari Kaisar Cina sedang menghadap raja Wikramawardhana.

*DIORAMA 8: THE CHINESE ENVOY TO MAJAPAHIT (1405)
::In the reign of king Wikramawardhana friendly relations with neighboring states and kingdoms were main-tained in good order. This was confirmed with the com-ing of Cheng Ho, the Emperor of China delegation visiting Majapahit as recognition of the Kingdom's sovereignty by China. The diorama shows Cheng Ho with presents from the Emperor of China makes a formal appearance before King Wikramawardhana.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.
Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

[https://archive.org/details/09-peranan-pesantren-dalam-penyatuan-bangsa-abad-ke-14-img-9507 PERANAN PESANTREN DALAM PENYATUAN BANGSA, ABAD KE-14]
*DIORAMA 9: PESANTREN SEBAGAI PEMERSATU BANGSA INDONESIA (ABAD KE 14)
::Salah satu cara untuk menyebarkan Agama Islam di Indonesia adalah melalui pendidikan di pesantren atau pondok yang diselenggarakan oleh guru-guru agama, kyai-kyai atau ulama. Pesantren merupakan lembaga penting dalam penyebaran agama Islam. Di tempat ini dilakukan pembinaan calon-calon guru agama, kyai-kyai atau ulama. Setelah keluar dari pesantren itu mereka akan kembali ke daerah asal masing-masing. Pesantren-pesantren beserta kyai-kyai mempunyai peranan yang penting dalam proses pengembangan pendidikan masyarakat. Semakin terkenal kyai yang mengajar itu semakin terkenal pesantrennya dan pengaruhnya akan mencapai radius yang lebih jauh lagi. Dengan cara ini integrasi nasional berdasarkan Islam meliputi wilayah yang makin lama makin luas. Diorama ini menggambarkan suasana pengajaran di Pondok Pesantren yang dipimpin oleh Sunan Giri di Jawa Timur.

*DIORAMA 9: MOSLEM BOARDING SCHOOLS IN UNITING THE NATION (14TH CENTURY)
::One of the methods of spreading the Islam in Indonesia is education conducted in the Pesantren (Moslem Boarding Schools) by religious teachers, scholars or kiaies. Pesantrens are significant institution in the spreading of Islam. After graduation, the students return to their homestead or villages. At their homestead they become prominent religious figures and establish their own Pesantrens. The Pesantren and Muslim religious leaders rep-resent an important element in the propagation of Is-lam and the spread of education. The more well-known the kiaies the more well-known his Pesantren and his influence will be widespread. This way the longer the wider the area of integration based on Islam. The diorama shows the atmosphere of Islamic teaching at a pesantren led by Sunan Giri in East Java

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.
Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

[https://archive.org/details/10-pertempuran-pembentukan-jayakarta-22-juni-1527-img-9511 PERTEMPURAN PEMBENTUKAN JAYAKARTA, 22 JUNI 1527]
*DIORAMA 10: PERTEMPURAN SUNDA KELAPA (1527)
::Dalam usaha menyerang Malaka yang diduduki Portugis, Sultan Trenggono dari Demak tidak melakukannya secara langsung melainkan dengan jalan mengisolasi daerahnya dari pengaruh Portugis, terutama daerah-daerah yang pendukungnya belum masuk Islam. Setelah diketahui bahwa Portugis berhubungan dengan Raja Samian yang saat itu menguasai Pelabuhan Sunda Kelapa, Sultan Trenggono segera memerintahkan menantunya, yakni Pangeran Fatahillah, untuk segera menduduki Banten, Sunda Kelapa dan Cirebon. Pada tahun 1522 Penguasa daerah Sunda Kelapa. Raja Samian, mengadakan perjanjian dengan wakil Portugis. Henrique Leme, yang memberikan izin mendirikan benteng bagi Portugis. Ekspedisi Demak yang dipimpin Fatahillah pada tahun 1527 berhasil menduduki Banten, Sunda Kelapa dan Cirebon. Untuk menagih janji Raja Samian, pada tahun 1527 Portugis mengirim ekspedisi terdiri dari 6 buah kapal yang dipimpin oleh Francisco de Sa. Ternyata Portugis tidak lagi berhadapan dengan kerajaan Hindu melainkan dengan kerajaan Islam. Setelah tuntutan mereka ditolak oleh Fatahillah mereka mencoba mendaratkan tentaranya. Usaha tersebut dilawan oleh Fatahillah sehingga terjadilah pertempuran yang berlangsung di Teluk Sunda Kelapa. Armada Portugis akhirnya berhasil dipukul mundur. Peristiwa ini diabadikan dengan mengganti nama Sunda Kelapa menjadi Jayakarta. Diorama ini menggambarkan pertempuran yang berlangsung di Teluk Sunda Kelapa pada tanggal 22 Juni 1527.

*DIORAMA 10: THE BATTLE OF SUNDA KELAPA (1527)
::In the effort to attack Malacca which was ruled by the Portuguese, Sultan Trenggono of Demak did not carry it out directly but he isolated his area from the influence of the Portuguese, especially the area whose inhabitants were not converted yet to Islam. When he realized that the Portuguese was in contact with King Samian, the authority of Sunda Kelapa, Sultan Trenggono immediately ordered his son-in-law to occupy Banten. Sunda Kelapa and Cirebon. In 1522, King Samian signed an agreement with the Portuguese, represented by Henrique Leme which gave the Portuguese the right to build a fortress for his trade interest in Sunda Kelapa. Early in 1522 Demak expedition led by Fatahillah succeeded in occupying Banten, Sunda Kelapa and Cirebon. To press his claim further on King Samian, on 1527, the Portuguese sent an expedition of six ships led by Francisco de Sa. But evidently they did not oppose, a Hindu kingdom anymore, but an Islamic monarch. When their demand were rejected by Fatahillah, they tried to embark with force and so began the siege of the Bay of Sunda Kelapa. The Portuguese was then successfully by Fatahillah's troops. This event is immortalized by changing the name of Sunda Kelapa to Jayakarta (Glorious City). The diorama shows the battle of Sunda Kelapa on A June 22, 1527 when the Prince Fatahillah and his troops defeated the Portuguese fleet off Sunda Kelapa Bay

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.
[https://archive.org/details/11-armada-perang-bugis-abad-ke-15-img-9515 ARMADA PERANG BUGIS, ABAD KE-15]
*DIORAMA 11: ARMADA DAGANG BUGIS (ABAD KE 15)
::Pelayaran orang Makasar dan Bugis dengan pinisi mulai abad ke 15 atau sebelumnya sudah meliputi hampir seluruh perairan Nusantara. Cerita tentang pengembaraan Sawerigading bisa memberi petunjuk tentang luasnya daerah-daerah yang dikunjungi. Gambaran lebih jelas baru diperoleh dari catatan pada masa sesudahnya. Misalnya dalam tulisan tentang hukum laut Amanna Gappa dan juga dari peta laut Bugis. Dari bukti-bukti ini kita melihat bahwa pelayaran mereka sampai ke Aceh. Kedah, Kamboja. ke Timur sampai ke Kei dan Teluk Ternate dan ke Utara sampai ke pulau-pulau Filipina (Sulu) dan Kalimantan Utara (Berau). Selanjutnya, menurut kisah Daeng Saro dari kampung Bontoranu, pelayaran penangkap-penangkap teripang dari Sulawesi Selatan sampai ke Marege, yaitu nama penduduk asli Australia dalam bahasa Bugis dan Makasar mengambil rute Ujung Pandang, Selayar, Wetar, Kisar. Leti dan Moa, selajutnya ke arah Tenggara ke pelabuhan Darwin. Diorama ini menggambarkan pelayaran armada dagang Bugis.

*DIORAMA 11: THE BUGINESE MERCANTILE FLEET (15TH CENTURY)
::The voyages of the Makassarese and Buginese using pinisi (Bugis traditional cargo boat) in the 15th cen-tury and before reached almost all the outskirts of the Indonesian archipelago and beyond. The story of Sawerigading adventures showed how wide was their visitation area. The figure became cleaner when the new evidence was obtained from the sea law Amanna Gappa and the Buginese nautical chart. From these evidences we could see that their voy-ages reached Aceh, Kedah, Cambodia, and east to Kei islands and Ternate Bay, and north to the Philippines archipelago (Sulu) and northern Kalimantan (Borneo). Furthermore, according to Daeng Saro story of the Bontoranu village, the voyages of fishermen from South Sulawesi to Marega took the route Ujung Pandang, Selayar, Wetar, Kisar, Leti and Moa, and then to south-east heading for Darwin sea port. The diorama shows a number of the Buginese mercantile fleet being ready to sail away.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.
Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

[https://archive.org/details/12-perang-makassar-1654-1668-img-9517 PERANG MAKASSAR, 1654-1668]
*DIORAMA 12: PERANG MAKASAR (1654 - 1668)
::Saingan V.O.C. dalam perdagangan abad ke 17 adalah Makasar. Sultan Makasar, Hasanuddin, membuka pelabuhannya untuk negara asing yang mau berhubungan dagang dengan Makasar. Melihat perkembangan Makasar dan sikap Sultan yang menjalankan politik bebas dalam perdagangan itu. Kompeni kemudian menggunakan politik pecah belah dan kuasai dengan menunggangi Aru Palaka. Sultan Hasanuddin terpaksa menerima perjanjian Bonggaya yang ditandatangani tanggal 18 November 1667. Dalam perjanjian ini V.O.C. diberi hak untuk membuat benteng di Makasar yang akhirnya mengurangi ruang gerat bagi pelaut Makasar. Diorama ini mnggambarkan Sultan Hasanuddin memimpin pertempuran mempertahankan benteng Sombaopu dari serbuan Belanda pada tnggal 8-9 Agustus 1668.

*DIORAMA 12: MAKASSAR WAR (1654-1668)
::The V.O.C. trading competitor on 17th century was Makassar. Sultan Hasanuddin of Makassar adopted a policy of free trade with all nations, he opened his Port for foreign traders who desired to trade with Makassar. Observing the growth and development of Sultan's policy, the V.O.C. (the Dutch East Indies Com-pany that held a monopoly in Indonesia 1602-1799) decided to use its 'the divide and rule' policy by using Aru Palaka. Sultan Hasanuddin was forced to accept the Bonggaya treaty which was signed on 18 Novem-ber 1667. The V.O.C. was given the right to build a fortress in Makassar and afterwards was able to decrease the space of activities of the Makassar fleet. The diorama shows Sultan Hasanuddin personally leads the fight defending Sombaopu fortress against the Dutch attack on 8-9 August 1668.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.
Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

[https://archive.org/details/13-perlawanan-pattimura-1817-img-9519 PERLAWANAN PATTIMURA, 1817]
*DIORAMA 13: PERLAWANAN PATTIMURA (1817)
::Berdasarkan Konvensi London tahun 1814, Belanda berkuasa kembali di Indonesia serta mengulangi menjalankan monopolinya di mana segala sesuatu yang bersifat eksploitasi dilaksanakan kembali. Rakyat Maluku dipimpin oleh Pattimura dan dibantu oleh Christina Martha Tiahahu menolak politik monopoli tersebut kemudian memberontak terhadap Belanda. Diorama ini menggambarkan serbuan rakyat Maluku di bawah pimpinan Pattimura pada tanggal 15 Mei 1817 berhasil merebut benteng Duurstede di Pulau Saparua di mana hampir seluruh tentara Belanda di dalam benteng ini terbunuh.

*DIORAMA 13: PATTIMURA UPRISING (1817)
::Based on the London Convention in 1814, the Dutch Government reclaimed their sovereignty in Indonesia and re-established their policy of monopoly in trade by reinforcing their method o f exploitation. The people of the Mollucas led by Pattimura and assisted by Christina Martha Tiahahu rejected the monopoly policy and then revolted against the Dutch. The diorama shows Pattimura and his troops succeeding in capturing the Dutch fortress Duurstede. The uprising broke out on May 15th, 1817, on Saparua island whereby most of the Dutch soldiers were killed in the fortress.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.
Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

[https://archive.org/details/14-perang-diponegoro-1825-1830-img-9521 PERANG DIPONEGORO, 1825-1830]
*DIORAMA 14: PERANG DIPONEGORO (1825 - 1830)
::Perang yang dicetuskan pada tahun 1825 oleh Pangeran Diponegoro merupakan suatu perlawanan rakyat semesta. Perang selama 5 tahun itu (1825-1830) berlangsung secara terus menerus sehingga Belanda menderita kerugian sebanyak 15.000 tentara dan biaya sekitar 20 juta gulden. Diponegoro beserta para pembantunya seperti Mangkubumi. Kyai Modjo, Sentot Prawirodiredjo dan pahlawan-pahlawan lainnya hingga tahun 1828 menguasai medan perang. Untuk mengakhiri perang. jerideral de Kock menggunakan siasat benteng stelsel dengan tujuan mempersempit daerah operasi Diponegoro dan mendesaknya ke daerah selatan. namun tidak berhasil. Dengan perangkap berkedok perundingan, akhirnya Diponegoro pada tanggal 28 Maret 1830 ditangkap di Magelang. Diponegoro meninggal dunia dalam benteng Belanda Ujung Pandang di Makasar pada tanggal 8 Januari 1855. Diorama ini menggambarkan pertempuran di tepi sungai Bogowonto di mana Diponegoro berhasil mengalahkan pasukan Kavaleri Belanda.

*DIORAMA 14: THE DIPONEGORO WAR (1825-1830)
::The war ignited in 1825 by Prince Diponegoro constituted a total war involving the whole population. That five-year war in Central Java went on continuously caused the Dutch lost 15,000 soldiers and 20 million guilders. In 1825 Diponegoro and his assistants such as Mangkubumi, Kyai Mojo, Sentot Prawirodirjo and other heroes dominated the battle field. In his effort to win the war, General de Kock applied the benteng stelsel (Fortress System) with the aim to decrease Prince Diponegoro's operational areas and drive him south-ward, but without success. Pretending that they were willing to negotiate, the Dutch lured the Prince into cap-tivity on 28 March 1830 in Magelang. Prince Diponegoro died on 8 January 1855 in the Dutch fortress in Ujung Pandang. The diorama shows the battle near the Bogowonto River where Prince Diponegoro and his troops defeated the Dutch troops.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.
Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.
[https://archive.org/details/15-perang-imam-bonjol-1821-1837-img-9524 PERANG IMAM BONJOL, 1821-1837]

*DIORAMA 15: PERANG IMAM BONJOL (1821 - 1837)
::Perang yang berlangsung dari tahun 1821 - 1837 itu dapat dibagi dalam 3 tahap. Tahap pertama, perang antara kaum adat dengan kaum agama. Hal ini terjadi setelah kembalinya 3 orang ulama dari tanah suci. Mereka melihat keadaan kehidupan di tanah airnya jauh dari pada kesesuaian dengan ajaran-ajaran Islam. Oleh karena itu, mereka bermaksud hendak mengadakan pembaruan-pembaruan, tetapi ditentang oleh kaum adat. Pemimpin kaum ulama yang menjadi terkenal dalam perang ini ialah Tuanku Imam Bonjol. Tahap kedua: Kaum adat dibantu Belanda melawan kaum ulama. Pertempuran-pertempuran yang terjadi antara tahun 1821 1825 di Sulit Air, Para Palam dan Sawah Tengah. Tahap ketiga: Setelah Perang Diponegoro berakhir, perlawanan terhadap Belanda dilakukan oleh kaum ulama bersama kaum adat. Barulah dengan kekuatan militer yang besar pada tahun 1837 Belanda berhasil merebut Bonjol, daerah pertahanan terakhir Tuanku Imam Bonjol. Diorama ini menggambarkan tatkala Tuanku Imam Bonjol memimpin perlawanan terhadap Belanda.

*DIORAMA 15: THE IMAM BONJOL WAR (1821 - 1837)
::The war which took place in 1821 - 1837 could be divided into three phases. The first phase: the war between the traditionalists against the religious group from Mecca. They were observing the backward way of life a far cry from the Islamic teachings. They tried to bring upon innovations which the traditionalists rejected. A leading prominent figure who became famous in this war was Tuanku Imam Bonjol. The second phase: After the Dutch government decided to take side with the traditionalists against the religious group. The battle broke out in Sulit Air, Para Palam and Sawah Tengah in 1821-1825. The third phase: After the Diponegoro war ended, both opponents came together and opened the resis-tance struggle against the Dutch. Eventually with large military force in 1837, the Dutch was able to seize Bonjol, the last resistance stronghold of Tuanku Imam Bonjol. The diorama shows Tuanku Imam Bonjol who per-sonally leads the fighting against the Dutch

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.
Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

[https://archive.org/details/20-tanam-paksa-1830-1870-img-9548 PERANG BANJAR, 1859-1905]
*DIORAMA 16: PERANG BANJAR (1859-1905)
::Sudah sejak beberapa waktu Belanda memperoleh hak ikut campur tangan mengatur penggantian Sultan Banjar. Pada tahun 1824 timbul persoalan penggantian Sultan dimana Belanda memaksakan kehendaknya untuk menempatkan calon pilihannya. Hal ini ditentang oleh Sultan dan rakyatnya. Putra Mahkota yang ditunjuk oleh Sultan yaitu Prabu Anom ditawan oleh Belanda di Banjarmasin. Calon lainnya, Pangeran Hidayatullah, juga ditawan oleh Belanda dan dibawa ke Jawa. Inilah yang menyebabkan Pangeran Antasari dan rakyat Banjar mengangkat senjata melawan Belanda pada tahun 1859. Pada tanggal 9 -10 Mei 1859 Pangeran Antasari melakukan pengepungan dan penyerangan terhadap tambang batu bara Belanda di Pengaron. Diorama ini menggambarkan rakyat Banjar dipimpin oleh Pangeran Suropati menyerang kapal Belanda di Lontartur, sungai Kapuas.

*DIORAMA 16: THE BANJAR WAR (1859-1905)
::From some period of time, the Dutch government created a right to have a say in choosing the crown suc-cessor of the Sultan of Banjarmasin and eventually in 1824 arose the matter to replace the Crown Prince in which the Dutch forced their decision to place their nominee. This was opposed by the Sultan and his people. The Crown Prince of the Sultan's choice, Prabu Anom, was captured by the Dutch in Banjarmasin. An-other successor, Prince Hidayatullah, was also captured and exiled to Java. This caused Prince Antasari and his people opposed the Dutch intervention in the adminis-tration affairs of the Sultanate of Banjar in South of Kalimantan in 1859. On 9-10 May 1859 Prince Antasari and the Banjar people encircled and attacked the Dutch coal mine in Pengaron. The diorama shows the people of Banjar led by Prince Suropati attack the Dutch sailing vessel in Lontartur, Kapuas river.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.
Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

[https://archive.org/details/17-perang-aceh-1873-1904-img-9532 PERANG ACEH, 1873-1904]
*DIORAMA 17: PERANG ACЕН (1873 - 1904)
::Pada tahun 1871 Belanda dan Inggris mengadakan perubahan Traktat London sebagai rangkaian dari Konvensi London tahun 1814. Pembaruan terakhir bernama Traktat Sumatra yang memberikan kepada Belanda kekuasaan atas Sumatra. Perjanjian ini membuka jalan kepada Belanda untuk menduduki Aceh. Perang Aceh pecah akibat konflik yang semakin meruncing ketika pada tahun 1873 Belanda menuntut agar Aceh menghentikan hubungannya dengan negara-negara lain ditolak. Belanda segera mengirimkan ekspedisi militer ke Aceh, tetapi merekadikalahkan, bahkan panglimanya JHR Kohler tewas dalam pertempuran tanggal 13-14 April 1973 di depan Masjid Agung Baiturrahim. Diorama ini menggambarkan pertempuran sengit di halaman Masjid Agung Baiturrahim ketika JHR Kohler menjadi korban penembak jitu Aceh.

*DIORAMA 17: THE ACEH WAR (1873 - 1904)
::In 1871 the Dutch and the British amended the London Treaty as an attachment to the London Con-vention 1814. The last renewal was the Sumatra Treaty which gave the Dutch sovereignty over Sumatra. This treaty opened the way for the Dutch to occupy Aceh. The Aceh war broke out as a result of mounting conflicts when in 1873 the Dutch demanded the de-crease of Aceh's relation with foreign countries but it was rejected by the Aceh authority. The Dutch immediately sent in a military expedi-tion to Aceh, but they were defeated, more over the army commander JHR Kohler was killed in a battle near the grand Mosque Baiturrahim. The diorama shows the fierce fighting on 13 April 1973 around the Baiturrahim grand Mosque when JHR Kohler was hit by Acehnese sniper.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.
Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

[https://archive.org/details/18-perlawanan-sisimangaraja-1877-1907-img-9536 PERLAWANAN SISIMANGARAJA, 1877-1907]
*DIORAMA 18: PERLAWANAN SI SINGAMANGARAJA (1877 - 1907)
::Dengan dalih bahwa zending sering diganggu oleh pasukan Si Singamangaraja, Belanda mendapatkan kesempatan melakukan ekspedisi ke Tanah Batak, Tapanuli. Bentrokan pertama dengan Belanda terjadi pada tanggal 15 Februari 1878, setelah terlebih dahulu Si Singamangaraja memberi peringatan kepada pasukan Belanda supaya meninggalkan Tapanuli. Perlawanan terhadap kolonialis Belanda ternyata mendapat bantuan dari rakyat Aceh dan Minangkabau. Penyerangan besar-besaran terhadap markas Belanda dengan bantuan rakyat kedua daerah tersebut dilakukan pada tahun 1887. Perjuangan Si Singamangaraja berlangsung hingga awal abad ke dua puluh. Si Singamangaraja gugur dalam pertempuran di Pearaja Diri pada tanggal 17 Juni 1907. Diorama ini menggambarkan pertempuran di Tanggabatu dekat kota Balige pada tahun 1884 ketika Si Singamangaraja berhasil memukul mundur pasukan Belanda.

*DIORAMA 18: SI SINGAMANGARAJA REVOLT (1877 - 1907)
::With the excuse that the missionaries were frequently assaulted by Si Singamangaraja, the Dutch government seized at the opportunity to expand their territory to land of Batak People, Tapanuli. The first con-tact took place on February 15, 1878, after Si Singamangaraja reminded the Dutch to leave Tapanuli. The resistance movement against the Dutch was aided by the people of Aceh and Minangkabau. The large scale offensive to the Dutch headquarter with the assistance of both neighboring people took place in 1887. Si Singamangaraja's struggle went on until the beginning of the twentieth century. He was killed in a battle in Pearaja Diri on June 15, 1907. The diorama shows the battle at Tanggabatu near Balige in 1884 where Si Singamangaraja repulsed the Dutch troops.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.
Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

[https://archive.org/details/19-pertempuran-jagaraga-1848-1849-img-9544 PERTEMPURAN JAGARAGA, 1848-1849]
*DIORAMA 19: PERTEMPURAN JAGARAGA (1848-1849)
::Pada tahun 1841 Belanda memaksakan penghapusan peraturan tawan karang yang diakui sebagai lembaga hukum adat di Bali. Menurut peraturan tawan-karang semua muatan kapal yang kandas menjadi milik raja dan penduduk pantai, sedang penumpangnya dijadikan budak. Beberapa kerajaan di Bali menerima peraturan Belanda itu, kecuali Buleleng dan Karangasem. Dua kali Buleleng mengenakan tawan-karang terhadap kapal-kapal Belanda yang terdampar di daerahnya. Belanda menuntut agar muatan dan isi kapal itu dikembalikan, tetapi ditolak oleh Raja Buleleng sehingga perang tidak dapat dihindarkan lagi. Meskipun dalam serangan Belanda tahun 1846 Buleleng dan Karangasem dapat diduduki namun semangat juang rakyat tetap berkobar dan mereka menyiapkan pertahanan di jagaraga. Diorama ini menggambarkan pertempuran yang terjadi di muka Pura Dalem Jagaraga yang berakhir dengan gugurnya seisi Pura.

*DIORAMA 19: THE BATTLE OF JAGARAGA (1848-1849)
::In 1841 the Dutch government tried to enforce the abolition of the Balinese customary law of Tawan Karang. According to the rule of Tawan Karang, the people and his King had the right to appropriate the goods of stranded ships and to enslave all passengers and crew alike. Several Kingdoms in Bali accepted this rule, except the Kingdoms of Buleleng and Karangasem. Twice the King of Buleleng applied the customary law to the Dutch stranded ship in his domain. The Dutch demanded the return of all merchandises and personnels but this was rejected by King of Buleleng caused the war could not be avoided. Although in the Dutch attack in 1846 Buleleng and Karangasem was occupied, the fighting spirit of the people was constantly exuberant and they developed a stronghold in Jagaraga. The diorama shows the tremendous battle in front of the Pura Dalem of Jagaraga, which ends with the fall of all Pura's occupants.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.
Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

[https://archive.org/details/20-tanam-paksa-1830-1870-img-9548 TANAM PAKSA, 1830-1870]
*DIORAMA 20: TANAM PAKSA (CULTUUR STELSEL) (1830-1870)
::Perang Diponegoro yang berlangsung selama lima tahun (1825-1830) mengakibatkan krisis keuangan bagi kerajaan Belanda. Tetapi di daerah kerajaan Mataram, Belanda berhasil menduduki wilayah seluas 3000 km persegi yang terdiri dari tanah yang subur. Untuk mengatasi keadaan krisis itu muncul gagasan Gubernur Jenderal Van Den Bosch untuk menjadikan tanah Jawa sebagai perkebunan yang besar atas dasar perjanjian antara pemerintah Hindia Belanda dan petani. Pemerintah Belanda akan menjadi pedagang dan tuan kebun, Tanaman yang akan ditanam di Jawa haruslah tanaman yang sangat laku di pasar Eropa, seperti nila, gula, teh, lada, kopi dan kayumanis. Gagasan Van Den Bosch disetujui oleh Raja Belanda dan realisasi di Jawa dimulai tahun 1830. Dalam kenyataannya tidak terdapat kontrak antara pemerintah kolonial dengan rakyat petani, melainkan hubungan paksa. Sejak inilah dimulai periode eksploitasi tenaga rakyat secara besar-besaran. Bagi rakyat yang tidak memiliki tanah diharuskan bekerja pada perkebunan nila (indigo) seperti yang terjadi di Jawa Barat. Mereka tidak diperkenankan pulang dari tempat bekerja yang letaknya puluhan kilometer dari kampung halamannya. Mereka yang dianggap malas dikenai hukuman cambuk dan siksaan lainnya. Tanam paksa ini memberikan keuntungan luar biasa bagi pemerintah Belanda, sedangkan bagi rakyat Indo-nesia mengakibatkan penderitaan yang sangat berat. Rakyat kelaparan karena mereka tidak berkesempatan menggarap sawah dan ladangnya. Diorama ini menggambarkan penderitaan rakyat In-donesia yang dipaksa untuk bekerja keras di daerah perkebunan disertai dengan siksaan fisik.

*DIORAMA 20: THE FORCED CULTURE SYSTEM (1830-1870)
::The Diponegoro War which had lasted for a term of five years (1825-1830) caused a financial crisis for the Dutch Crown. But in Mataram Kingdom area, the Dutch succeeded in controlling a 3000 km square land comprising of fertile soil. To overcome this crisis Governor General Van Den Bosch conceived the idea of making the land of Java into a big plantation on the basis of an agreement between the Dutch Indies government and the farmers. The Dutch Indies government would be the trader as well as land-lord. The plants which would be cultivated in Java ought to produce commodities being much in demand in Europe, such as indigo, sugar, tea, pepper and cinnamon. Bosch's idea was approved by the King of Netherlands and its implementation was started in 1830 in Java. In fact the work contract had never been made between the colonial government and the farmers, rather it was a forced relation. So began the extortion and the oppression of the people. Those who did not own land were forced to work in the indigo plantation for free as was known in West Java. They were forbidden to go home as they worked tens kilometers away from home. Those who were thought lazy were imposed whipping punishment and other physical torture. This system was indeed very profitable for the Dutch, on the contrary it was a misery for the Javanese people. The farmers died of starvation as they had no time at all to cultivate their own land. The diorama shows how cruelly the people are forced to work under physical torture and other punishment.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.
Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

[https://archive.org/details/21-peranan-gereja-protestan-dalam-penyatuan-bangsa-1930-img-9552 PERANAN GEREJA PROTESTAN DALAM PENYATUAN BANGSA, 1930]
*DIORAMA 21: KEGIATAN GEREJA PROTESTAN DALAM PROSES PENYATUAN BANGSA (Abad ke 20)
::Gereja Protestan dengan zendingnya giat mengadakan propaganda terutama di daerah-daerah yang masih terbelakang. Selain bergerak dalam bidang keagamaan, gereja Protestan giat bergerak dalam bidang pendidikan sehingga secara langsung telah membantu menyatukan bangsa Indonesia dari berbagai suku yang sedang mengalami proses penyatuan. Selain di beberapa daerah dan kota-kota di Jawa. pusat-pusat agama Kristen terutama terdapat di Ambon. Minahasa dan Tapanuli. Pada tahun 1930 berdiri Perserikatan Kaum Christen (PKC) dan Partai Kaum Masehi Indonesia, keduanya merupakan bagian dari gerakan nasional untuk Indonesia merdeka. Diorama ini menggambarkan kegiatan umat Kristen Protestan dalam bidang sosial, pendidikan dan keagamaan.

*DIORAMA 21: THE ACTIVITIES OF THE PROTESTANT CHURCH IN UNITING THE NATION (20TH CENTURY)
::The activities of the Protestant church in the field of propagation of the Protestant faith were of great sig-nificance, especially in backward areas. Apart from that, the Protestant church were active in the educational field so that it directly gave contribution in process of unification of several ethnics groups in Indonesia. Besides several regions and cities in Java, Protes-tant centers are mostly found in Ambon, Minahasa and Tapanuli. In 1930 Perserikatan Kaum Christen (Christian Association) and Partai Masehi Indonesia (Indonesian Christian Party) were set up, both were part of the national movement for the independence of Indonesia. The diorama shows the activities of the Protestant in the social and educational fields and religious affairs.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.
Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

[https://archive.org/details/22-ra-kartini-1879-1904-img-9554 RA KARTINI, 1879-1904]
*DIORAMA 22: PERJUANGAN KARTINI (1879-1904)
::Gerakan mengejar kemajuan pada akhir abad ke 19 terbukti dari kebutuhan akan pendidikan dan pengajaran yang semakin besar Tetapi pandangan umum masih dihinggapi konservatisme yang kuat bagi anak perempuan. Lahir di Jepara pada tanggal 21 April 1879 Kartını berjuang untuk memperoleh persamaan hak bagi kaum wanita dan melepaskan diri darı kungkungan dan prasangka tradisi dan adat. Kumpulan surat-surat yang dikirimkan kepada sahabat-sahabatnya di mana dia mengungkapkan buah pikiran dan cita-citanya telah diterbitkan dalam sebuah buku yang menarik berjudul Habis Gelap Terbitlah Terang (aslinya Door Duisternis tot Licht). Diorama ini menggambarkan Kartini menyelenggarakan sekolah untuk pendidikan anak-anak perempuan

*DIORAMA 22: THE STRUGGLE OF KARTINI (1879-1904)
::The movement to achieve progress at the end of the 19th century was confirmed by the increasing de mands for education and studies, but the public opinion was still under great influence of the prevailing tradi tion, especially for women. Born in Jepara on 21 April1879, Kartini fought for equal rights for the Indonesian women and her libera-tion from the shackles and prejudice of the customary law and tradition. A collection of her letters to friends in which she express her thoughts and opinion were subsequently published as an interesting book entitled Letters of A Javanese Princess (onginally Door Duisternis tot Licht). The diorama shows Kartini personally conducting a class of girls students.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.
Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

[https://archive.org/details/23-kebangkitan-nasional-20-mei-1908-img-9556 KEBANGKITAN NASIONAL, 20 MEI 1908]
*DIORAMA 23: KEBANGKITAN NASIONAL (20 MEI 1908)
::Menjelang akhir abad ke 19 masyarakat Indonesia masih terbelakang baik di bidang politik, ekonomi, maupun sosial budaya termasuk pendidikan. Keadaan ini adalah akibat langsung dari politik kolonial Belanda yang tidak menghendaki rakyat Indonesia menjadi cerdas, karena hal itu akan membahayakan kedudukannya. Tetapi kemudian kaum kolonialis terpaksa juga memberikan pendidikan modern kepada pemuda-pemuda Indonesia, pertama untuk memenuhi kebutuhannya akan tenaga-tenaga terdidik di perusahaan-perusahaannya dan kedua untuk meningkatkan potensi masyarakat Indonesia sebagai pasar bagi industrinya. Sebagai hasil dari pendidikan itu timbul suatu generasi pemuda Indonesia yang terkena gagasan-gagasan nasionalisme dan modernisasi yang menyebar dani Eropa. Pemuda-pemuda itulah yang kemudian mengorganisir pergerakan Nasional sebagai perwujudan dan Kebangkitan Nasional rakyat Indonesia. Yang dianggap manifestasi pertama dan Kebangkitan Nasional tu adalah pembentukan organisasi modern yang pertama oleh orang Indonesia, yakni Budi Utomo. Budi Utomo dibentuk atas prakarsa beberapa mahasiswa Sekolah Dokter Jawa (School Tot Opleiding Van Indische Artsen STOVIA), seperti Sutomo, Gunawan Mangunkusumo, dan lain-lain dengan Dokter Wahidin Sudirohusodo sebagai penasehatnya. Kemudian lahirlah organisasi lain seperti Sarikat Is-lam, Indische Party, Muhammadiyah, dan lain-lain yang dalam perkembangan selanjutnya bertujuan Indonesia Merdeka. Diorama ini menggambarkan suasana Kongres Budi Utomo Pertama yang diadakan di Yogyakarta.

*DIORAMA 23: The National Resurgence (20 May 1908)
::By the end of 19th century, Indonesian people were still backward politically, economically and socio-cultural including education. This was a direct result of the Dutch colonialism policy that did not want to see Indonesia become smart and intelligent as these would endanger their position. Finally, however, the colonialist had to give modern education to Indonesian youth to meet the needs for educated people at their enterprises and secondly to increase Indonesia's potentials for their market. As a result of the modern education, a younger generation of people were born who had nationalism and modernization ideals that came from Europe. Those young people who then organized the National Move-ment as the realizations of the Indonesian people's national resurgence. The first manifestation of the national resurgence was the establishment of the first modern organization by the Indonesian, Budi Utomo. Budi Utomo was established by students of native Medical College (STOVIA: School Tot Opleiding Van Indische Artsen) such as Sutomo, Gunawan Mangunkusumo etc. and Dr. Wahidin Sudirohusodo as the adviser. Afterward other organizations were established such as Sarikat Islam (Islamic Association), Indische Party (Indies Party), Muhammadiyah (an important Islamic modernist organization), and others which in their fur-ther development wanted an Independent Indonesia. This diorama shows the first congress of Budi Utomo (High Endeavor) held in Yogyakarta.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.
Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

[https://archive.org/details/24-taman-siswa-3-juli-1922-img-9558 TAMAN SISWA, 3 JULI 1922]
*DIORAMA 24: TAMAN SISWA (3 JULI 1922)
::Politik pendidikan pada jaman penjajahan tidak dapat dipisahkan dari kepentingan kolonial. Sebagai suatu reaksi politik, pada tanggal 3 Juli 1922 Ki Hajar Dewantara mendinkan perguruan Taman Siswa di Yogyakarta. Perkembangan perguruan ini sangat pesat sehingga pemerintah merasa khawatir. Pada tahun 1922 pemerintah mengeluarkan Ordonansi Sekolah Liar hingga praktis sekolah-sekolah swasta kehilangan identitasnya. Protes timbul dari berbagai pihak, sehingga ordonansi tersebut dicabut kembali. Semangat nasionalisme sangat menjiwai kehidupan Perguruan Taman Siswa. Pada tahun 1935 berlangsung Kongres Pendidikan Nasional yang pertama dengan tujuan hendak menggalang persatuan nasional dan mencari perumusan tentang pendidikan dan pengajaran yang bersifat nasional. Diorama ini menggambarkan Ki Hajar Dewantara yang pada tahun 1921 mendirikan organisasi nasionalis kebudayaan Indonesia yang sangat penting menyambut orang tua murid di perguruan Taman Siswa

*DIORAMA 24: TAMAN SISWA (3 JULY 1922)
::The educational policy under colonial regime was inseparable from its interest. As a political reaction, on 3 July 1922 Ki Hajar Dewantara set up Taman Siswa Institution in Yogyakarta. This institution expanded rap-idly caused apprehension among the Dutch authorities In 1932 the Dutch government issued an ordinance on regulating the activities of non governmental schools. known as ordinance of illegal school. Practically it made private school lost its identity. Protest sprang up from everywhere caused the revocation of the ordinance. The spint of nationalisms inspired the existence of Taman Siswa. In 1935 the first National Education Congress took place which had the insistence on giving national unity a firm platform and setting the platform for national education and teaching. The diorama shows Ki Hajar Dewantara who in 1921 founded the very important Indonesian cultural nationalist organization Taman Siswa welcoming the students parents at Taman Siswa.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.
Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

[https://archive.org/details/25-muhammadiyah-18-november-1912-img-9572 MUHAMMADIYAH, 18 NOVEMBER 1912]
*DIORAMA 25: MUHAMMADIYAH (18 NOVEMBER 1912)
::Keadaan masyarakat Islam Indonesia pada abad sembilan belas dan permulaan abad dua puluh sangat menyedihkan. KH. Ahmad Dahlan tampil ke depan dengan mendirikan Muhammadiyah pada tanggal 18 November 1912 di Yogyakarta dengan tujuan untuk mengembalikan kemurnian ajaran Islam dan memperbaiki kesejahteraan masyarakat. Di dalam kegiatannya Muhammadiyah mendinkan sekolah, rumah yatim piatu, rumah-rumah sakit, pelatihan bag juru dakwah, dan organisasi kepanduan. Saat ini organisasi tersebut merupakan salah satu lembaga Islam terbesar di Indonesia. Diorama menggambarkan salah satu kegiatan kepanduan Hizbul Wathan disaksikan oleh K.H. Ahmad Dahlan

*DIORAMA 25: MUHAMMADIYAH (18 NOVEMBER 1912)
::In the nineteenth century and the beginning of the twentieth century the situation of the community of Islam in Indonesia was very saddening indeed. K.H. Ahmad Dahlan came forward by setting up Muhammadiyah on 18 November 1912 in Yogyakarta. The objective of Muhammadiyah was to rejuvenate the teaching of Islam and improve the people's welfare. In its activities. Muhammadiyah established a large number of schools, orphanages, hospitals, a training course for missionaries, and scout club. Today the organization is still one of the largest Muslim bodies in the country. The diorama shows one of the activities of the Hizbul Wathan Scout Club, witnessed by K.H. Ahmad Dahlan.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.
Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

[https://archive.org/details/26-perhimpunan-indonesia-1922-img-9575 PERHIMPUNAN INDONESIA, 1922]
*DIORAMA 26: PERHIMPUNAN INDONESIA (1925)
::Perjuangan mencapai Indonesia Merdeka di luar negeri dipelopori oleh mahasiswa-mahasiswa Indonesia yang belajar di Negeri Belanda. Pada tahun 1908 berdiri Indische Vereeniging (Perhimpunan Hindia) yang pada mulanya bersifat sosial degan tujuan sebagai forum tempat bertemu orang-orang termasuk para pelajar yang merantau ke negeri Belanda. Pada tanggal 19 Februari 1922 perhimpunan ini mengadakan pertemuan di Den Haag dan salah satu keputusan penting yang diambil dalam pertemuan tersebut adalah penggantian nama dari Indische Vereeniging menjadi Indonesisch Vereeniging. Kemudian pada tanggal 8 Februari 1925 nama tersebut berganti menjadi Perhimpunan Indonesia. Mereka menuntut agar pemerintah Hindia Belanda bertanggung. jawab kepada rakyat Indonesia dan bukan kepada pemerintah Belanda. Akhirnya mereka menuntut kemerdekaan Indonesia yang berdasarkan kepada kekuatan din sendiri. Dibandingkan dengan rekan-rekan mereka di Indonesia, mereka lebih banyak memperoleh kebebasan bergerak. Pada bulan Februan 1927 Perhimpunan Indonesia berjuang di forum internasional dengan mengambil bagian dalam Kongres Menentang Imperialisme dan Penindasan Kolonial yang diadakan oleh Liga Anti Imperialisme dan Bagi Kemerdekaan Nasional di Brussels. Selanjutnya, propagada Perhimpunan Indonesia, semakin berani dan tajam sehingga pemerintah Belanda mengadakan penangkapan terhadap pimpinannya, yaitu Mohammad Hatta, Abdul Majid Joyohadiningrat, Ali Sastroamidjojo dan Nasir Pamuncak dengan tuduhan menjadi anggota perkumpulan terlarang, terlibat dalam pemberontakan dan menghasut untuk menentang kerajaan Belanda. Tetapi, pengadilan membebaskan mereka dari semua tuduhan. Diorama ini menggambarkan suasana pertemuan perhimpunan Indonesia yang dipimpin oleh Mohammad Hatta.

*DIORAMA 26: THE INDONESIAN ASSOCIATION (1925)
::The struggle for national independence abroad was spearheaded by the Indonesian students in the Netherlands. In 1908 The Indische Vereeniging (Indies Association) was established which at first had a societal function as a meeting forum for the people included the Indonesian students who went overseas in the Netherlan's. On February 1922. the association held a meeting in The Hague and an important decision taken at this meeting was a change of the name from Indische Vereeniging to Indonesische Vereeniging. Then, on 8 February 1925 the later name was changed into the new name Perhimpunan Indonesia (Indonesian Association). They demanded that the Netherlands Indies government to be responsible to the people of Indonesia not to the Dutch government. Finally they demanded the independence of Indonesia on the basis of their own power. In comparison with their colleagues in Indonesia, they had more freedom of action. In February 1927 the Indonesian Association brought their struggle to the international forum by taking part in the Congress of Anti Colonialism and Colonial Oppression held by the League Against Imperialism and for National Inde-pendence in Brussels. Furthermore, the propaganda of Perhimpunan Indonesia became brave and sharp that its leaders Mohammad Hatta, Ali Sastroamidjojo. Nasir Pamuncak and Abdul Majid Joyohadiningrat were arrested on charges: being a member of prohibited organization, being involved in a rebellion, and instigating opposition to the Dutch crown. But then they were acquitted of all charges. The diorama shows Mohammad Hatta chairing the meeting of the association.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.
Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

[https://archive.org/details/27-the-stovia-1898-1926-img-9577 THE STOVIA, 1898-1926]
*DIORAMA 27: STOVIA SEBAGAI TEMPAT PERSEMAIAN PERGERAKAN PEMUDA INDONESIA (1926)
::Kemiskinan bangsa Indonesia dalam arti lahir dan batin yang juga dirasakan oleh beberapa orang terpelajar, telah menggerakkan hati mereka untuk mempertinggi derajat bangsa Usaha dr. Wahidin Sudirohusodo mendirikan dana belajar tidak berjalan sebagaimana yang diharapkan. Namun cita-cita luhur yang terkandung di dalamnya telah menggugah semangat pelajar-pelajar STOVIA (School Tot Opleiding Van Indische Artsen -Sekolah Dokter Bumi Putera) di Jakarta. Pada hari bersejarah tanggal 8 Mei 1908 mereka mendirikan perserikatan bernama Budi Utomo. Kenyataannya, para lulusan dan mahasiswa STOVIA memainkan peranan penting dalam pertumbuhan gerakan nasional Indonesia modern. Diorama ini menggambarkan pertemuan yang diadakan oleh pelajar-pelajar STOVIA di gedung STOVIA yang lebih dikenal sekarang sebagai gedung Museum Kebangkitan Nasional, Jakarta. Pertemuan pertemuan semacam ini sering kali dilakukan yang merupakan kegiatan para pelajar STOVIA untuk membebaskan negerinya dari penjajahan dan keterbelakangan.

*DIORAMA 27: STOVIA AS THE PLACE FOR SEEDBED OF INDONESIA'S YOUTH MOVEMENT(1926)
::The poverty of body and mind of the little men in Indonesia which strongly felt by several educated men arose their anxiety to bring enlightenment. Dr. Wahidin Sudirohusodo's effort to establish study fund did not meet the expectations, but his aspiration had awaken the STOVIA (School Tot Opleiding Van Indische Artsen) student's sprint. On the historical day, May 8, 1908 they founded Budi Utomo (High Endeavour). It was al ready known that the graduates and students of the STOVIA (a medical training college) played an impor ant role in the genesis of the modern Indonesian nationalist movement. The diorama shows the meeting of STOVIA held in STOVIA building which is known as The Museum of National Resurrection, Jakarta. Such meetings were held frequently as their activities to liberate their country from colonialism and backwardness.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.
Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

[https://archive.org/details/28-digul-1926-1927-img-9580 DIGUL, 1926-1927]
*DIORAMA 28: DIGUL (1927)
::Pada tahun 1926 di Pulau Jawa timbul pemberontakan melawan pemerintahkolonial Pemberontakan ini merupakan puncak dari gerakan tani yang mula-mula pecah di Banten kemudian menjalar ke Jawa Barat dan Jawa Tengah. Pada Januari 1927 pecah pula pemberontakan serupa di Sumatra Barat, akan tetapi dapat ditumpas dengan kejam. 13.000 orang ditangkap, diantaranya 4.500 dijatuhi hukuman dan 1.300 dibuang ke Tanah Merah, Digul Atas, Irian Jaya. Kemudian Digul Atas menjadi tempat pengasingan bagi tokoh-tokoh pergerakan nasional. Sebagai tawanan, di samping harus mencukupi kebutuhannya sendiri, mereka harus tahan melawan hawa panas dan penyakit malaria yang ganas. Diantara semua penderitaan itu yang sangat berat adalah penderitaan tekanan jiwa, sehingga di tempat pengasingan ini tercapailah puncak, penderitaan lahir dan batin. Hingga kini Digul Atas menjadi lambang pengorbanan pemimpin-pemimpin nasional kita dari generasi sebelum Perang Dunia II. Diorama ini menggambarkan sebagian tokoh-tokoh pergerakan nasional di tempat pengasingan Digul Atas. antara lain Mohammad Hatta dan Sutan Syahrir.

*DIORAMA 28: DIGUL (1927)
::In the year 1926, a rebellion rose in Java against the colonial government. This rebellion was the culmination of the farmers' movement in Banten, West Java that spread through Central Java. In January 1927, in West Sumatra the same uprising broke out. Within short time both up risings were cruelly suppressed. 13.000 men were ar rested among which 4.500 were imprisoned and 1.300 exiled to Tanah Merah, Upper Digul in West Irian. Afterwards the swampy forest of Digul, in West Irian served as a home for Indonesian nationalists exiled by the Dutch colonial regime. As prisoners besides having to sustain themselves they had to stand the heat and over bearing malaria, but uppermost and culminating point of body and mental suffering. Up to the present time Digul is the symbol of sacrifice for national leaders of the generation before the second World War. The diorama shows a number of prominent figures in the national movement organizations being in exile in Upper Digul, Inan, among others. Mohammad Hatta and Sutan Syahrir.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.
Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

[https://archive.org/details/29-sumpah-pemuda-28-oktober-1928-img-9582 SUMPAH PEMUDA, 28 OKTOBER 1928]
*DIORAMA 29: SUMPAH PEMUDA (28 OCTOBER 1928)
::Dalam lingkungan pergerakan nasional Indonesia para pemuda telah melahirkan berbagai ragam organisasi pemuda, seperti Jong Ambon, Jong Bataks, Jong Celebes, Jong Islamiten Bond, jong Java and Jong Sumatranen Bond. Organisasi-organisasi ini pada umumnya bersifat kedaerahan dan masing-masing tidak mempunyai hubungan dengan yang lain. Lama-kelamaan iklim persatuan Indonesia mempengaruhi meseka pula dan terasa dorongan untuk membina suatu pergerakan pemuda Indonesia yang berjiwa nasional kesatuan. Usaha ke arah itu dilakukan dalam serangkaian kongres pemuda. Pada Kongres Pemuda kedua tanggal 28 Oktober 1928 di Jakarta dicetuskan Sumpah Pemuda 1. Kami putra dan putri Indonesia mengaku berbangsa yang satu. Bangsa Indonesia.2. Kami putra dan putri Indonesia mengaku bertanah air yang satu. Tumpah Darah Indonesia.3. Kami putra dan putri Indonesia menjunjung bahasa persatuan, Bahasa Indonesia. Diorama ini menggambarkan suasana Kongres Pemuda Kedua pada tanggal 28 Oktober 1928 di Jakarta.

*DIORAMA 29: THE YOUTH PLEDGE (28 OCTOBER 1928)
::In the circle of national movement the Indonesian youth gave birth to heterogeneous youth organizations. such as: Jong Ambon, Jong Bataks, Jong Celebes, Jong Islamiten Bond, Jong Java and Jong Sumatranen Bond. Most of these organizations had the nature of regional ism and each had no relation to others. Eventually the climate of Indonesia's unity had influenced each other and felt the willpower to found a unifying youth move-ment in the spirit of national unity. In a senes of youth congress they managed to make concrete efforts towards the youth unity. In the Second Youth Congress held on 28 October 1928 in Jakarta the youth proclaimed the Youth Pledge 1. We the Indonesia's youth admit to having one nation, Indonesia. 2. We the Indonesia's youth admit to having one motherland, Indonesia 3. We the Indonesia's youth have respect for unity language, Indonesian language.The diorama shows the atmosphere of the Second Youth Congress on 28 October 1928 in Jakarta.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.
Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

[https://archive.org/details/30-romusha-1942-1945-img-9585 ROMUSHA, 1942-1945]
*DIORAMA 30: ROMUSHA, 1942-1945
::Pada tanggal 8 Maret 1942, Panglima Tentera Hindia Belanda menyerah kepada Jenderal Hitoshi Imamura Panglima tentara ekspedisi Jepang di Kalijati. Jawa Barat. Dalam upaya memenangkan Perang Pasifik. Jepang mengerahkan seluruh tenaga dan kekayaan bumi Indonesia tanpa pembatasan apapun. Dengan meningkatya situasi perang. Jepang mengerahkan secara paksa orang Indonesia untuk dipekerjakan pada objek-objek vital dan bangunan-bangunan militer. Sebelum diangkut ke tempat-tempat yang dituju, mereka dibujuk dan diberi predikat muluk sebagai prajurit pekerja atau romusya. Dalam prakteknya mereka melaksanakan kerja-paksa dengan mengalami siksaan-siksaan tanpa diberi makan dan minum yang cukup menyebabkan puluhan ribu romusya Indonesia menemui ajalnya. Diorama ini menggambarkan bagaimana para romusya dalam keadaan kurus kering dan lemah lunglai dipaksa bekerja berat di bawah pengawasan tentara Jepang.

*DIORAMA 30: THE JAPANESE FORCED LABOUR, 1942-1945
::On 8 March 1942 the Commander of the Netherlands East Indies army General Ter Poorten surrendered to General Hitoshi Imamura, the japanese expedition army commander in Kalijati, West Java. In its effort to win the Pacific War, the Japanese occupational army exploited Indonesia's human and natural resources. Since the intensity of the Pacific War increased the Japanese army conscripted Indonesian workers to forced labour to vital Japanese military installations and buildings. Before leaving for the destination places they were urged and given pomposity predicate as militia workers or romushas. in actual practice, they were sent to do forced labour under torture without enough food and drink caused tens of thousand Indonesia's romushas met their end. The diorama shows how hard the weak and emaciated labours are forced to work under the Japanese army supervision.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.
Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

[https://archive.org/details/31-pemberontakan-tentara-peta-di-blitar-14-februari-1945-img-9586 PEMBERONTAKAN TENTARA PETA DI BLITAR, 14 FEBRUARI 1945]
*DIORAMA 31: PEMBERONTAKAN TENTARA PETA DI BLITAR (14 FEBRUARI 1945)
::Pada bulan Oktober 1943 Pemerintah Pendudukan Jepang mengeluarkan Osamu Seiroi No. 44/1943 tentang pembentukan pasukan sukarela untuk membela Tanah Jawa. Peraturan ini mendapat sambutan hangat dari kalangan masyarakat Indonesia, khususnya para pemuda yang benar-benar berhasrat untuk membela tanah air. Dengan berbondong-bondong mereka. mendaftarkan diri menjadi anggota Tentara Pembela Tanah Air (PETA). Tentara PETA dibagi atas daidan-daidan (batalyon) yang tidak ada hubungan organisatoris satu sama lainnya. Segenap Perwira. Bintara dan Tamtama Tentara PETA adalah orang Indonesia, akan tetapi mereka didampingi orang Jepang sebagai pelatih merangkap pengawas. Di Blitar terdapat pula suatu batalyon yang seperti batalyon-batalyon lainnya juga melaksanakan tugas membangun kubu-kubu pertahanan dengan memakai romusya sebagai tenaga kasar. Perasaan benci terhadap Jepang yang sudah timbul di kalangan mereka menjadi semakin mendalam setelah mengetahui keadaan keluarga mereka yang menderita sebagai akibat tindakan-tindakan Jepang ketika mereka bertugas bersama para romusya. Mereka tidak tahan menyaksikan bangsanya diperas tenaganya dan mati kelaparan. Ditambah dengan faktor aspirasi kemerdekaan, pelbagai faktor itu menyebabkan tekad bulat di kalangan mereka untuk memberontak. Dengan dipimpin oleh Suprijadi, Muradi and mendapat nasehat dari dr. Ismangil, mereka mengadakan serangkaian rapat-rapat persiapan. Dan pada tanggal 14 Pebruari 1945 pukul 03.30 dinihari mulailah pemberontakan. Mereka membunuh beberapa orang Jepang lalu mengingkir ke luar kota. Pemberontakan berhasil ditumpas oleh pihak Jepang. Suprijadi, pemimpin pemberontakan menghilang. Pemimpin-pemimpin lainnya seperti dr. Ismangil, Muradi, Sunanto, Halir dan kawan-kawannya tertangkap lalu dibawa di Jakarta pada tanggal 8 Maret 1945. Selanjutnya pada tanggal 14-16 Maret 1945 dihadapkan ke Mahkamah Militer. 6 orang dijatuhi hukuman mati, 3 orang dijatuhi hukuman seumur hidup. dan yang lainnya dijatuhi hukuman antara dua sampai limabelas tahun. Diorama ini menggambarkan serangan tentara PETA terhadap markas militer Jepang di Blitar pada tanggal 14 Februari 1945.

*DIORAMA 31: THE MUTINY OF JAPANESE TRAINED PETA ARMY IN BLITAR (14 FEBRUARY 1945)
::In October 1943, the Government of the Japanese occupational army issued the Osamu Seiro No.44/1943 on the forming of the volunteer troops to defend Java. This ordinance was received with enthu-siasm by youth movements, who were very eager to defend their country. In hordes they came to enlist as soldier of the PETA (The Defenders of The Mother land). PETA was divided into several Daidans (battalions) which had no organizational connections with each other. Every private, subaltern, officer and commanding officer was an Indonesian with Japanese as instructor who also held position as supervisor. In Blitar, East Java, there was also a daidan with the same formations and construction with romushas as the main labour force which had orders to set up fortifications. A hatred feeling that had already emerged among the PETA soldiers was growing more and more when they discovered their relatives who worked with them as romusha suffered from Japanese action Obviously they could not stand seeing the people were exploited and died of starvation. All of those factors and spir ited by their aspiration for national independence caused a great deal willpower to stage a mutiny. Led by Suprijadi and Muradi, after getting dr. Ismangil's advice, they held a series of preparation meetings. On 14 February 1945 at 03.00 am the revolt against Japa-nese broke out in Blitar. They killed a number of Japa-nese and then moved to a safe place out of the city. The revolt was annihilated by Japanese. Suprijadi, the leader disappeared. Other leaders such as dr. Ismangil, Muradi, Sunanto, Halir and their compan-ions were captured and then brought to Jakarta on 8 March 1945. In 14-16 March 1945 they were brought to military court. 6 were sentenced to death, 3 were sentenced for life, and the others got two to fifteen years. This diorama shows the PETA soldiers attack the Japanese army post on 14 February 1945 in Blitar.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.
Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

[https://archive.org/details/32-proklamasi-kemerdekaan-indonesia-17-agustus-1945-img-9593 PROKLAMASI KEMERDEKAAN INDONESIA, 17 AGUSTUS 1945]
*DIORAMA 32: PROKLAMASI (17 AGUSTUS 1945)
::Pada tanggal 17 Agustus 1945 dinihari teks Proklamasi: selesai dirumuskan oleh Ir. Soekarno. Drs. Mohammad Hatta dan Mr. Ahmad Subardjo. Beberapa jam kemudian, yaitu pada pukul 10.00 Proklamasi Kemerdekaan dibacakan oleh Ir. Soekarno yang didampingi oleh Drs. Mohammad Hatta bertempat di Jalan Pegangsaan Timur Nomor 56 Jakarta.Hadir pada saat pengucapan teks Proklamasi itu adalah: 1. Abikusno Tjokrosujoso, Sukardjo Wirja-pranoto. Sukardjo Kartohadikusumo, KHA Wahid Hasjim dan Dr. Radjiman Widiodiningrat. 2. Wakil Walikota, Suwirjo. 3. Ibu Fatmawati. 4. Ny. SK. Trimurti. 5. Para perwira PETA: Abdul Kadir, Latif Hendraningrat. dan dr. Soetjipto, Kemal Idris, Daan Jahja, Arifin Abdurrachman dan Singgih. 6. Barisan Pelopor: Dr. Muwardi dan Asmarahadi. 7. Barisan Pelopor Istimewa: Soediro, Soehoed Sastro Koesoemo, Djohar Nur dan Soepeno. 8. Pers: Soeroto, S.F. Mendoer dan Sjahruddin.Diorama ini menggambarkan peristiwa detik-detik Proklamasi Kemerdekaan Indonesia 17 Agustus 1945.

*DIORAMA 32: PROCLAMATION OF INDEPENDENCE (17 AUGUST 1945)
::Early at dawn on 17 August 1945, the text for Proclamation of Indonesian Independence was drafted by Soekamo, Mohammad Hatta and Ahmad Subardjo. A few hours later, at ten o'clock in the morning the Proclamation of Indonesia's Independence was read out by Soekarno in the company of Mohammad Hatta at Pegangsaan Timur 56 Jakarta. Present at the reading out the text of Proclamation were: 1. Abikusno Tjokrosujoso. Sukardjo Wirjopranoto. Sukardjo Kartohadikusumo, KHA Wahid Hasyim and dr. Radjiman Widiodiningrat. 2. Vice Mayor Suwirjo. 3. Ms. Fatmawati. 4. Ms. SK. Trimurti. 5. PETA officers: Abdul Kadir, Latif Hendraningrat. dr. Soetjipto, Kemal Idris. Daan Jahja, Arifin Abdurrachman and Singgih. 6. Pioneer Troops: Dr. Muwardi and Asmarahadi. 7. Special Pioneer Troops: Soediro, Soehoed Sastro Koesoemo, Djohar Nur and Soepeno. 8. Press: Soerato, S.F. Mendoer and Sjahruddin.The diorama shows the very moment of the Proclamation of Indonesia's Independence 17 August 1945.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.
Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

[https://archive.org/details/33-pengesahan-pancasila-dan-undang-undang-dasar-1945-18-agustus-1945-img-9600 PENGESAHAN PANCASILA DAN UNDANG-UNDANG DASAR 1945, 18 AGUSTUS 1945]
*DIORAMA 33: PENGESAHAN PANCASILA SEBAGAI LANDASAN FALSAFAH NEGARA DAN U.U.D. 1945
::Sebelum kemerdekaan Indonesia diproklamasikan tanggal 17 Agustus 1945, Badan Penyelidik Usaha-usaha Persiapan Kemerdekaan Indonesia membahas berbagai konsep falsafah negara. Diantara konsep yang terpenting adalah konsep Mr. Muhammad Yamin yang diajukan tanggal 29 Mei 1945, konsep Ir. Soekamo yang diajukan tanggal I juni 1945, lengkap dengan namanya, yakni PANCASILA dan konsep Panitia Sembilan yang biasa disebut Piagam Jakarta disusun tanggal 22 Juni 1945. Dalam sidang PPPKI tanggal 10-16 Juli 1945. disusunlah konsep Undang-Undang Dasar negara Indonesia beserta mukadimahnya. Mukadimah itu ada dalam Piagam Jakarta yang mengandung pula dasar falsafah negara. Konsep tersebut, setelah diperbaiki, disahkan oleh sidang pertama Panitia Persiapan Kemerdekaan Indonesia tanggal 18 Agustus 1945 di Jakarta sebagai Undang-Undang Dasar Negara Republik Indonesia yang kemudian dikenal sebagai Undang-Undang Dasar 1945. Diorama ini menggambarkan suasana sidang Panitia Persiapan Kemerdekaan Indonesia yang berakhir dengan disahkannya Pancasila Landasan (Dasar) Falsafah Negara dan Undang-Undang Dasar 1945.

*DIORAMA 33: THE RATIFICATION OF PANCASILA AND THE 1945 CONSTITUTION
::Before the Independence of Indonesia was pro claimed, the Committee to Investigate Preparations for Indonesian Independence had studied several concepts for the state philosophy, particularly Mr. Muhammad Yamin's concept. Ir. Soekarno's concept, which outlined the Pancasila, the Five Principles. Concept of the Committee of Nine, known as the Jakarta Charter, which was drawn up on 22 June 1945. In July 10-16 1945 the Committee to Investigate Preparations for indonesian Independence composed the draft of the Constitution of the Republic of Indonesia along with its Preambule. The preambule to the Constitution was found in the Jakarta Charter which also contained the philosophy of the state. The concept, after revised, was legalized by the Indonesian Independence Preparatory Committee at its first meeting on 18 August 1945 in Jakarta as the Constitution of the Republic of Indonesia, known as the 1945 Constitution. The diorama shows the atmosphere of the meeting of the Indonesian Independence Preparatory Committee, which afterwards ratifies the Pancasila as the State Philosophy and the 1945 Constitution as the Constitution of the Republic of Indonesia.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.
Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

[https://archive.org/details/34-hari-abri-5-oktober-1945-img-9603 HARI ABRI, 5 OKTOBER 1945]
*DIORAMA 34: HARI LAHIR ABRI (5 OKTOBER 1945)
::Dalam Sidang Panitia Persiapan Kemerdekaan Indonesia (PPKI) tanggal 22 Agustus 1945 ditetapkan pembentukan Badan Keamanan Rakyat (BKR) yang bertugas memelihara keamanan dan ketertiban umum di daerahnya masing-masing. Untuk memperkuat perasaan keamanan umum maka pada tanggal 5 Oktober 1945 dibentuk Tentara Keamanan Rakyat. Peristiwa ini diperingati sebagai Hari Angkatan Bersenjata Republik Indonesia. Diorama ini menggambarkan Jenderal Sudirman sedang memeriksa pasukan Tentara Nasional Indone sia yang pada waktu itu anggota-anggotanya masih belum memiliki peralatan lengkap.

*DIORAMA 34: ARMED FORCES DAY (5 OCTOBER 1945)
::At the meeting of the Indonesian Independence Preparatory Committee, on August 22, 1945, it was decided to set up the organization of the Badan Keamanan Rakyat (People's Security Body) with the task of maintaining the security in their territory. To strengthen public confidence and order, on 5 October 1945 the People's Security Army was formed. This event is subsequently commemorated as the Republic of Indonesia Armed Forces Day. The diorama shows General Sudirman inspecting Indonesian National Army troops the members of which, at that time, were not well equipped yet.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.
Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

[https://archive.org/details/35-pertempuran-surabaya-10-november-1945-img-9608 PERTEMPURAN SURABAYA, 10 NOVEMBER 1945]
*DIORAMA 35: PERTEMPURAN SURABAYA (10 NOPEMBER 1945)
::Pada bulan Oktober 1945 Tentara Sekutu (Inggris) mendarat di Surabaya untuk melaksnakan tugas melucuti pasukan-pasukan Jepang dan membebaskan orang-orang Sekutu yang ditawan oleh Jepang. Mereka berjanji tidak mencampuri urusan dalam negeri Republik Indonesia. Ternyata Sekutu tidak menepati janjinya, sehingga menimbulkan beberapa insiden yang kemudian meningkat menjadi pertempuran. Campur tangan Pemerintah Republik Indonesia untuk menciptakan keadaan yang tenang tidak berhasil. Dalam salah satu insiden, komandan Brigade Inggris Brigjen Mallaby tertembak mati. Panglima Sekutu untuk daerah Jawa Timur, Mayjen Mansergh, mengultimatum agar rakyat Surabaya termasuk para pejabatnya menyerahkan senjatanya masing-masing sebelum pukul 06.00 tanggal 10 Nopember 1945. Ultimatum itu tidak dihiraukan rakyat Surabaya, mereka sama sekali tidak mengakui wewenang pihak Sekutu (Inggris) untuk memerintah Surabaya. Mereka hanya tunduk dan taat kepada Republik Indonesia. Pada tanggal 10 Nopember 1945 Sekutu mengerahkan segala kekuatannya di darat, laut dan udara dalam usaha membinasakan pejuang-pejuang di Surabaya. Serangan tersebut disambut dengan tekad pantang mundur oleh para pejuang sehingga beribu mereka gugur sebagai pahlawan kusuma bangsa. Diorama ini menggambarkan Pertempuran Surabaya, 10 Nopember 1945 yang kemudian diperingati secara resmi sebagai Hari Pahlawan.

*DIORAMA 35: BATTLE OF SURABAYA (10 NOVEMBER 1945)
::In October 1945, the Allied Forces (British Troops) landed in Surabaya to disarm Japanese forces and to set free Allied prisoners of war arrested by Japanese. The Allied Forces promised not to interfere in the domestic affairs of the Republic of Indonesia. As a matter of fact, the Allied Forces did not keep their words and some minor incidents occurred which finally broke out in battle. The government of the Republic of Indonesia endeavored to mediate but was unsuccessful. In one of the incidents, the British Brigade Com-mander, Brigadier General Mallaby, was assassinated. Major General Mansergh, the Allied Commander in East Java, issued an ultimatum calling the Surabaya people, including their leaders to surrender all their firearms to the Allied Forces before 06.00 a.m. on November 10, 1945. The people of Surabaya ignored the ultimatum as they did not recognize the Allied (British) to govern them. They only adhered to the government of the Republic of Indonesia. On November 10, 1945 the Allied land, sea and air forces attacked the Surabaya freedom fighters. The attack was met with bravery by the freedom fighters and a great many of them died in the battle as national heroes. The diorama shows the Battle of Surabaya 10 November 1945 which is then officially comтето-rated as National Heroes Day.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.
Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

[https://archive.org/details/36-peranan-gereja-katolik-roma-dalam-proses-penyatuan-bangsa-img-9610 PERANAN GEREJA KATOLIK ROMA DALAM PROSES PENYATUAN BANGSA]
*DIORAMA 36: KEGIATAN GEREJA KATHOLIK ROMA DALAM PROSES PENYATUAN BANGSA (1947)
::Gereja Katholik-Roma melalui misinya mengumpulkan pemuda-pemuda dari berbagai suku dan daerah di bawah naungan agamanya Dengan demikian terbentuk suatu masyarakat Katholik-Roma yang di dalamnya bersemi pula semangat nasioalisme Indonesia. Mereka giat mendirikan rumah sakit dan sekolah. Terhadap cita Gita Indonesia Merdeka Perhimpunan Politik Katolik Indonesia ikut menandatangani petisi Soetardjo tahun 1936 yang menuntut kepada pemerintah kolonial untuk memberikan kemerdekaan kepada bangsa Indonesia Demikian pula dalam masa perang kemerdekaan 1945-1949 mereka bersatu dengan segenap lapisan dan golongan untuk mengusir penjajah dan memper tahankan kemerdekaan. Diorama ini menggambarkan suasana perayaan Natal yang diadakan di Semarang dan dihadiri oleh hampir segenap lapisan masyarakat

*DIORAMA 36: THE ACTIVITY OF THE CATHOLIC CHURCH IN UNITING THE NATION (1947)
::The role of the Roman Catholic Church in the propagation of the Christian faith and the promotion of educational activities by the Roman Catholic missionaries contributed significantly to the unification of the nation. Besides, they were very active in building hospitals and schools. Having the Independence of Indonesia as its ideal. the Political Association of the Indonesian Catholic jointly signed the Soetardjo Petition in 1936 demand-ing the colonial government to give independence to the people of Indonesia. During the war defending the independence 19456 1949, the Roman Catholic Church united with other social groups and strata firmly to drive out the colonizer and defend freedom and independence. The diorama shows the atmosphere of the celebration of Christmas in Semarang Central Java, in the year 1947

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.
Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

[https://archive.org/details/37-gerilya-mempertahankan-kemerdekaan-1945-1949-img-9616 GERILYA MEMPERTAHANKAN KEMERDEKAAN, 1945-1949]
*DIORAMA 37: GERILYA DALAM PERANG KEMERDEKAAN (1945-1949)
::Pada masa perang kemerdekaan Angkatan Bersenjata Republik Indonesia masih memiliki peralatan yang sederhana untuk melawan musuh yang memiliki perlengkapan modern Perang Dunia II Angkatan bersenjata kita menggunakan taktik geniya, menyerang secara mendadak lalu menghilang. Gerilya ini kemudian dilaksanakan sebagai Perang Rakyat Semesta Di daerah-daerah yang dikuasai musuh disusun kantong kantong gerilya untuk menegakkan kekuasaan Republik Indonesia. Sistim tersebut berkembang menjadi sistim Wehrkreise dengan menyusun daerah pertempuran dalam lingkaran lingkaran yang dapat melaksanakan pertahanan secara berdiri sendiri dengan integrasi segenap kekuatan politik, ekonomi sosial budaya dan militer. Diorama ini menggambarkan keberhasilan sejumlah kecil pasukan gerilya menghadang serta menghancurkan iring iringan pasukan Belanda di Ambarawa

*DIORAMA 37: GEURRILLA IN INDEPENDENCE WAR (1945-1949)
::With the aid of obsolete weapons, the Indonesian Armed Forces and the civilian population conducted a guerrilla warfare against the Allied Forces who were trying to reinstall the Dutch colonial regime. Our troops applied the guerrilla tactics which were then camed out as a total war involving the whole population. In the region occupied by the enemy, pockets of the guerrillas were formed to establish the authority of the Republic of Indonesia. This system was developed into the Wehrinese system with the forming of operational areas in self Sustaining penmeters with the thoroughly integrated forces in the economic social, political and military elements. The diorama shows the Indonesian Armed Forces succeeding in attacking the Dutch Military convoy in Ambarawa

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.
Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

[https://archive.org/details/38-jenderal-soedirman-1948-img-9617 JENDERAL SOEDIRMAN, 1948]
*DIORAMA 38: JENDERAL SUDIRMAN MEMIMPIN PERJUANGAN GERILYA (1948-1949)
::Pada tanggal 19 Desember 1948 Belanda melancarkan aksı militer kedua dengan menyerang Yogyakarta. Ibukota Republik Indonesia. Pemerintah menunjuk Syafruddin Prawiranegara membentuk Pemerintah Darurat di Bukittinggi untuk mengambil alih sementara fungsi Pemerintah Pusat. Pada waktu itu Panglima Besar Jenderal Sudirman memutuskan untuk memimpin sendiri perjuangan gerilya. Walaupun penyakit beliau bertambah parah. nyala semangat juang beliau untuk memimpin gerilya tidak pernah terpadamkan Beliau baru kembali ke Yogyakarta pada bulan Juli 1949 setelah pemulihan kembali Ibukota Republik Indonesia di Yogyakarta. Diorama ini menggambarkan Jenderal Sudirman. memberikan dorongan semangat kepada prajurit TNI bahwa dalam keadaan sulit sekalipun pemimpin mereka tetap setia untuk memimpin perjuangan gerilya mempertahankan kemerdekaan

*DIORAMA 38: GENERAL SUDIRMAN LED A GUERRILLA STRUGGLE (1948-1949)
::On 19 December 1948 the Dutch launched the second military action by attacking Yogyakarta, the capital city of the Republic of Indonesia The government authorized Syafruddin Prawiranegara in Bukittinggi to form an emergency government to take over temporarily the function of the central government. At that time it was already known that the Com mander in Chief of the army, General Sudirman, who was being very sick, had decided that he himself would lead the guerrilla struggle. Eventhough he was be coming very ill, he never gave up and his sprint to lead the guernila forces was not extinguishable. He returned to Yogyakarta in July 1949 only after the capital city of the Republic of Indonesia reinstated in Yogyakarta. The diorama shows that General Sudirman gives TNI soldiers a great moral support and strong conviction that in whatever severe situation, he shall keep his promise and lead the fight.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.
Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

[https://archive.org/details/39-pengakuan-kedaulatan-27-desember-1949-img-9620 PENGAKUAN KEDAULATAN, 27 DESEMBER 1949]
*DIORAMA 39: PENGAKUAN KEDAULATAN (27 DESEMBER 1949)
::Perjuangan gigih rakyat Indonesia melawan agresi militer kedua Belanda dan adanya desakan Dewan Keamanan PBB memaksa Pemerintah Belanda untuk kembali ke meja perundingan Perundingan tersebut diadakan di Jakarta yang menghasilkan perjanjian Roem Van Royen pada tanggal 13 Mei 1949. Isinya adalah pemulihan pemerintahan Republik Indonesia di Yogyakarta, persiapan untuk mengadakan suatu Konferensi Meja Bundar dan penarikan tentara Belanda dari Yogyakarta. Konferensi Meja Bundar dibuka pada tanggal 23 Agustus 1949 di Den Haag, berakhir 29 Oktober dan ketetapan terpentingnya adalah Kerajaan Belanda mengakui kedaulatan atas Indonesia pada Republik Indonesia Serikat. Upacara resmi pengakuan kedaulatan tersebut berlangsung tanggal 27 Desember 1949 di Amsterdam dan pada hari yang sama upacara serupa diadakan di Jakarta. Diorama ini menggambarkan pengibaran bendera Merah Putih di Istana Merdeka Jakarta, dipimpin oleh Sultan Hamengku Buwono pada upacara pengakuan kedaulatan Republik Indonesia Serikat tanggal 27 Desember 1949.

*DIORAMA 39: RECOGNITION OF SOVEREIGNTY (27 DECEMBER 1949)
::The unyielding struggle against the second Dutch military action and the pressure of the United Nations Security Council forced the Dutch to return to the conference table. The conference was held in Jakarta which resulted in the Roem-Van Royen agreement on 13 May 1949. It contains that the Republic of Indonesia should be reinstated in Yogyakarta, the Round Table Conference should be conducted: and the Dutch army should be withdrawn from Yogyakarta. The Round Table Conference was opened in The Hague on 23 August 1949. It concluded on 29 October and its important provision that the Kingdom of the Netherlands recognized sovereignty over Indonesia to the Republic of the United States of Indonesia. The formal ceremony transferring sovereignty over Indonesia was held in Amsterdam, on 27 December 1949 On the same day a similar ceremony took place in Jakarta. The diorama shows the red and white flag raises in the Merdeka Palace in Jakarta at the recognition sovereignty ceremony led by Sultan Hamengku Buwono on 27 December 1949

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.
Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

[https://archive.org/details/40-kembali-ke-negara-kesatuan-1950-img-9621 KEMBALI KE NEGARA KESATUAN, 1950]
*DIORAMA 40: KEMBALI KE NEGARA KESATUAN (1950)
::Pengakuan kedaulatan terhadap Republik Indonesia Serikat diberikan pada tanggal 27 Desember 1949 oleh Kerajaan Belanda. Bentuk negara Serikat bukan tujuan bangsa Indonesia melainkan terpaksa diterima sebagai hasil kompromi dengan Belanda. Rakyat di setiap daerah menuntut agar bentuk negara federal dihapuskan dan diberlakukan kembali bentuk negara kesatuan. Beberapa negara bagian secara spontan menyatakan bergabung dengan Republik Indonesia yang pada waktu itu merupakan bagian dan Republik Indonesia Serikat. Puncak dan perjuangan itu adalah perundingan antara RIS dengan negara bagian Republik Indonesia yang menghasilkan keputusan tentang penghapusan bentuk negara Serikat dan pembentukan lærmbali negara kesatuan Republik Indonesia pada tanggal 17 Agustus 1950. Diorama ini menggambarkan Soepomo berpidato di hadapan massa menandai kembali terbentuknya Negara Kesatuan Republik Indonesia

*DIORAMA 40: RETURN TO THE UNITARY STATE (1950)
::The recognition of the sovereignty over Indonesia to the Republic of the United States of Indonesia was given by the Kingdom of the Netherlands on 27 December 1949. The Federation States was not the main purpose of the Indonesian people but was forced upon them and was only tolerated as a result of compromise. The people in the regions had rejected to have the form of a federal states and they demanded the return to the Unitary State Consequently, several members of the United States of Indonesia spontaneously declared unification in the Republic of Indonesia. The struggle to return to the Unitary State reached its peak with the abolishment of the Federal States and the declaration of return to the Unitary State of the Republic of Indonesia on 17 August 1950 as the result of the Interstate Conference. The diorama shows Soepomo gives his speeches before the mass meeting signifying the return to the Unitary State of the Republic of Indonesia

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.
Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

[https://archive.org/details/41-indonesia-menjadi-anggota-pbb-28-sepetember-1950-img-9625 INDONESIA MENJADI ANGGOTA PBB, 28 SEPETEMBER 1950]
*DIORAMA 41: INDONESIA MENJADI ANGGOTA PERSERIKATAN BANGSA-BANGSA (28 SEPTEMBER 1950)
::Perserikatan Bangsa-Bangsa memainkan peranan penting dalam memelihara perdamaian dunia serta mengatasi perbedaan diantara negara-negara di dunia, dan membantu mempercepat proses dekolonisasi. PBB serta organisasi bawahannya membantu menyelesaikan sengketa Indonesia-Belanda, maka Indonesia cenderung menjadi anggota badan dunia tersebut. Pada tanggal 28 September 1950, dalam Sidang Umum PBB di Flushing Meadow, Lake Success, Indonesia dengan suara bulat resmi diterima menjadi anggota PBB. Diorama ini menggambarkan upacara pengibaran bendera Merah Putih di PBB, New York yang menandai masuknya Indonesia menjadi anggota PBB

*DIORAMA 41: THE UNITED NATION MEMBERSHIP (28 SEPTEMBER 1950)
::The United Nations Organization plays an important role in maintaining world peace and overcoming differences among nations. It also helps in accelerating the process of decolonization in the world. It was already known that the United Nations and its subordinate agencies had assisted in settling the dispute between Indonesia and the Dutch. Therefore, Indo-nesia felt the urgency to become member of the world body. On 28 September 1950 the United Nation Gen-eral Assembly held in Flushing, Lake Success unani-mously approved Indonesia as its sixtieth member. The diorama shows on 28 September 1950 the Red and White flag raises at the ceremony admitting the membership of Indonesia to the United Nations.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.
Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

[https://archive.org/details/42-konferensi-asia-afrika-18-24-april-1955-img-9627 KONFERENSI ASIA AFRIKA, 18-24 APRIL 1955]
*DIORAMA 42: KONPERENSI ASIA-AFRIKA (18 - 24 APRIL 1955)
::Sesudah berakhirnya Perang Dunia II muncul Blok Barat dan Blok Timur. Sejak saat itu dunia diliputi mendung ketidakpastian dan merasakan ketegangan karena kedua Blok tersebut terlibat perebutan pengaruh serta perlombaan persenjataan yang setiap saat dapat memicu perang nuklir. Menyadari akan bahaya ini rakyat Asia-Afrika yang berbeda-beda sistim politiknya mencari suatu persatuan untuk bersama-sama berusaha menyelamatkan dunia dari kehancuran nuklir dan membentuk dunia baru yang damai dan sejahtera bebas dari kolonialisme dan imperialisme. Melalui konperensi-konperensi di Kolombo tanggal 28 April 2 Mei 1954 dan di Bogor tanggal 28 - 31 Desember 1954 lima negara sponsor konperensi Asia-Afrika, Indonesia, India, Birma, Pakistan dan Srilanka menetapkan langkah-langkah yang lebih konkrit untuk konperensi Asia-Afrika. Konperensi Asia-Afrika yang kemudian dilaksanakan di Bandung tanggal 18-24 April 1955, dihadiri oleh 30 negara-negara Asia-Afrika dan menghasilkan suatu keputusan yang terkenal dengan nama "Dasasila Bandung". Diorama ini menggambarkan Presiden Republik Indonesia menyampaikan pidato pada upacara pembukaan Konperensi Asia-Afrika tanggal 18 April 1955 di Bandung.

*DIORAMA 42: AFRO-ASIAN CONFERENCE (18-24 APRIL 1955)
::After World War II emerged two opposing forces, the West and the East Block. Since then the world was wrapped in a mist of uncertainty and felt the strain, because the two blocks fought for the supremacy in influence and weaponry in a severe cold war, which at anytime threatened the start of a nuclear warfare. Aware of this danger the Asian and African nations which have several different political aspirations tried to wedge a way to unite efforts to save the world from the disaster of nuclear warfare, and form a new world, secure and peaceful free from colonialism and imperialism. Through the preliminary conferences on 28 April -2 May 1954 in Colombo and on 28-31 December 1954 in Bogor five nations that sponsored the Afro-Asian Conference, Indonesia, India, Myanmar, Pakistan and Srilangka set up a concrete platform to hold the conference. On 18 April 1955 in Bandung the Afro-Asian Conference was opened, attended by 30 delegates. It concluded on 24 April and its result was already known as the Declaration of Ten Principles of Bandung. The diorama shows President of the Republic of Indonesia gives his speeches at the opening ceremony of the conference on 18 April 1955 in Bandung.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.
Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

[https://archive.org/details/43-pemilihan-umum-pertama-1955-img-9629 PEMILIHAN UMUM PERTAMA, 1955]
*DIORAMA 43: PEMILIHAN UMUM PERTAΜΑ (1955)
::Sejak semula Pemerintah Republik Indonesia menyadari bahwa pemilihan umum harus dilaksanakan sebagai salah satu sarana demokrasi. Akan tetapi pada tahun-tahun pertama berdirinya. Republik Indonesia harus menghadapi musuh dari luar, sehingga pemilihan umum sulit dilaksanakan. Barulah sesudah tahun 1950 usaha untuk menyelenggarakan pemilihan umum digiatkan kembali dengan pembuatan Undang-Undang Pemilihan Umum. Keinginan untuk melaksanakan pemilihan umum dapat menstabilkan keadaan politik waktu itu dan pembangunan dapat dilaksanakan dengan sebaik-baiknya. Akhirnya semasa kabinet Burhanuddin Harahap. pemilihan umum dapat dilaksanakan, tanggal 29 September 1955 untuk wakil-wakil rakyat di Dewan Perwakilan Rakyat dan tanggal 15 Desember 1955 untuk wakil-wakil rakyat di Dewan Konstituante. Diorama ini menggambarkan peristiwa pemilihan umum pertama di Indonesia tahun 1955.

*DIORAMA 43: THE FIRST GENERAL ELECTION (1955)
::From the very beginning, the Government of the Republic of Indonesia has been aware that there had to be an election in order to implement the principle of democracy. But, since beginning of her existence the Republic of Indonesia had to face enemies from outside, so that it was very difficult to accomplish elections In 1950, efforts to accomplish a general election took a concrete form with the legislation of the law of general election. The desire to act was very great, with the hope that the result of the elections would stabilize the political situation, enabling the building up of the country with the most desirable effect. Finally, under the cabinet of Burhanuddin Harahap administration the election was carried out on 29 September 1955 and on 15 December 1955 respectively for the people's representatives in Legislative Assembly and Constituent Assembly. The diorama shows the atmosphere of the first general election in 1955.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.
Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

[https://archive.org/details/44-pembebasan-irian-jaya-1-mei-1963-img-9631 PEMBEBASAN IRIAN JAYA, 1 MEI 1963]
*DIORAMA 44: PEMBEBASAN IRIAN JAYA (Ι ΜΕΙ 1963)
::Dengan dasar pemikiran bahwa wilayah kekuasaan Republik Indonesia meliputi seluruh wilayah bekas jajahan Hindia Belanda, maka segala upaya pembebasan Irian Jaya terus dijalankan. Usaha-usaha pengembalian Irian Jaya yang masih dikuasai Belanda ke dalam wilayah kekuasaan Republik Indonesia melalui meja perundingan selalu gagal. Begitupun melalui sidang-sidang Majelis Umum Perserikatan Bangsa-Bangsa. Ketika Belanda bermaksud memberikan hak menentukan nasib sendiri pada rakyat Irian Jaya yang menjurus untuk melepaskan dari Republik Indonesia dan membentuk pemerintah boneka, Indonesia memutuskan untuk membebaskan Irian Jaya dengan kekuatan senjata. Dalam rapat umum tanggal 19 Desember 1961 di Yogyakarta, Presiden mengumumkan Tri Komando Rakyat (Trikora), yang meliputi: Gagalkan pembentukan negara Papua bikinan kolonialis Belanda, Kibarkan Sang Merah Putih di Irian Jaya, dan Bersiaplah untuk mobilisasi umum. Satuan tugas dengan nama Komando Mandala dibentuk yang dipimpin oleh Mayor Jenderal Soeharto, dan dengan demikian dimulailah operasi militer ke Irian Jaya. Dalam keadaan demikian pada tanggal 15 Agustus 1962 tercapai Persetujuan New York antara Indonesia-Belanda. Pada tanggal 1 Mei 1963 secara resmi Belanda melalui PBB menyerahkan kekuasaan atas Irian Jaya kepada Indonesia. Diorama ini menggambarkan Sudjarwo Tjondronegoro mewakili Indonesia pada upacara resmi penyerahan kedaulatan Irian kepada Republik Indonesia pada tanggal 1 Mei 1963 di Jayapura. Bendera Belanda diturunkan dan bendera Indonesia dinaikkan.

*DIORAMA 44: THE LIBERATION OF IRIAN JAYA (1 MAY 1963)
::Based on the conception that the Republic of Indonesia teritory of sovereignty consists of the entire former the Netherlands Indies Territory, the Republic kept on taking all necessary measures to liberate Irian. Effort to reclaim Irian back in the unity from the Dutch authority to Indonesia by means of negotiations as well as through the General Assembly of the United Nations Organization had never been successful, When the Dutch intended to give the Irian people the right of self determination which had the tendency to make it an independent state, Indonesia lost its patience which she had been trying to endeavour for 12 years and decided to take Irian by force. On 19 December 1961 at a mass meeting in Yogyakarta President declared The People's Three Commands: Foiling the establishment of the Papua State setting up by the Dutch, Raising the Red and White flag in Irian, and Getting ready for general mobilization. The special task force, known as Mandala Com-mand was set up led by Major General Soeharto and so began the military operations to Irian. Under such circumstances on 15 August 1962 Indonesia and the Dutch reached the New York agree-ment. On May 1963 the Dutch through the good offices of the United Nations officially transferred the sovereignty over Irian to the Republic of Indonesia. The diorama shows Soedjarwo Tjondronegoro, Indonesia's representative, at the ceremony transferring sovereignty over Irian to the Republic of Indonesia on May 1963 in Jayapura. The Dutch flag is lowered and the Indonesian flag raised.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.
Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

[https://archive.org/details/45-hari-kesaktian-pancasila-1-oktober-1965-img-9637 HARI KESAKTIAN PANCASILA, 1 OKTOBER 1965]
*DIORAMA 45: HARI KESAKTIAN PANCASILA (1 OKTOBER 1965)
::Pada masa pemerintahan Orde Lama, PKI meningkatkan serangannya terhadap kekuatan Pancasila. Karena menurunnya kesehatan Presiden Soekarno saat itu. PKI merasa adanya bahaya yang akan mengancam eksistensinya. Yang dianggap bahaya terbesar adalah pihak TNI-Angkatan Darat, karena Pemimpinnya bersikap waspada terhadap kegiatan PKI yang hendak menyelewengkan Pancasila. Untuk mendiskreditkan lawannya itu, PKI membuat fitnah terhadap Pimpinan TNI Angkatan Darat seolah-olah mereka membentuk Dewan Jenderal yang akan merebut kekuasaan negara. Dengan dalih mendahului coup Dewan Jenderal itu maka pada tanggal | Oktober 1965 PKI, dibantu oleh oknum-oknum ABRI, melancarkan Gerakan 30 September dan melakukan pembunuhan terhadap pimpinan TNI-Angkatan Darat di Lubang Buaya, Jakarta Timur. Tetapi rakyat yang berjiwa Pancasila sejati segera sadar bahwa gerakan itu bertujuan untuk melenyapkan Pancasila dan UUD 45. Dibawah pimpinan Mayor Jenderal Soeharto. Panglima Kostrad, usaha perebutan kekuasaan oleh Gerakan 30 September/PKI berhasil digagalkan dan gerakannya ditumpas dalam waktu singkat. Peristiwa ini merupakan kemenangan dari Pancasila yang telah benar-benar dihayati oleh seluruh rakyat. Diorama ini menggambarkan jenazah para Pahlawan Revolusi diangkat dari sumur di Lubang Buaya dipimpin langsung oleh Mayor Jenderal Soeharto.

*DIORAMA 45: PANCASILA SANCTITY DAY (1 OCTOBER 1965)
::During the Old Order regime, the Indonesian Communist Party increased its offensive against the forces of Pancasila. Because of the decline of Presi-dent Soekarno's health, who was its ally and protec-tor, the Indonesian Communist Party felt the danger that threatened its existence. The biggest danger they considered was the Indonesian Army (TNI-AD), because TNI-AD commander were very much alert of the Indonesian Communist Party activities that had the aim of diverting the Pancasila. To bring discredit to his opponent, they slandered the TNI-AD leaders accusing them of forming a Council of General with which to carry out a coup d'etat. With the excuse of intercepting the coup d'etat of the Council of Generals, on October 1, 1965, the In-donesian Communist Party with several officers from the Armed Forces, launched the 30 September Move-ment by killing the top leaders of the army in Lubang Buaya, East Jakarta. But the Indonesian people who are true Pancasialists were immediately aware that the Indonesian Communist Party movement was aimed at destroying the Pancasila state philosophy and the 1945 Constitution. Under the command of Major General Soeharto the effort for a coup d'etat by the Indonesian Commu-nist Party were thwarted, and the movement was destroyed within a very short time. This event proved of the invulnerability of the Pancasila as it is in the soul of the people. The diorama shows on 4 October 1965 the corpses of the Revolution Heroes are lifted from the well in Lubang Buaya led by Major General Soeharto.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.
Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.
[https://archive.org/details/46-aksi-aksi-tri-tuntutan-rakyat-1966-img-9640 AKSI-AKSI TRI TUNTUTAN RAKYAT, 1966]

*DIORAMA 46: AKSI-AKSI TRI TUNTUTAN RAKYAT (1966)
::Semenjak gagalnya coup berdarah yang dilakukan oleh Partai Komunis Indonesia, pemerintahan Orde Lama menjadi goyah. Di samping itu krisis politik dan ekonomi semakin parah. Mahasiswa sebagai generasi muda yang tergabung dalam Kesatuan Aksi Mahasiswa Indonesia (KAMI) mengajukan Tri Tuntutan Rakyat (Tritura), meliputi 1. Bubarkan PKI 2. Bersihkan Kabinet dari unsur-unsur G-30-S/PKI 3. Turunkan harga-harga. Diorama ini menggambarkan suasana gelombang demonstrasi yang pada saat itu diadakan di area Taman Medan Merdeka Utara, Jakarta.

*DIORAMA 46: THE PEOPLE'S THREE DEMAND ACTION (1966)
::Since the failure of the bloody coup d'etat of the Indonesian Communist Party, the Old Order regime became unstable. Besides, political and economical crisis apparent. Throughout the country, universities and high schools students with the support of the Pancasila forces and the Armed Forces, demanded: 1 Banning the Indonesian Communist Party 2. Purging communist elements from the Dwikora Cabinet 3. Lowering prices of basic commodities.The diorama shows the demonstration to voice the people's Three Demands held in northern area of Medan Merdeka Square, Jakarta.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.
Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

[https://archive.org/details/47-surat-perintah-11-maret-1966-img-9645 SURAT PERINTAH 11 MARET 1966]
*DIORAMA 47: SURAT PERINTAH SEBELAS MARET (1966)
::Situasi negara Indonesia sesudah digagalkannya kudeta Gerakan 30 September/PKI merupakan masa kritis yang menggoncangkan sendi-sendi negara. Presiden Soekarno beserta pemerintahannya yang penuh dengan oknum-oknum Gerakan 30 September/PKI sama sekali kehilangan kepercayaan rakyat. Pada tanggal 11 Maret 1966 Presiden Soekarno mengeluarkan Surat Perintah kepada Jenderal Soeharto untuk memulihkan kewibawaan Pemerintah dengan jalan mengambil semua tindakan yang dianggap perlu. Jenderal Soeharto dengan cepat melaksanakan Surat Perintah | Maret 1966 itu dengan memenuhi dua diantara. Tri Tuntutan Rakyat, yakni membubarkan Partai Komunis Indonesia dan membersihkan kabinet dari menteri-menteri yang ada indikasi terlibat Gerakan 30 September/PKI atau memperlihatkan itikad kurang baik terhadap usaha-usaha pemulihan keamanan dan ketertiban. Dalam diorama ini digambarkan tiga Perwira Tinggi Angkatan Darat, yakni Mayjen Basuki Rahmat. Brigjen M. Jusuf dan Brigjen Amir Machmud sedang melaporkan Surat Perintah 11 Maret 1966 kepada Jenderal Soeharto, yang sedang berbaring karena sakit.

*DIORAMA 47:DIORAMA 47: THE WRITTEN ORDER OF MARCH ELEVENTH (1966)
::The time after the failure of the September 30 Movement/the Indonesian Communist Party, a new crisis emerged which shook the foundation of the country. On 11 March 1966 President Soekarno issued his mandate to General Soeharto in order to reinstate the Government authority and restore the national security by taking any necessary measures. General Soeharto immediately executed the or-der by fulfilling two of the People's Three Demands. i.e. Banning the Indonesian Communist Party, and purging the cabinet from the ministers who were involved in the September 30 Movement/ Indonesian Communist Party or those who hampered efforts to recovering security and order. The diorama shows General Soeharto as he was very sick - lying on bed receives, from left to right, army officers Brigadier General Amir Machmud, Major General Basuki Rachmat and Brigadier General M. Jusuf who have come to report the written order of March Eleventh.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.
Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

[https://archive.org/details/48-penentuan-pendapat-rakyat-irian-jaya-1969-img-9646 PENENTUAN PENDAPAT RAKYAT IRIAN JAYA, 1969]
*DIORAMA 48: PENENTUAN PENDAPAT RAKYAT IRIAN BARAT (1969)
::Salah satu isi persetujuan New York tanggal 15 Agustus 1962 mengenai penyerahan Irian Barat kepada Indonesia adalah bahwa pada tahun 1969 harus diadakan Penentuan Pendapat Rakyat (Pepera), apakah memilih Republik Indonesia atau tidak. Pelaksanaannya akan diawasi oleh Perserikatan Bangsa-Bangsa. Timbul masalah dalam pelaksanaannya, apakah setiap orang memberikan suara langsung sebagaimana usul wakil PBB, Duta Besar Bolivia Ortin Sede, atau perwakilan setiap kelompok melalui pemilihan secara bertingkat seperti usul Indonesia. Karena usul wakil PBB adalah amat sulit untuk dilaksanakan dalam kondisi seperti di Irian Barat, usul Indonesia yang diterima. Dengan disaksikan oleh wakil-wakil PBB, pers dalam dan luar negeri serta peninjau-peninjau dari beberapa kedutaan asing di Jakarta, dimulailah Pepera tersebut dari bulan April - Juni 1969, untuk pemilihan anggota Dewan Musyawarah Kabupaten (Regency Consultative Assemblies) di mana terpilih 1026 anggota mewakili 8 kabupaten, diantaranya 43 wanita. Keputusan Dewan Musyawarah Pepera dengan suara bulat memilih Irian Barat tetap merupakan bagian dari Negara Kesatuan Republik Indonesia. Padá tanggal 19 November 1969, PBB mensahkan hasil Pepera tersebut dengan 84 suara setuju, 6 menolak dan 30 suara abstain (terutama negara Afrika). Diorama ini menggambarkan suasana Sidang Musyawarah Penentuan Pendapat Rakyaat Irian Barat pada bulan Juli 1969.

*DIORAMA 48: REFERENDUM OF THE PEOPLE OF WEST IRIAN (1969)
::The contents of the agreement of New York on August 15, 1962, concerning the transfer of sovereignty of West Irian to Indonesia, said that in 1969, the people of Irian should be given the right of self-determination in order to choose whether they would consent to be a part of Indonesia or otherwise. The execution would be under supervision of the United Nations. Complication arose concerning the procedure of execution whether every voter would directly give his vote, as was suggested by the delegation of the United Nations, Bolivian Ambassador Ortin Sede, or repre-sentatives of each group and so voting in stages (Indonesia's proposal). Based on the geographical con-dition in Irian, finally Indonesia's proposal was accepted. From April to June 1969, the Indonesia's govern-ment held a United Nations' supervised referendum in West Irian, witnessed by United Nations representatives, local and foreign journalists and observers from several embassies in Jakarta in which 1026 delegates were elected representing 8 regencies, among them 43 were women. The result was a unanimous option for joining the Republic of Indonesia as an integral part of the Republic. On 19 November the United Nations approved the result of the referendum after taking of a vote, 84 in favor, 6 opposed and 30 abstain (mostly African States). The diorama shows the atmosphere of the People's Referendum Assembly in Irian in July 1969.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.
Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

=====[https://archive.org/details/img-9391a_202603/IMG_9391a.jpg (The museum)]=====

::Interior of Museum Sejarah Nasional (National History Museum), located in the basement of Monas.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

====Hasil Jadi====
*[https://archive.org/details/hasil-jadi-1 MON_JAM_00000]
::Photographic documentation of the installation process of selected dioramas at the National Monument (Monas), undertaken by Edhi Sunarso with the Keluarga Arca sculptor team. The series includes Diorama No. 29, Youth Pledge; No. 17, The Aceh War—initially featuring a miniature structure resembling the Baiturrahman Grand Mosque and subsequently removed from the final display; No. 37, Guerrilla Warfare during the War of Independence; No. 30, Romusha; No. 33, Ratification of Pancasila as the Foundation of the State and the 1945 Constitution (including an artist portrait before the diorama); No. 20, Cultivation System (Forced Planting); No. 23, National Awakening; No. 6, Palapa Oath; and No. 14, Diponegoro War, as well as documentation of sculptural elements in preparation prior to installation. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/hasil-jadi-2 MON_MER_00000]
::Photographic documentation of the installation and completion of the historical dioramas at the National Monument (Monas), undertaken by Edhi Sunarso with the Keluarga Arca sculptor team. The series traces a broad arc of Indonesian history: from early maritime and temple cultures—Sriwijaya Seaport and Borobudur Temple under Construction—to the fleets of Majapahit and Bugis polities and the Palapa Oath; from major regional conflicts, including the Makassar, Imam Bonjol, and Diponegoro wars, and the formation of Jayakarta, to guerrilla warfare during the War of Independence; from the emergence of modern organisations such as STOVIA and the Indonesian Association to the Romusha period; and onward to post-independence milestones, including the Asia–Africa Conference, the Liberation of West Irian, and the Recognition of Sovereignty, culminating in later national events such as the Three Demands of the People (Tritura), Pancasila Sanctity Day, and the Order of 11 March 1966 (Supersemar). The documentation further includes interior views of the diorama chamber and stages of sculptural preparation and installation on site. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/hasil-jadi-3 MON_POST_00000]*
::Photographic documentation of members of the Keluarga Arca sculptor team at work, both in the studio and on site at the National Monument (Monas). The series includes the installation of Diorama No. 7, Majapahit War Fleet; No. 40, Returning to the Unitary State; No. 45, Pancasila Sanctity Day; and No. 46, Three Demands of the People (Tritura), undertaken under the direction of Edhi Sunarso with the Keluarga Arca team. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

====Pemasangan Diorama====
*[https://archive.org/details/mon-bwf-00000 MON_BWF_00000]
::Archival photographs documenting the early site condition and foundational structure of Monumen Nasional, foregrounding Edhi Sunarso and the Keluarga Arca sculptor team across successive stages of preparation, colouring, arrangement, and installation. The images encompass Diorama No. 6 Palapa Oath; No. 14 Diponegoro War; No. 17 Aceh War; No. 18 Sisingamangaraja’s Resistance; No. 20 Forced Cultivation; No. 33 Ratification of Pancasila as the Philosophical Foundation of the State and the 1945 Constitution; No. 39 Recognition of Sovereignty; and No. 46 Three Demands of the People’s Action (Tritura). Together, they trace processes ranging from miniature architectural fabrication and background painting to figure placement and the lived working conditions within the diorama chambers. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/mon-mon-kun-00000 MON_MON_KUN_00000]
::Archival photographs featuring Kustiyah Edhi Sunarso, Edhi Sunarso, and members of the Keluarga Arca sculptor team during the installation of the historical dioramas at Monumen Nasional. The images include Kustiyah Edhi Sunarso standing before Diorama No. 1 Ancient Indonesian Society; artists gathered in front of a diorama chamber under installation; an artist painting the background of a diorama; an artist observing Diorama No. 1; Edhi Sunarso and Kustiyah Edhi Sunarso with fellow artists at the installation site; and the placement of sculptural figures for Diorama No. 30 Romusha. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/mon-mon-mer-00000 MON_MON_MER_00000]
::Archival photographs documenting members of the Keluarga Arca sculptor team during preparatory stages of the diorama installations at Monumen Nasional, including the preparation of sculptural figures prior to placement and the arrangement of diorama chambers before installation. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/pro-mon-jak-00000 PRO_MON_JAK_00000]
::Archival photographs documenting Edhi Sunarso and members of the Keluarga Arca sculptor team during the installation and viewing of dioramas at Monumen Nasional, including scenes from Diorama No. 30 Romusha, No. 45 Pancasila Sanctity Day, and No. 1 Ancient Indonesian Society. The images capture stages of sculptural installation, background painting, and relief-making, as well as moments of artists working within the diorama chambers and standing before completed scenes. Also included are portraits of Edhi Sunarso and Kustiyah Edhi Sunarso with fellow artists at the monument, along with personal photographs depicting family life and travels in Central Indonesia. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

====Pembuatan Diorama====
*[https://archive.org/details/pro-mon-jog-00000 PRO_MON_JOG_00000]
::Archival photographs documenting sculptural production at the Keluarga Arca studio in Yogyakarta for the historical dioramas of Monumen Nasional, including artists modelling clay figures and preparing sculptural groups prior to installation. The images feature works intended for Diorama No. 6 Palapa Oath, No. 18 Sisingamangaraja’s Resistance, No. 29 Youth Pledge, and No. 33 Ratification of Pancasila as the Philosophical Foundation of the State and the 1945 Constitution, alongside views of studio processes, grouped clay figures awaiting transport, and individual sculptural studies. The sequence concludes with a photograph of an artist standing before Diorama No. 1 Ancient Indonesian Society at the monument. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

===Kliping===
*[https://archive.org/details/image-0_202602 Tabloid Selecta No. 796]
::The article “Edhi Sunarso, Creator of Major Statues in Jakarta” in Tabloid Selecta No. 796 summarizes Edhi Sunarso’s journey as an important Indonesian sculptor, starting from his role in creating major monuments such as the Welcome Monument, the West Irian Liberation Monument, and the Dirgantara Monument, his role as Head of the ASRI Sculpture Department, his international achievements in London and India, as well as an explanation of the technical process of making bronze statues and dioramas, to his personal life story full of struggles since childhood, his involvement in the war of independence, his experience of being arrested and tortured by the Dutch, the process of searching for his identity and family, and his determination to pursue art education in Yogyakarta which ultimately led him to become a great artist with works that are recognized and collected nationally and internationally. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

===Patung 4 Sisi (tidak jadi dibuat)===
*[https://archive.org/details/img-000_202603 Amplop Patung Banteng_]
::Archival photographic sets documenting sculptural studies and unrealised monument proposals by Edhi Sunarso and the Keluarga Arca group. The materials include grouped photographs of maquettes for the proposed four-sided statues intended for Monumen Nasional, recorded from multiple angles and in several study sheets titled Monas Study Package 1 and Monas Model Study III. The project was commissioned by President Soekarno but ultimately remained uncompleted. Also included are photographic studies related to other monumental projects, such as sculptural models for the Musi River Monument, including an elephant statue model bearing President Soekarno’s signature on the mounting sheet, and documentation of the statue’s production process. Additional images capture studio and site moments involving members of the Keluarga Arca team, views of sculptural models—including figures holding anchors—and scenes around the Monas complex, including the bull statue and gatherings of artists and visitors. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/mon-pat-4-si-00000 MONAS - Patung 4 Sisi]
::Archival photographs documenting sculptural studies and studio processes at the Keluarga Arca sculpture studio in Yogyakarta, including numerous clay maquettes produced for the proposed four-sided statue project at Monumen Nasional, commissioned by President Soekarno to Edhi Sunarso and the Keluarga Arca group but ultimately unrealised. The materials record multiple views of the clay figure models prepared for the project, alongside studio scenes of sculptors working on statues and relief elements, including warrior figures and other sculptural studies. The set also includes images of Edhi Sunarso modelling clay figures with a live sitter, artists arranging composite statue-and-relief models, and group photographs of Edhi Sunarso with members of the Keluarga Arca team and their sculptural works in the studio. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/studi-patung-banteng-monas Studi Patung Banteng MONAS]
::Documentation photographs of clay bull statue models produced by Edhi Sunarso and the Keluarga Arca group, recorded across multiple study stages: First Study (3 views and 1 additional documentation image), Second Study (3 views), Third Study (2 documentation images), Fourth Study (3 views), Fifth Study (2 views), Sixth Study (3 views), Seventh Study (3 views), Eighth Study (3 documentation images), Ninth Study (3 views), Tenth Study (2 views), Twelfth Study (3 views), and Fourteenth Study (3 views). Several documentation photographs bear the signature of President Soekarno dated 7 January 1966, indicating approval of the proposed model. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

===Penerbitan seputar Monas===
====[https://archive.org/details/katalog-museum-sejarah-nasional-1977 Katalog Museum Sejarah Nasional, 1977]====
::The National History Museum Catalogue (1978) documents the chronological presentation of Indonesian history through a series of dioramas, spanning from prehistoric societies to the national struggle to maintain independence. The publication outlines the historical narratives represented in each diorama, including key events and significant figures, and describes the visual conception of the diorama as a medium for public historical education.

====[https://archive.org/details/keagungan-perjuangan-bangsa-indonesia-1996 Keagungan Perjuangan Bangsa Indonesia, 1996]====
::The book Monumen Nasional: Monumen Perjuangan Bangsa Indonesia yang Agung (1996) documents the history and philosophical meaning of National Monument as a national monument commemorating the Proclamation of Indonesian Independence on 17 August 1945. The publication outlines the origins, objectives, and three principal stages of construction undertaken between 1961 and 1975, and describes key architectural components of the monument, including the History Museum Room, the Independence Room, and the Flame of Independence.

====[https://archive.org/details/rencana-penyempuranaan-diorama-museum-sejarah-di-tugu-nasional Rencana Penyempuranaan Diorama Museum Sejarah di Tugu Nasional]====
::The publication documents the proposed improvement of the dioramas in the National History Museum at the National Monument (Monas), prepared following the Decree of the Minister of State Secretary No. 6 of 2007 concerning the formation of a committee for the enhancement of the museum’s historical diorama displays. The programme involved collaboration between the Indonesian Historians Society, the Faculty of Cultural Sciences, University of Indonesia, architects, and the original diorama designers, and presents recommendations derived from a comprehensive study addressing historical interpretation, factual accuracy, and the technical and aesthetic aspects of the existing diorama installations.

====[https://archive.org/details/tugu-nasional-laporan-pembangunan-1978_202602 Tugu Nasional - Laporan Pembangunan, 1978]====
::National Monument Book: Construction Report (1978) is an official publication documenting the planning, construction, and completion of the National Monument (Monas) as a monument commemorating the Proclamation of Indonesian Independence on 17 August 1945. The volume records the origins of the monument’s conception, the symbolic architectural ideas representing national identity and the spirit of independence, and the stages of construction from initiation to completion, including the participation of architects, engineers, and technical specialists, the use of construction technologies and materials, and the development of internal spaces such as the National History Museum and the summit monument structure. The publication was prepared under the direction of Prayogo and compiled by the DKI Jakarta Office of Building Design and Conservation under the leadership of W. Pragantha, with advisers Soedarmadji and J. H. Damais. Text contributions were written by Soedarsono, Imron Sugiono, and Wahjudiono, with documentation prepared by the Office of Building Design and Conservation as implementing authority for the project, graphic design by Didit Chris, Purnomo M., and Guruh Sulawat, and printing by P.T. Jayakarta Agung Offset.

===Relief dan Benteng Monas===
*[https://archive.org/details/mon-relief-00000 MON_RELIEF_00000]
::Archival photographs documenting the production and installation of narrative reliefs at the National Monument complex, showing artists carving and finishing relief panels, studio and on-site working processes, and scenes of sculptors resting or working collectively under the supervision of Edhi Sunarso. The photographs also record completed and in-progress relief panels depicting figures and episodes from Indonesian national history, including representations of Wage Rudolf Soepratman, Ki Hadjar Dewantara, Tjipto Mangoenkoesoemo, Ernest Douwes Dekker, Mohammad Hatta, and Sukarno. Additional images document supervisory visits, inspection scenes involving project officials, and general views of the relief programme forming part of the historical narrative environment of the monument. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

===Riset diorama===
====[https://archive.org/details/adegan-pepera-irian-barat Adegan Pepera Irian Barat]====
*Archival photographs documenting the Act of Free Choice (Penentuan Pendapat Rakyat / PEPERA) conducted in several locations across West Irian in 1969, recording public assemblies, local participants, and the political process determining the territory’s integration into the Republic of Indonesia. The images were later used as visual research material in the development of historical dioramas depicting the PEPERA episode for the narrative programme of the National Monument. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

====[https://archive.org/details/adegan-tanam-paksa Adegan Tanam Paksa]====
*Archival sketches and documentary photographs assembled as visual research material for the development of historical dioramas depicting the system of Cultivation System (Cultuurstelsel) in the Dutch East Indies. The materials document reference imagery and preparatory studies used by artists in constructing narrative scenes of forced agricultural production for the historical programme of the National Monument. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

====[https://archive.org/details/amp-pot-00 Amplop Potret]====
*Archival photographs, portraits, and sketches assembled as visual reference material for the research and development of historical dioramas at the National Monument. The materials include documentary photographs from Jayapura—including scenes at the Hollandia government building used for diorama studies related to Act of Free Choice—alongside portrait references of prominent Indonesian historical figures such as Ahmad Dahlan, Mas Mansur, Wahid Hasyim, Mohammad Yamin, Wage Rudolf Supratman, Djuanda Kartawidjaja, Ernest Douwes Dekker, Abdul Muis, Sutan Sjahrir, Sam Ratulangi, Pierre Tendean, Ki Hajar Dewantara, Supeno, Ferdinand Lumban Tobing, Soepomo, Oemar Said Tjokroaminoto, Tjipto Mangunkusumo, Raden Mas Tirto Adhi Soerjo, Samanhudi, Albertus Soegijapranata, and Agus Salim. Additional reference images include portraits of other Indonesian figures, a sketch of Tuanku Imam Bonjol, scenes of Indonesian soldiers, diplomatic receptions with the Swiss Guard, and documentary photographs of children in traditional dress, reflecting the diverse visual sources consulted for the construction of historical narrative scenes. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

====[https://archive.org/details/ske-dio-mon-00 Amplop Sketsa Diorama Monas]=====
*A series of photographs of sketches depicting several historical diorama scenes at the National Monument (Monas), including “Youth Pledge,” “The Aceh War,” “The Battle of Surabaya,” “Indonesian Association,” “The Palapa Oath,” “National Awakening,” “The Struggle to Return to the Unitary State,” “The Battle of Jagaraga,” “The Majapahit War Fleet,” “Recognition of Sovereignty,” “The Liberation of Irian,” “The Resistance of Sisingamangaraja,” “Indonesia Becomes a Member of the United Nations,” and “The Diponegoro War,” which were used as visual references in the planning and creation of the Monas historical dioramas. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

====[https://archive.org/details/dari-buku-gambar_202603 Dari Buku Gambar]====
*Documentary photographs and reference materials from a sketchbook used for diorama research at the National Monument (Monas), including images numbered 11–15 depicting research references for the Bugis Incident, Battle of Bogor, Battle of Cibadak, and the Three Regions Incident, with visible documentation of the former Merdeka Hotel and the Pekalongan Residency Office. Additional materials include a map of the Bogor Bus Terminal area, landscape photographs assembled as a collage, photographs related to the Five-Day Battle of Palembang, a collection of rifle models, and a soldier in a guarding position. The collection also contains a documentary reference image with captions “Maluku Expedition Ship Model” and “Indonesian Navy, 1945,” as well as a written document containing research notes for dioramas depicting the suppression of the Three Regions Incident, including the siege and capture of Sardjio’s troops around the Merdeka Hotel by TKR/Police forces, alongside notes for the dioramas Expedition to Maluku and Seaborne Operation from Banyuwangi to Bali, detailing fleet composition and operational context. The document was prepared and signed by Drs. Sukardi, S.H., Head of the ABRI Museum Contents Group. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

====[https://archive.org/details/draaiboek-monas-879pgs-2 Draaiboek Monas - 879pgs 2]====
*Guidelines for the creation of dioramas at the National Monument (Monas), titled: 1. Trikora and/or the Return of West Irian (the return of West Irian to the territory of the Republic of Indonesia). 2. GANEFO (the opening ceremony of GANEFO, 10 October 1963). The document outlines the conceptual and technical direction for the diorama scenes, including the arrangement of miniature figures, architectural elements, and painted backgrounds on the left and right walls of the display. It also contains the historical script underpinning the scenes, detailing key events that form the narrative background, as well as references and sources used in the historical research. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

====[https://archive.org/details/alb-gam-per-idn-00 Gambar-gambar perjuangan indonesia]====
*Collection of documentary photographs recording state and military ceremonies at the northern square (Alun-Alun Utara) of the Yogyakarta Palace, including the Indonesian flag raised on the palace north field, formations of fighters and soldiers marching or standing in ceremonial ranks, and crowds observing official proceedings. The photographs document appearances and speeches by Soekarno and Mohammad Hatta, alongside military and police figures including Sudirman, Raden Said Soekanto Tjokrodiatmodjo, and Hamengkubuwono IX, together with groups of state officials during ceremonies, speeches, and inspections of troops. Additional images show lines of soldiers standing at attention or saluting, armed troops in formation, National Police units including a marching band and members of the Kedoe Police Mobile Brigade demonstrating tactical skills, and scenes of military or police meetings. The set also includes images of President Soekarno inspecting the ranks of soldiers and adjusting a soldier’s uniform attributes, a woman undergoing rifle training, police personnel assembled in groups, and other documentary views of the ceremony grounds and surrounding spectators. One photograph records the presidential oath-taking of Suharto as President of Indonesia. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

====[https://archive.org/details/map-ris-tjg-mor-00000 Peristiwa Tanjung Morawa 16 Maret 1953]====
*Documentary photographs recording sites, equipment, and community presence associated with agricultural activity in North Sumatra, including land belonging to the Department of Agriculture in Tanjung Morawa District, Deli Serdang Regency, a heavy machine used for field or construction work, and a group of community members documented in it. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

==Museum Satriamandala, Jakarta==
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===[https://archive.org/details/sik-corps-al Album Beberapa Sikap Corps Marinir AL (Jakarta, 22-8-1978)]===
*This photo presents a systematic documentation of standard military drill and parade positions, both armed and unarmed, shown from multiple perspectives (front, rear, right, and left), including formations such as the perfect armed stance, armed salute, armed rest, normal rest unarmed, parade armed rest/guard stance, perfect armed shoulder stance, perfect unarmed stance, and parade rest unarmed, serving as a structured visual reference to ensure accuracy of posture, alignment, and formal disciplinary standards. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

===Album Diorama Proklamasi Museum Eka Ekstrim Kanan Satria Mandala===
*[https://archive.org/details/alb-dio-eka-sat-man-1-00000 Album Diorama Proklamasi Museum Eka Ekstrim Kanan Satria Mandala #1]
::Documentary photographs of miniature figures, architectural elements, and supporting components used in the construction of dioramas at the Satriamandala Museum, Jakarta. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
*[https://archive.org/details/alb-dio-eka-sat-man-2-00000 Album Diorama Proklamasi Museum Eka Ekstrim Kanan Satria Mandala #2]
::Documentary photographs of miniature figures, architectural elements, and supporting components used in the construction of dioramas at the Satriamandala Museum, Jakarta. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

===[https://archive.org/details/gar-mat-mak-00000 Album Foto Perjuangan Indonesia]===
*Documentation of the activities of the X Garuda Mataram Brigade in Makassar under the leadership of Lieutenant Colonel Suharto in military operations to overcome the Makassar Uprising, also known as the Andi Aziz rebellion, in Makassar, South Sulawesi, 1950. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

===[https://archive.org/details/alb-rpkad Album RPKAD]===
*A collection of photo documentation of a series of technical instructions regarding the RPKAD soldiers' marching regulations, which include various basic positions such as perfect stance, normal rest, to armed rest parade in guard position, which are systematically documented from the front, rear, and left and right side perspectives, for diorama research purposes. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

===Buku Panduan Museum Satriamandala===
====[https://archive.org/details/central-museum-of-the-armed-forces-satria-mandala Central Museum Of The Armed Forces SATRIA MANDALA]====
*An operational guidebook for visitors to the ABRI Satriamandala Central Museum in English, which includes information on visiting hours, descriptions of the main exhibition spaces in the First and Second Buildings, supporting facilities, floor plans, location maps, and descriptions of the reliefs. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

====[https://archive.org/details/museum-satria-mandala-buku-panduan Museum Satria Mandala - Buku Panduan]====
*An operational guidebook for visitors to the ABRI Satriamandala Central Museum in Indonesian, which includes information on visiting hours, descriptions of the main exhibition spaces in the First and Second Buildings, supporting facilities, floor plans, location maps, and descriptions of reliefs in Indonesian. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

===Dokumen dan Surat===
====[https://archive.org/details/surat-perintah-kerja-museum-pusat-abri Surat Perintah Kerja Museum Pusat ABRI, 1973]====
*Work Order Letter no. PRINT/1110/PUSJARAH/VIII/73, issued in Jakarta on 25 August 1973 by the ABRI History Center, instructing artist Edhi Sunarso to carry out Phase III construction of the ABRI Central Museum. Based on decrees of the Minister of Defence/Commander of the Armed Forces concerning the formation of the project committee and the 1973–1974 budget allocation, the order authorised the production of 24 diorama dome units with supporting installations (frames, windows, and glass), with a total project value of Rp11,947,000. Signed by Colonel Inf. Soepardijo, Deputy Head of the ABRI History Center, and stamped. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

====[https://archive.org/details/surat-perintah-kerja-diorama-museum-pusat-abri Surat Perintah Kerja Diorama Museum Pusat ABRI, 1974]====
*Work Order Letter no. SPRIN/161/PUSJARAH/XII/74, issued in Jakarta on 19 December 1974 by the ABRI History Center, assigning a team of artists led by Edhi Sunarso (with Saptoto, Ratmoyo, Heri Wibowo, and Ramelan) to conduct field research on historical objects in Java, Bali, Sumatra, and Sulawesi. The research was intended to ensure historical accuracy in the dioramas of the ABRI Satriamandala Museum. Signed by Colonel Inf. Soepardijo, Deputy Head of the ABRI History Center, and stamped. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

====[https://archive.org/details/19750107-surat-perintah-kerja-diorama-museum-pusat-abri Surat Perintah Kerja Diorama Museum Pusat ABRI, 1975]====
*Work Order Letter no. PRIN/02/PUSJARAH/I/73, issued in Jakarta on 7 January 1975 by the ABRI History Center, assigning artist Edhi Sunarso to produce 29 dioramas, including one large-scale diorama measuring 3 × 3 metres, with a total contract value of Rp52,000,000. Signed by Colonel Inf. Soepardijo, Deputy Head of the ABRI History Center, and stamped. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

====[https://archive.org/details/19750823-surat-perintah-kerja-diorama-museum-pusat-abri Surat Perintah Kerja Diorama Museum Pusat ABRI, 1975]====
*Work Order Letter no. SPRIN/167/PUSJARAH/VIII/75, issued in Jakarta on 23 August 1975 by the ABRI History Center, assigning Edhi Sunarso (diorama artist) and Ratmoyo (member of the museum contents team) to conduct in-depth historical research on the Red and White Incident in Manado, the Andi Azis Rebellion, and Westerling’s actions in South Sulawesi, as part of Phase III development of the ABRI Central Museum. Signed by Colonel Inf. Soepardijo, Deputy Head of the ABRI History Center, and stamped. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

====[https://archive.org/details/19750922-kwitansi-museum-pusat-sejarah-abri Kwitansi Museum Pusat Sejarah ABRI, 1975]====
*Payment receipt, issued on 22 September 1975, documenting payment to Edhi Sunarso from the ABRI History Center Museum Development Project “Satria Mandala,” Jakarta, for the fifth instalment of diorama production costs under contract no. 08/PUSJARAH/I/75, amounting to Rp7,800,000 (seven million eight hundred thousand rupiah). --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

====[https://archive.org/details/19751002-berita-acara-pemeriksaan-diorama-museum-pusat-abri Berita Acara Pemeriksaan Diorama Museum Pusat ABRI, 1975]====
*Minutes of Inspection no. BA/1307/PUSJARAH/IX/1975, recording the official verification conducted on 30 September 1975 of the completion of 29 dioramas for the ABRI Central Museum Satriamandala by artist Edhi Sunarso. The inspection team—Colonel Inf. Soepardijo, Drs. Sukardi SHH, and Sri Suko—confirmed that the work complied with the agreement dated 3 January 1975. The results authorised the fifth instalment payment of 15% of the contract value (Rp7,800,000) and stipulated a three-month maintenance period until 22 December 1975. Signed in Jakarta on 2 October 1975. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

====[https://archive.org/details/19751002-berita-acara-penyerahan-pertama-diorama-museum-pusat-abri Berita Acara Penyerahan Pertama Diorama Museum Pusat ABRI, 1975]====
*Minutes of First Handover no. BA/308/PUSJARAH/X/1975, issued on 2 October 1975, documenting the first formal handover of 29 completed diorama units for the ABRI Satriamandala Central Museum from Edhi Sunarso (Second Party/Contractor) to the ABRI History Center (First Party). The works were declared in good condition, with responsibility for maintenance remaining with the contractor during the three-month warranty period until 22 December 1975. The document served as the administrative basis for payment of the fifth instalment (15% of the contract value, Rp7,800,000). Signed by Edhi Sunarso and Colonel Inf. Soepardijo, Deputy Head of the ABRI History Center, and stamped. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

====[https://archive.org/details/19751002-kwitansi-diorama-museum-abri Kwitansi Diorama Museum ABRI, 1975]====
*Payment receipt, issued on 2 October 1975, documenting the transfer of Rp7,800,000 (seven million eight hundred thousand rupiah) from Marine Major (A) Drs. A. Kusaeri, Treasurer of the Wisma Yaso Project, to artist Edhi Sunarso as the fifth instalment payment for the ABRI Satriamandala Museum diorama project. Signed by Marine Major (A) Drs. A. Kusaeri and Edhi Sunarso. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

====[https://archive.org/details/19751200-berita-acara-penyerahan-kedua-diorama-museum-pusat-abri Berita Acara Penyerahan Kedua Diorama Museum Pusat ABRI, 1975]====
*Minutes of Second Handover, issued in Jakarta in December 1975, documenting the final administrative completion of the ABRI Central Museum diorama project. Signed by Brigadier General Drs. Nugroho Notosusanto, Head of the ABRI History Center and Head of the ABRI Museum Project (First Party), and Edhi Sunarso, contractor (Second Party). The document confirms payment of the sixth and final instalment, amounting to 5% of the total contract value (Rp2,600,000). --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

====[https://archive.org/details/19760624-kwitansi-sewa-bus Kwitansi Sewa Bus, 1976]====
*Payment receipt, issued in Yogyakarta on 24 June 1976, documenting payment from ASRI (Indonesian Fine Arts Academy), Yogyakarta, to Johnny for five days of bus rental from 24–28 June 1976 for travel to Jakarta, amounting to Rp200,000 (two hundred thousand rupiah). The receipt is signed by Johnny and affixed with a stamp. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

===EKA===

===Eka Ekstrem Kanan Satya Mandala_(dari meja)===

===Laporan Diorama Museum ABRI===

===MAP BIRU_Museum Satria Mandala===
Folder of archival materials related to the research and preparation of historical dioramas at the Satriamandala Museum. The contents include technical instructions, chronological notes, research photographs, and design sketches used in the development of the dioramas Liberation of Manado City, ABRI Landing in Ambon, People’s Resistance in Biak, and Paratrooper Landing in Teminabuan. The documents function as working references for the visual reconstruction of historical events, outlining scenographic arrangements, troop formations, environmental elements, and supporting military assets guiding the diorama construction process.

====[https://archive.org/details/00-folder-biru-00 Foto]====
::Collection of archival photographs used as research and visual reference materials for the development of historical dioramas at the Satriamandala Museum. The materials support the visual reconstruction of the following scenes: 1. Liberation of Manado City. 2. ABRI Landing in Ambon. 3. People’s Resistance in Biak. 4. Paratrooper Landing in Teminabuan (TRIKORA). The photographs function as reference material informing the historical context, environmental details, and scenographic composition used in the construction of the dioramas. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

====[https://archive.org/details/sketsa-0 Sketsa]====
::Collection of archival sketches used in the development of historical dioramas at the Satriamandala Museum. The drawings function as preparatory design references outlining compositional layout, spatial arrangement, and scenographic elements for the construction of the dioramas. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

====Dokumen====
*[https://archive.org/details/pembebasan-kota-menado Pembebasan Kota Menado]
::Archival document serving as a temporary technical guide and chronological reference for the preparation of a diorama depicting the liberation of Manado City by RPKAD (Army Para-Commando Regiment) and KKO AL (Navy Commando Corps) forces. The instructions outline scenographic elements including the consolidation of four platoons at the Maumbi Village intersection, with road signage, coconut trees, and village rooftops forming the background, while AURI aircraft P-51 Mustang and B-25, appear overhead. The document also records operational notes describing the strategic shift from an initial attack on Tondano to the assault on Manado under the command of Lieutenant Colonel Rukminto, as well as reports of heavy fighting at the Kairagi Bridge against Permesta bunker defenses and heavy weapons. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/pendaratan-abri-di-ambon Pendaratan ABRI di Ambon]
::Archival document serving as a technical guide and chronological reference for the construction of the “ABRI Landing in Ambon” diorama at the Satriamandala Museum. The instructions outline the visual composition of the landing operation at Tulehu Beach, depicting joint forces of KKO (Marine Corps), Army, and Brimob advancing from LCVP landing craft with weapons raised. The scene is framed by coconut groves and coastal vegetation, with naval support represented by the warships RI Rajawali and RI Patti Unus. In the sky, AURI aircraft Dakota C-47, Harvard, and B-25 bomber, are shown providing aerial support. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/gerakan-operasi-militer-iv-r.m.s-tanggal-25-april-1950 Gerakan Operasi Militer IV (R.M.S.) Tanggal 25 April 1950]
::Archival document serving as a technical guide and chronological reference for the construction of the “Military Operation IV (R.M.S.), 25 April 1950” diorama at the Satriamandala Museum. The notes outline the historical background to the conflict, beginning with unrest among KNIL personnel following the Round Table Conference (KMB), the political agitation of Ir. Manusama, and the proclamation of the Republic of South Maluku (RMS) by Dr. Soumokil. The document also records the failure of Dr. Leimena’s peace mission and the subsequent blockade and military mobilization under Colonel A.E. Kawilarang. Visual guidance focuses on the TNI landings in September 1950, including the arrival of Group 3 under Major Suryo Subandrio at Hitu and Group 2 led by Lieutenant Colonel Slamet Rijadi at Tulehu, aimed at cutting enemy supply lines and securing strategic locations such as Passo and Laha airfield. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/perlawanan-rakyat-di-biak Perlawanan Rakyat di Biak]
::Archival document serving as a technical guide and chronological reference for the construction of the “People’s Resistance in Biak” diorama at the Satriamandala Museum. The instructions outline the visual composition of an ambush on a Dutch military truck along the road to Bosnik, depicting West Irian freedom fighters armed with rifles, bows, and machetes surrounding Dutch troops, who retreat while abandoning equipment such as backpacks and personal belongings. The notes also provide historical context on the planned March 1948 uprising, the resistance led by Silas Papare, and the involvement of figures including Dr. Sam Ratulangi in supporting the independence movement in the region. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/penerjunan-di-teminabuan Penerjunan di Teminabuan]

::Archival document serving as a technical guide and chronological notes for the construction of the ""Paratrooper Landing in Teminabuan"" diorama at the Satriamandala Museum, outlining preliminary instructions for the dramatic visualization of the raising of the Indonesian Red and White flag following fierce combat during Operation Wolf (Operasi Serigala). The narrative directs the depiction of the scene in the chaotic front yard of a Dutch barracks, where the remaining members of the AURI's PGT (Quick Action Force) stand in solemn salute as the flag is hoisted, while a torn Dutch flag lies discarded on the ground. These notes also document the heroic struggle of the platoon led by Air Sergeant I Martin Paulus Mengko, who jumped on May 19, 1962, their success in capturing Teminabuan on May 29, 1962, and the great sacrifice of 14 soldiers who fell as national heroes while defending the area against Dutch counterattacks. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

===Map Hijau EKA #2===
*[https://archive.org/details/map-ijo-eka-00000 MAP_IJO_EKA_00000]
::Archival document from the Indonesian Air Force (1974) providing technical instructions for the production of a diorama depicting the “Paratrooper Landing in Teminabuan.” The document outlines scenographic details for representing a combat setting, including fallen trees, specialized parachutes, and Dutch P2V Neptune aircraft conducting air strikes. It also includes references to PGT (Pasukan Gerak Tjepat, -Quick Action Force) uniforms and technical sketches of Dutch aircraft insignia. Supplementary visual materials feature photographs of Lockheed Neptune aircraft from the Trikora era, a naval vessel bearing hull number 1006, documentation of KRI Dewaruci, photo of a life buoy bearing the words RI DEWARUTJI and a plaque commemorating ""Captain Cook's Bicentennial Celebration"", and an illustration of a colonial-style building. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

===MAP HIJAU_Angkatan Udara RI===
*[https://archive.org/details/map-ijo-tni-au-00000 MAP_IJO_TNI-AU_00000]
::Collection of archival documentation from the AURI (Indonesian Air Force) Museum, dated 1974, relating to the downing of a B-26 aircraft piloted by Allen Lawrence Pope during the Permesta conflict. The material includes photographs of a formation of P-51 Mustang aircraft—among them unit number 7-321 flown by Captain Dewanto in the interception—as well as images documenting the judicial proceedings, including the presentation and examination of related evidence. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

===Pembuatan Diorama "Eka-Ekstrimkanan" Satria Mandala Jakarta Tahun 1976===
*[https://archive.org/details/proses-eka-1976-00000 PROSES_EKA_1976_00000]
::Collection of documentary photographs taken at the Satriamandala Museum, Jakarta, depicting exhibition displays including historical dioramas and military vehicles. The images record elements of the museum’s permanent collection and exhibition environment, documenting the visual narratives and material artefacts presented within the Indonesian Armed Forces’ central military museum. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

===Potret Jendral-Jendral===
*[https://archive.org/details/pot-jen-00000 POT_JEN_00000]
::Collection of photographic documentation depicting Indonesian military figures, including portraits of Brigadier General Ignatius Slamet Rijadi (two images), I Gusti Ngurah Rai with Ciung Wanara troops, General Basuki Rahmat, General Ahmad Yani, and Lieutenant General R. Suprapto. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

===Proses revisi===

====Dokumen dan Surat====
*[https://archive.org/details/19780731-surat-perintah-kerja-museum-abri-satria-manda Surat Perintah Kerja_Museum ABRI Satria Mandala]
::Work Order Letter with letter number SPK/105/PUSJARAH/III/78 issued by the Department of Defense and Security in Jakarta on 31st July 1978 to Edhi Sunarso, to carry out the work of making ABRI uniform mannequins, to be installed at the ABRI Satriamandala Museum. The letter also explains the number of mannequins complete with their bases, the uniform period, the wholesale price, and the deadline for the work. This letter was signed by Brigadier General TNI Drs. Nugroho Notosusanto, as Head of the ABRI History Center, and stamped. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/19791016-surat-petunjuk-perubahan-dan-perubahandari-kapusjarah Surat Petunjuk Perubahan dan Perubahan dari Kapusjarah]
::Letter from the Head of ABRI History Center, dated 16th October, 1979, contains instructions for improvements and changes to technical details for a diorama project undertaken by Edy Sunarso (also known as Edhi Sunarso). These changes included adjustments to the posture of the WARA (Women of the Air Force) figures, clothing details, and the addition of military attributes to several historical scenes, such as the struggle institutions, the Morokrembangan scene, the Student Army (T.P.), and the Guerrillas. These improvements were urgent because the new multi-purpose building housing the work was soon to be inaugurated by the WAPANGAB (Deputy Commander of the Armed Forces). Specifically, the instructions emphasized aspects of historical realism, such as the mud effect on the feet, variations in uniforms, and corrections to the direction of the commander's gaze. This letter was signed by Lieutenant Colonel of the Navy (A) Drs. A Kusaeri, on behalf of the History Team. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/19791022-surat-laporan-hasil-koreksi-gam Surat Laporan Hasil Koreksi GAM]
::A letter addressed to the Head of the History Center (KAPUSJARAH), for the attention of the ASOPS PUSJARAH (Assistant Operations of History Center) ABRI, containing a report on the results of corrections to the uniform on the 1st floor as a follow-up to the report of Lieutenant Colonel A. Kusaeri dated 17th October 1979, and submitting proposals and suggestions for changes regarding the uniform itself. This letter was made in Jakarta, and signed by the Head of the ABRI Museum Uniform Team, Major of Infantry Saleh A. Djamhari on 22nd October 1979. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/19791023-laporan-hasil-koreksi-gam Laporan Hasil Koreksi GAM]
::A document containing detailed corrections to the uniforms on the uniform mannequins for the Indonesian Army, Air Force, Navy, and Police. This document was published in Jakarta by the ABRI History Center, Department of Security and Defense on 23rd October 1979, and signed by Major of Infantry Saleh A. Djamhari, head of the ABRI museum uniform team. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/usul-perubahan-gam Usul Perubahan GAM]
::A document containing proposed uniform changes (GAM) for the Indonesian Army, Navy, Air Force, and National Police. This document was signed by the Head of the ABRI Museum Uniform Team, Major of Infantry Saleh A. Djamhari, in Jakarta on 23rd October 1979. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/19791024-nota-dinas-gam-kadet-taruna-abri Nota Dinas GAM Kadet Taruna ABRI]
::An official memo addressed to the Head of the ABRI Uniform Team, containing a report on the preliminary results of research in Jakarta on ABRI Cadet/Taruna data and the challenges in obtaining additional information. This required out-of-town business permits to bring photography equipment to the Police Cadet Museum of the Indonesian Military Academy (AKABRI) in Sukabumi, the Army Technical Academy (ATEKAD) in Bandung, the Air Force Museum and the Secodiningratan Police School in Yogyakarta, and the Army Museum of the AKABRI in Magelang. The official memo was signed by Major Adm. GSK Marsudi, a member of the ABRI Uniform Team, on 24th October 1979, in Jakarta. The following pages contain information on ABRI Cadet/Taruna uniforms obtained in Jakarta through interviews with retired Brigadier General Soekasno Poespomidjojo, retired Colonel Soebarjo for information on the Indonesian Army uniform, and retired Police General Hugeng for information on the Indonesian National Police uniform. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/19791100-surat-perihal-pakaian-seragam-taruna Surat Perihal Pakaian Seragam Taruna]
::The official official letter from the ABRI History Center, Department of Defense and Security, issued in November 1979, addressed to Mr. Edy Sunarso (also known as Edhi Sunarso) in Yogyakarta. It requests prioritization of unfinished work, including improvements to posture, facial features, and additional equipment, as outlined in the previous letter. It also discusses the need for nine sets of cadet uniforms and plans to discuss the cost of these additional uniforms. The letter is signed by Navy Lieutenant Colonel Drs. A. Kusaeri on behalf of the ABRI Museum Project Team. The following page lists the nine sets of uniforms to be produced as an attachment to the letter. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/19791107-laporan-hasil-koreksi-gam-notes Laporan Hasil Koreksi GAM_notes]
::Official Memo addressed to Edy Sunarso (Edhi Sunarso) as the executor to pay attention to the continuation of the correction of the ABRI Museum ABRI Uniform Doll, immediately complete the repairs according to the corrections listed in the first and second letters, and submit a completion report so that when the Head of the Center arrives, all problems have been resolved. Official Memo from KOPKAMTIB (Operation Command for the Restoration of Security and Order), the Department of Research on the Development of Communist Problems was written and signed by Lieutenant Colonel A. Kusaeri in Jakarta on 7th November 1979. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/19791116-hasil-koreksi-terhadap-gam-tahun-1964-1975 Hasil Koreksi Terhadap GAM tahun 1964-1975]
::A letter containing the results of corrections to the uniforms of the Indonesian Army, Air Force, Navy, and Police from 1964 to 1975, located on the first floor. The letter provides detailed information on the condition of the uniforms at that time, and the condition of the uniforms that should have been (after corrections). The letter was signed by Lieutenant Colonel of the Navy, Drs. A. Kusaeri as Head of the Personnel and Logistics Section of the ABRI History Center, on 16th October 1979 in Jakarta. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/19791220-surat-tugas-survei-seragam Surat Tugas Survei seragam]
::A letter of assignment addressed to Ari Sutondo Tc, a member of the team producing replica figures for the historical display of ABRI uniforms, to conduct a survey and study the uniforms of cadets from the AMN (National Military Forces), AAU (Air Force Academy), and AAL (Naval Academy), to complete the data for ABRI uniforms to be exhibited in the ABRI uniform display room at the ABRI Satria Mandala Central Museum. The letter was signed by Edhi Sunarso, a lecturer at the ASRI Yogyakarta Fine Arts College, who was also tasked with filling the historical/uniform display room at the ABRI Satria Mandala Central Museum, on 20th December 1979, in Yogyakarta. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

====Lembar Panduan====
*[https://archive.org/details/19750522-pakaian-dinas-upacara-abri Pakaian Dinas Upacara ABRI]
::This document serves as an official guideline or regulation for the use of uniforms (attributes) of the Indonesian Armed Forces Ceremonial Service Uniform I (PDU-I) which displays illustrations of official ceremonial uniforms for the four branches, namely the Indonesian Army (AD), the Indonesian Navy (AL), the Indonesian Air Force (AU), and the Indonesian National Police (POLRI), then the Indonesian Armed Forces Ceremonial Service Uniform II (PDU-II) which displays illustrations of other versions of the ceremonial uniforms used in the military and police environment of the Republic of Indonesia during that period. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/19780803-deskripsi-tokoh-tokoh-gam-1964-sekarang Deskripsi Tokoh Tokoh GAM 1964-sekarang]
::This document is a technical guide regarding the description of the official uniforms of the four services (TNI Army, Navy, Air Force and POLRI) for the period 1964 until now. This guideline was prepared specifically for the purpose of filling in dummy models in the exhibition space on the ground floor of the Satriamandala ABRI Central Museum Building. The inventory in this document includes in-depth details regarding the origin of the force, year of service, service clothing category, rank level, body posture (gesture), as well as the completeness of the attributes and equipment that accompanies it. This document was ratified in Jakarta on August 3, 1978 through the signature and official stamp of Infantry Major Drs. Saleh AD, as Head of the Team to Fill the GAM ABRI Exhibition Space at the Satriamandala ABRI Central Museum. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/19781109-deskripsi-tokoh-tokoh-gam-1950-1964 Deskripsi Tokoh Tokoh GAM 1950-1964]
::This document is a technical guide regarding the description of the official uniforms of the four services (Army, Navy, Air Force, and POLRI) for the period from 1950 to 1964. This guide was prepared specifically for the purpose of filling in dummy models in the exhibition space on the top floor of the Satriamandala ABRI Central Museum Building. The inventory in this document includes in-depth details regarding the origin of the force, year of service, service clothing category, rank level, body posture (gesture), as well as the completeness of the attributes and equipment that accompanies it. This document was ratified in Jakarta on 9 November 1978 through the signature of Infantry Major Supardi Rapanoi, as Secretary of the Team for Filling the ABRI GAM Exhibition Room at the Satriamandala ABRI Central Museum, and was stamped. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/gam-abri-black-tie-bentuk-i-au GAM ABRI_Black Tie Bentuk I AU]
::This document contains the uniform specifications for the First Form Black Tie category for the Air Force, the uniform for Air Force Lieutenant Colonels/Flight Lieutenant Colonels in a casual position during receptions. The uniform details are as follows: - Headgear: No headgear. - Bodywear: Shirt: Special fancy shirt with black bow tie. - Jacket (Black):Opens with one button, Black material with a satin collar, Has two inside pockets at the bottom (without flaps) and one upper pocket on the left (without flaps). - Pants: Black. - Footwear: Black cruiser shoes and black socks. This document also includes hand-drawn sketches showing the front and back of the uniform and details of the shirt with its pleats. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/gam-abri-korsik-i-iv GAM ABRI_Korsik I-IV]
::Sketch of 4 types of ABRI music corps uniforms --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/gam-abri-mess-dress-i-au GAM ABRI_Mess Dress I AU]
::This technical specification guide document for the 1st Air Force Mess Dress uniform, intended for officers with the rank of Colonel for casual activities during receptions. The guide details the types of materials and other details that characterize the uniform. The document also includes a picture of the uniform with details to note. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/gam-abri-pakaian-dinner-jaket-kowal GAM ABRI_Pakaian Dinner Jaket Kowal]
::Formal uniform specification for officers of the Indonesian Naval Women’s Corps (KOWAL) during the ABRI era, intended for lieutenant-rank personnel attending official evening functions. The regulation details a white Wave Topi made of mercerized drill; a cropped white dinner jacket with six gold anchor buttons; and a long-sleeved pleated shirt worn with a black ribbon tie. The ensemble is completed with a black semi-fitted gabardine wool skirt, 5 cm black heels, and a matching black clutch bag. Accompanying hand-drawn sketches function as technical references for tailoring, uniform construction, and standardized military presentation. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/gam-abri-pd-harian-hijau-al GAM ABRI_PD Harian Hijau AL]
::Regulation sheet specifying the Green Daily Service Uniform (PDH) for Indonesian Navy personnel of the rank Kopral I. The uniform comprises a green drill field cap, short-sleeved shirt with two pleated breast pockets and shoulder straps, and matching trousers. Technical details include a 3.5 cm green belt with brass buckle and the ALRI insignia placed above the left pocket (3 × 9.5 cm). Completed with black low-cut shoes and black socks for daily naval duties. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/gam-abri-pd-pesiar-al GAM ABRI_PD Pesiar AL]
::Regulation sheet outlining the Liberty Service Uniform (PD Pesiar) for Indonesian Navy personnel of the rank Kelasi I. The ensemble includes a dark-blue wool beret worn tilted to the right with enlisted metal insignia, a light-gray short-sleeved jacket-style shirt, dark-gray drill trousers, and a long black necktie. Rank and corps insignia appear on the sleeves, with service ribbons above the left pocket. Completed with a dark-gray belt, black shoes, and black socks. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/gam-abri-pd-upacara-al GAM ABRI_PD Upacara AL]
::Regulation sheet establishing the Ceremonial Service Uniform (PD Upacara) for Indonesian Navy personnel of the rank Kelasi II, illustrated in an at-ease position with a SAFN rifle. The uniform consists of a white drill dop (sailor hat), white long-sleeved Blauwkraag sailor shirt, and white drill trousers secured with a 3.5 cm white belt and brass buckle. Rank insignia and Tanda Vak specialty marks appear on the sleeves. Completed with black shoes and black socks. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/gam-abri-pdh-abu-abu-al GAM ABRI_PDH Abu-abu AL]
::Regulation sheet defining the Gray Daily Service Uniform (PDH Abu-abu) for Indonesian Navy officers of the rank Letda Supply on picket duty with sidearm. The uniform includes a gray gabardine pet (service cap), light-gray short-sleeved drill shirt with pleated breast pockets, and dark-gray drill trousers. Rank insignia appear on shoulder straps and corps insignia on the collar. Completed with a dark-blue belt, black low-cut shoes, and short black socks. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/gam-abri-pdh-khusus-al GAM ABRI_PDH Khusus AL]
::Regulation sheet establishing the Special Daily Service Uniform (PDH Khusus) for Indonesian Navy officers of the rank Captain or Technical Captain. The uniform comprises a dark-gray officer’s pet, gray drill Wavel Dress jacket with open collar and four pockets, and a matching external belt with brass buckle and gold anchor buttons. Rank insignia are placed on the shoulder straps. Completed with gray trousers and black low-cut shoes for formal daily service. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/gam-abri-pdh-pol GAM ABRI_PDH POL]
::Regulation sheet outlining the Daily Service Uniform (PDH) for Police personnel of the rank Brigadir Polisi / Serma Pol. (Perintis) assigned to guard duty with a jungle rifle. The uniform includes a khaki drill shirt with pleated pockets, brown drill trousers, and a service pet bearing the police insignia. A black utility belt secures the ensemble. Completed with black low-cut shoes and black socks for operational service duties. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/gam-abri-pdh-tenue-iii-al GAM ABRI_PDH Tenue III AL]
::Regulation sheet describing PDH Tenue III for KKO (Marine Corps) personnel of sergeant rank. The uniform features a dark-gray gabardine peci (songkok) with blue piping and anchor–Garuda emblem, a light-gray short-sleeved sport shirt without shoulder straps, and dark-gray trousers. Ribbon-style service medals are worn on the left chest. The ensemble reflects the Marine Corps’ distinctive adaptation of daily service attire. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/gam-abri-pdl-pol GAM ABRI_PDL POL]
::Regulation sheet specifying the Field Service Uniform (PDL) for Police personnel of the rank Bharada on guard duty with an SKS rifle. The ensemble includes a brown field cap, khaki drill shirt with standing collar, and brown drill trousers. A black koppelriem combat belt functions as the primary equipment support. Designed for operational field service, the uniform emphasizes durability and mobility. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/gam-abri-pds-hamil-kowad GAM ABRI_PDS Hamil KOWAD]
::Regulation sheet defining the Maternity Service Uniform (PDS Hamil) for the Army Women’s Corps (KOWAD). The uniform consists of a light-green blouse paired with a dark-green skirt and is worn without headgear. The ensemble includes low-heeled black shoes and a black daily handbag bearing the “Dharma Puspa” emblem, maintaining institutional identity during maternity duty assignments. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/gam-abri-pds-hamil-wara GAM ABRI_PDS Hamil WARA]
::Regulation sheet defining the Maternity Service Uniform (PDS Hamil) for the Air Force Women’s Corps (WARA). The uniform consists of a light-blue blouse and dark-blue skirt worn without headgear. Accessories include low-heeled black shoes and a black daily handbag bearing the “Swa Bhuwana Paksa” emblem, reflecting Air Force institutional identity during maternity service assignments. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/gam-abri-pds-korsik-ii-au GAM ABRI_PDS Korsik II AU]
::Regulation sheet specifying the PDS Korsik II uniform and equipment for the Indonesian Air Force Music Corps (Korsik), rank Peltu, serving as ensemble conductor. The uniform includes an Air Force blue service cap with the Swa Bhuwana Paksa emblem, light-blue shirt, and dark-blue trousers marked with a 2 cm yellow stripe. Equipment includes baton, black leather koppelriem, and Raras-wara Andrepati buckle for ceremonial command during military performances. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/gam-abri-pds-pembawa-panji-al GAM ABRI_PDS Pembawa Panji AL]
::Regulation sheet specifying the PDS Pembawa Panji (Color Guard/Standard Bearer) uniform for Indonesian Navy personnel of the rank Letda. The ceremonial ensemble consists of a white helmet with light-blue stripes and the Jalesveva Jayamahe emblem, white tunic, and trousers with yellow side stripes. Accessories include white webbing set, gloves, scarf, and white field boots, worn with full decorations during naval ceremonial processions. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/gam-abri-pdu-b-malam-kowad GAM ABRI_PDU B Malam KOWAD]
::Regulation sheet specifying the PDU B Malam (Evening Grand Ceremonial Uniform) for the Army Women’s Corps (KOWAD). The ensemble comprises a white linen tunic with a 3 cm standing collar and decorative pockets, paired with a tapered black wool skirt with four front pleats. Accessories include a black peaked cap bearing the Kartika Eka Paksi emblem, wide-heeled dress shoes, and ceremonial insignia including TPU, corps badges, and medals. Precise tailoring standards include a skirt hem set 39 cm above the ground. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/gam-abri-pdu-i-ad GAM ABRI_PDU I AD]
::Regulation sheet specifying PDU I (Grand Ceremonial Dress I) for Indonesian Army officers, illustrated for the rank Mayor Infanteri. The uniform consists of a hijau Kanada tunic and trousers worn with an olive-green shirt and hijau tahi kuda necktie. A black peaked cap with the Kartika Eka Paksi emblem and gold buttons completes the ensemble. Ceremonial insignia include TPU, TNI badges, and service decorations. Completed with black dress shoes and socks for formal state ceremonies. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/gam-abri-pdu-i-pol GAM ABRI_PDU I POL]
::Regulation sheet defining PDU I (Type I Ceremonial Dress) for the Indonesian National Police, illustrated for the rank First Police Inspector (Lettu Pol.). The uniform comprises a brown peaked cap, white long-sleeved shirt with black tie, and khaki gabardine tunic with four external pockets. The ensemble is paired with brown trousers and black dress shoes. Accompanying diagrams indicate the placement of shoulder epaulettes and insignia, establishing formal standards for police ceremonial protocol. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/gam-abri-pdu-ii-polri GAM ABRI_PDU II POLRI]
::Regulation sheet specifying PDU II (Type II Ceremonial Dress) for the Indonesian National Police, illustrated for the rank AIPDA / Pelda Pol. The ensemble includes a white peaked cap, white long-sleeved shirt with black bow tie, white tunic, and black trousers marked with a yellow side stripe. Accessories include white gloves and small ceremonial decorations. The uniform is completed with black dress shoes and socks, forming the prescribed attire for specific ceremonial duties. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/gam-abri-pdu-iii-au-1 GAM ABRI_PDU III AU_1]
::Regulation sheet specifying PDU III (Type III Ceremonial Dress) for the Indonesian Air Force, illustrated for the rank Kapten Meteo. The uniform includes an Air Force blue peaked cap and Trivera-fabric tunic with four-button closure, upper flap pockets, and internal lower pockets. The ensemble is worn with a white shirt, black necktie, and blue trousers secured with a 3.5 cm belt. Ceremonial rank insignia, TNI badge, and service ribbons complete the formal presentation. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/gam-abri-pdu-iii-au GAM ABRI_PDU III AU]
::Regulation sheet defining PDU III ceremonial dress for Indonesian Air Force enlisted personnel, illustrated for the rank Serma. The uniform consists of a blue peaked cap with the Swa Bhuwana Paksa emblem, blue tunic and trousers, white shirt, and black necktie. Ceremonial insignia include TPU, TNI badge, and service ribbons or decorations. Skill badges may also be displayed. Completed with black dress shoes and socks in accordance with formal Air Force protocol. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/gam-abri-pdu-kebesaran-kowal GAM ABRI_PDU Kebesaran KOWAL]
::Regulation sheet defining PDU Kebesaran (Grand Ceremonial Dress) and PDL (Field Service Uniform) for the Women’s Naval Corps (KOWAL), illustrated for the rank Lettu. The ceremonial ensemble includes a white bivouac cap with officer emblem, white tunic with gold buttons, white skirt, and high-heeled shoes with gloves and leather handbag. The accompanying field uniform specifies a black beret, green service shirt and trousers, black field boots, and green koppelriem belt. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/gam-abri-pdu-malam-tenue-iib-al GAM ABRI_PDU Malam Tenue IIB AL]
::Regulation sheet specifying PDU Malam Tenue II B (Evening Ceremonial Uniform) for Indonesian Navy officers, illustrated for the rank Kapten Elektro. The uniform includes a dark-gray peaked cap with officer emblem and gold sierband, worn with a gray gabardine tunic featuring anchor buttons and four pockets. The ensemble is paired with a light-gray shirt, black tie, and dark-gray trousers with light-gray piping. Completed with ceremonial rank insignia and black dress shoes. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/gam-abri-pdu-parade-polri GAM ABRI_PDU Parade POLRI]
::Regulation sheet specifying PDU Parade for Indonesian National Police personnel, illustrated for the rank Bhayangkara I. The tactical-ceremonial uniform includes a khaki drill shirt, brown trousers, and a black webbing set worn with a peaked cap. Accessories include high black boots, white gloves, and field rank insignia. Unit scarves indicate service divisions—yellow for Sabhara, white for Traffic, and blue for Airud. Parade formation includes the carrying of an SKS rifle with bayonet. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/gam-abri-pdu-siang-al GAM ABRI_PDU Siang AL]
::Regulation sheet specifying PDU Siang Tenue I / II A (Day Ceremonial Uniform) for Indonesian Navy officers, illustrated for the rank Mayor Pelaut. The ensemble consists of a white peaked cap with officer emblem and gold sierband, a white high-collared tunic with anchor buttons, and matching white trousers. The uniform is worn with a white belt, white dress shoes, and ceremonial rank insignia on the shoulders, with corps insignia and service medals positioned above the left chest pocket. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/gam-abri-pdub-ad GAM ABRI_PDUB AD]
::Regulation sheet specifying PDU B (Pakaian Dinas Upacara Besar / Grand Ceremonial Dress) for the Indonesian Army (AD). The ensemble includes a black peci with yellow piping and a bronze Bhinneka Tunggal Ika emblem, worn with a khaki wavel shirt and double-pleated trousers secured by a belt. The uniform is completed with black dress shoes and khaki socks. Ceremonial rank insignia (TPU) are placed on both shoulders with corps insignia positioned above, forming the prescribed appearance for formal military ceremonies. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/gam-abri-pduk-polwan GAM ABRI_PDUK POLWAN]
::Regulation sheet specifying PDUK (Pakaian Dinas Upacara Kecil / Minor Ceremonial Dress) for Women’s Police Corps (POLWAN) personnel, illustrated for the rank First Police Inspector (Lettu Polwan). The uniform consists of a POLWAN peaked cap with police emblem, a long-sleeved tunic with shielerkraag collar and two lower flap pockets, and a decorative belt (sabuk hias). The ensemble is worn with a service skirt and black dress shoes. Daily rank insignia are required, with white gloves worn only when ordered. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/gam-abri-pduk-tenue-iic-al GAM ABRI_PDUK Tenue IIC AL]
::Regulation sheet specifying PDUK Tenue IIC (Minor Ceremonial Dress) for Indonesian Navy (AL) personnel, illustrated for the rank Serma. The uniform includes a dark-grey peaked cap of Gabardine Tetoron with officer emblem, a light-grey short-sleeved drill shirt with two breast pockets and sewn shoulder loops, and dark-grey drill trousers secured by a 3.5 cm belt. Daily rank insignia are worn on the shoulder loops with corps insignia on the collar. Completed with black dress shoes and socks. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/gam-abri-pdukb-pol GAM ABRI_PDUKB POL]
::Regulation sheet specifying PDUKB (Minor Grand Ceremonial Dress) for Women’s Police Corps (POLWAN) officers, illustrated for the rank Kompol / Mayor Polwan. The uniform comprises a white peaked cap with police emblem and a white tunic styled after Baju Bodo, featuring a standing collar, gold buttons, and corded cuffs. The tunic is paired with a black skirt with five front pleats and black dress shoes. Daily rank insignia and white gloves are prescribed, with aiguillettes (nestles) worn according to regulation. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/gam-abri-ps-bentuk-pa-a-1-au GAM ABRI_PS Bentuk Pa-A-1 AU]
::Regulation sheet specifying PS (Pakaian Seragam / Service Uniform), Bentuk Pa-A-1, for Indonesian Air Force (AU) officers, illustrated for the rank Mayor Udara / Mayor Pas. The ensemble includes an Air Force Blue (AFB) peaked cap, white long-sleeved shirt with black tie, and open AFB wool tunic with four buttons and flap pockets, worn with matching trousers. Formal protocol requires ceremonial insignia, service ribbons, and gold buttons. For parade duties the officer may carry a pistol and ceremonial sword with white gloves. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/gam-abri-ps-parade-au GAM ABRI_PS Parade AU]
::Regulation sheet specifying the Parade Service Uniform (PS) for Indonesian Air Force (AU) personnel, illustrated for the rank Serda (Second Air Sergeant). The uniform includes an AFB wool peci, khaki drill shirt with four pockets and brass buttons, and matching trousers. Equipment includes black combat boots, a koppelriem belt with ammunition pouches, and webbing set. Parade formation requires the carrying of a Senapan Cung rifle with bayonet, accompanied by rank insignia, name tag, service stars, and qualification badges. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/gam-abri-psu-kecil-au GAM ABRI_PSU Kecil AU]
::Regulation sheet specifying PSU Kecil (Minor Ceremonial Service Uniform) for Indonesian Air Force (AU) enlisted personnel, illustrated for the ranks Kopral II Udara / Serma. The uniform consists of an AFB enlisted peci, short-sleeved khaki drill tunic with four pockets and external fabric belt, and blue trousers secured with a 3.5 cm belt. Rank insignia are worn on both sleeves with unit badges and service ribbons. The ensemble is completed with black dress shoes and worn during ceremonial rifle salutes. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/gam-abri-psub-i-au GAM ABRI_PSUB I AU]
::Regulation sheet specifying PSUB I (Pakaian Seragam Upacara Besar I / Grand Ceremonial Uniform I) for Indonesian Air Force (AU) officers, illustrated for the rank Letnan Udara I. The ensemble includes an AFB peaked cap, white long-sleeved shirt with black tie, and open AFB tunic with flap pockets and shoulder loops. Matching trousers and black dress shoes complete the uniform. Ceremonial rank insignia, corps badges, and service medals are worn in accordance with official regulations. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/gam-abri-psub-i-wara GAM ABRI_PSUB I WARA]
::Regulation sheet specifying PSUB I (Grand Ceremonial Uniform I) for Women’s Air Force (WARA) personnel, illustrated for the rank Letnan Udara II. The uniform includes a WARA Air Force Blue cap, white shirt with black tie, and AFB wool jacket with gold buttons and shoulder tabs, worn with a matching skirt. Ceremonial rank insignia, corps badges, medals, and brevet wings complete the ensemble, establishing the formal appearance of female officers during official Air Force ceremonies. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/gam-abri-psub-ii-wara GAM ABRI_PSUB II WARA]
::Regulation sheet specifying PSUB II (Grand Ceremonial Uniform II) for Women’s Air Force (WARA) officers, illustrated for the rank Letnan Udara I. The ensemble comprises a khaki wool jacket and skirt worn with a white shirt and black tie. The uniform includes a WARA Air Force Blue cap, high-heeled shoes, and ceremonial insignia including rank, corps badges, medals, and brevet wings. The regulation establishes formal standards for the appearance of female Air Force officers in ceremonial protocol. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/gam-abri-psub-ii GAM ABRI_PSUB II]
::Regulation sheet specifying PSUB II (Grand Ceremonial Uniform II) for Indonesian Air Force (AU) officers and warrant officers. The uniform includes an Air Force Blue peaked cap, khaki wool tunic with four buttoned pockets and shoulder straps, worn over a white shirt with black tie. Matching trousers and black dress shoes complete the ensemble. Full ceremonial insignia—including rank, corps badges, medals, and brevet wings—are worn during official state or military ceremonies. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/gam-abri-psuk-wara-au GAM ABRI_PSUK WARA AU]
::Regulation sheet specifying PSUK (Pakaian Seragam Upacara Kecil / Minor Ceremonial Uniform) for Women’s Air Force (WARA) personnel, illustrated for the ranks Sersan Udara / Serda. The ensemble comprises a khaki wool skirt and open-style tunic with three-quarter sleeves, shoulder straps, and gold buttons. The uniform is worn with a WARA Air Force Blue cap and high-heeled shoes. Daily rank insignia, unit badges, and service ribbons complete the prescribed appearance for minor ceremonial duties. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

===[https://archive.org/details/ris-ser-tni-al Riset seragam TNI AL]===

*Photo documentation of Indonesian uniforms from the era of the Maritime Homeland Defense Forces (PETA Laut, 1946) to standardization in 1975. The scope includes various categories of service clothing (Daily, Ceremonial, and Servant) as well as special uniforms for the Navy Women's Corps and Military Police. This information includes technical details of materials (drill, gabardine, tetoron), colors (white, gray, Navy green), and specifications for the front and back of the clothing pieces stored at the Indonesian Navy National Armed Forces Museum, Morokrembangan, Surabaya. contains 34 photos (only 26 found, ed. Hyphen —)

===[https://archive.org/details/sejarah-singkat-hakekat-museum-sejarah-dan-perpustakaan Sejarah Singkat, Hakekat Museum, Sejarah, dan Perpustakaan, 1978]===

*This book details the history of the founding of the Indonesian Air Force Central Museum "Dirgantara Mandala", which began with the idea of the AURI leadership in 1960 to immortalize the historical events of the air force, until its inauguration in Jakarta in 1969 and its relocation to Yogyakarta in 1978 due to the historical value of the city as the birthplace of the Indonesian Air Force.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

Tracing women artists in Indonesia (1940-1970)

2026-03-11T09:49:49Z

Wikihyphen:

==Initiator==
The Indonesian Women's Archives and History Space (RUAS) is a collective space for women's critical thinking, run by historians and activist-scholars. RUAS' work includes archiving that is oriented towards memory, activism practices, women's thoughts and feelings, for justice, social, political and cultural change.

RUAS defines archiving-activism as a social movement which documents movements, thoughts and feelings, as well as presenting women's narratives that are overlooked in Indonesia's mainstream history. We aim to care for and recall women's movements as a way to support social change and bring about justice as well as equality.

==About the annotated bibliography==
For now, we are focusing on the artists' whose practices began in 1940-1970. There is no particular reluctance on expanding the years of these practices. It is simply where the research interest of RUAS and Hyphen— met when we began this work.

==Contributors==
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==How to contribute to this==
You are more than welcome to grow to this annotated bibliography. Please send your contribution via this form.

==Alimah==
* '''Setiawan, Hersri. 1999. ''Lekra Yogyakarta''. Cultural Records.'''
Alimah was mentioned in Setiawan’s notes about the member of Lekra and the People’s Painting Studio (Sanggar Pelukis Rakyat) as a female surrealist painter with a modest and sharp style. Alimah and her whole body of work have disappeared after the 30th September Movement in 1965 until today.

==Aty Ismangil==
* '''Suwaryono, Dan. 2015. ''Fine Arts Appreciation in Indonesia: The Essays and Criticisms of Dan Suwaryono (unpublished draft)''. The Faculty of Fine Arts, Jakarta Institute of the Arts.'''
Aty Ismangil’s name appeared on page 56. Her painting Kali Progo was discussed; its style of delicate lines was compared to Ruliyati’s painting style, which was firm, hard, and rigid.

==Attika (Atikah)==
* '''Yok, Oei Sian. “The Role of Lines in Painting”, ''Star Weekly'', 18 July 1959.'''
This article made a comparison between two exhibitions – an exhibition that presented the work of “Yin Hua” painters in Tati Gallery (Prinsenpark, Jakarta) and the exhibition of seven Indonesian painters in Balai Budaya in July 1959. Water and ink, the mediums that were apparent in the “Yin Hua” exhibition, were compared to the acrylic paintings of the second exhibition. The only woman who contributed to the second exhibition was Attika. Oei Sian Yok wrote that Attika often painted flowers, even though her paintings were still not yet fully refined in the terms of technique–especially when she was painting a vase.
* '''Yok, Oei Sian. “The Difference Between a Painting and an Illustration”, ''Star Weekly'', 12 March 1960.'''
In this article, Atikah was mentioned as an artist from Sumedang who, in the middle of 1956, was painting for BMKN (The National Cultural Forum). Technically, in the exhibition in Balai Budaya (Jakarta), she didn’t yet have the painting skills equal to Utarjo or Yassin. Her floral painting looked clumsy and out of proportion. Her chosen colors for “Dewi Sri” also lacked harmony.

==Betsy Lucas==
* '''Yok, Oei Sian. “The Students’ Painting Exhibition”, ''Star Weekly'', 25 April 1959.'''
This was an article about a B.K.S.K.M.I’s exhibition (Indonesian Art Students Cooperation Agency) in Wisma Nusantara, which included the work of the students of Bandung Institute of Technology’s Fine Art Department and Jogja Academy of Fine Arts. Betsy Lucas’s work was mentioned as having its own style and how her lines were remarkable and subtle. She used soft colors for nature in her painting, and she drew a beautiful landscape of Bali.

==Emiria Sunassa (Emiria Soenassa)==
* '''Unknown yet. “Talking to a Tidorean Princess about Her Hometown: Irian”, ''Star Weekly'', 20 November 1949.'''
The article about Emiria opened with a telegram message from the chief of UNO (New York) that mentioned the title of the Queen Mother Emiria Soenassa Wama’na Putri Al’Alam. Her background as the princess of Tidore Sultanate was mentioned in this article, along with her journey to become a painter. And her involvement with the PKII (Independence Party of Indonesia Irian) to fight for the people of Irian. In this article, the relationship between the Tidore Sultanate and Irian was also explained.
* '''Unknown yet. “Emiria Sunassa: How she came to be a painter”, ''The Indonesian Affairs'', Vol. II No. 2. April-May 1952.'''
This article about Emiria was quite interesting since it was published by the Department of Information and written right before Emiria disappeared from the public. The article also mentioned a review of her work in the previous issue of the journal in 1951. The article focused on Emiria’s story as an individual and how she self-taught her art. In the article, her early interaction process with paintings with Prof. Pijper was discussed in detail – it showed Emiria’s temperamental and passionate character. Emiria was also someone with high social empathy and awareness; it was apparent from her choice to become a nurse during the revolution era.
* '''Yok, Oei Sian. “The Exhibition of Four Indonesian Expressionist Painters: Emiria Sunassa, Trisno Sumardjo, Oesman Effendi, Zaini”, ''Star Weekly'', 6 February 1960.'''
Emiria Sunassa was one of the Indonesian women expressionist painters that contributed her work to this exhibition. The article mentioned her short
biography and that she started painting in her older age, right before WWII. Her solid exhibition in the Bataviasche Kunstkring Art Hall in 1940 garnered a lot of attention and discussion about her work. Her second exhibition was held in 1946. Among the art circles, she was often depicted as having a unique personality and was in a league of her own. She held exhibitions in Europe, the United States, India, and the Malay Peninsula. The colors in her paintings showed creative decisions and combinations that were unique, fresh, and sharp. “Kembang Matahari” (Sunflower) was one of her more cheerful works. “Terdampar” (Stranded) depicted several bodies sprawled on a dead empty ground and, in its bluish green, they looked bleak and sad.
* '''Burhan, Agus. 2000. The History of Paintings in Indonesia: From Mooi Indie to Persagi (Association of Indonesian Painters). Yogyakarta: MERAPi'''
The writer mentioned that Emiria Soenassa got her inspiration from primitive art. She was aloud about her “anti-technique” credo: “Swing your pencil, throw away your technique”. This creative tenet was in line with Sudjojono. The article also mentioned Emiria’s background as the first Indonesian woman who explored the art of painting as a way of expression. “Kampoeng Nelajan di Teloek Roembolt”, her work in the Bataviasche Kunstkring exhibition 1941 garnered attention. As described by Sudjojono, her painting showed primitive patterns to express honest naivety. Afterward, some of her paintings were considered to resemble Van Gogh’s. Later, expressionism became much stronger in Emiria’s work; her style reached its maturity during the Japanese occupation era.
* '''Arbuckle, Heidi. 2012. ''Performing Emiria Sunassa: Reframing the Female Subject in Post Colonial Indonesia''. Melbourne: University of Melbourne.'''
This one was considered comprehensive research about Emiria Soenassa. In the opening of this report, Heidi wrote about Emiria’s background, making clear all of the confusion – including the claim that she was a princess of Tidore Sultanate. Emiria’s life was so colorful in numerous professions that she did. Before she disappeared from Jakarta out of the blue at the beginning of the 60s. Her story became a mystery until the end of the 90s when the public memory of Indonesia no longer remembered her. 
 Emiria’s disappearance from Jakarta was something you could call an attempt to erase the work of Indonesian women in mainstream art in Indonesia. With details, Heidi traced back all the materials and sources that mentioned Emiria, including people’s memories of her. Emiria was mentioned as getting married several times, even though there was not any strong evidence about it. And Emiria didn’t have any biological children. When she was alive, she adopted two kids. 
 No one knew why Emiria disappeared. Aside from that, Emiria was a pioneer in several fields. Heidi tried to rearrange materials and records about her and rewrite Emiria Sunassa’s life, combining it with oral narrative history, archive, and visual analysis of her work and photos. An example was a little detail from Mia Bustam about her visit to Emiria’s house at the beginning of the 40s. Heidi also interviewed people around Emiria who knew her personally. Until she finally interviewed Jane Waworuntu, who was a close friend (might also be Emiria’s distant relative) and a person who secured Emiria’s paintings until Jane died in 1998 – and those paintings were passed down to Jane’s nephew, Weir Waworuntu. After that, those paintings were kept in a store room in Tanjung Sari Hotel in Bali. They were on display in an exhibition in 1994. 
 Heidi tried to discuss Emiria’s positioning of female subjects in the colonial and national discourse. And also how women took their roles, in the context of themselves and spaces for women in the national art scene. Emiria became a dominant figure in the dynamic of the art scene in her early career and also a figure of another. She represented a princess and a “primitive” because of the information she didn’t have access to because she was an other.
Heidi explored the discussion regarding Emiria by looking at the trace that Heidi found in Jalan Cendana. She also reinterpreted Emiria through a visual analysis of her paintings. In her conclusion, Heidi put Emiria Sunassa as a female subject and presented her persona, her political commitment, and her daily life inside a discourse of modern Indonesian culture, specifically when the colonial era would soon end. Emiria was a historical vehicle to examine how she shook the dominant narrative and destabilized the rigid truth about the state and its relation to race, class, and gender ideology. Emiria was eccentric – mysterious and unpredictable. The use of a postcolonial feminist approach was urgent to understand and retell Emiria as a whole narrative subject.
* '''Low Sze We, Horikawa Lisa, Scott Phoebe (eds). 2016. ''Reframing Modernism: painting from Southeast Asia, Europe and beyond''. Singapore: National Gallery Singapore.'''
Emiria was mentioned as a pioneer figure in modern Indonesian art. Her painting style showed an ideological position, as seen in her way of
presenting female figures from various cultural backgrounds in Indonesia. And this made her style so different from the spirit of nationalism that was
apparent in mainstream painting styles at that time. 
 Emiria presented another idea of nationalism in the diverse figures in her painting. Five of her painting were presented in this book: Pemanah Papua (A Papuan Archer, 1942), Bahaya Belakang Kembang Ternate (The Hidden Danger of a Ternatenese Young Woman, 1941-1946), Panen Padi (Rice Harvest, 1945), Pasar (Market, 1943), and Peniup Seruling dan Purnama (The Flute Player and the Full Moon, 1958).
* '''Ika Setia Wati, Jenny. “The Existence and the Problem of Indonesian Nudist Painting According to the Feminist Lens”. ''Imaginarium'', Vol. 1 No. 3, November 2020.'''
This discussed the debate and problem of nudist painting in Indonesia, which was often produced from the patriarchal perspective. Jenny interpreted Emiria’s “Mutiara Bermain” (Pearls, At Play) with a different kind of feminist approach, considering the creation time of the painting – when the Japanese oppressed Indonesian women during the occupation period, and its aftermath during the beginning era of the republic. Jenny discussed the male gaze perception from male artists that made it as if women alone couldn’t be a subject in a creative process to make a painting.

===Magazine===
* '''Merdeka, Moyang Kasih Dewi. “Finding Emiria Again”, ''Majalah Tempo'', 2 May 2020.'''
* '''Merdeka, Moyang Kasih Dewi. “Finding Emiria Again”, ''Majalah Tempo'', 2 May 2020.'''

===Printed newspaper===
* '''Arbuckle, Heidi. Kompas, 12 December 2010, ''Emiria Soenassa Imagining the Homeland.'''''
* '''Bianpoen, Carla. Jakarta Post, 9 December 2010, ''Emiria Soenassa: An auspicious artist.'''''
* '''Moeis, Dantje S. Riau Pos, 9 September 2012, ''Indonesian Female Artists.'''''
* '''Bianpoen, Carla. Jakarta Post. 13 April 2016, ''Reframing Modernism in a Southeast Asian Context.'''''

===Online===
* '''CN, Heru. 2010. The Exhibition of a Mysterious Painter.'''
* '''[https://nasional.kompas.com/read/2010/10/27/14070768/fakta.dan.mitos.emiria.soe Saraswati, Idha. 2010. Fakta dan Mitos Emiria Soenassa.]'''
* '''[https://www.historia.id/article/emiria-sunassa-perupa-perempuan-genius-DWYeP Setiyono, Budi. 2010. Emiria Sunassa: a Genius Female Painter.]'''
* '''[https://www.thejakartapost.com/news/2013/10/27/in-love-and-war.html Gorelik, Boris. 2013. In Love and War.]'''
* '''[https://marsinahfm.blogspot.com/2014/02/emiria-sunassa-pelopor-senirupa_27.html Unknown. 2014. Emiria Sunassa; The Pioneer of Modern Indonesian Art.]'''
* '''Unknown. 2016. Indonesian Art Under the Eyes of the World.'''
* '''Emilia, Stevie. 2018. "(Re)collect chronicles, legacy, untold stories".'''
* '''Janti, Nur. 2018. Menolak Pandangan Lelaki Lewat Lukisan (Rejecting the Male Perspective Through Painting).'''
* '''Unknown. 2020. Emiria Sunassa: The Woman who Painted Feminism.'''

==Ida Hadjar==
* '''Nadhiputro, Muhajir. ''Feminine Imageries in the Arts''. URNA, A Fine Art Journal Vol. 01 No. 1 (June 2012: 50-62).'''
The article in this journal discussed the cubistic style in Ida Hadjar’s paintings, which were influenced by Picasso and Diego Riviera, alongside a vision of Social Realism. As a woman painter, Ida Hadjar apparently wanted to fight the stereotype that women were weak human beings. Ida wanted to build an image of women that were vigorous in dealing with their daily struggles. She presented these women as strong, dark, firm, and also having thick outlines-as seen in her painting “Going to the Market”.

==Kartika (Kartika Affandi, Kartika Saptohoedojo, Kartika Affandi - Koberl)==
* '''Yok, Oei Sian. “The Painting Exhibition of Kartika, Widajat, and Otto Djaja”, ''Star Weekly'', 11 March 1961.'''
The article mentioned that it was not easy for Kartika to live in the shadow of her famous father, Affandi. People might easily compare her artistic style to her father’s or say that it was easy for her to become a painter. Even though her father’s influence was visible in “Mother’s Love”, “Carriage”, and “Bird Market”, in her other paintings like “Woman” and “Falling Asleep” Kartika succeeded in having her earmark – complete with her freshness and tranquility.
* '''Kompas, 7 March 1969, pg.1, “Pelukis Wanita Berpameran Tunggal” (A Woman Painter’s Solo Exhibition).'''
Kartika Saptohoedojo presented 42 of her paintings in Yogyakarta Cultural Hall. Before this, she studied at the Shantiniketan Art School, India. She also studied art at the Polytechnic School of Art in London. She debuted abroad at the Modern Museum, Rio de Janeiro. The news wrote about Kartika’s painting “The Dog and Its Children”. Kartika wasn’t yet to be seen as a woman artist who had her agency, but she was still linked to her father and husband.
* '''Kompas, 24 August 1971, pg. 3 “Pertemuan Sepintas: Kartika” (Fleeting Encounter: Kartika).'''
Kartika admitted that her work had a similar style to the work of her father, Affandi. However, if we look closely, her character and temperament were different. As a woman, the spirit in her painting was different from Affandi’s. Kartika learned her painting technique from her father first, before traveling to Santiniketan, India. Afterward, she traveled with her father to India, Italy, France, and around the world. She visited a lot of museums, and many of her paintings were collected by these museums–like the one in the Modern Museum in Brazil. Meanwhile, at that time, there wasn’t a national museum in Indonesia yet, therefore the work of Indonesian artists wasn't preserved that well. Kartika worried about this depressing situation. She wrote that there weren’t many female artists at that time because there were many things that hindered women from pursuing their careers after they got married and had to take care of the family. She also complained about how the local government officers didn’t care about the culture and the arts.

==Kustiyah (Koestiyah, Kustijah, Tjus, Kustiyah Edhi Sunarso, Kustiyah ES)==
* '''Udy S.H., Mingguan Tjermin, 1956, “Kustijah: a Female Painter and Sculptor, an Art Enthusiast, a student of ASRI, Got Married After Eating Lotek”.'''
This article introduced the figure of Kustiyah. It mentioned her physical appearance and her sharp gaze, which was beautiful and exciting. As a painter, Kustiyah was lively, friendly, not arrogant, not prideful, chatty, and funny. She was sociable and she held closely the Eastern ethics. A short biography of Kustiyah and her family was presented in the article. She was the only female participant in a painting and sculpture exhibition held by ASRI in Pekalongan and Tegal. Her work there included a self-portrait statue and some of her colorful paintings. It was mentioned that there was another female student there, Ruliyati, but she was busy teaching. The article also mentioned how she got married to Edhi Sunarso and how it surprised her friends in ASRI and her intention to continue to study art abroad.
* '''Soedarmaji, Sinar Harapan, 20 August 1969, “An Exhibition from a Husband and Wife in Jogja: Sculptor Edhi Sunarso and Painter Kustiyah”.'''
This was a review of Kustiyah’s body of work. It was said that Kustiyah processed life phenomena with a cheerful spirit. Hope and contemporary life’s deliciousness were coming from Kustiyah’s eyes. When she painted flowers, vases, papaya trees, and their ripe fruits, she saw these images as a heart-pleasing comfort. She manifested happiness and vivacity by using a lot of colors – yellow, bright green, and orange, together with white color that was splashed directly from the tube. The article mentioned that the color in Kustiyah’s painting, in general, was close to Kartika Affandi’s. Both of them were strongly influenced by Affandi. However, in this review by Soedarmadji, Kustiyah was said to have found her identity. The happiness and cheerfulness in Kustiyah’s painting wouldn’t exist in Affandi’s work which tended to be gloomy.
* '''Kedaulatan Rakyat, 1 April 1986, “Three Women Painters from Yogjakarta Held an Exhibition with Success in Jakarta”.'''
After holding a big exhibition together in the Auditorium of Indonesia-America Friendship Association, three women painters (Kustiyah, Widarusamsi, and Oki Nilakencana) would hold another exhibition in Jakarta Hilton Executive Club. Kustiyah was an alumnus of ASRI (Indonesia Academy of Fine Arts), class of 1957. It was stated that her work had been exhibited in Yogyakarta, Jakarta, Surabaya, Singapore, Kuala Lumpur, and Japan. Widarusamsi was also an alumnus of ASRI, class of 1967. She once won a title as the best sketcher and held a solo exhibition in Yogyakarta in 1985. She also collaborated with his husband in Denpasar, Jakarta Cultural Hall, and the Affandi Museum. Meanwhile, Oki Nilakencana was the youngest among these three women. She started painting in 1974 and she won several awards, including the ones from Jakarta’s Directorate of Art, Goethe Institute, Japan Foundation, France’s Cultural Center, and the late H. Adam Malik.
* '''Kedaulatan Rakyat, 5 July 2002, “The Exhibition of Ten Women Painters: the Art Is the Right of Everyone”.'''
Kustiyah’s name was mentioned in this article, alongside nine other women painters. Painting exhibitions that only included the work of women painters were scarce at that time, and this exhibition was praised by a women’s movement activist Nyi Iman Soedijat, who said that she was proud that women had the courage to express themselves through art. This exhibition was held to celebrate the 80th year of Tamansiswa. This exhibition was so useful to enrich the knowledge and perspective in the arts in Indonesia.

==Ny. L. Sie Khwan Djioe==
* '''Yok, Oei Sian. “Impressionism in the paintings of S. Djupriyany and Ny. L. Sie Khwan Djioe”, ''Star Weekly'', 7 December 1957.'''
An exhibition of impressionist painting was held in The Woman’s Building. Some floral paintings, “Hondji” and “Golden Trumpet”, showed a masterful technique. Her painting “Florida Beach, Banten” garnered attention for its cheerful color.

==Maria Tjui==
* '''Bustam, Mia. 2006. Sudjojono and I. Jakarta: ISAI.'''
Maria Tjui was mentioned by Mia Bustam as a student of Sudjojono in 1955. Mia also mentioned the room Maria Tjui once rented a room at her home.

==Maryati==
* '''[https://www.tempo.co/teroka/pelukis-affandi-pun-kagum-pada-karya-maryati-1439810 Zakaria, Anang. 2015. Pelukis Affandi pun Kagum Pada Karya Maryati (The Painter Affandi’s Admiration towards Maryati’s Work).]'''
Maryati was born in Bogor in 1916. She was the wife of the painter Affandi; she painted by applying an embroidery technique to her work. Maryati often said that she didn’t consider herself an artist. Affandi admired how Maryati could produce paintings with such an innocent spirit, despite her old age. 23 of her paintings were on display in the “Affandi Live!” exhibition in Lippo Mall, Yogyakarta.

==Mia Bustam==
* '''Bustam, Mia. “Haruskah Seniwati Memisahkan Diri dari Seniman? (Surat kepada Kartika Saptohudojo)” (Do Women Artists Have to Seclude Themselves From the Male Artists? A Letter to Kartika Saptohudojo). Harian Rakyat, 27 February 1960.'''
This was Mia Bustam’s letter to Kartika, which discussed the urgency for female painters to make their own group that was detached from male artists. Mia Bustam argued that this idea needed to be incubated well because she thought that there was no gender in art. She also mentioned what was art for her. And it was to present to us truth, including the truth of daily social reality. Mia also complained how she, as a female artist, was constrained by her domestic duty before she could even pick up her brush. Not to mention the way male artists sneered at them and didn’t take them seriously. Therefore, Mia emphasised how they shouldn’t separate themselves. Instead, they should fearlessly do their arts like what the male artists had done. Mia also mentioned the time Kartika invited other women artists to meet and only four people came. So, Mia felt it wasn’t effective if they made an organization, and it would be more effective if they just worked seriously in creating their art. Being earnest in their creative process would eventually pay off and show their seriousness in doing art.
* '''Siswadi, Sugiarti. “Mia Bustam: Ketua Rukun Tetangga-tetangganya Pelukis-pelukis Djokja.” (Mia Bustam: The Village Chief of the Painters in Yogya)Api Kartini, No. 10 Yr. II 1960, pg. 3-5.'''
Mia Bustam was introduced and written about by Sugiarti Siswadi. She wrote that Mia Bustam was a modest person who sat in the front of the Yogyakarta’s delegation group during the Lekra’s National Congress in Solo. He introduced Mia Bustam as a painter and quoted Suromo who gave a nickname to Mina Bustam: The Village Chief of the Painters in Yogya. Sugiarti also mentioned and shared her admiration of “Self-portrait”, Mia Bustam’s painting that was hung in Lekra’s Art Exhibition in Wisma Nusantara. Sugiarti also wrote about how she was supported to develop her painting talent by Judokusumo, Abdulsalam, Rameli, and Suromo, and also the younger painters of SIM (Indonesian Young Artists). Mia said she wanted to paint so well that people could read her painting like reading a good book, as if they were reading a collection of poems that would move their heart. She wanted to tell the world everything, be it good, bad, dirty, pure, evil, tantalizing, unjust. Mia Bustam believed that only experience could produce something good, and being a woman artist was so different from being a male artist. 
 She also shared about her inability to paint because she had to take care of her eight children alone. Sugiarti called Mia a father and a head of a family at the same time because she was on her own. Mia mentioned her fascination with Kathe Kolwitz, Diego Rivera, and Van Gogh. Mia said there were a lot of talented female painters, but they couldn’t develop their talent because they were born among Indonesians (which Sugiarti wrote as having a feudal quality and a colonial mind. Mia also sat on the Agency of Cultural Relations between Indonesia and Uni Soviet. Mia apologized for not having enough time to join the feminist movement. At the end of this article, Mia’s wish was mentioned: to have a solo exhibition in Jakarta.
* '''Bustam, Mia. “Surat Mia Bustam kepada Pelukis-pelukis SIM” (Mia Bustam’s Open Letter to the Painters in Indonesian Young Painters”. Harian Rakyat, 11 March 1961.'''
This was Mia Bustam’s open letter to all the members of SIM (Indonesian Young Painters). Mia Bustam, as one of the caretakers of SIM, openly encouraged the members of SIM to keep in touch (after one of SIM’s projects in Kemayoran). She also explained the fund that SIM needed as an art center to maintain SIM’s facility and the continuity of their activities.
* '''[https://adetanesia.wordpress.com/2007/04/19/tahun-tahun-bersama-sudjojono/ Tanesia, Ade. “Tahun-tahun Bersama Sudjojono” (The Years with Sudjojono). Visual Arts, No.7 (June 2005).]'''
Instead of giving space for Mia Bustam to tell the story, this article elaborated on Sudjojono's journey as told by Mia Bustam.
* '''Bustam, Mia. 2006. Sudjojono and I. Jakarta: ISAI.'''
Mia Bustam’s first memoir. It covered from her first meeting with Sudjojono in 1940 to their divorce in 1959. It recorded her life with Sudjojono and everything that she went through, including her first-hand experiences and as a witness/maker of history that was significant in understanding the history of art in Indoensia (especially during the revolution era, through her lens as a female artist). Mia Bustam wrote about her daily life with details that her memoir could be a note that was relevant to understand women’s narrative at that era. Her children’s note at the end of the book also showed another side of their family’s personal history.
* '''Bustam, Mia. 2008. From One Camp to Another. Jakarta: Spasi & VHR Book.'''
This was Mia Bustam’s second memoir. After her divorce with Sudjojono in 1959. This book shared about all of Mia’s involvement in the art world, in SIM and LEKRA, until she got arrested at the end of November 1965 and was separated from her eight children. Her note included all of her journet moving from one prison to another (Sleman, Benteng Vredeburgh, Wirogunan, Plantungan, LP Bulu Semarang). She told how she and other female detainees survived their 14 years of imprisonment without going to any court. Also how she continued doing her art through various mediums available in the prison until she got her freedom. Her account was one of the most complete records about life in a post-1965 women’s prison under the New Order.
* '''Bustam, Mia, Astrid Reza, and Yvonne Low. "Chapter 6: I Found Myself." Southeast of Now: Directions in Contemporary and Modern Art in Asia 5, no. 1 (2021): 339-349.'''
This was an English translation of chapter six from Mia Bustam’s memoir, Sudjojono and I. This chapter was about the ending of Mia Bustam’s relationship with Sudjojono, which was quite dramatic. There was a moment where Mia Bustam decided to be on her own as Mia Bustam, detached from Sudjojono and a point where she decided that she could stand on her own as an artist, painter, and female writer. This chapter showed Mia’s struggle with herself, her kids, and the need to preserve her existence as a woman under the patriarchal atmosphere at that time whose threat actually came from her closest person: Sudjojono.
* '''Low, Yvonne. "Mia Bustam and Her Memoirs: Speaking for Herself." Southeast of Now: Directions in Contemporary and Modern Art in Asia 5, no. 1 (2021):
335-338.'''
This was an introduction about Mia Bustam and how her memoir was urgent to understand her better as a female painter and the dynamic and turbulence in the art world at the beginning of the republic. And to understand the political decision that brought her a consequence that the publishing process of her memoir would be slow even after the New Order ended. However, her distinctive perspective about the role and the presence of women artists at her time was priceless for the future generation when they try analyzing the history of fine arts in Indonesia.
* '''Reza, Astrid. "Interview with Astrid Reza." Southeast of Now: Directions in Contemporary and Modern Art in Asia 5, no. 1 (2021): 351-356.'''
This interview with Astrid Reza was conducted when she was translating Mia Bustam’s work into English with Yvonne Low. It discussed the translation process and how important the English translation was to help Mia’s work become more accessible. Some talking points in this interview clarified the situation and background of the lives of women before 1965. The interview also explored how Mia Bustam became a witness and a history maker who got directly persecuted during that era. Another issue that made it into the interview was the challenge to present the voice of women on the discourse map of the art world, which was dominated by the male narrative.
* '''Hartiningsih, Maria. “Sejarah: Sebongkah Ingatan di Punggung Gelombang” (The History: A Piece Memory, Riding the Back of an Ocean Wave). Kompas, 10 December 2010.'''
* '''Susanti, Fransisca Ria. “Akhir Perjalanan Mia Bustam” (The End of Mia Bustam’s Journey). Sinar Harapan, 4 January 2011.'''

===Online===
* '''Basil. 2006. Wasiat Mas Djon (Mas Djon’s Will).'''
* '''Hasugian, Maria. 2008. Kepahitan Tanpa Dramatisasi (A Bitterness Without Dramatisation).'''
* '''[https://www.tempo.co/teroka/akhirnya-kebenaran-akan-bicara-944316 Majalah Tempo, 10 January 2011. “Akhirnya Kebenaran Akan Bicara.” (The Truth Will Eventually Speak).]'''
* '''[https://bumirakyat.wordpress.com/2011/09/07/ode-untuk-mia/ Hari. 2011. Ode Untuk Mia (An Ode to Mia).]'''
* '''Siswadi, Anwar. 2014. Sepenggal Kisah Sudjojono dan Mia Bustam.'''
* '''Marsinah FM. 2014. Mia Bustam, Perempuan Tangguh Bermental Baja (Mia Bustam, an Iron-willed Woman).'''
* '''Pertiwi, Dhianita Kusuma. 2018. Membongkar Rahasia Kehidupan dengan Kesederhanaan (Unloading the Secret of a Modest Living).'''
* '''[https://news.detik.com/x/detail/intermeso/20190127/Cinta-Sejati-Sang-Maestro/ Liberti, Pasti. 2019. Cinta Terakhir Sang Maestro (The Maestro’s Last Love).]'''
* '''[https://www.historia.id/article/yang-terpisah-karena-1965-P4nZ1 Janti, Nur. 2019. Yang Terpisah Karena 1965 (They Who Got Separated Because of 1965).]'''
* '''[https://www.historia.id/article/peliknya-menjalin-komunikasi-dengan-tapol-P4no1 Janti, Nur . 2019. Peliknya Menjalin Komunikasi dengan Tapol (The Difficulty to Communicate with a Political Prisoner).]'''
* '''[https://nationalgeographic.grid.id/read/131838573/meniti-lembaran-mia-bustam-mantan-tahanan-politik-geger-1965?page=all Luis, Silvia Triyanti. 2019. Meniti Lembaran Mia Bustam, Mantan Tahanan Politik Geger 1965 (Walking Through the Life of Mia Bustam, an ex-Politial Prisoner from the 1965 Riot).]'''
* '''[https://jateng.suara.com/read/2020/09/30/163357/tragedi-1965-mia-bustam-perempuan-yang-dirampas-kemerdekaanya?page=all Romadhoni, Budi Arista. 2020. Tragedi 1965, Mia Bustam, Perempuan yang Dirampas Kemerdekaannya (The 1965 Tragedy, Mia Bustam, a Woman Whose Freedom Got Robbed).]'''

==Saptarita Latif==
* '''Saburo, Ienaga. 1979. The Pacific War 1931-1945, A Critical Perspective on Japan’s Role in World War II. Pantheon Books.'''
Saburo mentioned that Saptarita was a female painter who became a victim of Japanese military brutality.
* '''Diah, Herawati. 1993. Kembara Tiada Akhir (A Never-ending Journey). Jakarta: Yayasan Keluarga.'''
Saptarita Latif, a female painter who was a member of PERSAGI (Indonesian Painters Association) – the organization that was founded by Sudjojono. Saptarita’s life was seldomly written on. Saptarita was the daughter of Dr. Latif and Siti Alimah. In Herawati Diah’s biography, which was an older sister of Saptarita, it was told that Saptarita became a victim of the 1965 political distress. After the event, she died.
* '''Dirgantoro, Wulan. 2017. Feminism and Contemporary Art in Indonesia: Defining Experiences. Amsterdam: Amsterdam University Press.'''
Saptarita Latif’s name was mentioned together with Emiria Sunassa and Tridjoto Abdullah in the chapter “Haunting in Archipelago” as one of the female artists in PERSAGI.

==Sriyani Hudyonoto==
* '''Yok, Oei Sian. “Senirupa Indonesia jang representatip untuk jaman modern” (Representative Indonesian art for the modern times), ''Star Weekly'', 18 June 1960.'''
This article stated that Sriyani was a self-taught painter. As a newcomer, Sriyani displayed 8 paintings. Among them were a lithograph of a horse, a portrait of a Spanish fisherman, and a portrait of Pak Yamin; these works demonstrated the strength of her brush strokes. The flowers had blazing colors and styles.
* '''Yok, Oei Sian. “Kebebasan dan keberanian dalam pemakaian warna-warna. Pameran Lukisan ke-IV oleh B.M.K.N dan O.S.I.” (Freedom and courage in the use of color. The Fourth Painting Exhibition by B.M.K.N and O.S.I.), ''Star Weekly'', 29 October 1960.'''
Sriyani was said to have participated in this exhibition and successfully showcased her nuanced black and white brush strokes technique in “Nurnaningsih” and the landscape paintings. These works differed from her usually rigid-looking oil paintings.
* '''Yok, Oei Sian. “Manusia dalam Senilukis” (People in Paintings), ''Star Weekly'', 28 January 1961.'''
In the exhibition held at the Merdeka Fine Arts Center (Kebayoran), Sriyani displayed paintings with powerful and firm lines circling the shapes of human bodies. She depicted the unique essence of womanhood through the image of a writing woman. The piece “Two Friends” portrayed two male figures with contrasting personalities. She also depicted the diversity of mankind in the painting of the fishermen.
* '''Yok, Oei Sian. “Pameran 5 Pelukis Djakarta: Nashar, Mardian, Zaini, Sriyani Hudijonoto, Mardjianto” (The Exhibition of 5 Djakartan Painters: Nashar, Mardian, Zaini, Sriyani Hudijonoto, Mardjianto), ''Star Weekly'', 5 August 1961.'''
This article stated that every painter had established a different character in their respective paintings. Oei Sian Yok compared Sriyani’s work to Zaini’s, in which both depicted a figure of a contemplating woman waiting for the birth of her child. In Sriyani’s painting, the woman and her surroundings were drawn with such great care, and it became a realistic portrait that had a distinctive tone. It seemed that the soul of the woman in the painting could speak for herself. Sriyani’s painting “Tossa del Mar” was captivating because of its scenery and landscape. “Kuda-kuda” had successfully shown a brilliant color composition and wafted a mysterious aura.

==Tridjoto Abdullah==
* '''Abdullah, Tridjoto. 1940. Keboedajaan dan Kesenian (The Culture and the Arts). Jakarta: Keboedajaan dan Masyarakat (The Culture and the People).'''
This was Tridjoto’s only writing that has been published by the Batavia branch of the magazine Taman Siswa. Trijoto likens culture to a family with multifarious members that aim to reach the same goal: the advancement of the family itself. Division happens not because of culture but instead the fault of the people who do not understand the meaning of unity. The subtlety of taste is an essential part of a culture.
* '''Dermawan, Agus T. ''Mengenang Trijoto Abdullah (Remembering Trijoto Abdullah)''. Kompas 29 January 1989.'''
The obituary of Trijoto Abdullah was written by Agus Dermawan T. Agus noted that Trijoto was the first professional Indonesian sculptor. At first, Tridjoto learned to paint, but later in her teens, she started working with clay. Her portrait sculptures have remarkable precision, fusing a distinctive masculine and feminine style. Trijoto was a humble sculptor. Only once did she exhibit with her brother Basuki Abdullah at the Savoy Homann Hotel, Bandung in 1939. Before her passing, she had the idea to mass produce statues of Indonesian national heroes to replace the busts of Mozart or Beethoven which were often used as decoration.
* '''Bustam, Mia. 2006. ''Sudjojono dan Aku (Sudjojono and I)''. Jakarta: ISAI.'''
Tridjoto was mentioned in Mia Bustam's memoir as a figure who was easy-going and sociable. Mia also mentioned Tridjoto's cordiality and self-confidence when dealing with her interlocutor, Sukarno.
* '''Dermawan, Agus T. & Basoeki Abdullah. 2015. ''Basoeki Abdullah: Sang Hanoman Keloyongan (Basoeki Abdullah: The Unhinged Hanuman)''. Jakarta: KPG.'''
In Basoeki Abdullah's biography, Tridjoto’s story was told in five pages from her brother's point of view. The passage also recounted the process of some of Trijoto's works.
* '''Lusandiana, Lisistrata & Amalia, Rifda. 2020. ''Nasionalisme Banteng Ketaton (The Nationalism of a Wounded Bull)''. Jakarta. Pusaka Seni Rupa.'''
The piece about Tridjoto Abdullah in this official booklet was quite exhaustive—it was divided into three chapters. This fairly comprehensive article discussed Tridjoto Abdullah through interviews with her family and the findings from her archives, and it revealed facts about her childhood and private life. A lot of new information has been successfully summarized in this booklet, including her personality. During the revolution, Trijoto and her family had to move around. They took nothing with them, only books. Tridjoto valued knowledge. At the age of thirty, after the death of her husband, she had to raise and support her five children. She moved to Jakarta and had to become a professional sculptor. Documentation of her family photos and her works, including her writings, were documented in this booklet.

==Ruliyati (Siti Ruliyati, Ruliati, Roelijati, Roelijati Soewardjono, Ruliyati Suwarjono)==
* '''Yok, Oei Sian. “Tiga Pelukis Jogja (Handriko - Siti Roelijati - G. Sidharta) di Jakarta” (Three Jogja Painters (Handriko - Siti Roelijati - G. Sidharta) in Jakarta), ''Star Weekly'', 27 August 1960.'''
This article reviewed Ruliyati's presence with delight since there were not many women in the painting circle. Ruliyati's painting skill was thought to be on par with her male contemporaries. Ruliyati's paintings were described as having dramatic shapes and lines that evoke dynamism. She was influenced by Hendra. The brush strokes in her painting “Pasar Sentool” showed her mastery in depicting the atmospheric traditional market scene. Oei Sian Yok acknowledged that Ruliyati has succeeded in depicting the female figures in the painting, though at times the colors she picked were monotonous: green, red, and dark blue.
* '''Kompas, 3 June 1967, ''“Roelijati Tentang Lukisan dan Pamerannya” (Roelijati on Her Paintings and Her Exhibition)''.'''
Ruliyati’s solo exhibition was held on May 24, 1967 with Mitra Budaya and inaugurated by Adam Malik. It was her fifth solo exhibition. Previously she always held her exhibition on Kartini day. However, due to technical problems, this exhibition was postponed. The custom was intended to encourage women to dive into the modern paintings of Indonesia. For Ruliyati, the act of painting was the only joy of life. In the process of this exhibition, she was looking for brand new color palettes.
* '''Dermawan T. Agus. BERITA YUDHA, 17 March 1974, ''“Seperempat Abad ASRI” (A quarter century ASRI)''.'''
Ruliyati's name was mentioned as part of the early generation of ASRI, along with Ida Hadjar, Danarto and Handogo.
* '''Dermawan T. Agus. Kompas, 29 January 1979, “Roeliyati Soewarno, Pencipta Hand Painted Card Menuntut” (Roeliyati Soewarno, The Creator of Hand Painted Card Sues).'''
This article discussed a short biography of Ruliyati, her times as an ASRI student and her productivity as a painter. Her physical limitations, in which she could not undergo exhaustion, did not prevent her from continuing to paint. She recently had an exhibition on January 18-25, 1979. In this exhibition, she displayed 80 of her watercolor paintings on paper, which she painted since 1976. She displayed many paintings of various flowers. Ruliyati complained about the absence of protection by the Indonesian government on her designs and the patents of her hand-painted cards. Many of her works were pirated and marketed without her knowing. Meanwhile, she obtained decent awards from abroad.
* '''N. Hasri, Edy. Bintang Buana, 18 July 1989, ''“Sepuluh Wanita Menabur Warna” (Ten Women Spread Colours)''.'''
In this exhibition, Ruliyati was mentioned as the organizer and the participant along with 10 other female painters. Her paintings and technical sketches embodied the essence of everyday life; they portrayed social phenomena. This exhibition was a collaboration of a teacher and her students. The 9 other painters were Ruliyati’s students.
* '''Dermawan, Agus T., “Seni Lukis Kontemporer Indonesia 1950 - 1990” (Indonesian Contemporary Painting 1950 - 1990), edited by Hadisudjatmo, Supono (et al), Perjalanan Seni Rupa Indonesia: Dari Zaman Prasejarah Hingga Masa Kini (The Journey of Indonesian Fine Art: From Prehistoric Times to the Present). Bandung: KIAS Exhibition Committee 1990 - 1991, 1991, pg. 107.'''
In this text, Ruliyati's name was mentioned as a prospective artist 6 months after ASRI was established, along with Widayat, G. Sidharta, and Edhi Sunarso.
* '''Kusnadi. “Periode Revolusi Fisik Kemerdekaan” (Period of Physical Revolution of Independence), edited by Hadisudjatmo, Supono (et al), Perjalanan Seni Rupa Indonesia: Dari Zaman Prasejarah Hingga Masa Kini (The Journey of Indonesian Fine Arts: From Prehistoric Ages to the Present). Bandung: KIAS Exhibition Committee 1990 - 1991, 1991, pg. 91.'''
Ruliyati's name was mentioned in the English version of this text. In Hendra's biography, there was a remark that he had a lot of influence on Ruliyati's sketches. However, this was not found in the Indonesian version.
* '''Kapoor, Pavaan. Jakarta Post, 11 October 1998. “ASEAN Women Painters Hold Up Half The Sky”.'''
This article discussed the painting exhibition of ASEAN female artists. Ruliyati's painting in the exhibition was said to be outstanding and unique.
* '''Low, Yvonne. ‘Recovering Women’s Subjectivities: Siti Ruliyati and the “private” transformations of Academic Realism’, in ed. Jenna Ashton, Feminism and Museums: Intervention, Disruption and Change, Volume 2 (Boston: MuseumsEtc, 2018) 210-245.'''
Ruliyati was mentioned as one of the first women to study art at ASRI, beside one other woman named Aty Ismangil (in her interview with Ruliyati in 2012, it was stated that Aty (correction of Arti's name to Aty Ismangil in Dan Suwaryono's writing) dropped out of ASRI due to her marriage). Ruliyati decided to be more engaged in the academic sphere rather than in the studio. She was not very comfortable in the male-dominated communal system of the latter. 
 Ruliyati exhibited with Kustiyah and Kartika in 1963, and the exhibition received mixed responses. For Ruliyati, the most important thing about the exhibition was the assurance that she had the backing of Hurusiasti Subandrio, a politician who inaugurated the event. Supported by the network of state officials and foreign diplomats through Hurusiasti, Ruliyati successfully hold solo exhibitions in 1964 and 1966. 
 In the early 1970s, she decided to retire early from teaching on campus. She provided private lessons for female students from the upper class. She also made picture postcards and designed batik. With her busy schedule, she sometimes drew in a taxi. She never used photo references as she relied on her memory of the moment. Ruliyati’s exhibitions had never been reviewed by her husband, Dan Suwaryono, despite the fact that he was an art critic. 
 Ruliyati was one of the most active female artists of her time. She found her unique approach and chose for herself how she wanted to be involved in the art scene and how she maintained her artistic process. Ruliyati's process was the epitome of a subjective strategy of a female artist choosing one’s area of movement without having to sacrifice creativity.

==Joint/Group Categories==
* '''Wartawan Nasional, 7 November 1956, “Exposisi Lukisan-Lukisan Kaum Wanita: Disambut Gembira Oleh Pelukis-pelukis Pria” (Exposition of Women Paintings: Plauded by Male Painters).'''
This article discussed the first exhibition held by female painters, which was warmly appreciated by the male painters. There were about 30 paintings on display at the Indonesian Artists Workshop in the North Square of Yogyakarta. This exhibition was held on Mother's Day in December 1956. It was prepared by female painters and several other fellow artists (as well as the male artists’ wives as the committees). Some of the paintings on display are surrealistic, and some others are expressionistic. Kustiyah was said to be still serving at ASRI, as were Kartika and Ruliyati—both were involved in the exhibition.
* '''Yok, Oei Sian. “Pameran Pelukis-Pelukis Wanita” (The Exhibition of Female Painters), ''Star Weekly'', February 18, 1961.'''
This article reviewed the exhibition of female painters, which was a part of the 5th Indonesian Women's Congress at the residence of Governor Dr. Soemarno. The Congress discussed the importance of national character and the role of women in universal development: what is the role of Indonesian women in the art world? What have women achieved in painting? 
 Most female painters had no academic background and many took up painting as a hobby. It was remarkable to notice that women seek self-expression in the arts and did not immerse themselves in the monotony of daily life nor settle for superficiality. 
 There was a plethora of beloved objects, from flowers, nature, inanimate stuff and fruits to portraits, and there was a display of diverse styles, such as '''Mrs. Alice''' with her naturalist flower painting, '''Mrs. Soehardi''' with her original landscape, '''Mrs. Dolok Iskanda''' with her composition, '''Mrs. Amir Murad''' with her portrait of children, '''Mrs. Judith Waworuntu''' with her well-known style, illustrated a Balinese mermaid fairy tale, '''Sriyani''' with her three pieces, '''Mrs. Lie Khin P.''' with her "Kroton", which looked decorative, harmonious and joyful, '''Kartika''' with her painting of a mother showing love for her dog and children. '''Mrs. Soedjatmoko''' with her temple-relief-looking "War Dancer", and '''Mrs. Suwedi''' with her fine textile materials. 
 The paintings were presented as applied arts in various forms, on scarves, women's bags, plates, jars and even bamboo fans.
* '''Revolusioner, 8 August 1963, ''“3 Seniman Wanita Indonesia” (3 Indonesian Female Artists)''.'''
This short article contained two photos of the opening of the exhibition, which was opened by Dr. Mrs. Hurustiati Subandrio. Kustiyah, Ruliyati and Kartika were involved in the exhibition. It was held at the Jakarta Cultural Center to celebrate Independence Day, 17 August 1963.
* '''Dermawan T. Agus. SUARA KARYA MINGGU, first Sunday of June 1991, ''“Wanita Seni Rupa Indonesia” (The Women of Indonesian Fine Arts)''.'''
'''Emiria Sunassa''' was mentioned as the pioneer female artist in Indonesia, she came from the royal family of Tidore. It was stated that she had exhibited with male artists at that time in West Gambir. S. Sudjojono even wrote about it in a Japanese newspaper, but shortly her name seemed to be forgotten. 
 '''Tridjoto Abdullah''' studied sculpture with two art professors at Bandung Institute of Technology: Prof. Tierfelder and Prof. Schoemaker. She started making statues from a fist until she became a professional sculptor in 1952. One of them was the Garuda statue at the gate of the Air Force complex in Maguwo, Yogyakarta. She exhibited only once with her brother, Basuki Abdullah. Many of her paintings and sculptures were then simply kept at home. 
 '''Ruliyati''' was mentioned as a sketcher for commoners and as a graduate of ASRI Yogyakarta. When she was no longer painting, she taught art to her friends.
* '''Bianpoen, Carla dan Jaarsma, Mella. “Perempuan Perupa: Antara Visi dan Ilusi” (Women Artists: Between Vision and Illusion). Perempuan Indonesia: Dulu dan Kini (Indonesian Women: Past and Present). edited by Oei-Gardiner, Mayling (etc). Gramedia Pustaka Utama, 1996, pg. 71 - 105.'''
Emiria Sunassa's profile was stated at the beginning of the article, although the details about her marriage to the Sultan of Tidore were not proven correct (in Arbuckle's research later in 2011, Emiria was in fact a descendant of the Sultan of Tidore). It was also stated that she had multiple occupations. Emiria's name was recorded as the first female painter in Indonesia. Emiria also lived a non-traditional life. The author wondered if this was because she came from Manado, which had a different cultural backdrop. 
 '''Kartika''' grew up within the artistic circle of her parents. Marriage was more likely to be an obstacle rather than a booster of a woman's career. Kartika could not paint professionally during her first 20 years of marriage to her artist ex-husband. It was only after giving birth to her eighth child and getting divorced that she was able to develop her artistic career. Although Kartika grew up in an environment that seemed to support her to paint, during her first marriage, her husband advised her not to waste money by buying painting materials and tools for herself. Kartika was constrained by the values of the people around her, even though her father was the renowned Affandi. She said that the opportunities for women in the art world were scarce. As a married woman, she gave birth to a child every two years. Kartika painted self-portraits to voice herself. She finally got divorced in 1974. Kartika's works were often about the role and status of women in society and the sexual revolution. 
 '''Tridjoto Abdullah''' was briefly mentioned as Indonesia's first sculptor, but it was also stated that she only exhibited once, and that was with her brother, Basuki Abdullah.
* '''Khouw, Ida Indahwati. “It doesn’t mean that Indonesia had no women painters in the past”. Jakarta Post, 30 October 2001.'''
This article stated that women painters at the time had difficulties and restrictions due to their marginalized position in society. Merwan Yusuf, the Curator of the National Gallery of Indonesia, proposed a question, "As a wife, would women be permitted to leave the house at night for the sake of art?” Painter Titik Sunarti continued, “Women's role as wives requires them to be domestic, to fulfill their household needs. That's why many female artists don't have enough time to read to grow their knowledge.” The names of the female artists mentioned were '''Emiria Sunassa''' (as the predecessor) and the generation that came after the founding of ASRI: '''Ruliyati''', '''Kustiyah''', '''Maria Tjui''' and '''Kartika'''.
* '''Setiawan, Hersri. 2004. ''Memoar Pulau Buru (Memoirs of the Buru Island)''. Magelang: Indonesia Tera.'''
'''Alimah''' was mentioned in Hersri Setiawan's writing as a female surrealist painter, a member of the People’s Painters Workshop led by Hendra Gunawan. Hersri stated that in 1964, '''Alimah''', '''Kustiyah''', '''Kartika''', '''Mia Bustam''', and '''Roelijati''' held a painting exhibition at the People’s Painters Workshop in Sentul, Yogyakarta.
* '''Spanjaard, H. (2003). ''Javanese tradition: In Framing Indonesian Realities''. Leiden, The Netherlands: Brill.'''
This essay examined the work of Astari Rasjid and Arahmaiani along with their standing and tension with the patriarchal Javanese society. Their practice was thought to be not new. One part of this essay showed the historiography of female artists in Indonesia, especially in Java, which was sourced from three catalogs from the collections of the National Gallery of Indonesia. Unsurprisingly, the historical periods followed the canon established by Kusnadi (see Kusnadi, 1979. History of Indonesian Fine Arts. Jakarta: The Ministry of Education) even though the names of female artists were included in the essay. The names mentioned (in relation to this annotation) were: '''Sriyani Hudyonoto''', '''Kustiyah''', '''Siti Ruliyati''', '''Kartika''' and '''Maria Tjui'''.
* '''Bianpoen, Carla; Farah Wardani; Wulan Dirgantoro; Waugh, Heather. (2007). ''Indonesian women artists: the curtain opens/text, bibliographical data and artists monographs by Carla Bianpoen, Farah Wardani, Wulan Dirgantoro; edited by Carla Bianpoen and Heather Waugh''. Jakarta: Yayasan Seni Rupa Indonesia (Indonesian Fine Arts Foundation).'''
This book discussed the lives and works of female artists from the early 20th century to the present, and it confirmed the active presence of female artists in the national art sphere. '''Emiria Soenassa''' was mentioned in the introduction of this book as the starting point of women's involvement in the male-dominated Persagi art circle. She was from Eastern Indonesia; she loved adventure and traveled a lot, which was unconventional for women of her time. Her paintings depicted indigenous local lores, tribal figures and models from the working class, which can be regarded as early feminist artistic works. So far, her role has been almost forgotten and unmentioned in the modern history of Indonesian art. 
 Emiria's background was full of mystery. In the latest finding, it was revealed that she was the daughter of the Sultan of Tidore, she had access to higher education and she even traveled to Europe. She was also politically aware and represented Papua at the United Nations Round Table Conference in 1949. Her painting skill was self-taught and she built her own style. Emiria joined Persagi. She introduced her idea of a nationalistic style, which countered the art style that emphasized Javacentrism. She also had a solo exhibition with Poetera during the Japanese occupation. Her second solo exhibition was in 1946 in Jakarta. She soon disappeared from the arts and social circles. 
 Emiria was very private about her personal life. Her works were discovered some thirty years after her death—and also the fact that she passed away in Lampung, Sumatra. Her works were entrusted to Jane Waworuntu. Emiria's biographical description was quite comprehensive in this book due to the recent studies of her life and contribution to the arts of Indonesia. 
 '''Kartika''' was discussed in the opening introduction, written by Toeti Heraty, whom she knew personally. Toeti described Kartika's career journey, her closeness to her father, and also the fact that she was trying to get out of her father's overshadowing and be herself. The introduction also described Kartika's marriage to a fellow painter, the dynamics of her married life, and how she became a matriarch with eight children in the midst of her extended family. Toeti described Kartika as a strong woman who had an extraordinary life and continually expressed that extraordinariness through her art. She was a survivor. Kartika believed that her best paintings were made when she was furious and able to express her emotions fully. 
 Kartika was born in 1934, she was described as the first Indonesian female painter who filled the canvas with one's personal emotional turmoil and was also very productive. Affandi and Maryati's only child, married young at the age of 17, divorced when she was pregnant with her eighth child because her husband was polygamous. She was remarried in 1985 but later divorced again. Many reflective thoughts on her life journey transpired in Kartika's paintings. The description of Kartika's biography in this book was presented with a comparison of her best works, along with the account of important events in her life. 
 '''Saptarita Latif''' was mentioned along with Emiria Sunassa as a member of Persagi female artists. However, there were no further details. 
 Tridjoto Abdullah was mentioned in the introduction as a sculptor whose works were placed in well-known places but were rarely mentioned in Indonesian art writings. Only a few of her works had survived to this day and her reputation was overshadowed by Basuki Abdullah. Her father was R. Abdullah Surjobroto, Indonesia's first indigenous painter. Tridjoto was the first Indonesian sculptor, not only the first female sculptor. Her works can be found in Yogyakarta, Madiun and Jakarta. She developed her skills under the supervision of Professor Tierfelder and Schoemacher (ITB). 
 Her skill in working with clay, particularly her realist expressive techniques, had earned the attention of experts. She pursued the study of anatomy, scale and proportion and she made portraits from sculptures. She began making sculptures for the public after the death of her first husband, Ki Tjokro Suharto, a progressive teacher at Taman Siswa. She worked on public projects through the link of Taman Siswa, which was close to Sukarno at that time. Her remaining works: Garuda (Yogyakarta), Light and Shadow (Jakarta), and Wounded Bull (Madiun). The nationalistic style was very prominent in these works. She got remarried to Dr. Slamet, founder of the Muhammadiyah University Solo. Tridjoto died from a fall in 1989.
* '''Dirgantoro, Wulan. 2017. Feminism and Contemporary Art in Indonesia: Defining Experiences. Amsterdam: Amsterdam University Press.'''
The chapter “Haunting in the Archipelago” compared '''Emiria Sunassa''' and '''Mia Bustam''' to examine the foundation era of the ideology of modern Indonesian art. This paper attempted to link nationalism, art, and gender in the history of Indonesian art. It discussed the important period of the 1940s to 1960s through the framework of feminism and psychoanalysis. Emiria Sunassa's experience was comprehensively covered in the most recent collected studies on her. It included her diverse occupations and her journey to various places in Europe and remote Indonesia. She often lived with local indigenous people in various places in the hinterlands. 
 A chapter is dedicated to examine Emiria's works one by one. There were figures of various indigenous women presented in an unusual style that looked foreign to the cosmopolitans. The text also traced Emiria's nude and landscape paintings which were very different in style. In those works, there was a rediscovery of women, those who were indigenous and had a close-knit with Mother Earth; these are subjects that did not appear in the masculine imagination of the nation-state—a concept that was prominent at that time. The dark facets in Emiria's paintings were intended to re-question things that are on the margin and to reveal the unknown processes within the concept of understanding nationalism. Wulan argued that Emiria's paintings were political statements against the newly established republic. They were far from the narrow idea of masculinity and nationalism. 
 Discussed alongside Emiria, Mia’s creative years as a female painter were in the 1950s and it was cut short in 1965. Wulan approached Mia through her published memoirs. The publication of the memoirs had a gap of about a decade due to Mia’s status as a political prisoner. Most of Mia’s works could no longer be found, but the traces of her creative processes were documented in her memoirs. The figure of Mia and her activities as a female artist, apart from Sudjojono and her role in SIM and Lekra, were documented quite well in the writings. In both of Mia's memoirs, her struggles and artistic process were described in detail. Wulan believed that Mia Bustam and Emiria were extraordinary women who had succeeded in plaguing the Indonesian art world. Mia with her haunting notes had set herself as a female artist, shattered the myths of Sudjojono’s figure, and made us reconsider the role of female artists from time to time. 
 '''Maria Tjui''' was mentioned in one part of Mia Bustam's memoirs, in which she was also mentioned as a student of Sudjojono. Tridjoto Abdullah's short biography was written briefly in the footnotes.
* '''Dirgantoro, Wulan. ''Interrogating the Feminine in Indonesian Modern and Contemporary Art''. Southeast of Now: Directions in Contemporary and Modern Art in Asia 3, No. 1 (2019): 103-124.'''
Wulan attempted to compare female artists across generations, Emiria Sunassa (1894 - 1964) with IGAK Murniasih (1966 - 2001) and Dita Gambiro (born 1986) to reimagine the representation of the female bodies in the Indonesian visual arts. Emiria was labeled as the “Mother of Indonesian Modern Art" since she was one of the pioneers who were active in the art scene during the early days of the republic. 
 Formerly, her works often depicted portraits of various indigenous people, but in the later period, she painted many nudes. Wulan cited Arbuckle in her analysis of Emiria's nudes; it was stated that the paintings were attempts to escape her sickly body. Emiria sometimes added extra body parts in her paintings (legs, arms) and these paintings were made when she was self-isolating out of Jakarta. These paintings could also be seen as a resistance of an unattractive and unsettling body, opposing the colonial idea of women's bodies in paintings. 
 Wulan believed that Emiria's and IGAK Murniasih's works have similarities in the depiction of strange and fantastic body figures—IGAK Murniasih previously did not have references to Emiria's work (Emiria's works were only known to the public around the 2000s). She also argued that the works of female artists were seen as merely about “women's stuff”. Wulan elaborated her discussion by adding the development of the works of a contemporary female artist, Dita Gambiro, who had more flexibility in her creative process. Dita’s depiction of female bodies were not just specified to bodily issues. 
 '''Tridjoto Abdullah''''s name was mentioned as a reference in this journal; this is an example of how little we know about female artists.
* '''Janti, Nur, 2018. Perempuan dalam Dunia Seni Rupa Indonesia (Women in the Indonesian Fine Arts Scene).'''
This article argued that patriarchy was the main obstacle in the careers of women artists in Indonesia. The article mentioned the names of women artists who were active from the 1960s to the 1990s, including Emiria Sunassa, Sriyani, Kustiyah, Ruliyati, and Kartika. Ironically, there was Zaini, a male painter, who got mentioned among these women's names.
* '''Celestine, Titania. 2021. ''Merayakan Hari Ibu Koalisi Seni Mengingat Seniman Perempuan Yang Telah Dilupakan Sejarah. (Celebrating Mother’s Day, The Art Coalition Remembers Female Artists Who Got Forgotten by the History)''.'''
This paper was the result of an assessment by the Art Coalition to collect the names of missing or unpopular female artists. There were four female artists: Artemisia Gentileschi, '''Mia Bustam''' (Fransiska Emanuela Sasmiati), '''Emiria Sunassa''', and '''Maryati'''. Their biographies were briefly mentioned in this article. Read the article [https://www.whiteboardjournal.com/ideas/art/merayakan-hari-ibu-koalisi-seni-mengingat-seniman-perempuan-yang-telah-dilupakan-sejarah/ here].

Para sekutu yang tidak bisa berkata tidak

2026-03-11T09:34:55Z

Wikihyphen:

==Collecting entanglements and embodied histories==

This was a dialogue between the collections of Galeri Nasional Indonesia, MAIIAM Contemporary Art Museum, Nationalgalerie – Staatliche Museen zu Berlin, and Singapore Art Museum, initiated by the [https://www.goethe.de/prj/ceh/en/index.html Goethe-Institut]. It aimed to trace stories, counter-histories, and absent histories whose spirits populate the present and seek new narratives, "Collecting entanglements and embodied histories" explores the question of how these interwoven histories within nation-building processes, individual identity formation, and their embodiment are reflected in artistic works and their exhibition histories.

From 2017 to 2022, the members of the curatorial team have been sharing their investigations into their respective collections, expanding their research towards each other’s collections, and interrogating each other’s gazes. This dialogue will be followed by four different exhibitions in Chiang Mai, Jakarta, Singapore, and Berlin. These exhibitions are jointly conceived by the curatorial team consisting of '''Anna-Catharina Gebbers''', '''[[Grace Samboh]]''', '''Gridthiya Gaweewong''', '''June Yap'''. In each chapter the nature of the exhibitions were altered, shape-shifted and specifically responded to each site and context with works from the collections of each chapter’s exhibiting institution. Loans from the respective other collections fostered the dialogue of shared knowledge and shared collections concerning shared and entangled histories. There were also film programs, performances, seminars, workshops, and publications conducted in conjunction with each of the site-specific exhibitions.

==The exhibitions==

===[[The gift]]===

August 20-November 7, 2021, at the National Gallery Singapore

The exhibition drew upon the project’s broader themes of interwoven histories, performed narratives and embodiment. Exemplified by Korean American artist Nam June Paik’s first meeting with German artist Joseph Beuys and the powerful feeling of being deeply moved by each other, SAM’s exhibition focuses on the nature of relations, affinities and influences, wherein history, geography and identity are observed as manifestations of such entanglement.

===[[Nation, narration, narcosis]]===

November 28, 2021-July 3, 2022, at Hamburger Bahnhof – Museum für Gegenwart - Berlin

The exhibition was dedicated to the relationship between art and political protests, historical trauma, and societal narratives from the 19th century to now. The works displayed explore the effects of nation-building, colonialism or the Anthropocene on societies, their narratives, as well as the ecology of our planet. Departing from Beuys’s concept of social sculpture, the exhibition confronts the notion of nation contained in the name "Nationalgalerie" with alternative concepts of connectivity, solidarity, and individuality.

===ERRATA===

July 30, 2021-February 14, 2022, at MAIIAM Contemporary Art Museum, Chiang Mai

“ERRATA”, in general, can be found as inserted sheets or papers within books or printed media, indicating the correction of errors of written texts. ERRATA in this exhibition context serves as a metaphor for MAIIAM Contemporary Art Museum's collection as a manifestation of errata to Thai modern and contemporary art history. It’s not only about correction to and critique of the grand narrative of national centric art history, but offers alternative perspectives of small narratives to counter and contest constructed historiography in the regional and global social and geopolitical context.

=== Para sekutu yang tidak bisa berkata tidak===

January 27-March 14, 2022, at Galeri Nasional Indonesia, Jakarta

Departing from the "Jakarta-Paris 1959-1960" (1992) and the "Non-Aligned Countries Contemporary Art Exhibition" (1995) that carved a chapter in the collection of the Galeri Nasional Indonesia, this exhibition investigates relationships amongst artists, their practices and their allegiances, regardless of their nationalities and supposed political identities.

Sketches, stitches, and negotiations: Data catalogue

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Wikihyphen:

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== Museum Sejarah Nasional (National History Museum) ==
Located in the basement of Monumen Nasional (National Monument), Jakarta, popularly known as Monas. Colloquially, the museum is dubbed as "Museum Monas".

=== Dokumen dan Surat ===
====[https://archive.org/details/19651228-surat-idzin-djalan-menemui-pjm-soekarno Surat Idzin Djalan - Menemui PJM Soekarno]====
*Travel Permit No. 023/Djl./I.J./12/65, issued by the Yogyakarta Palace Household, authorising Edhi Sunarso, Lecturer at A.S.R.I. (Akademi Seni Rupa Indonesia), Yogyakarta, to travel by train to Jakarta to meet His Majesty President Soekarno. The permit designates one accompanying person and is valid for the duration of the visit commencing 29 December 1965. Issued in Yogyakarta on 28 December 1965 at 12.00 Western Indonesian Time, signed by Alip Parintono in his capacity as Supervisor of the Yogyakarta Palace Household, and bearing the official stamp.

====[https://archive.org/details/19660108-surat-keterangan-monas-auri-musi Surat Keterangan Monas, AURI, Musi]====
*Statement Letter No. 7/Ktr./U.P./66, attesting that Edhi Sunarso—Lecturer at A.S.R.I. (Republic of Indonesia) and Head of the Keluarga Arca sculptor team, Yogyakarta—received direct assignment from His Majesty the President as executor and coordinator of several state commissions, including the AURI (Indonesian Air Force) Monument, decorative sculpture for the Musi Bridge project, hotel commissions, and the National Monument (Monas). Issued in Jakarta on 8 January 1966 and signed by Djamin, Presidential Secretary and Head of the Presidential Cabinet, with official stamp.

====[https://archive.org/details/19660114-susunan-personalia-patung-banteng-monas Susunan Personalia Patung Banteng Monas]====
*Document outlining the composition of the personnel of the Jakarta National Monument Bull Statue Implementation Team. The structure lists Soedarsono as Executive Director of the National Monument; Edhi Sunarso and I. Gardono as Persons in Charge of Implementation; Drs. Soepardjo and A. Singgih as Implementation Staff; the Keluarga Arca sculptor team as Planning Team; and Sarpomo, Soewardi, Boediani, Mon Moedjiman, Herjana Iskandar, Askabul, and Harri Djauharuddin as the Core Team of Sculptors. Signed by Edhi Sunarso in Jakarta on 14 January 1966.

====[https://archive.org/details/19660707-surat-keterangan-monas Surat Keterangan MONAS]====
*Certificate issued by the National Monument Implementation Command, Jakarta, on 7 July 1966, identifying Edhi Sunarso, aged 33, as assigned artist to the National Monument (Monas) project at Medan Merdeka. The document confirms residence within the National Monument project housing complex and authorises the holder to perform daily duties within the project area. It further serves as official identification in interactions with military or police authorities, who are directed to contact the Security Division of the National Monument Implementation Command if required. Valid for one month from the date of issuance. Signed by Kunto Sudarsono, Lieutenant Colonel, Military Police Corps (CPM), Service No. 12687, in his capacity as Deputy Commander and Special Assistant for Security Affairs.

====[https://archive.org/details/surat-dinas-project-monas-1 Surat Dinas Project Monas_1]====
*Statement letter issued by the State Secretariat of the Presidential Cabinet, designating Edhi Sunarso—sculptor and Lecturer at A.S.R.I., Yogyakarta—as assigned by His Majesty the President to undertake the following state projects: 1. Air Force Monument Statue; 2. Decorative sculpture for the Musi River Bridge project; 3. Coordination of special projects as directed by the President. Drawn up in Jakarta on 29 January 1965 and signed by Djamin, Presidential Secretary and Head of the Presidential Cabinet, with official stamp.

====[https://archive.org/details/surat-dinas-project-monas-2 Surat Dinas Project Monas_2]====
*Official duty order issued by A.S.R.I., Yogyakarta, for Edhi Sunarso (also recorded as Edy Sunarso), Lecturer at the Academy with a stated basic salary of Rp. 1,764, assigning travel to Jakarta for official purposes in relation to the National Monument project. The order authorises accompaniment of the Director of A.S.R.I. and is valid from 11 February 1966 until completion of the assignment. Issued in Yogyakarta on 10 February 1966, signed by Alibasjah as Director of A.S.R.I., and acknowledged by Edhi Sunarso as letter holder.

===Foto===
====Foto diorama MONAS oleh Ary "Jimged" Sendy====
[https://archive.org/details/01-masyarakat-indonesia-purba-3000-2000-sm-img-9473 MASYARAKAT INDONESIA PURBA, 3000-2000 SM]
*DIORAMA 1: MASYARAKAT INDONESIA PURBA (3.000 - 2.000 SM)
::Nenek moyang Bangsa Indonesia (Paleo-Mongoloid) pada Zaman Megalithikum sudah hidup dalam masyarakat teratur. Mereka sudah mempunyai tempat tinggal tetap, sebagian sudah jadi pelaut dan sebagian lagi hidup sebagai petani. Selain pakaian dari kulit kayu sudah dikenal juga pakaian dari tenunan. Hasil budaya Megalithikum yang terpenting diantaranya adalah alat-alat serpih (flakes, pebbles dan bones), menhir (tiang batu), dolmen (meja batu), sarcophagus, kubur batu (peti mayat batu), punden berundak-undak (bangunan pemujaan) dan arca. Benda-benda peninggalan budaya Megalithikum it tersebar di seluruh Indonesia, tetapi yang terpenting terdapat di Pasemah (daerah pegunungan yang terletak antara wilayah Palembang dan Bengkulu) dan Besuki (Pulau Jawa). Diorama in menggambarkan kehidupan nenek moyang bangsa Indonesia.

*DIORAMA 1: THE PREHISTORIC INDONESIAN SOCIETY (3.000 - 2.000 BC)
::The Indonesian forefathers (Paleo-Mongoloid) in the Neolithic age had already a sort of ordered society. They had permanent homes making a living as fisher-men or farmers. They knew clothing either woven besides clothing made from the bark of trees. The most important instruments of the Neolithi-cum culture are flakes, pebbles and bones, stone coffin, little houses of worship and even statues. These remains are scattered over the whole of Indonesia, but the most important things are found at the Pasemah plain (between Palembang and Bengkulu) and at Besuki (East Java). The diorama shows the life-style of Indonesian prehistoric society.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.
Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

[https://archive.org/details/02-bandar-sriwijaya-abad-viii-xiii-img-9469https://archive.org/details/02-bandar-sriwijaya-abad-viii-xiii-img-9469, BANDAR SRIWIJAYA, ABAD VIII-XIII]
*DIORAMA 2: BANDAR SRIWIJAYA (ABAD KE 8 - 13)
::Bandar Sriwijaya terletak di persimpangan tiga jalur pelayaran antara Indonesia, Cina dan India. Posisi ini sangat menguntungkan bagi Kerajaan Sriwijaya, sehingga dengan sendirinya memegang peranan penting pula dalam perjalanan perdagangan selama berabad-abad. Kapal-kapal dari negeri Cina yang membawa pendeta-pendeta Budha banyak berlabuh dan sering menetap untuk waktu yang lama. Bandar tersebut akhirnya menjadi pusat perdagangan dan budaya pada waktu itu. Letak Bandar Sriwijaya berada di muara sungai di daerah pertemuan sungai Kampar Kanan dan Kampar Kiri kira-kira 2.5 derajat sebelah Utara Palembang. Diorama ini menggambarkan kegiatan perdagangan di Bandar Sriwijaya.

*DIORAMA 2: THE PORT OF SRIWIJAYA (8TH - 13TH CENTURY)
::The Port of Sriwijaya was very favorably located for the Kingdom as it used to be the crossroad of the prominent trade routes among Indonesia - China - India and brought many windfalls to the Sriwijaya dynasty. Automatically it had a prominent part and influenced the international trade. Strange and foreign vessels fre-quented the Port, moreover, many Buddhist priests from China stopped over, so that finally it became the center of trade and culture. The Port of Sriwijaya is located in mouth of the river Kampar Kanan and Kampar Kiri, about 2,5 degree of the northern of Palembang, South Sumatra. The diorama shows the atmosphere of trading ac-tivities among the merchants.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.
Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

[https://archive.org/details/03-candi-borobudur-824-img-9480 CANDI BOROBUDUR (824)]
*DIORAMA 3: CANDI BOROBUDUR (824)
::Candi Borobudur didirikan pada sekitar tahun 824 M oleh Raja Samaratungga dari keluarga Sailendra. Bangunan candi berbentuk pyramid dan mencerminkan alam semesta. Bangunan ini dibuat dari batu sumbangan para menganut agama Budha dan dibangun dengan cara gotong-royong. Dalam pembangunan Candi Borobudur, hampir dua ratus ribu kaki kubik batu dipergunakan, lebih dari empat puluh ribu kaki kubik masuk dalam tingkat-tingkat terbuat dari batu. Pada candi ini terdapat 505 buah patung Budha dan 1.555 Stupa ukuran besar dan kecil yang melengkapi monumen Budha yang megah ini. Dari pendirian bangunan ini terbukti bahwa kemampuan bangsa Indonesia di bidang teknik dan organisasi sudah baik. Diorama ini menggambarkan tahap akhir pembangunan Candi Borobudur.

*DIORAMA 3: THE BOROBUDUR TEMPLE (824)
::Candi Borobudur was founded by King Samaratungga of the Cailendra dynasty in the year 824 and is a reflection of the universe. It was built by means of contributions from the Buddhist population and mu-tual cooperation of the people. The construction of the Candi has indicated that time the nation had already achieved a high technical knowledge and organization. Candi Borobudur is regarded to be one of the wonders of the world. On the temple founded 505 Buddhist statues and 1.555 large and little "Stupa" which completed the great Buddhist monument. On the temple construction was proved the ability of the Indonesian people in technical and organization. The diorama shows the last stage of the construction

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.
Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

[https://archive.org/details/04-bendungan-waringin-sapta-abad-xi-img-9482 BENDUNGAN WARINGIN SAPTA ABAD XI]
*DIORAMA 4: BENDUNGAN WARINGIN SAPTA (ABAD KE 11)
::Setelah Raja Airlangga memperoleh wilayah yang menjadi haknya, kemudian ia berusaha memakmurkan rakyatnya. Sungai Brantas yang sering meluap dan selalu menimbulkan kerusakan-kerusakan pada tanah-tanah persawahan dibendung dengan mendirikan tanggul di Waringin Sapta. Untuk menjaga supaya tanggul tidak rusak, Raja Airlangga menunjuk rakjat setempat untuk memeliharanya, dan sebagai imbalan daerah tersebut dibebaskan dari kewajibannya membayar pajak. Akibatnya, rakyat makmur, pelayaran di Sungai Brantas bertambah ramai dan Pelabuhan Hujung Galuh menjadi pusat perdagangan antar pulau. Diorama ini menggambarkan ketika sungai Brantas sedang dibendung dekat Kelagen dan diawasi oleh Raja Airlangga.

*DIORAMA 4: WARINGIN SAPTA DAM (11TH CENTURY)
::After King Airlangga obtained his right domain, he endeavored to promote the prosperity and welfare of his people. The Brantas River which frequently over-flowed its bank caused much damage to large areas of the people's rice fields, was dammed up by rearing dike in order to control the flood and provide irrigation. To guard the dike against harm and damage, he ordered the local people to maintain it, and as a compensation he decreed them free from taxes and as a result the people prospered, the trip increased in Brantas river, and Hujung Galuh became the center of inter island trading. The diorama shows the Brantas River being dammed up near the village of Kelagen and King Airlangga supervising.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.
Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

[https://archive.org/details/05-candi-jawi-perpaduan-sivaisme-dan-buddhisme-1292-img-9488 CANDI JAWI PERPADUAN SIVAISME DAN BUDDHISME, 1292]
*DIORAMA 5: CANDI JAWI PERPADUAN SIVAISME-BUDHISME (1292)
::Candi Jawi terletak di Gunung Welirang, sebelah barat daya Pandakan di tepi jalan ke Prigen dan didirikan untuk makam Raja Kertanegara, raja terakhir kerajaan Singasari yang meninggal pada tahun 1292. Dibagian atas candi terdapat arca Budha Aksobhya sedangkan di bagian bawah caridi terdapat arca Siva-Mahadewa. Dari bangunan ini dapat diketahui bahwa pada jaman Singasari dan Majapahit terjadi perpaduan Sivaisme-Budhisme. Diorama ini menggambarkan ketika pemimpin agama Budha serta pengikut-pengikutnya sedang mengadakan upacara keagamaan di Candi Jawi

*DIORAMA 5: JAWI TEMPLE, A BLEND OF SIVAISM-BUDDHISM (1292)
::Candi Jawi is located at Gunung Welirang. South-west of Pandaan along side the road to Prigen, East Java and founded as the grave of King Kartanegara, the last King of the Singasari Dynasty, who died in 1292. It features Buddha statue at its upper part and statue of Siva-Mahadewa at its lower part. From the Candi can be deducted that at time a merging of Sivaism and Buddhism occurred in the era of Singosari and Majapahit dynasties. The diorama shows a Buddhist priest and monks conducting a religious ceremony at Candi Jawi.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.
Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

[https://archive.org/details/06-sumpah-palapa-1331-img-9490 SUMPAH PALAPA 1331]
*DIORAMA 6: SUMPAH PALAPA (1331)
::Dalam rangka membela integrasi Negara Majapahit, Gajah Mada seorang Patih dari Kerajaan Majapahit yang terkenal, bersumpah tidak akan makan Palapa sebelum Nusantara dapat dipersatukan di bawah mahkota Majapahit. Peristiwa ini dikenal dengan nama Sumpah Palapa. Sumpah itu dilakukan di Panangkilan, suatu tempat yang terletak di sebelah selatan alun-alun Majapahit. Pada saat itu banyak rekan-rekan Gajah Mada yang menertawakan dan mencemoohkannya. Namun Gajah Mada tejap teguh pada pendiriannya dan akhirnya berhasil menepati janji itu. Diorama ini menggambarkan Patih Gajah Mada dengan menggenggam sebilah keris mengucapkan Sumpah Palapa di hadapan prajurit-prajurit kerajaan Majapahit.

*DIORAMA 6: THE PLEDGE OF PALAPA (1331)
::In his effort to maintain the integration of Nusantara, Gajah Mada, the famous Vice-regent of the Majapahit Kingdom, pledged not to eat Palapa (rice with side dishes) before Nusantara (the Indonesian Archipelago) has been united under the reign of Majapahit. The pledge took place at Penangkilan, a certain place south of the Alun-alun of Majapahit. Many of his contemporaries laughed and ridiculed him. Gajah Mada. however, held firmly and eventually fulfilled his promise. The diorama shows Gajah Mada being pledged in front of the Gajah Mada troops.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.
Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

[https://archive.org/details/07-armada-perang-majapahit-abad-ke-14-img-9500 ARMADA PERANG MAJAPAHIT ABAD KE-14]
*DIORAMA 7: ARMADA PERANG MAJAPAHIT (ABAD KE 14)
::Setelah Gajah Mada meninggal, timbul kesulitan dalam pemerintahan Raja Hayam Wuruk. Pemerintah yang baru berusaha mengekalkan keutuhan negara. Maka tindakan-tindakan ditujukan kepada kemakmuran rakyat dan keamanan daerah-daerah mendapat prioritas utama. Upaya tersebut dilakukan dengan memperkuat armada Majapahit dengan tujuan untuk menjaga keutuhan Nusantara dan mengatasi tindakan pengacauan yang dilakukan oleh Cina. Diorama ini menggambarkan armada Majapahit sedang menghadang kapal-kapal Cina di perairan Nusantara.

*DIORAMA 7: THE FLEET OF MAJAPAHIT (14TH CENTURY)
::After the death of the prominent figure Gajah Mada. disturbances arose under the reign of King Hayam Wuruk. The new sovereign strove to enforce the unity of Majapahit Kingdom. So, efforts for the people's prosperity and the defence of all territory were given high priority. This was proved by strengthening the Majapahit's fleet with the aim to safeguard Nusantara's unity and resist attempts to create disorders by Chinese fleet, among other things. The diorama shows the Majapahit's fleet succeeds in driving away the Chinese fleet.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.
Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

[https://archive.org/details/08-utusan-china-ke-majapahit-1405-img-9503 UTUSAN CHINA KE MAJAPAHIT 1405]
*DIORAMA 8: UTUSAN CINA KE MAJAPАНІТ (1405)
::Semasa pemerintahan raja Wikrama-wardhana, hubungan persahabatan dengan negara-negara tetangga berlangsung baik. Hal ini terbukti dengan kedatangan Cheng Ho, utusan kerajaan Kaisar Cina ke Majapahit sebagai pengakuan kedaulatan Kerajaan oleh Cina. Diorama ini menggambarkan Cheng Ho sedang membawa hadiah dari Kaisar Cina sedang menghadap raja Wikramawardhana.

*DIORAMA 8: THE CHINESE ENVOY TO MAJAPAHIT (1405)
::In the reign of king Wikramawardhana friendly relations with neighboring states and kingdoms were main-tained in good order. This was confirmed with the com-ing of Cheng Ho, the Emperor of China delegation visiting Majapahit as recognition of the Kingdom's sovereignty by China. The diorama shows Cheng Ho with presents from the Emperor of China makes a formal appearance before King Wikramawardhana.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.
Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

[https://archive.org/details/09-peranan-pesantren-dalam-penyatuan-bangsa-abad-ke-14-img-9507 PERANAN PESANTREN DALAM PENYATUAN BANGSA, ABAD KE-14]
*DIORAMA 9: PESANTREN SEBAGAI PEMERSATU BANGSA INDONESIA (ABAD KE 14)
::Salah satu cara untuk menyebarkan Agama Islam di Indonesia adalah melalui pendidikan di pesantren atau pondok yang diselenggarakan oleh guru-guru agama, kyai-kyai atau ulama. Pesantren merupakan lembaga penting dalam penyebaran agama Islam. Di tempat ini dilakukan pembinaan calon-calon guru agama, kyai-kyai atau ulama. Setelah keluar dari pesantren itu mereka akan kembali ke daerah asal masing-masing. Pesantren-pesantren beserta kyai-kyai mempunyai peranan yang penting dalam proses pengembangan pendidikan masyarakat. Semakin terkenal kyai yang mengajar itu semakin terkenal pesantrennya dan pengaruhnya akan mencapai radius yang lebih jauh lagi. Dengan cara ini integrasi nasional berdasarkan Islam meliputi wilayah yang makin lama makin luas. Diorama ini menggambarkan suasana pengajaran di Pondok Pesantren yang dipimpin oleh Sunan Giri di Jawa Timur.

*DIORAMA 9: MOSLEM BOARDING SCHOOLS IN UNITING THE NATION (14TH CENTURY)
::One of the methods of spreading the Islam in Indonesia is education conducted in the Pesantren (Moslem Boarding Schools) by religious teachers, scholars or kiaies. Pesantrens are significant institution in the spreading of Islam. After graduation, the students return to their homestead or villages. At their homestead they become prominent religious figures and establish their own Pesantrens. The Pesantren and Muslim religious leaders rep-resent an important element in the propagation of Is-lam and the spread of education. The more well-known the kiaies the more well-known his Pesantren and his influence will be widespread. This way the longer the wider the area of integration based on Islam. The diorama shows the atmosphere of Islamic teaching at a pesantren led by Sunan Giri in East Java

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.
Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

[https://archive.org/details/10-pertempuran-pembentukan-jayakarta-22-juni-1527-img-9511 PERTEMPURAN PEMBENTUKAN JAYAKARTA, 22 JUNI 1527]
*DIORAMA 10: PERTEMPURAN SUNDA KELAPA (1527)
::Dalam usaha menyerang Malaka yang diduduki Portugis, Sultan Trenggono dari Demak tidak melakukannya secara langsung melainkan dengan jalan mengisolasi daerahnya dari pengaruh Portugis, terutama daerah-daerah yang pendukungnya belum masuk Islam. Setelah diketahui bahwa Portugis berhubungan dengan Raja Samian yang saat itu menguasai Pelabuhan Sunda Kelapa, Sultan Trenggono segera memerintahkan menantunya, yakni Pangeran Fatahillah, untuk segera menduduki Banten, Sunda Kelapa dan Cirebon. Pada tahun 1522 Penguasa daerah Sunda Kelapa. Raja Samian, mengadakan perjanjian dengan wakil Portugis. Henrique Leme, yang memberikan izin mendirikan benteng bagi Portugis. Ekspedisi Demak yang dipimpin Fatahillah pada tahun 1527 berhasil menduduki Banten, Sunda Kelapa dan Cirebon. Untuk menagih janji Raja Samian, pada tahun 1527 Portugis mengirim ekspedisi terdiri dari 6 buah kapal yang dipimpin oleh Francisco de Sa. Ternyata Portugis tidak lagi berhadapan dengan kerajaan Hindu melainkan dengan kerajaan Islam. Setelah tuntutan mereka ditolak oleh Fatahillah mereka mencoba mendaratkan tentaranya. Usaha tersebut dilawan oleh Fatahillah sehingga terjadilah pertempuran yang berlangsung di Teluk Sunda Kelapa. Armada Portugis akhirnya berhasil dipukul mundur. Peristiwa ini diabadikan dengan mengganti nama Sunda Kelapa menjadi Jayakarta. Diorama ini menggambarkan pertempuran yang berlangsung di Teluk Sunda Kelapa pada tanggal 22 Juni 1527.

*DIORAMA 10: THE BATTLE OF SUNDA KELAPA (1527)
::In the effort to attack Malacca which was ruled by the Portuguese, Sultan Trenggono of Demak did not carry it out directly but he isolated his area from the influence of the Portuguese, especially the area whose inhabitants were not converted yet to Islam. When he realized that the Portuguese was in contact with King Samian, the authority of Sunda Kelapa, Sultan Trenggono immediately ordered his son-in-law to occupy Banten. Sunda Kelapa and Cirebon. In 1522, King Samian signed an agreement with the Portuguese, represented by Henrique Leme which gave the Portuguese the right to build a fortress for his trade interest in Sunda Kelapa. Early in 1522 Demak expedition led by Fatahillah succeeded in occupying Banten, Sunda Kelapa and Cirebon. To press his claim further on King Samian, on 1527, the Portuguese sent an expedition of six ships led by Francisco de Sa. But evidently they did not oppose, a Hindu kingdom anymore, but an Islamic monarch. When their demand were rejected by Fatahillah, they tried to embark with force and so began the siege of the Bay of Sunda Kelapa. The Portuguese was then successfully by Fatahillah's troops. This event is immortalized by changing the name of Sunda Kelapa to Jayakarta (Glorious City). The diorama shows the battle of Sunda Kelapa on A June 22, 1527 when the Prince Fatahillah and his troops defeated the Portuguese fleet off Sunda Kelapa Bay

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.
[https://archive.org/details/11-armada-perang-bugis-abad-ke-15-img-9515 ARMADA PERANG BUGIS, ABAD KE-15]
*DIORAMA 11: ARMADA DAGANG BUGIS (ABAD KE 15)
::Pelayaran orang Makasar dan Bugis dengan pinisi mulai abad ke 15 atau sebelumnya sudah meliputi hampir seluruh perairan Nusantara. Cerita tentang pengembaraan Sawerigading bisa memberi petunjuk tentang luasnya daerah-daerah yang dikunjungi. Gambaran lebih jelas baru diperoleh dari catatan pada masa sesudahnya. Misalnya dalam tulisan tentang hukum laut Amanna Gappa dan juga dari peta laut Bugis. Dari bukti-bukti ini kita melihat bahwa pelayaran mereka sampai ke Aceh. Kedah, Kamboja. ke Timur sampai ke Kei dan Teluk Ternate dan ke Utara sampai ke pulau-pulau Filipina (Sulu) dan Kalimantan Utara (Berau). Selanjutnya, menurut kisah Daeng Saro dari kampung Bontoranu, pelayaran penangkap-penangkap teripang dari Sulawesi Selatan sampai ke Marege, yaitu nama penduduk asli Australia dalam bahasa Bugis dan Makasar mengambil rute Ujung Pandang, Selayar, Wetar, Kisar. Leti dan Moa, selajutnya ke arah Tenggara ke pelabuhan Darwin. Diorama ini menggambarkan pelayaran armada dagang Bugis.

*DIORAMA 11: THE BUGINESE MERCANTILE FLEET (15TH CENTURY)
::The voyages of the Makassarese and Buginese using pinisi (Bugis traditional cargo boat) in the 15th cen-tury and before reached almost all the outskirts of the Indonesian archipelago and beyond. The story of Sawerigading adventures showed how wide was their visitation area. The figure became cleaner when the new evidence was obtained from the sea law Amanna Gappa and the Buginese nautical chart. From these evidences we could see that their voy-ages reached Aceh, Kedah, Cambodia, and east to Kei islands and Ternate Bay, and north to the Philippines archipelago (Sulu) and northern Kalimantan (Borneo). Furthermore, according to Daeng Saro story of the Bontoranu village, the voyages of fishermen from South Sulawesi to Marega took the route Ujung Pandang, Selayar, Wetar, Kisar, Leti and Moa, and then to south-east heading for Darwin sea port. The diorama shows a number of the Buginese mercantile fleet being ready to sail away.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.
Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

[https://archive.org/details/12-perang-makassar-1654-1668-img-9517 PERANG MAKASSAR, 1654-1668]
*DIORAMA 12: PERANG MAKASAR (1654 - 1668)
::Saingan V.O.C. dalam perdagangan abad ke 17 adalah Makasar. Sultan Makasar, Hasanuddin, membuka pelabuhannya untuk negara asing yang mau berhubungan dagang dengan Makasar. Melihat perkembangan Makasar dan sikap Sultan yang menjalankan politik bebas dalam perdagangan itu. Kompeni kemudian menggunakan politik pecah belah dan kuasai dengan menunggangi Aru Palaka. Sultan Hasanuddin terpaksa menerima perjanjian Bonggaya yang ditandatangani tanggal 18 November 1667. Dalam perjanjian ini V.O.C. diberi hak untuk membuat benteng di Makasar yang akhirnya mengurangi ruang gerat bagi pelaut Makasar. Diorama ini mnggambarkan Sultan Hasanuddin memimpin pertempuran mempertahankan benteng Sombaopu dari serbuan Belanda pada tnggal 8-9 Agustus 1668.

*DIORAMA 12: MAKASSAR WAR (1654-1668)
::The V.O.C. trading competitor on 17th century was Makassar. Sultan Hasanuddin of Makassar adopted a policy of free trade with all nations, he opened his Port for foreign traders who desired to trade with Makassar. Observing the growth and development of Sultan's policy, the V.O.C. (the Dutch East Indies Com-pany that held a monopoly in Indonesia 1602-1799) decided to use its 'the divide and rule' policy by using Aru Palaka. Sultan Hasanuddin was forced to accept the Bonggaya treaty which was signed on 18 Novem-ber 1667. The V.O.C. was given the right to build a fortress in Makassar and afterwards was able to decrease the space of activities of the Makassar fleet. The diorama shows Sultan Hasanuddin personally leads the fight defending Sombaopu fortress against the Dutch attack on 8-9 August 1668.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.
Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

[https://archive.org/details/13-perlawanan-pattimura-1817-img-9519 PERLAWANAN PATTIMURA, 1817]
*DIORAMA 13: PERLAWANAN PATTIMURA (1817)
::Berdasarkan Konvensi London tahun 1814, Belanda berkuasa kembali di Indonesia serta mengulangi menjalankan monopolinya di mana segala sesuatu yang bersifat eksploitasi dilaksanakan kembali. Rakyat Maluku dipimpin oleh Pattimura dan dibantu oleh Christina Martha Tiahahu menolak politik monopoli tersebut kemudian memberontak terhadap Belanda. Diorama ini menggambarkan serbuan rakyat Maluku di bawah pimpinan Pattimura pada tanggal 15 Mei 1817 berhasil merebut benteng Duurstede di Pulau Saparua di mana hampir seluruh tentara Belanda di dalam benteng ini terbunuh.

*DIORAMA 13: PATTIMURA UPRISING (1817)
::Based on the London Convention in 1814, the Dutch Government reclaimed their sovereignty in Indonesia and re-established their policy of monopoly in trade by reinforcing their method o f exploitation. The people of the Mollucas led by Pattimura and assisted by Christina Martha Tiahahu rejected the monopoly policy and then revolted against the Dutch. The diorama shows Pattimura and his troops succeeding in capturing the Dutch fortress Duurstede. The uprising broke out on May 15th, 1817, on Saparua island whereby most of the Dutch soldiers were killed in the fortress.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.
Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

[https://archive.org/details/14-perang-diponegoro-1825-1830-img-9521 PERANG DIPONEGORO, 1825-1830]
*DIORAMA 14: PERANG DIPONEGORO (1825 - 1830)
::Perang yang dicetuskan pada tahun 1825 oleh Pangeran Diponegoro merupakan suatu perlawanan rakyat semesta. Perang selama 5 tahun itu (1825-1830) berlangsung secara terus menerus sehingga Belanda menderita kerugian sebanyak 15.000 tentara dan biaya sekitar 20 juta gulden. Diponegoro beserta para pembantunya seperti Mangkubumi. Kyai Modjo, Sentot Prawirodiredjo dan pahlawan-pahlawan lainnya hingga tahun 1828 menguasai medan perang. Untuk mengakhiri perang. jerideral de Kock menggunakan siasat benteng stelsel dengan tujuan mempersempit daerah operasi Diponegoro dan mendesaknya ke daerah selatan. namun tidak berhasil. Dengan perangkap berkedok perundingan, akhirnya Diponegoro pada tanggal 28 Maret 1830 ditangkap di Magelang. Diponegoro meninggal dunia dalam benteng Belanda Ujung Pandang di Makasar pada tanggal 8 Januari 1855. Diorama ini menggambarkan pertempuran di tepi sungai Bogowonto di mana Diponegoro berhasil mengalahkan pasukan Kavaleri Belanda.

*DIORAMA 14: THE DIPONEGORO WAR (1825-1830)
::The war ignited in 1825 by Prince Diponegoro constituted a total war involving the whole population. That five-year war in Central Java went on continuously caused the Dutch lost 15,000 soldiers and 20 million guilders. In 1825 Diponegoro and his assistants such as Mangkubumi, Kyai Mojo, Sentot Prawirodirjo and other heroes dominated the battle field. In his effort to win the war, General de Kock applied the benteng stelsel (Fortress System) with the aim to decrease Prince Diponegoro's operational areas and drive him south-ward, but without success. Pretending that they were willing to negotiate, the Dutch lured the Prince into cap-tivity on 28 March 1830 in Magelang. Prince Diponegoro died on 8 January 1855 in the Dutch fortress in Ujung Pandang. The diorama shows the battle near the Bogowonto River where Prince Diponegoro and his troops defeated the Dutch troops.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.
Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.
[https://archive.org/details/15-perang-imam-bonjol-1821-1837-img-9524 PERANG IMAM BONJOL, 1821-1837]

*DIORAMA 15: PERANG IMAM BONJOL (1821 - 1837)
::Perang yang berlangsung dari tahun 1821 - 1837 itu dapat dibagi dalam 3 tahap. Tahap pertama, perang antara kaum adat dengan kaum agama. Hal ini terjadi setelah kembalinya 3 orang ulama dari tanah suci. Mereka melihat keadaan kehidupan di tanah airnya jauh dari pada kesesuaian dengan ajaran-ajaran Islam. Oleh karena itu, mereka bermaksud hendak mengadakan pembaruan-pembaruan, tetapi ditentang oleh kaum adat. Pemimpin kaum ulama yang menjadi terkenal dalam perang ini ialah Tuanku Imam Bonjol. Tahap kedua: Kaum adat dibantu Belanda melawan kaum ulama. Pertempuran-pertempuran yang terjadi antara tahun 1821 1825 di Sulit Air, Para Palam dan Sawah Tengah. Tahap ketiga: Setelah Perang Diponegoro berakhir, perlawanan terhadap Belanda dilakukan oleh kaum ulama bersama kaum adat. Barulah dengan kekuatan militer yang besar pada tahun 1837 Belanda berhasil merebut Bonjol, daerah pertahanan terakhir Tuanku Imam Bonjol. Diorama ini menggambarkan tatkala Tuanku Imam Bonjol memimpin perlawanan terhadap Belanda.

*DIORAMA 15: THE IMAM BONJOL WAR (1821 - 1837)
::The war which took place in 1821 - 1837 could be divided into three phases. The first phase: the war between the traditionalists against the religious group from Mecca. They were observing the backward way of life a far cry from the Islamic teachings. They tried to bring upon innovations which the traditionalists rejected. A leading prominent figure who became famous in this war was Tuanku Imam Bonjol. The second phase: After the Dutch government decided to take side with the traditionalists against the religious group. The battle broke out in Sulit Air, Para Palam and Sawah Tengah in 1821-1825. The third phase: After the Diponegoro war ended, both opponents came together and opened the resis-tance struggle against the Dutch. Eventually with large military force in 1837, the Dutch was able to seize Bonjol, the last resistance stronghold of Tuanku Imam Bonjol. The diorama shows Tuanku Imam Bonjol who per-sonally leads the fighting against the Dutch

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.
Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

[https://archive.org/details/20-tanam-paksa-1830-1870-img-9548 PERANG BANJAR, 1859-1905]
*DIORAMA 16: PERANG BANJAR (1859-1905)
::Sudah sejak beberapa waktu Belanda memperoleh hak ikut campur tangan mengatur penggantian Sultan Banjar. Pada tahun 1824 timbul persoalan penggantian Sultan dimana Belanda memaksakan kehendaknya untuk menempatkan calon pilihannya. Hal ini ditentang oleh Sultan dan rakyatnya. Putra Mahkota yang ditunjuk oleh Sultan yaitu Prabu Anom ditawan oleh Belanda di Banjarmasin. Calon lainnya, Pangeran Hidayatullah, juga ditawan oleh Belanda dan dibawa ke Jawa. Inilah yang menyebabkan Pangeran Antasari dan rakyat Banjar mengangkat senjata melawan Belanda pada tahun 1859. Pada tanggal 9 -10 Mei 1859 Pangeran Antasari melakukan pengepungan dan penyerangan terhadap tambang batu bara Belanda di Pengaron. Diorama ini menggambarkan rakyat Banjar dipimpin oleh Pangeran Suropati menyerang kapal Belanda di Lontartur, sungai Kapuas.

*DIORAMA 16: THE BANJAR WAR (1859-1905)
::From some period of time, the Dutch government created a right to have a say in choosing the crown suc-cessor of the Sultan of Banjarmasin and eventually in 1824 arose the matter to replace the Crown Prince in which the Dutch forced their decision to place their nominee. This was opposed by the Sultan and his people. The Crown Prince of the Sultan's choice, Prabu Anom, was captured by the Dutch in Banjarmasin. An-other successor, Prince Hidayatullah, was also captured and exiled to Java. This caused Prince Antasari and his people opposed the Dutch intervention in the adminis-tration affairs of the Sultanate of Banjar in South of Kalimantan in 1859. On 9-10 May 1859 Prince Antasari and the Banjar people encircled and attacked the Dutch coal mine in Pengaron. The diorama shows the people of Banjar led by Prince Suropati attack the Dutch sailing vessel in Lontartur, Kapuas river.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.
Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

[https://archive.org/details/17-perang-aceh-1873-1904-img-9532 PERANG ACEH, 1873-1904]
*DIORAMA 17: PERANG ACЕН (1873 - 1904)
::Pada tahun 1871 Belanda dan Inggris mengadakan perubahan Traktat London sebagai rangkaian dari Konvensi London tahun 1814. Pembaruan terakhir bernama Traktat Sumatra yang memberikan kepada Belanda kekuasaan atas Sumatra. Perjanjian ini membuka jalan kepada Belanda untuk menduduki Aceh. Perang Aceh pecah akibat konflik yang semakin meruncing ketika pada tahun 1873 Belanda menuntut agar Aceh menghentikan hubungannya dengan negara-negara lain ditolak. Belanda segera mengirimkan ekspedisi militer ke Aceh, tetapi merekadikalahkan, bahkan panglimanya JHR Kohler tewas dalam pertempuran tanggal 13-14 April 1973 di depan Masjid Agung Baiturrahim. Diorama ini menggambarkan pertempuran sengit di halaman Masjid Agung Baiturrahim ketika JHR Kohler menjadi korban penembak jitu Aceh.

*DIORAMA 17: THE ACEH WAR (1873 - 1904)
::In 1871 the Dutch and the British amended the London Treaty as an attachment to the London Con-vention 1814. The last renewal was the Sumatra Treaty which gave the Dutch sovereignty over Sumatra. This treaty opened the way for the Dutch to occupy Aceh. The Aceh war broke out as a result of mounting conflicts when in 1873 the Dutch demanded the de-crease of Aceh's relation with foreign countries but it was rejected by the Aceh authority. The Dutch immediately sent in a military expedi-tion to Aceh, but they were defeated, more over the army commander JHR Kohler was killed in a battle near the grand Mosque Baiturrahim. The diorama shows the fierce fighting on 13 April 1973 around the Baiturrahim grand Mosque when JHR Kohler was hit by Acehnese sniper.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.
Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

[https://archive.org/details/18-perlawanan-sisimangaraja-1877-1907-img-9536 PERLAWANAN SISIMANGARAJA, 1877-1907]
*DIORAMA 18: PERLAWANAN SI SINGAMANGARAJA (1877 - 1907)
::Dengan dalih bahwa zending sering diganggu oleh pasukan Si Singamangaraja, Belanda mendapatkan kesempatan melakukan ekspedisi ke Tanah Batak, Tapanuli. Bentrokan pertama dengan Belanda terjadi pada tanggal 15 Februari 1878, setelah terlebih dahulu Si Singamangaraja memberi peringatan kepada pasukan Belanda supaya meninggalkan Tapanuli. Perlawanan terhadap kolonialis Belanda ternyata mendapat bantuan dari rakyat Aceh dan Minangkabau. Penyerangan besar-besaran terhadap markas Belanda dengan bantuan rakyat kedua daerah tersebut dilakukan pada tahun 1887. Perjuangan Si Singamangaraja berlangsung hingga awal abad ke dua puluh. Si Singamangaraja gugur dalam pertempuran di Pearaja Diri pada tanggal 17 Juni 1907. Diorama ini menggambarkan pertempuran di Tanggabatu dekat kota Balige pada tahun 1884 ketika Si Singamangaraja berhasil memukul mundur pasukan Belanda.

*DIORAMA 18: SI SINGAMANGARAJA REVOLT (1877 - 1907)
::With the excuse that the missionaries were frequently assaulted by Si Singamangaraja, the Dutch government seized at the opportunity to expand their territory to land of Batak People, Tapanuli. The first con-tact took place on February 15, 1878, after Si Singamangaraja reminded the Dutch to leave Tapanuli. The resistance movement against the Dutch was aided by the people of Aceh and Minangkabau. The large scale offensive to the Dutch headquarter with the assistance of both neighboring people took place in 1887. Si Singamangaraja's struggle went on until the beginning of the twentieth century. He was killed in a battle in Pearaja Diri on June 15, 1907. The diorama shows the battle at Tanggabatu near Balige in 1884 where Si Singamangaraja repulsed the Dutch troops.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.
Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

[https://archive.org/details/19-pertempuran-jagaraga-1848-1849-img-9544 PERTEMPURAN JAGARAGA, 1848-1849]
*DIORAMA 19: PERTEMPURAN JAGARAGA (1848-1849)
::Pada tahun 1841 Belanda memaksakan penghapusan peraturan tawan karang yang diakui sebagai lembaga hukum adat di Bali. Menurut peraturan tawan-karang semua muatan kapal yang kandas menjadi milik raja dan penduduk pantai, sedang penumpangnya dijadikan budak. Beberapa kerajaan di Bali menerima peraturan Belanda itu, kecuali Buleleng dan Karangasem. Dua kali Buleleng mengenakan tawan-karang terhadap kapal-kapal Belanda yang terdampar di daerahnya. Belanda menuntut agar muatan dan isi kapal itu dikembalikan, tetapi ditolak oleh Raja Buleleng sehingga perang tidak dapat dihindarkan lagi. Meskipun dalam serangan Belanda tahun 1846 Buleleng dan Karangasem dapat diduduki namun semangat juang rakyat tetap berkobar dan mereka menyiapkan pertahanan di jagaraga. Diorama ini menggambarkan pertempuran yang terjadi di muka Pura Dalem Jagaraga yang berakhir dengan gugurnya seisi Pura.

*DIORAMA 19: THE BATTLE OF JAGARAGA (1848-1849)
::In 1841 the Dutch government tried to enforce the abolition of the Balinese customary law of Tawan Karang. According to the rule of Tawan Karang, the people and his King had the right to appropriate the goods of stranded ships and to enslave all passengers and crew alike. Several Kingdoms in Bali accepted this rule, except the Kingdoms of Buleleng and Karangasem. Twice the King of Buleleng applied the customary law to the Dutch stranded ship in his domain. The Dutch demanded the return of all merchandises and personnels but this was rejected by King of Buleleng caused the war could not be avoided. Although in the Dutch attack in 1846 Buleleng and Karangasem was occupied, the fighting spirit of the people was constantly exuberant and they developed a stronghold in Jagaraga. The diorama shows the tremendous battle in front of the Pura Dalem of Jagaraga, which ends with the fall of all Pura's occupants.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.
Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

[https://archive.org/details/20-tanam-paksa-1830-1870-img-9548 TANAM PAKSA, 1830-1870]
*DIORAMA 20: TANAM PAKSA (CULTUUR STELSEL) (1830-1870)
::Perang Diponegoro yang berlangsung selama lima tahun (1825-1830) mengakibatkan krisis keuangan bagi kerajaan Belanda. Tetapi di daerah kerajaan Mataram, Belanda berhasil menduduki wilayah seluas 3000 km persegi yang terdiri dari tanah yang subur. Untuk mengatasi keadaan krisis itu muncul gagasan Gubernur Jenderal Van Den Bosch untuk menjadikan tanah Jawa sebagai perkebunan yang besar atas dasar perjanjian antara pemerintah Hindia Belanda dan petani. Pemerintah Belanda akan menjadi pedagang dan tuan kebun, Tanaman yang akan ditanam di Jawa haruslah tanaman yang sangat laku di pasar Eropa, seperti nila, gula, teh, lada, kopi dan kayumanis. Gagasan Van Den Bosch disetujui oleh Raja Belanda dan realisasi di Jawa dimulai tahun 1830. Dalam kenyataannya tidak terdapat kontrak antara pemerintah kolonial dengan rakyat petani, melainkan hubungan paksa. Sejak inilah dimulai periode eksploitasi tenaga rakyat secara besar-besaran. Bagi rakyat yang tidak memiliki tanah diharuskan bekerja pada perkebunan nila (indigo) seperti yang terjadi di Jawa Barat. Mereka tidak diperkenankan pulang dari tempat bekerja yang letaknya puluhan kilometer dari kampung halamannya. Mereka yang dianggap malas dikenai hukuman cambuk dan siksaan lainnya. Tanam paksa ini memberikan keuntungan luar biasa bagi pemerintah Belanda, sedangkan bagi rakyat Indo-nesia mengakibatkan penderitaan yang sangat berat. Rakyat kelaparan karena mereka tidak berkesempatan menggarap sawah dan ladangnya. Diorama ini menggambarkan penderitaan rakyat In-donesia yang dipaksa untuk bekerja keras di daerah perkebunan disertai dengan siksaan fisik.

*DIORAMA 20: THE FORCED CULTURE SYSTEM (1830-1870)
::The Diponegoro War which had lasted for a term of five years (1825-1830) caused a financial crisis for the Dutch Crown. But in Mataram Kingdom area, the Dutch succeeded in controlling a 3000 km square land comprising of fertile soil. To overcome this crisis Governor General Van Den Bosch conceived the idea of making the land of Java into a big plantation on the basis of an agreement between the Dutch Indies government and the farmers. The Dutch Indies government would be the trader as well as land-lord. The plants which would be cultivated in Java ought to produce commodities being much in demand in Europe, such as indigo, sugar, tea, pepper and cinnamon. Bosch's idea was approved by the King of Netherlands and its implementation was started in 1830 in Java. In fact the work contract had never been made between the colonial government and the farmers, rather it was a forced relation. So began the extortion and the oppression of the people. Those who did not own land were forced to work in the indigo plantation for free as was known in West Java. They were forbidden to go home as they worked tens kilometers away from home. Those who were thought lazy were imposed whipping punishment and other physical torture. This system was indeed very profitable for the Dutch, on the contrary it was a misery for the Javanese people. The farmers died of starvation as they had no time at all to cultivate their own land. The diorama shows how cruelly the people are forced to work under physical torture and other punishment.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.
Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

[https://archive.org/details/21-peranan-gereja-protestan-dalam-penyatuan-bangsa-1930-img-9552 PERANAN GEREJA PROTESTAN DALAM PENYATUAN BANGSA, 1930]
*DIORAMA 21: KEGIATAN GEREJA PROTESTAN DALAM PROSES PENYATUAN BANGSA (Abad ke 20)
::Gereja Protestan dengan zendingnya giat mengadakan propaganda terutama di daerah-daerah yang masih terbelakang. Selain bergerak dalam bidang keagamaan, gereja Protestan giat bergerak dalam bidang pendidikan sehingga secara langsung telah membantu menyatukan bangsa Indonesia dari berbagai suku yang sedang mengalami proses penyatuan. Selain di beberapa daerah dan kota-kota di Jawa. pusat-pusat agama Kristen terutama terdapat di Ambon. Minahasa dan Tapanuli. Pada tahun 1930 berdiri Perserikatan Kaum Christen (PKC) dan Partai Kaum Masehi Indonesia, keduanya merupakan bagian dari gerakan nasional untuk Indonesia merdeka. Diorama ini menggambarkan kegiatan umat Kristen Protestan dalam bidang sosial, pendidikan dan keagamaan.

*DIORAMA 21: THE ACTIVITIES OF THE PROTESTANT CHURCH IN UNITING THE NATION (20TH CENTURY)
::The activities of the Protestant church in the field of propagation of the Protestant faith were of great sig-nificance, especially in backward areas. Apart from that, the Protestant church were active in the educational field so that it directly gave contribution in process of unification of several ethnics groups in Indonesia. Besides several regions and cities in Java, Protes-tant centers are mostly found in Ambon, Minahasa and Tapanuli. In 1930 Perserikatan Kaum Christen (Christian Association) and Partai Masehi Indonesia (Indonesian Christian Party) were set up, both were part of the national movement for the independence of Indonesia. The diorama shows the activities of the Protestant in the social and educational fields and religious affairs.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.
Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

[https://archive.org/details/22-ra-kartini-1879-1904-img-9554 RA KARTINI, 1879-1904]
*DIORAMA 22: PERJUANGAN KARTINI (1879-1904)
::Gerakan mengejar kemajuan pada akhir abad ke 19 terbukti dari kebutuhan akan pendidikan dan pengajaran yang semakin besar Tetapi pandangan umum masih dihinggapi konservatisme yang kuat bagi anak perempuan. Lahir di Jepara pada tanggal 21 April 1879 Kartını berjuang untuk memperoleh persamaan hak bagi kaum wanita dan melepaskan diri darı kungkungan dan prasangka tradisi dan adat. Kumpulan surat-surat yang dikirimkan kepada sahabat-sahabatnya di mana dia mengungkapkan buah pikiran dan cita-citanya telah diterbitkan dalam sebuah buku yang menarik berjudul Habis Gelap Terbitlah Terang (aslinya Door Duisternis tot Licht). Diorama ini menggambarkan Kartini menyelenggarakan sekolah untuk pendidikan anak-anak perempuan

*DIORAMA 22: THE STRUGGLE OF KARTINI (1879-1904)
::The movement to achieve progress at the end of the 19th century was confirmed by the increasing de mands for education and studies, but the public opinion was still under great influence of the prevailing tradi tion, especially for women. Born in Jepara on 21 April1879, Kartini fought for equal rights for the Indonesian women and her libera-tion from the shackles and prejudice of the customary law and tradition. A collection of her letters to friends in which she express her thoughts and opinion were subsequently published as an interesting book entitled Letters of A Javanese Princess (onginally Door Duisternis tot Licht). The diorama shows Kartini personally conducting a class of girls students.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.
Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

[https://archive.org/details/23-kebangkitan-nasional-20-mei-1908-img-9556 KEBANGKITAN NASIONAL, 20 MEI 1908]
*DIORAMA 23: KEBANGKITAN NASIONAL (20 MEI 1908)
::Menjelang akhir abad ke 19 masyarakat Indonesia masih terbelakang baik di bidang politik, ekonomi, maupun sosial budaya termasuk pendidikan. Keadaan ini adalah akibat langsung dari politik kolonial Belanda yang tidak menghendaki rakyat Indonesia menjadi cerdas, karena hal itu akan membahayakan kedudukannya. Tetapi kemudian kaum kolonialis terpaksa juga memberikan pendidikan modern kepada pemuda-pemuda Indonesia, pertama untuk memenuhi kebutuhannya akan tenaga-tenaga terdidik di perusahaan-perusahaannya dan kedua untuk meningkatkan potensi masyarakat Indonesia sebagai pasar bagi industrinya. Sebagai hasil dari pendidikan itu timbul suatu generasi pemuda Indonesia yang terkena gagasan-gagasan nasionalisme dan modernisasi yang menyebar dani Eropa. Pemuda-pemuda itulah yang kemudian mengorganisir pergerakan Nasional sebagai perwujudan dan Kebangkitan Nasional rakyat Indonesia. Yang dianggap manifestasi pertama dan Kebangkitan Nasional tu adalah pembentukan organisasi modern yang pertama oleh orang Indonesia, yakni Budi Utomo. Budi Utomo dibentuk atas prakarsa beberapa mahasiswa Sekolah Dokter Jawa (School Tot Opleiding Van Indische Artsen STOVIA), seperti Sutomo, Gunawan Mangunkusumo, dan lain-lain dengan Dokter Wahidin Sudirohusodo sebagai penasehatnya. Kemudian lahirlah organisasi lain seperti Sarikat Is-lam, Indische Party, Muhammadiyah, dan lain-lain yang dalam perkembangan selanjutnya bertujuan Indonesia Merdeka. Diorama ini menggambarkan suasana Kongres Budi Utomo Pertama yang diadakan di Yogyakarta.

*DIORAMA 23: The National Resurgence (20 May 1908)
::By the end of 19th century, Indonesian people were still backward politically, economically and socio-cultural including education. This was a direct result of the Dutch colonialism policy that did not want to see Indonesia become smart and intelligent as these would endanger their position. Finally, however, the colonialist had to give modern education to Indonesian youth to meet the needs for educated people at their enterprises and secondly to increase Indonesia's potentials for their market. As a result of the modern education, a younger generation of people were born who had nationalism and modernization ideals that came from Europe. Those young people who then organized the National Move-ment as the realizations of the Indonesian people's national resurgence. The first manifestation of the national resurgence was the establishment of the first modern organization by the Indonesian, Budi Utomo. Budi Utomo was established by students of native Medical College (STOVIA: School Tot Opleiding Van Indische Artsen) such as Sutomo, Gunawan Mangunkusumo etc. and Dr. Wahidin Sudirohusodo as the adviser. Afterward other organizations were established such as Sarikat Islam (Islamic Association), Indische Party (Indies Party), Muhammadiyah (an important Islamic modernist organization), and others which in their fur-ther development wanted an Independent Indonesia. This diorama shows the first congress of Budi Utomo (High Endeavor) held in Yogyakarta.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.
Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

[https://archive.org/details/24-taman-siswa-3-juli-1922-img-9558 TAMAN SISWA, 3 JULI 1922]
*DIORAMA 24: TAMAN SISWA (3 JULI 1922)
::Politik pendidikan pada jaman penjajahan tidak dapat dipisahkan dari kepentingan kolonial. Sebagai suatu reaksi politik, pada tanggal 3 Juli 1922 Ki Hajar Dewantara mendinkan perguruan Taman Siswa di Yogyakarta. Perkembangan perguruan ini sangat pesat sehingga pemerintah merasa khawatir. Pada tahun 1922 pemerintah mengeluarkan Ordonansi Sekolah Liar hingga praktis sekolah-sekolah swasta kehilangan identitasnya. Protes timbul dari berbagai pihak, sehingga ordonansi tersebut dicabut kembali. Semangat nasionalisme sangat menjiwai kehidupan Perguruan Taman Siswa. Pada tahun 1935 berlangsung Kongres Pendidikan Nasional yang pertama dengan tujuan hendak menggalang persatuan nasional dan mencari perumusan tentang pendidikan dan pengajaran yang bersifat nasional. Diorama ini menggambarkan Ki Hajar Dewantara yang pada tahun 1921 mendirikan organisasi nasionalis kebudayaan Indonesia yang sangat penting menyambut orang tua murid di perguruan Taman Siswa

*DIORAMA 24: TAMAN SISWA (3 JULY 1922)
::The educational policy under colonial regime was inseparable from its interest. As a political reaction, on 3 July 1922 Ki Hajar Dewantara set up Taman Siswa Institution in Yogyakarta. This institution expanded rap-idly caused apprehension among the Dutch authorities In 1932 the Dutch government issued an ordinance on regulating the activities of non governmental schools. known as ordinance of illegal school. Practically it made private school lost its identity. Protest sprang up from everywhere caused the revocation of the ordinance. The spint of nationalisms inspired the existence of Taman Siswa. In 1935 the first National Education Congress took place which had the insistence on giving national unity a firm platform and setting the platform for national education and teaching. The diorama shows Ki Hajar Dewantara who in 1921 founded the very important Indonesian cultural nationalist organization Taman Siswa welcoming the students parents at Taman Siswa.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.
Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

[https://archive.org/details/25-muhammadiyah-18-november-1912-img-9572 MUHAMMADIYAH, 18 NOVEMBER 1912]
*DIORAMA 25: MUHAMMADIYAH (18 NOVEMBER 1912)
::Keadaan masyarakat Islam Indonesia pada abad sembilan belas dan permulaan abad dua puluh sangat menyedihkan. KH. Ahmad Dahlan tampil ke depan dengan mendirikan Muhammadiyah pada tanggal 18 November 1912 di Yogyakarta dengan tujuan untuk mengembalikan kemurnian ajaran Islam dan memperbaiki kesejahteraan masyarakat. Di dalam kegiatannya Muhammadiyah mendinkan sekolah, rumah yatim piatu, rumah-rumah sakit, pelatihan bag juru dakwah, dan organisasi kepanduan. Saat ini organisasi tersebut merupakan salah satu lembaga Islam terbesar di Indonesia. Diorama menggambarkan salah satu kegiatan kepanduan Hizbul Wathan disaksikan oleh K.H. Ahmad Dahlan

*DIORAMA 25: MUHAMMADIYAH (18 NOVEMBER 1912)
::In the nineteenth century and the beginning of the twentieth century the situation of the community of Islam in Indonesia was very saddening indeed. K.H. Ahmad Dahlan came forward by setting up Muhammadiyah on 18 November 1912 in Yogyakarta. The objective of Muhammadiyah was to rejuvenate the teaching of Islam and improve the people's welfare. In its activities. Muhammadiyah established a large number of schools, orphanages, hospitals, a training course for missionaries, and scout club. Today the organization is still one of the largest Muslim bodies in the country. The diorama shows one of the activities of the Hizbul Wathan Scout Club, witnessed by K.H. Ahmad Dahlan.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.
Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

[https://archive.org/details/26-perhimpunan-indonesia-1922-img-9575 PERHIMPUNAN INDONESIA, 1922]
*DIORAMA 26: PERHIMPUNAN INDONESIA (1925)
::Perjuangan mencapai Indonesia Merdeka di luar negeri dipelopori oleh mahasiswa-mahasiswa Indonesia yang belajar di Negeri Belanda. Pada tahun 1908 berdiri Indische Vereeniging (Perhimpunan Hindia) yang pada mulanya bersifat sosial degan tujuan sebagai forum tempat bertemu orang-orang termasuk para pelajar yang merantau ke negeri Belanda. Pada tanggal 19 Februari 1922 perhimpunan ini mengadakan pertemuan di Den Haag dan salah satu keputusan penting yang diambil dalam pertemuan tersebut adalah penggantian nama dari Indische Vereeniging menjadi Indonesisch Vereeniging. Kemudian pada tanggal 8 Februari 1925 nama tersebut berganti menjadi Perhimpunan Indonesia. Mereka menuntut agar pemerintah Hindia Belanda bertanggung. jawab kepada rakyat Indonesia dan bukan kepada pemerintah Belanda. Akhirnya mereka menuntut kemerdekaan Indonesia yang berdasarkan kepada kekuatan din sendiri. Dibandingkan dengan rekan-rekan mereka di Indonesia, mereka lebih banyak memperoleh kebebasan bergerak. Pada bulan Februan 1927 Perhimpunan Indonesia berjuang di forum internasional dengan mengambil bagian dalam Kongres Menentang Imperialisme dan Penindasan Kolonial yang diadakan oleh Liga Anti Imperialisme dan Bagi Kemerdekaan Nasional di Brussels. Selanjutnya, propagada Perhimpunan Indonesia, semakin berani dan tajam sehingga pemerintah Belanda mengadakan penangkapan terhadap pimpinannya, yaitu Mohammad Hatta, Abdul Majid Joyohadiningrat, Ali Sastroamidjojo dan Nasir Pamuncak dengan tuduhan menjadi anggota perkumpulan terlarang, terlibat dalam pemberontakan dan menghasut untuk menentang kerajaan Belanda. Tetapi, pengadilan membebaskan mereka dari semua tuduhan. Diorama ini menggambarkan suasana pertemuan perhimpunan Indonesia yang dipimpin oleh Mohammad Hatta.

*DIORAMA 26: THE INDONESIAN ASSOCIATION (1925)
::The struggle for national independence abroad was spearheaded by the Indonesian students in the Netherlands. In 1908 The Indische Vereeniging (Indies Association) was established which at first had a societal function as a meeting forum for the people included the Indonesian students who went overseas in the Netherlan's. On February 1922. the association held a meeting in The Hague and an important decision taken at this meeting was a change of the name from Indische Vereeniging to Indonesische Vereeniging. Then, on 8 February 1925 the later name was changed into the new name Perhimpunan Indonesia (Indonesian Association). They demanded that the Netherlands Indies government to be responsible to the people of Indonesia not to the Dutch government. Finally they demanded the independence of Indonesia on the basis of their own power. In comparison with their colleagues in Indonesia, they had more freedom of action. In February 1927 the Indonesian Association brought their struggle to the international forum by taking part in the Congress of Anti Colonialism and Colonial Oppression held by the League Against Imperialism and for National Inde-pendence in Brussels. Furthermore, the propaganda of Perhimpunan Indonesia became brave and sharp that its leaders Mohammad Hatta, Ali Sastroamidjojo. Nasir Pamuncak and Abdul Majid Joyohadiningrat were arrested on charges: being a member of prohibited organization, being involved in a rebellion, and instigating opposition to the Dutch crown. But then they were acquitted of all charges. The diorama shows Mohammad Hatta chairing the meeting of the association.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.
Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

[https://archive.org/details/27-the-stovia-1898-1926-img-9577 THE STOVIA, 1898-1926]
*DIORAMA 27: STOVIA SEBAGAI TEMPAT PERSEMAIAN PERGERAKAN PEMUDA INDONESIA (1926)
::Kemiskinan bangsa Indonesia dalam arti lahir dan batin yang juga dirasakan oleh beberapa orang terpelajar, telah menggerakkan hati mereka untuk mempertinggi derajat bangsa Usaha dr. Wahidin Sudirohusodo mendirikan dana belajar tidak berjalan sebagaimana yang diharapkan. Namun cita-cita luhur yang terkandung di dalamnya telah menggugah semangat pelajar-pelajar STOVIA (School Tot Opleiding Van Indische Artsen -Sekolah Dokter Bumi Putera) di Jakarta. Pada hari bersejarah tanggal 8 Mei 1908 mereka mendirikan perserikatan bernama Budi Utomo. Kenyataannya, para lulusan dan mahasiswa STOVIA memainkan peranan penting dalam pertumbuhan gerakan nasional Indonesia modern. Diorama ini menggambarkan pertemuan yang diadakan oleh pelajar-pelajar STOVIA di gedung STOVIA yang lebih dikenal sekarang sebagai gedung Museum Kebangkitan Nasional, Jakarta. Pertemuan pertemuan semacam ini sering kali dilakukan yang merupakan kegiatan para pelajar STOVIA untuk membebaskan negerinya dari penjajahan dan keterbelakangan.

*DIORAMA 27: STOVIA AS THE PLACE FOR SEEDBED OF INDONESIA'S YOUTH MOVEMENT(1926)
::The poverty of body and mind of the little men in Indonesia which strongly felt by several educated men arose their anxiety to bring enlightenment. Dr. Wahidin Sudirohusodo's effort to establish study fund did not meet the expectations, but his aspiration had awaken the STOVIA (School Tot Opleiding Van Indische Artsen) student's sprint. On the historical day, May 8, 1908 they founded Budi Utomo (High Endeavour). It was al ready known that the graduates and students of the STOVIA (a medical training college) played an impor ant role in the genesis of the modern Indonesian nationalist movement. The diorama shows the meeting of STOVIA held in STOVIA building which is known as The Museum of National Resurrection, Jakarta. Such meetings were held frequently as their activities to liberate their country from colonialism and backwardness.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.
Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

[https://archive.org/details/28-digul-1926-1927-img-9580 DIGUL, 1926-1927]
*DIORAMA 28: DIGUL (1927)
::Pada tahun 1926 di Pulau Jawa timbul pemberontakan melawan pemerintahkolonial Pemberontakan ini merupakan puncak dari gerakan tani yang mula-mula pecah di Banten kemudian menjalar ke Jawa Barat dan Jawa Tengah. Pada Januari 1927 pecah pula pemberontakan serupa di Sumatra Barat, akan tetapi dapat ditumpas dengan kejam. 13.000 orang ditangkap, diantaranya 4.500 dijatuhi hukuman dan 1.300 dibuang ke Tanah Merah, Digul Atas, Irian Jaya. Kemudian Digul Atas menjadi tempat pengasingan bagi tokoh-tokoh pergerakan nasional. Sebagai tawanan, di samping harus mencukupi kebutuhannya sendiri, mereka harus tahan melawan hawa panas dan penyakit malaria yang ganas. Diantara semua penderitaan itu yang sangat berat adalah penderitaan tekanan jiwa, sehingga di tempat pengasingan ini tercapailah puncak, penderitaan lahir dan batin. Hingga kini Digul Atas menjadi lambang pengorbanan pemimpin-pemimpin nasional kita dari generasi sebelum Perang Dunia II. Diorama ini menggambarkan sebagian tokoh-tokoh pergerakan nasional di tempat pengasingan Digul Atas. antara lain Mohammad Hatta dan Sutan Syahrir.

*DIORAMA 28: DIGUL (1927)
::In the year 1926, a rebellion rose in Java against the colonial government. This rebellion was the culmination of the farmers' movement in Banten, West Java that spread through Central Java. In January 1927, in West Sumatra the same uprising broke out. Within short time both up risings were cruelly suppressed. 13.000 men were ar rested among which 4.500 were imprisoned and 1.300 exiled to Tanah Merah, Upper Digul in West Irian. Afterwards the swampy forest of Digul, in West Irian served as a home for Indonesian nationalists exiled by the Dutch colonial regime. As prisoners besides having to sustain themselves they had to stand the heat and over bearing malaria, but uppermost and culminating point of body and mental suffering. Up to the present time Digul is the symbol of sacrifice for national leaders of the generation before the second World War. The diorama shows a number of prominent figures in the national movement organizations being in exile in Upper Digul, Inan, among others. Mohammad Hatta and Sutan Syahrir.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.
Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

[https://archive.org/details/29-sumpah-pemuda-28-oktober-1928-img-9582 SUMPAH PEMUDA, 28 OKTOBER 1928]
*DIORAMA 29: SUMPAH PEMUDA (28 OCTOBER 1928)
::Dalam lingkungan pergerakan nasional Indonesia para pemuda telah melahirkan berbagai ragam organisasi pemuda, seperti Jong Ambon, Jong Bataks, Jong Celebes, Jong Islamiten Bond, jong Java and Jong Sumatranen Bond. Organisasi-organisasi ini pada umumnya bersifat kedaerahan dan masing-masing tidak mempunyai hubungan dengan yang lain. Lama-kelamaan iklim persatuan Indonesia mempengaruhi meseka pula dan terasa dorongan untuk membina suatu pergerakan pemuda Indonesia yang berjiwa nasional kesatuan. Usaha ke arah itu dilakukan dalam serangkaian kongres pemuda. Pada Kongres Pemuda kedua tanggal 28 Oktober 1928 di Jakarta dicetuskan Sumpah Pemuda 1. Kami putra dan putri Indonesia mengaku berbangsa yang satu. Bangsa Indonesia.2. Kami putra dan putri Indonesia mengaku bertanah air yang satu. Tumpah Darah Indonesia.3. Kami putra dan putri Indonesia menjunjung bahasa persatuan, Bahasa Indonesia. Diorama ini menggambarkan suasana Kongres Pemuda Kedua pada tanggal 28 Oktober 1928 di Jakarta.

*DIORAMA 29: THE YOUTH PLEDGE (28 OCTOBER 1928)
::In the circle of national movement the Indonesian youth gave birth to heterogeneous youth organizations. such as: Jong Ambon, Jong Bataks, Jong Celebes, Jong Islamiten Bond, Jong Java and Jong Sumatranen Bond. Most of these organizations had the nature of regional ism and each had no relation to others. Eventually the climate of Indonesia's unity had influenced each other and felt the willpower to found a unifying youth move-ment in the spirit of national unity. In a senes of youth congress they managed to make concrete efforts towards the youth unity. In the Second Youth Congress held on 28 October 1928 in Jakarta the youth proclaimed the Youth Pledge 1. We the Indonesia's youth admit to having one nation, Indonesia. 2. We the Indonesia's youth admit to having one motherland, Indonesia 3. We the Indonesia's youth have respect for unity language, Indonesian language.The diorama shows the atmosphere of the Second Youth Congress on 28 October 1928 in Jakarta.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.
Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

[https://archive.org/details/30-romusha-1942-1945-img-9585 ROMUSHA, 1942-1945]
*DIORAMA 30: ROMUSHA, 1942-1945
::Pada tanggal 8 Maret 1942, Panglima Tentera Hindia Belanda menyerah kepada Jenderal Hitoshi Imamura Panglima tentara ekspedisi Jepang di Kalijati. Jawa Barat. Dalam upaya memenangkan Perang Pasifik. Jepang mengerahkan seluruh tenaga dan kekayaan bumi Indonesia tanpa pembatasan apapun. Dengan meningkatya situasi perang. Jepang mengerahkan secara paksa orang Indonesia untuk dipekerjakan pada objek-objek vital dan bangunan-bangunan militer. Sebelum diangkut ke tempat-tempat yang dituju, mereka dibujuk dan diberi predikat muluk sebagai prajurit pekerja atau romusya. Dalam prakteknya mereka melaksanakan kerja-paksa dengan mengalami siksaan-siksaan tanpa diberi makan dan minum yang cukup menyebabkan puluhan ribu romusya Indonesia menemui ajalnya. Diorama ini menggambarkan bagaimana para romusya dalam keadaan kurus kering dan lemah lunglai dipaksa bekerja berat di bawah pengawasan tentara Jepang.

*DIORAMA 30: THE JAPANESE FORCED LABOUR, 1942-1945
::On 8 March 1942 the Commander of the Netherlands East Indies army General Ter Poorten surrendered to General Hitoshi Imamura, the japanese expedition army commander in Kalijati, West Java. In its effort to win the Pacific War, the Japanese occupational army exploited Indonesia's human and natural resources. Since the intensity of the Pacific War increased the Japanese army conscripted Indonesian workers to forced labour to vital Japanese military installations and buildings. Before leaving for the destination places they were urged and given pomposity predicate as militia workers or romushas. in actual practice, they were sent to do forced labour under torture without enough food and drink caused tens of thousand Indonesia's romushas met their end. The diorama shows how hard the weak and emaciated labours are forced to work under the Japanese army supervision.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.
Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

[https://archive.org/details/31-pemberontakan-tentara-peta-di-blitar-14-februari-1945-img-9586 PEMBERONTAKAN TENTARA PETA DI BLITAR, 14 FEBRUARI 1945]
*DIORAMA 31: PEMBERONTAKAN TENTARA PETA DI BLITAR (14 FEBRUARI 1945)
::Pada bulan Oktober 1943 Pemerintah Pendudukan Jepang mengeluarkan Osamu Seiroi No. 44/1943 tentang pembentukan pasukan sukarela untuk membela Tanah Jawa. Peraturan ini mendapat sambutan hangat dari kalangan masyarakat Indonesia, khususnya para pemuda yang benar-benar berhasrat untuk membela tanah air. Dengan berbondong-bondong mereka. mendaftarkan diri menjadi anggota Tentara Pembela Tanah Air (PETA). Tentara PETA dibagi atas daidan-daidan (batalyon) yang tidak ada hubungan organisatoris satu sama lainnya. Segenap Perwira. Bintara dan Tamtama Tentara PETA adalah orang Indonesia, akan tetapi mereka didampingi orang Jepang sebagai pelatih merangkap pengawas. Di Blitar terdapat pula suatu batalyon yang seperti batalyon-batalyon lainnya juga melaksanakan tugas membangun kubu-kubu pertahanan dengan memakai romusya sebagai tenaga kasar. Perasaan benci terhadap Jepang yang sudah timbul di kalangan mereka menjadi semakin mendalam setelah mengetahui keadaan keluarga mereka yang menderita sebagai akibat tindakan-tindakan Jepang ketika mereka bertugas bersama para romusya. Mereka tidak tahan menyaksikan bangsanya diperas tenaganya dan mati kelaparan. Ditambah dengan faktor aspirasi kemerdekaan, pelbagai faktor itu menyebabkan tekad bulat di kalangan mereka untuk memberontak. Dengan dipimpin oleh Suprijadi, Muradi and mendapat nasehat dari dr. Ismangil, mereka mengadakan serangkaian rapat-rapat persiapan. Dan pada tanggal 14 Pebruari 1945 pukul 03.30 dinihari mulailah pemberontakan. Mereka membunuh beberapa orang Jepang lalu mengingkir ke luar kota. Pemberontakan berhasil ditumpas oleh pihak Jepang. Suprijadi, pemimpin pemberontakan menghilang. Pemimpin-pemimpin lainnya seperti dr. Ismangil, Muradi, Sunanto, Halir dan kawan-kawannya tertangkap lalu dibawa di Jakarta pada tanggal 8 Maret 1945. Selanjutnya pada tanggal 14-16 Maret 1945 dihadapkan ke Mahkamah Militer. 6 orang dijatuhi hukuman mati, 3 orang dijatuhi hukuman seumur hidup. dan yang lainnya dijatuhi hukuman antara dua sampai limabelas tahun. Diorama ini menggambarkan serangan tentara PETA terhadap markas militer Jepang di Blitar pada tanggal 14 Februari 1945.

*DIORAMA 31: THE MUTINY OF JAPANESE TRAINED PETA ARMY IN BLITAR (14 FEBRUARY 1945)
::In October 1943, the Government of the Japanese occupational army issued the Osamu Seiro No.44/1943 on the forming of the volunteer troops to defend Java. This ordinance was received with enthu-siasm by youth movements, who were very eager to defend their country. In hordes they came to enlist as soldier of the PETA (The Defenders of The Mother land). PETA was divided into several Daidans (battalions) which had no organizational connections with each other. Every private, subaltern, officer and commanding officer was an Indonesian with Japanese as instructor who also held position as supervisor. In Blitar, East Java, there was also a daidan with the same formations and construction with romushas as the main labour force which had orders to set up fortifications. A hatred feeling that had already emerged among the PETA soldiers was growing more and more when they discovered their relatives who worked with them as romusha suffered from Japanese action Obviously they could not stand seeing the people were exploited and died of starvation. All of those factors and spir ited by their aspiration for national independence caused a great deal willpower to stage a mutiny. Led by Suprijadi and Muradi, after getting dr. Ismangil's advice, they held a series of preparation meetings. On 14 February 1945 at 03.00 am the revolt against Japa-nese broke out in Blitar. They killed a number of Japa-nese and then moved to a safe place out of the city. The revolt was annihilated by Japanese. Suprijadi, the leader disappeared. Other leaders such as dr. Ismangil, Muradi, Sunanto, Halir and their compan-ions were captured and then brought to Jakarta on 8 March 1945. In 14-16 March 1945 they were brought to military court. 6 were sentenced to death, 3 were sentenced for life, and the others got two to fifteen years. This diorama shows the PETA soldiers attack the Japanese army post on 14 February 1945 in Blitar.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.
Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

[https://archive.org/details/32-proklamasi-kemerdekaan-indonesia-17-agustus-1945-img-9593 PROKLAMASI KEMERDEKAAN INDONESIA, 17 AGUSTUS 1945]
*DIORAMA 32: PROKLAMASI (17 AGUSTUS 1945)
::Pada tanggal 17 Agustus 1945 dinihari teks Proklamasi: selesai dirumuskan oleh Ir. Soekarno. Drs. Mohammad Hatta dan Mr. Ahmad Subardjo. Beberapa jam kemudian, yaitu pada pukul 10.00 Proklamasi Kemerdekaan dibacakan oleh Ir. Soekarno yang didampingi oleh Drs. Mohammad Hatta bertempat di Jalan Pegangsaan Timur Nomor 56 Jakarta.Hadir pada saat pengucapan teks Proklamasi itu adalah: 1. Abikusno Tjokrosujoso, Sukardjo Wirja-pranoto. Sukardjo Kartohadikusumo, KHA Wahid Hasjim dan Dr. Radjiman Widiodiningrat. 2. Wakil Walikota, Suwirjo. 3. Ibu Fatmawati. 4. Ny. SK. Trimurti. 5. Para perwira PETA: Abdul Kadir, Latif Hendraningrat. dan dr. Soetjipto, Kemal Idris, Daan Jahja, Arifin Abdurrachman dan Singgih. 6. Barisan Pelopor: Dr. Muwardi dan Asmarahadi. 7. Barisan Pelopor Istimewa: Soediro, Soehoed Sastro Koesoemo, Djohar Nur dan Soepeno. 8. Pers: Soeroto, S.F. Mendoer dan Sjahruddin.Diorama ini menggambarkan peristiwa detik-detik Proklamasi Kemerdekaan Indonesia 17 Agustus 1945.

*DIORAMA 32: PROCLAMATION OF INDEPENDENCE (17 AUGUST 1945)
::Early at dawn on 17 August 1945, the text for Proclamation of Indonesian Independence was drafted by Soekamo, Mohammad Hatta and Ahmad Subardjo. A few hours later, at ten o'clock in the morning the Proclamation of Indonesia's Independence was read out by Soekarno in the company of Mohammad Hatta at Pegangsaan Timur 56 Jakarta. Present at the reading out the text of Proclamation were: 1. Abikusno Tjokrosujoso. Sukardjo Wirjopranoto. Sukardjo Kartohadikusumo, KHA Wahid Hasyim and dr. Radjiman Widiodiningrat. 2. Vice Mayor Suwirjo. 3. Ms. Fatmawati. 4. Ms. SK. Trimurti. 5. PETA officers: Abdul Kadir, Latif Hendraningrat. dr. Soetjipto, Kemal Idris. Daan Jahja, Arifin Abdurrachman and Singgih. 6. Pioneer Troops: Dr. Muwardi and Asmarahadi. 7. Special Pioneer Troops: Soediro, Soehoed Sastro Koesoemo, Djohar Nur and Soepeno. 8. Press: Soerato, S.F. Mendoer and Sjahruddin.The diorama shows the very moment of the Proclamation of Indonesia's Independence 17 August 1945.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.
Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

[https://archive.org/details/33-pengesahan-pancasila-dan-undang-undang-dasar-1945-18-agustus-1945-img-9600 PENGESAHAN PANCASILA DAN UNDANG-UNDANG DASAR 1945, 18 AGUSTUS 1945]
*DIORAMA 33: PENGESAHAN PANCASILA SEBAGAI LANDASAN FALSAFAH NEGARA DAN U.U.D. 1945
::Sebelum kemerdekaan Indonesia diproklamasikan tanggal 17 Agustus 1945, Badan Penyelidik Usaha-usaha Persiapan Kemerdekaan Indonesia membahas berbagai konsep falsafah negara. Diantara konsep yang terpenting adalah konsep Mr. Muhammad Yamin yang diajukan tanggal 29 Mei 1945, konsep Ir. Soekamo yang diajukan tanggal I juni 1945, lengkap dengan namanya, yakni PANCASILA dan konsep Panitia Sembilan yang biasa disebut Piagam Jakarta disusun tanggal 22 Juni 1945. Dalam sidang PPPKI tanggal 10-16 Juli 1945. disusunlah konsep Undang-Undang Dasar negara Indonesia beserta mukadimahnya. Mukadimah itu ada dalam Piagam Jakarta yang mengandung pula dasar falsafah negara. Konsep tersebut, setelah diperbaiki, disahkan oleh sidang pertama Panitia Persiapan Kemerdekaan Indonesia tanggal 18 Agustus 1945 di Jakarta sebagai Undang-Undang Dasar Negara Republik Indonesia yang kemudian dikenal sebagai Undang-Undang Dasar 1945. Diorama ini menggambarkan suasana sidang Panitia Persiapan Kemerdekaan Indonesia yang berakhir dengan disahkannya Pancasila Landasan (Dasar) Falsafah Negara dan Undang-Undang Dasar 1945.

*DIORAMA 33: THE RATIFICATION OF PANCASILA AND THE 1945 CONSTITUTION
::Before the Independence of Indonesia was pro claimed, the Committee to Investigate Preparations for Indonesian Independence had studied several concepts for the state philosophy, particularly Mr. Muhammad Yamin's concept. Ir. Soekarno's concept, which outlined the Pancasila, the Five Principles. Concept of the Committee of Nine, known as the Jakarta Charter, which was drawn up on 22 June 1945. In July 10-16 1945 the Committee to Investigate Preparations for indonesian Independence composed the draft of the Constitution of the Republic of Indonesia along with its Preambule. The preambule to the Constitution was found in the Jakarta Charter which also contained the philosophy of the state. The concept, after revised, was legalized by the Indonesian Independence Preparatory Committee at its first meeting on 18 August 1945 in Jakarta as the Constitution of the Republic of Indonesia, known as the 1945 Constitution. The diorama shows the atmosphere of the meeting of the Indonesian Independence Preparatory Committee, which afterwards ratifies the Pancasila as the State Philosophy and the 1945 Constitution as the Constitution of the Republic of Indonesia.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.
Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

[https://archive.org/details/34-hari-abri-5-oktober-1945-img-9603 HARI ABRI, 5 OKTOBER 1945]
*DIORAMA 34: HARI LAHIR ABRI (5 OKTOBER 1945)
::Dalam Sidang Panitia Persiapan Kemerdekaan Indonesia (PPKI) tanggal 22 Agustus 1945 ditetapkan pembentukan Badan Keamanan Rakyat (BKR) yang bertugas memelihara keamanan dan ketertiban umum di daerahnya masing-masing. Untuk memperkuat perasaan keamanan umum maka pada tanggal 5 Oktober 1945 dibentuk Tentara Keamanan Rakyat. Peristiwa ini diperingati sebagai Hari Angkatan Bersenjata Republik Indonesia. Diorama ini menggambarkan Jenderal Sudirman sedang memeriksa pasukan Tentara Nasional Indone sia yang pada waktu itu anggota-anggotanya masih belum memiliki peralatan lengkap.

*DIORAMA 34: ARMED FORCES DAY (5 OCTOBER 1945)
::At the meeting of the Indonesian Independence Preparatory Committee, on August 22, 1945, it was decided to set up the organization of the Badan Keamanan Rakyat (People's Security Body) with the task of maintaining the security in their territory. To strengthen public confidence and order, on 5 October 1945 the People's Security Army was formed. This event is subsequently commemorated as the Republic of Indonesia Armed Forces Day. The diorama shows General Sudirman inspecting Indonesian National Army troops the members of which, at that time, were not well equipped yet.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.
Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

[https://archive.org/details/35-pertempuran-surabaya-10-november-1945-img-9608 PERTEMPURAN SURABAYA, 10 NOVEMBER 1945]
*DIORAMA 35: PERTEMPURAN SURABAYA (10 NOPEMBER 1945)
::Pada bulan Oktober 1945 Tentara Sekutu (Inggris) mendarat di Surabaya untuk melaksnakan tugas melucuti pasukan-pasukan Jepang dan membebaskan orang-orang Sekutu yang ditawan oleh Jepang. Mereka berjanji tidak mencampuri urusan dalam negeri Republik Indonesia. Ternyata Sekutu tidak menepati janjinya, sehingga menimbulkan beberapa insiden yang kemudian meningkat menjadi pertempuran. Campur tangan Pemerintah Republik Indonesia untuk menciptakan keadaan yang tenang tidak berhasil. Dalam salah satu insiden, komandan Brigade Inggris Brigjen Mallaby tertembak mati. Panglima Sekutu untuk daerah Jawa Timur, Mayjen Mansergh, mengultimatum agar rakyat Surabaya termasuk para pejabatnya menyerahkan senjatanya masing-masing sebelum pukul 06.00 tanggal 10 Nopember 1945. Ultimatum itu tidak dihiraukan rakyat Surabaya, mereka sama sekali tidak mengakui wewenang pihak Sekutu (Inggris) untuk memerintah Surabaya. Mereka hanya tunduk dan taat kepada Republik Indonesia. Pada tanggal 10 Nopember 1945 Sekutu mengerahkan segala kekuatannya di darat, laut dan udara dalam usaha membinasakan pejuang-pejuang di Surabaya. Serangan tersebut disambut dengan tekad pantang mundur oleh para pejuang sehingga beribu mereka gugur sebagai pahlawan kusuma bangsa. Diorama ini menggambarkan Pertempuran Surabaya, 10 Nopember 1945 yang kemudian diperingati secara resmi sebagai Hari Pahlawan.

*DIORAMA 35: BATTLE OF SURABAYA (10 NOVEMBER 1945)
::In October 1945, the Allied Forces (British Troops) landed in Surabaya to disarm Japanese forces and to set free Allied prisoners of war arrested by Japanese. The Allied Forces promised not to interfere in the domestic affairs of the Republic of Indonesia. As a matter of fact, the Allied Forces did not keep their words and some minor incidents occurred which finally broke out in battle. The government of the Republic of Indonesia endeavored to mediate but was unsuccessful. In one of the incidents, the British Brigade Com-mander, Brigadier General Mallaby, was assassinated. Major General Mansergh, the Allied Commander in East Java, issued an ultimatum calling the Surabaya people, including their leaders to surrender all their firearms to the Allied Forces before 06.00 a.m. on November 10, 1945. The people of Surabaya ignored the ultimatum as they did not recognize the Allied (British) to govern them. They only adhered to the government of the Republic of Indonesia. On November 10, 1945 the Allied land, sea and air forces attacked the Surabaya freedom fighters. The attack was met with bravery by the freedom fighters and a great many of them died in the battle as national heroes. The diorama shows the Battle of Surabaya 10 November 1945 which is then officially comтето-rated as National Heroes Day.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.
Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

[https://archive.org/details/36-peranan-gereja-katolik-roma-dalam-proses-penyatuan-bangsa-img-9610 PERANAN GEREJA KATOLIK ROMA DALAM PROSES PENYATUAN BANGSA]
*DIORAMA 36: KEGIATAN GEREJA KATHOLIK ROMA DALAM PROSES PENYATUAN BANGSA (1947)
::Gereja Katholik-Roma melalui misinya mengumpulkan pemuda-pemuda dari berbagai suku dan daerah di bawah naungan agamanya Dengan demikian terbentuk suatu masyarakat Katholik-Roma yang di dalamnya bersemi pula semangat nasioalisme Indonesia. Mereka giat mendirikan rumah sakit dan sekolah. Terhadap cita Gita Indonesia Merdeka Perhimpunan Politik Katolik Indonesia ikut menandatangani petisi Soetardjo tahun 1936 yang menuntut kepada pemerintah kolonial untuk memberikan kemerdekaan kepada bangsa Indonesia Demikian pula dalam masa perang kemerdekaan 1945-1949 mereka bersatu dengan segenap lapisan dan golongan untuk mengusir penjajah dan memper tahankan kemerdekaan. Diorama ini menggambarkan suasana perayaan Natal yang diadakan di Semarang dan dihadiri oleh hampir segenap lapisan masyarakat

*DIORAMA 36: THE ACTIVITY OF THE CATHOLIC CHURCH IN UNITING THE NATION (1947)
::The role of the Roman Catholic Church in the propagation of the Christian faith and the promotion of educational activities by the Roman Catholic missionaries contributed significantly to the unification of the nation. Besides, they were very active in building hospitals and schools. Having the Independence of Indonesia as its ideal. the Political Association of the Indonesian Catholic jointly signed the Soetardjo Petition in 1936 demand-ing the colonial government to give independence to the people of Indonesia. During the war defending the independence 19456 1949, the Roman Catholic Church united with other social groups and strata firmly to drive out the colonizer and defend freedom and independence. The diorama shows the atmosphere of the celebration of Christmas in Semarang Central Java, in the year 1947

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.
Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

[https://archive.org/details/37-gerilya-mempertahankan-kemerdekaan-1945-1949-img-9616 GERILYA MEMPERTAHANKAN KEMERDEKAAN, 1945-1949]
*DIORAMA 37: GERILYA DALAM PERANG KEMERDEKAAN (1945-1949)
::Pada masa perang kemerdekaan Angkatan Bersenjata Republik Indonesia masih memiliki peralatan yang sederhana untuk melawan musuh yang memiliki perlengkapan modern Perang Dunia II Angkatan bersenjata kita menggunakan taktik geniya, menyerang secara mendadak lalu menghilang. Gerilya ini kemudian dilaksanakan sebagai Perang Rakyat Semesta Di daerah-daerah yang dikuasai musuh disusun kantong kantong gerilya untuk menegakkan kekuasaan Republik Indonesia. Sistim tersebut berkembang menjadi sistim Wehrkreise dengan menyusun daerah pertempuran dalam lingkaran lingkaran yang dapat melaksanakan pertahanan secara berdiri sendiri dengan integrasi segenap kekuatan politik, ekonomi sosial budaya dan militer. Diorama ini menggambarkan keberhasilan sejumlah kecil pasukan gerilya menghadang serta menghancurkan iring iringan pasukan Belanda di Ambarawa

*DIORAMA 37: GEURRILLA IN INDEPENDENCE WAR (1945-1949)
::With the aid of obsolete weapons, the Indonesian Armed Forces and the civilian population conducted a guerrilla warfare against the Allied Forces who were trying to reinstall the Dutch colonial regime. Our troops applied the guerrilla tactics which were then camed out as a total war involving the whole population. In the region occupied by the enemy, pockets of the guerrillas were formed to establish the authority of the Republic of Indonesia. This system was developed into the Wehrinese system with the forming of operational areas in self Sustaining penmeters with the thoroughly integrated forces in the economic social, political and military elements. The diorama shows the Indonesian Armed Forces succeeding in attacking the Dutch Military convoy in Ambarawa

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.
Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

[https://archive.org/details/38-jenderal-soedirman-1948-img-9617 JENDERAL SOEDIRMAN, 1948]
*DIORAMA 38: JENDERAL SUDIRMAN MEMIMPIN PERJUANGAN GERILYA (1948-1949)
::Pada tanggal 19 Desember 1948 Belanda melancarkan aksı militer kedua dengan menyerang Yogyakarta. Ibukota Republik Indonesia. Pemerintah menunjuk Syafruddin Prawiranegara membentuk Pemerintah Darurat di Bukittinggi untuk mengambil alih sementara fungsi Pemerintah Pusat. Pada waktu itu Panglima Besar Jenderal Sudirman memutuskan untuk memimpin sendiri perjuangan gerilya. Walaupun penyakit beliau bertambah parah. nyala semangat juang beliau untuk memimpin gerilya tidak pernah terpadamkan Beliau baru kembali ke Yogyakarta pada bulan Juli 1949 setelah pemulihan kembali Ibukota Republik Indonesia di Yogyakarta. Diorama ini menggambarkan Jenderal Sudirman. memberikan dorongan semangat kepada prajurit TNI bahwa dalam keadaan sulit sekalipun pemimpin mereka tetap setia untuk memimpin perjuangan gerilya mempertahankan kemerdekaan

*DIORAMA 38: GENERAL SUDIRMAN LED A GUERRILLA STRUGGLE (1948-1949)
::On 19 December 1948 the Dutch launched the second military action by attacking Yogyakarta, the capital city of the Republic of Indonesia The government authorized Syafruddin Prawiranegara in Bukittinggi to form an emergency government to take over temporarily the function of the central government. At that time it was already known that the Com mander in Chief of the army, General Sudirman, who was being very sick, had decided that he himself would lead the guerrilla struggle. Eventhough he was be coming very ill, he never gave up and his sprint to lead the guernila forces was not extinguishable. He returned to Yogyakarta in July 1949 only after the capital city of the Republic of Indonesia reinstated in Yogyakarta. The diorama shows that General Sudirman gives TNI soldiers a great moral support and strong conviction that in whatever severe situation, he shall keep his promise and lead the fight.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.
Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

[https://archive.org/details/39-pengakuan-kedaulatan-27-desember-1949-img-9620 PENGAKUAN KEDAULATAN, 27 DESEMBER 1949]
*DIORAMA 39: PENGAKUAN KEDAULATAN (27 DESEMBER 1949)
::Perjuangan gigih rakyat Indonesia melawan agresi militer kedua Belanda dan adanya desakan Dewan Keamanan PBB memaksa Pemerintah Belanda untuk kembali ke meja perundingan Perundingan tersebut diadakan di Jakarta yang menghasilkan perjanjian Roem Van Royen pada tanggal 13 Mei 1949. Isinya adalah pemulihan pemerintahan Republik Indonesia di Yogyakarta, persiapan untuk mengadakan suatu Konferensi Meja Bundar dan penarikan tentara Belanda dari Yogyakarta. Konferensi Meja Bundar dibuka pada tanggal 23 Agustus 1949 di Den Haag, berakhir 29 Oktober dan ketetapan terpentingnya adalah Kerajaan Belanda mengakui kedaulatan atas Indonesia pada Republik Indonesia Serikat. Upacara resmi pengakuan kedaulatan tersebut berlangsung tanggal 27 Desember 1949 di Amsterdam dan pada hari yang sama upacara serupa diadakan di Jakarta. Diorama ini menggambarkan pengibaran bendera Merah Putih di Istana Merdeka Jakarta, dipimpin oleh Sultan Hamengku Buwono pada upacara pengakuan kedaulatan Republik Indonesia Serikat tanggal 27 Desember 1949.

*DIORAMA 39: RECOGNITION OF SOVEREIGNTY (27 DECEMBER 1949)
::The unyielding struggle against the second Dutch military action and the pressure of the United Nations Security Council forced the Dutch to return to the conference table. The conference was held in Jakarta which resulted in the Roem-Van Royen agreement on 13 May 1949. It contains that the Republic of Indonesia should be reinstated in Yogyakarta, the Round Table Conference should be conducted: and the Dutch army should be withdrawn from Yogyakarta. The Round Table Conference was opened in The Hague on 23 August 1949. It concluded on 29 October and its important provision that the Kingdom of the Netherlands recognized sovereignty over Indonesia to the Republic of the United States of Indonesia. The formal ceremony transferring sovereignty over Indonesia was held in Amsterdam, on 27 December 1949 On the same day a similar ceremony took place in Jakarta. The diorama shows the red and white flag raises in the Merdeka Palace in Jakarta at the recognition sovereignty ceremony led by Sultan Hamengku Buwono on 27 December 1949

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.
Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

[https://archive.org/details/40-kembali-ke-negara-kesatuan-1950-img-9621 KEMBALI KE NEGARA KESATUAN, 1950]
*DIORAMA 40: KEMBALI KE NEGARA KESATUAN (1950)
::Pengakuan kedaulatan terhadap Republik Indonesia Serikat diberikan pada tanggal 27 Desember 1949 oleh Kerajaan Belanda. Bentuk negara Serikat bukan tujuan bangsa Indonesia melainkan terpaksa diterima sebagai hasil kompromi dengan Belanda. Rakyat di setiap daerah menuntut agar bentuk negara federal dihapuskan dan diberlakukan kembali bentuk negara kesatuan. Beberapa negara bagian secara spontan menyatakan bergabung dengan Republik Indonesia yang pada waktu itu merupakan bagian dan Republik Indonesia Serikat. Puncak dan perjuangan itu adalah perundingan antara RIS dengan negara bagian Republik Indonesia yang menghasilkan keputusan tentang penghapusan bentuk negara Serikat dan pembentukan lærmbali negara kesatuan Republik Indonesia pada tanggal 17 Agustus 1950. Diorama ini menggambarkan Soepomo berpidato di hadapan massa menandai kembali terbentuknya Negara Kesatuan Republik Indonesia

*DIORAMA 40: RETURN TO THE UNITARY STATE (1950)
::The recognition of the sovereignty over Indonesia to the Republic of the United States of Indonesia was given by the Kingdom of the Netherlands on 27 December 1949. The Federation States was not the main purpose of the Indonesian people but was forced upon them and was only tolerated as a result of compromise. The people in the regions had rejected to have the form of a federal states and they demanded the return to the Unitary State Consequently, several members of the United States of Indonesia spontaneously declared unification in the Republic of Indonesia. The struggle to return to the Unitary State reached its peak with the abolishment of the Federal States and the declaration of return to the Unitary State of the Republic of Indonesia on 17 August 1950 as the result of the Interstate Conference. The diorama shows Soepomo gives his speeches before the mass meeting signifying the return to the Unitary State of the Republic of Indonesia

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.
Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

[https://archive.org/details/41-indonesia-menjadi-anggota-pbb-28-sepetember-1950-img-9625 INDONESIA MENJADI ANGGOTA PBB, 28 SEPETEMBER 1950]
*DIORAMA 41: INDONESIA MENJADI ANGGOTA PERSERIKATAN BANGSA-BANGSA (28 SEPTEMBER 1950)
::Perserikatan Bangsa-Bangsa memainkan peranan penting dalam memelihara perdamaian dunia serta mengatasi perbedaan diantara negara-negara di dunia, dan membantu mempercepat proses dekolonisasi. PBB serta organisasi bawahannya membantu menyelesaikan sengketa Indonesia-Belanda, maka Indonesia cenderung menjadi anggota badan dunia tersebut. Pada tanggal 28 September 1950, dalam Sidang Umum PBB di Flushing Meadow, Lake Success, Indonesia dengan suara bulat resmi diterima menjadi anggota PBB. Diorama ini menggambarkan upacara pengibaran bendera Merah Putih di PBB, New York yang menandai masuknya Indonesia menjadi anggota PBB

*DIORAMA 41: THE UNITED NATION MEMBERSHIP (28 SEPTEMBER 1950)
::The United Nations Organization plays an important role in maintaining world peace and overcoming differences among nations. It also helps in accelerating the process of decolonization in the world. It was already known that the United Nations and its subordinate agencies had assisted in settling the dispute between Indonesia and the Dutch. Therefore, Indo-nesia felt the urgency to become member of the world body. On 28 September 1950 the United Nation Gen-eral Assembly held in Flushing, Lake Success unani-mously approved Indonesia as its sixtieth member. The diorama shows on 28 September 1950 the Red and White flag raises at the ceremony admitting the membership of Indonesia to the United Nations.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.
Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

[https://archive.org/details/42-konferensi-asia-afrika-18-24-april-1955-img-9627 KONFERENSI ASIA AFRIKA, 18-24 APRIL 1955]
*DIORAMA 42: KONPERENSI ASIA-AFRIKA (18 - 24 APRIL 1955)
::Sesudah berakhirnya Perang Dunia II muncul Blok Barat dan Blok Timur. Sejak saat itu dunia diliputi mendung ketidakpastian dan merasakan ketegangan karena kedua Blok tersebut terlibat perebutan pengaruh serta perlombaan persenjataan yang setiap saat dapat memicu perang nuklir. Menyadari akan bahaya ini rakyat Asia-Afrika yang berbeda-beda sistim politiknya mencari suatu persatuan untuk bersama-sama berusaha menyelamatkan dunia dari kehancuran nuklir dan membentuk dunia baru yang damai dan sejahtera bebas dari kolonialisme dan imperialisme. Melalui konperensi-konperensi di Kolombo tanggal 28 April 2 Mei 1954 dan di Bogor tanggal 28 - 31 Desember 1954 lima negara sponsor konperensi Asia-Afrika, Indonesia, India, Birma, Pakistan dan Srilanka menetapkan langkah-langkah yang lebih konkrit untuk konperensi Asia-Afrika. Konperensi Asia-Afrika yang kemudian dilaksanakan di Bandung tanggal 18-24 April 1955, dihadiri oleh 30 negara-negara Asia-Afrika dan menghasilkan suatu keputusan yang terkenal dengan nama "Dasasila Bandung". Diorama ini menggambarkan Presiden Republik Indonesia menyampaikan pidato pada upacara pembukaan Konperensi Asia-Afrika tanggal 18 April 1955 di Bandung.

*DIORAMA 42: AFRO-ASIAN CONFERENCE (18-24 APRIL 1955)
::After World War II emerged two opposing forces, the West and the East Block. Since then the world was wrapped in a mist of uncertainty and felt the strain, because the two blocks fought for the supremacy in influence and weaponry in a severe cold war, which at anytime threatened the start of a nuclear warfare. Aware of this danger the Asian and African nations which have several different political aspirations tried to wedge a way to unite efforts to save the world from the disaster of nuclear warfare, and form a new world, secure and peaceful free from colonialism and imperialism. Through the preliminary conferences on 28 April -2 May 1954 in Colombo and on 28-31 December 1954 in Bogor five nations that sponsored the Afro-Asian Conference, Indonesia, India, Myanmar, Pakistan and Srilangka set up a concrete platform to hold the conference. On 18 April 1955 in Bandung the Afro-Asian Conference was opened, attended by 30 delegates. It concluded on 24 April and its result was already known as the Declaration of Ten Principles of Bandung. The diorama shows President of the Republic of Indonesia gives his speeches at the opening ceremony of the conference on 18 April 1955 in Bandung.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.
Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

[https://archive.org/details/43-pemilihan-umum-pertama-1955-img-9629 PEMILIHAN UMUM PERTAMA, 1955]
*DIORAMA 43: PEMILIHAN UMUM PERTAΜΑ (1955)
::Sejak semula Pemerintah Republik Indonesia menyadari bahwa pemilihan umum harus dilaksanakan sebagai salah satu sarana demokrasi. Akan tetapi pada tahun-tahun pertama berdirinya. Republik Indonesia harus menghadapi musuh dari luar, sehingga pemilihan umum sulit dilaksanakan. Barulah sesudah tahun 1950 usaha untuk menyelenggarakan pemilihan umum digiatkan kembali dengan pembuatan Undang-Undang Pemilihan Umum. Keinginan untuk melaksanakan pemilihan umum dapat menstabilkan keadaan politik waktu itu dan pembangunan dapat dilaksanakan dengan sebaik-baiknya. Akhirnya semasa kabinet Burhanuddin Harahap. pemilihan umum dapat dilaksanakan, tanggal 29 September 1955 untuk wakil-wakil rakyat di Dewan Perwakilan Rakyat dan tanggal 15 Desember 1955 untuk wakil-wakil rakyat di Dewan Konstituante. Diorama ini menggambarkan peristiwa pemilihan umum pertama di Indonesia tahun 1955.

*DIORAMA 43: THE FIRST GENERAL ELECTION (1955)
::From the very beginning, the Government of the Republic of Indonesia has been aware that there had to be an election in order to implement the principle of democracy. But, since beginning of her existence the Republic of Indonesia had to face enemies from outside, so that it was very difficult to accomplish elections In 1950, efforts to accomplish a general election took a concrete form with the legislation of the law of general election. The desire to act was very great, with the hope that the result of the elections would stabilize the political situation, enabling the building up of the country with the most desirable effect. Finally, under the cabinet of Burhanuddin Harahap administration the election was carried out on 29 September 1955 and on 15 December 1955 respectively for the people's representatives in Legislative Assembly and Constituent Assembly. The diorama shows the atmosphere of the first general election in 1955.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.
Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

[https://archive.org/details/44-pembebasan-irian-jaya-1-mei-1963-img-9631 PEMBEBASAN IRIAN JAYA, 1 MEI 1963]
*DIORAMA 44: PEMBEBASAN IRIAN JAYA (Ι ΜΕΙ 1963)
::Dengan dasar pemikiran bahwa wilayah kekuasaan Republik Indonesia meliputi seluruh wilayah bekas jajahan Hindia Belanda, maka segala upaya pembebasan Irian Jaya terus dijalankan. Usaha-usaha pengembalian Irian Jaya yang masih dikuasai Belanda ke dalam wilayah kekuasaan Republik Indonesia melalui meja perundingan selalu gagal. Begitupun melalui sidang-sidang Majelis Umum Perserikatan Bangsa-Bangsa. Ketika Belanda bermaksud memberikan hak menentukan nasib sendiri pada rakyat Irian Jaya yang menjurus untuk melepaskan dari Republik Indonesia dan membentuk pemerintah boneka, Indonesia memutuskan untuk membebaskan Irian Jaya dengan kekuatan senjata. Dalam rapat umum tanggal 19 Desember 1961 di Yogyakarta, Presiden mengumumkan Tri Komando Rakyat (Trikora), yang meliputi: Gagalkan pembentukan negara Papua bikinan kolonialis Belanda, Kibarkan Sang Merah Putih di Irian Jaya, dan Bersiaplah untuk mobilisasi umum. Satuan tugas dengan nama Komando Mandala dibentuk yang dipimpin oleh Mayor Jenderal Soeharto, dan dengan demikian dimulailah operasi militer ke Irian Jaya. Dalam keadaan demikian pada tanggal 15 Agustus 1962 tercapai Persetujuan New York antara Indonesia-Belanda. Pada tanggal 1 Mei 1963 secara resmi Belanda melalui PBB menyerahkan kekuasaan atas Irian Jaya kepada Indonesia. Diorama ini menggambarkan Sudjarwo Tjondronegoro mewakili Indonesia pada upacara resmi penyerahan kedaulatan Irian kepada Republik Indonesia pada tanggal 1 Mei 1963 di Jayapura. Bendera Belanda diturunkan dan bendera Indonesia dinaikkan.

*DIORAMA 44: THE LIBERATION OF IRIAN JAYA (1 MAY 1963)
::Based on the conception that the Republic of Indonesia teritory of sovereignty consists of the entire former the Netherlands Indies Territory, the Republic kept on taking all necessary measures to liberate Irian. Effort to reclaim Irian back in the unity from the Dutch authority to Indonesia by means of negotiations as well as through the General Assembly of the United Nations Organization had never been successful, When the Dutch intended to give the Irian people the right of self determination which had the tendency to make it an independent state, Indonesia lost its patience which she had been trying to endeavour for 12 years and decided to take Irian by force. On 19 December 1961 at a mass meeting in Yogyakarta President declared The People's Three Commands: Foiling the establishment of the Papua State setting up by the Dutch, Raising the Red and White flag in Irian, and Getting ready for general mobilization. The special task force, known as Mandala Com-mand was set up led by Major General Soeharto and so began the military operations to Irian. Under such circumstances on 15 August 1962 Indonesia and the Dutch reached the New York agree-ment. On May 1963 the Dutch through the good offices of the United Nations officially transferred the sovereignty over Irian to the Republic of Indonesia. The diorama shows Soedjarwo Tjondronegoro, Indonesia's representative, at the ceremony transferring sovereignty over Irian to the Republic of Indonesia on May 1963 in Jayapura. The Dutch flag is lowered and the Indonesian flag raised.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.
Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

[https://archive.org/details/45-hari-kesaktian-pancasila-1-oktober-1965-img-9637 HARI KESAKTIAN PANCASILA, 1 OKTOBER 1965]
*DIORAMA 45: HARI KESAKTIAN PANCASILA (1 OKTOBER 1965)
::Pada masa pemerintahan Orde Lama, PKI meningkatkan serangannya terhadap kekuatan Pancasila. Karena menurunnya kesehatan Presiden Soekarno saat itu. PKI merasa adanya bahaya yang akan mengancam eksistensinya. Yang dianggap bahaya terbesar adalah pihak TNI-Angkatan Darat, karena Pemimpinnya bersikap waspada terhadap kegiatan PKI yang hendak menyelewengkan Pancasila. Untuk mendiskreditkan lawannya itu, PKI membuat fitnah terhadap Pimpinan TNI Angkatan Darat seolah-olah mereka membentuk Dewan Jenderal yang akan merebut kekuasaan negara. Dengan dalih mendahului coup Dewan Jenderal itu maka pada tanggal | Oktober 1965 PKI, dibantu oleh oknum-oknum ABRI, melancarkan Gerakan 30 September dan melakukan pembunuhan terhadap pimpinan TNI-Angkatan Darat di Lubang Buaya, Jakarta Timur. Tetapi rakyat yang berjiwa Pancasila sejati segera sadar bahwa gerakan itu bertujuan untuk melenyapkan Pancasila dan UUD 45. Dibawah pimpinan Mayor Jenderal Soeharto. Panglima Kostrad, usaha perebutan kekuasaan oleh Gerakan 30 September/PKI berhasil digagalkan dan gerakannya ditumpas dalam waktu singkat. Peristiwa ini merupakan kemenangan dari Pancasila yang telah benar-benar dihayati oleh seluruh rakyat. Diorama ini menggambarkan jenazah para Pahlawan Revolusi diangkat dari sumur di Lubang Buaya dipimpin langsung oleh Mayor Jenderal Soeharto.

*DIORAMA 45: PANCASILA SANCTITY DAY (1 OCTOBER 1965)
::During the Old Order regime, the Indonesian Communist Party increased its offensive against the forces of Pancasila. Because of the decline of Presi-dent Soekarno's health, who was its ally and protec-tor, the Indonesian Communist Party felt the danger that threatened its existence. The biggest danger they considered was the Indonesian Army (TNI-AD), because TNI-AD commander were very much alert of the Indonesian Communist Party activities that had the aim of diverting the Pancasila. To bring discredit to his opponent, they slandered the TNI-AD leaders accusing them of forming a Council of General with which to carry out a coup d'etat. With the excuse of intercepting the coup d'etat of the Council of Generals, on October 1, 1965, the In-donesian Communist Party with several officers from the Armed Forces, launched the 30 September Move-ment by killing the top leaders of the army in Lubang Buaya, East Jakarta. But the Indonesian people who are true Pancasialists were immediately aware that the Indonesian Communist Party movement was aimed at destroying the Pancasila state philosophy and the 1945 Constitution. Under the command of Major General Soeharto the effort for a coup d'etat by the Indonesian Commu-nist Party were thwarted, and the movement was destroyed within a very short time. This event proved of the invulnerability of the Pancasila as it is in the soul of the people. The diorama shows on 4 October 1965 the corpses of the Revolution Heroes are lifted from the well in Lubang Buaya led by Major General Soeharto.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.
Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.
[https://archive.org/details/46-aksi-aksi-tri-tuntutan-rakyat-1966-img-9640 AKSI-AKSI TRI TUNTUTAN RAKYAT, 1966]

*DIORAMA 46: AKSI-AKSI TRI TUNTUTAN RAKYAT (1966)
::Semenjak gagalnya coup berdarah yang dilakukan oleh Partai Komunis Indonesia, pemerintahan Orde Lama menjadi goyah. Di samping itu krisis politik dan ekonomi semakin parah. Mahasiswa sebagai generasi muda yang tergabung dalam Kesatuan Aksi Mahasiswa Indonesia (KAMI) mengajukan Tri Tuntutan Rakyat (Tritura), meliputi 1. Bubarkan PKI 2. Bersihkan Kabinet dari unsur-unsur G-30-S/PKI 3. Turunkan harga-harga. Diorama ini menggambarkan suasana gelombang demonstrasi yang pada saat itu diadakan di area Taman Medan Merdeka Utara, Jakarta.

*DIORAMA 46: THE PEOPLE'S THREE DEMAND ACTION (1966)
::Since the failure of the bloody coup d'etat of the Indonesian Communist Party, the Old Order regime became unstable. Besides, political and economical crisis apparent. Throughout the country, universities and high schools students with the support of the Pancasila forces and the Armed Forces, demanded: 1 Banning the Indonesian Communist Party 2. Purging communist elements from the Dwikora Cabinet 3. Lowering prices of basic commodities.The diorama shows the demonstration to voice the people's Three Demands held in northern area of Medan Merdeka Square, Jakarta.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.
Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

[https://archive.org/details/47-surat-perintah-11-maret-1966-img-9645 SURAT PERINTAH 11 MARET 1966]
*DIORAMA 47: SURAT PERINTAH SEBELAS MARET (1966)
::Situasi negara Indonesia sesudah digagalkannya kudeta Gerakan 30 September/PKI merupakan masa kritis yang menggoncangkan sendi-sendi negara. Presiden Soekarno beserta pemerintahannya yang penuh dengan oknum-oknum Gerakan 30 September/PKI sama sekali kehilangan kepercayaan rakyat. Pada tanggal 11 Maret 1966 Presiden Soekarno mengeluarkan Surat Perintah kepada Jenderal Soeharto untuk memulihkan kewibawaan Pemerintah dengan jalan mengambil semua tindakan yang dianggap perlu. Jenderal Soeharto dengan cepat melaksanakan Surat Perintah | Maret 1966 itu dengan memenuhi dua diantara. Tri Tuntutan Rakyat, yakni membubarkan Partai Komunis Indonesia dan membersihkan kabinet dari menteri-menteri yang ada indikasi terlibat Gerakan 30 September/PKI atau memperlihatkan itikad kurang baik terhadap usaha-usaha pemulihan keamanan dan ketertiban. Dalam diorama ini digambarkan tiga Perwira Tinggi Angkatan Darat, yakni Mayjen Basuki Rahmat. Brigjen M. Jusuf dan Brigjen Amir Machmud sedang melaporkan Surat Perintah 11 Maret 1966 kepada Jenderal Soeharto, yang sedang berbaring karena sakit.

*DIORAMA 47:DIORAMA 47: THE WRITTEN ORDER OF MARCH ELEVENTH (1966)
::The time after the failure of the September 30 Movement/the Indonesian Communist Party, a new crisis emerged which shook the foundation of the country. On 11 March 1966 President Soekarno issued his mandate to General Soeharto in order to reinstate the Government authority and restore the national security by taking any necessary measures. General Soeharto immediately executed the or-der by fulfilling two of the People's Three Demands. i.e. Banning the Indonesian Communist Party, and purging the cabinet from the ministers who were involved in the September 30 Movement/ Indonesian Communist Party or those who hampered efforts to recovering security and order. The diorama shows General Soeharto as he was very sick - lying on bed receives, from left to right, army officers Brigadier General Amir Machmud, Major General Basuki Rachmat and Brigadier General M. Jusuf who have come to report the written order of March Eleventh.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.
Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

[https://archive.org/details/48-penentuan-pendapat-rakyat-irian-jaya-1969-img-9646 PENENTUAN PENDAPAT RAKYAT IRIAN JAYA, 1969]
*DIORAMA 48: PENENTUAN PENDAPAT RAKYAT IRIAN BARAT (1969)
::Salah satu isi persetujuan New York tanggal 15 Agustus 1962 mengenai penyerahan Irian Barat kepada Indonesia adalah bahwa pada tahun 1969 harus diadakan Penentuan Pendapat Rakyat (Pepera), apakah memilih Republik Indonesia atau tidak. Pelaksanaannya akan diawasi oleh Perserikatan Bangsa-Bangsa. Timbul masalah dalam pelaksanaannya, apakah setiap orang memberikan suara langsung sebagaimana usul wakil PBB, Duta Besar Bolivia Ortin Sede, atau perwakilan setiap kelompok melalui pemilihan secara bertingkat seperti usul Indonesia. Karena usul wakil PBB adalah amat sulit untuk dilaksanakan dalam kondisi seperti di Irian Barat, usul Indonesia yang diterima. Dengan disaksikan oleh wakil-wakil PBB, pers dalam dan luar negeri serta peninjau-peninjau dari beberapa kedutaan asing di Jakarta, dimulailah Pepera tersebut dari bulan April - Juni 1969, untuk pemilihan anggota Dewan Musyawarah Kabupaten (Regency Consultative Assemblies) di mana terpilih 1026 anggota mewakili 8 kabupaten, diantaranya 43 wanita. Keputusan Dewan Musyawarah Pepera dengan suara bulat memilih Irian Barat tetap merupakan bagian dari Negara Kesatuan Republik Indonesia. Padá tanggal 19 November 1969, PBB mensahkan hasil Pepera tersebut dengan 84 suara setuju, 6 menolak dan 30 suara abstain (terutama negara Afrika). Diorama ini menggambarkan suasana Sidang Musyawarah Penentuan Pendapat Rakyaat Irian Barat pada bulan Juli 1969.

*DIORAMA 48: REFERENDUM OF THE PEOPLE OF WEST IRIAN (1969)
::The contents of the agreement of New York on August 15, 1962, concerning the transfer of sovereignty of West Irian to Indonesia, said that in 1969, the people of Irian should be given the right of self-determination in order to choose whether they would consent to be a part of Indonesia or otherwise. The execution would be under supervision of the United Nations. Complication arose concerning the procedure of execution whether every voter would directly give his vote, as was suggested by the delegation of the United Nations, Bolivian Ambassador Ortin Sede, or repre-sentatives of each group and so voting in stages (Indonesia's proposal). Based on the geographical con-dition in Irian, finally Indonesia's proposal was accepted. From April to June 1969, the Indonesia's govern-ment held a United Nations' supervised referendum in West Irian, witnessed by United Nations representatives, local and foreign journalists and observers from several embassies in Jakarta in which 1026 delegates were elected representing 8 regencies, among them 43 were women. The result was a unanimous option for joining the Republic of Indonesia as an integral part of the Republic. On 19 November the United Nations approved the result of the referendum after taking of a vote, 84 in favor, 6 opposed and 30 abstain (mostly African States). The diorama shows the atmosphere of the People's Referendum Assembly in Irian in July 1969.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.
Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

=====[https://archive.org/details/img-9391a_202603/IMG_9391a.jpg (The museum)]=====

::Interior of Museum Sejarah Nasional (National History Museum), located in the basement of Monas.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

====Hasil Jadi====
*[https://archive.org/details/hasil-jadi-1 MON_JAM_00000]
::Photographic documentation of the installation process of selected dioramas at the National Monument (Monas), undertaken by Edhi Sunarso with the Keluarga Arca sculptor team. The series includes Diorama No. 29, Youth Pledge; No. 17, The Aceh War—initially featuring a miniature structure resembling the Baiturrahman Grand Mosque and subsequently removed from the final display; No. 37, Guerrilla Warfare during the War of Independence; No. 30, Romusha; No. 33, Ratification of Pancasila as the Foundation of the State and the 1945 Constitution (including an artist portrait before the diorama); No. 20, Cultivation System (Forced Planting); No. 23, National Awakening; No. 6, Palapa Oath; and No. 14, Diponegoro War, as well as documentation of sculptural elements in preparation prior to installation. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/hasil-jadi-2 MON_MER_00000]
::Photographic documentation of the installation and completion of the historical dioramas at the National Monument (Monas), undertaken by Edhi Sunarso with the Keluarga Arca sculptor team. The series traces a broad arc of Indonesian history: from early maritime and temple cultures—Sriwijaya Seaport and Borobudur Temple under Construction—to the fleets of Majapahit and Bugis polities and the Palapa Oath; from major regional conflicts, including the Makassar, Imam Bonjol, and Diponegoro wars, and the formation of Jayakarta, to guerrilla warfare during the War of Independence; from the emergence of modern organisations such as STOVIA and the Indonesian Association to the Romusha period; and onward to post-independence milestones, including the Asia–Africa Conference, the Liberation of West Irian, and the Recognition of Sovereignty, culminating in later national events such as the Three Demands of the People (Tritura), Pancasila Sanctity Day, and the Order of 11 March 1966 (Supersemar). The documentation further includes interior views of the diorama chamber and stages of sculptural preparation and installation on site. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/hasil-jadi-3 MON_POST_00000]*
::Photographic documentation of members of the Keluarga Arca sculptor team at work, both in the studio and on site at the National Monument (Monas). The series includes the installation of Diorama No. 7, Majapahit War Fleet; No. 40, Returning to the Unitary State; No. 45, Pancasila Sanctity Day; and No. 46, Three Demands of the People (Tritura), undertaken under the direction of Edhi Sunarso with the Keluarga Arca team. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

====Pemasangan Diorama====
*[https://archive.org/details/mon-bwf-00000 MON_BWF_00000]
::Archival photographs documenting the early site condition and foundational structure of Monumen Nasional, foregrounding Edhi Sunarso and the Keluarga Arca sculptor team across successive stages of preparation, colouring, arrangement, and installation. The images encompass Diorama No. 6 Palapa Oath; No. 14 Diponegoro War; No. 17 Aceh War; No. 18 Sisingamangaraja’s Resistance; No. 20 Forced Cultivation; No. 33 Ratification of Pancasila as the Philosophical Foundation of the State and the 1945 Constitution; No. 39 Recognition of Sovereignty; and No. 46 Three Demands of the People’s Action (Tritura). Together, they trace processes ranging from miniature architectural fabrication and background painting to figure placement and the lived working conditions within the diorama chambers. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/mon-mon-kun-00000 MON_MON_KUN_00000]
::Archival photographs featuring Kustiyah Edhi Sunarso, Edhi Sunarso, and members of the Keluarga Arca sculptor team during the installation of the historical dioramas at Monumen Nasional. The images include Kustiyah Edhi Sunarso standing before Diorama No. 1 Ancient Indonesian Society; artists gathered in front of a diorama chamber under installation; an artist painting the background of a diorama; an artist observing Diorama No. 1; Edhi Sunarso and Kustiyah Edhi Sunarso with fellow artists at the installation site; and the placement of sculptural figures for Diorama No. 30 Romusha. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/mon-mon-mer-00000 MON_MON_MER_00000]
::Archival photographs documenting members of the Keluarga Arca sculptor team during preparatory stages of the diorama installations at Monumen Nasional, including the preparation of sculptural figures prior to placement and the arrangement of diorama chambers before installation. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/pro-mon-jak-00000 PRO_MON_JAK_00000]
::Archival photographs documenting Edhi Sunarso and members of the Keluarga Arca sculptor team during the installation and viewing of dioramas at Monumen Nasional, including scenes from Diorama No. 30 Romusha, No. 45 Pancasila Sanctity Day, and No. 1 Ancient Indonesian Society. The images capture stages of sculptural installation, background painting, and relief-making, as well as moments of artists working within the diorama chambers and standing before completed scenes. Also included are portraits of Edhi Sunarso and Kustiyah Edhi Sunarso with fellow artists at the monument, along with personal photographs depicting family life and travels in Central Indonesia. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

====Pembuatan Diorama====
*[https://archive.org/details/pro-mon-jog-00000 PRO_MON_JOG_00000]
::Archival photographs documenting sculptural production at the Keluarga Arca studio in Yogyakarta for the historical dioramas of Monumen Nasional, including artists modelling clay figures and preparing sculptural groups prior to installation. The images feature works intended for Diorama No. 6 Palapa Oath, No. 18 Sisingamangaraja’s Resistance, No. 29 Youth Pledge, and No. 33 Ratification of Pancasila as the Philosophical Foundation of the State and the 1945 Constitution, alongside views of studio processes, grouped clay figures awaiting transport, and individual sculptural studies. The sequence concludes with a photograph of an artist standing before Diorama No. 1 Ancient Indonesian Society at the monument. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

===Kliping===
*[https://archive.org/details/image-0_202602 Tabloid Selecta No. 796]
::The article “Edhi Sunarso, Creator of Major Statues in Jakarta” in Tabloid Selecta No. 796 summarizes Edhi Sunarso’s journey as an important Indonesian sculptor, starting from his role in creating major monuments such as the Welcome Monument, the West Irian Liberation Monument, and the Dirgantara Monument, his role as Head of the ASRI Sculpture Department, his international achievements in London and India, as well as an explanation of the technical process of making bronze statues and dioramas, to his personal life story full of struggles since childhood, his involvement in the war of independence, his experience of being arrested and tortured by the Dutch, the process of searching for his identity and family, and his determination to pursue art education in Yogyakarta which ultimately led him to become a great artist with works that are recognized and collected nationally and internationally. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

===Patung 4 Sisi (tidak jadi dibuat)===
*[https://archive.org/details/img-000_202603 Amplop Patung Banteng_]
::Archival photographic sets documenting sculptural studies and unrealised monument proposals by Edhi Sunarso and the Keluarga Arca group. The materials include grouped photographs of maquettes for the proposed four-sided statues intended for Monumen Nasional, recorded from multiple angles and in several study sheets titled Monas Study Package 1 and Monas Model Study III. The project was commissioned by President Soekarno but ultimately remained uncompleted. Also included are photographic studies related to other monumental projects, such as sculptural models for the Musi River Monument, including an elephant statue model bearing President Soekarno’s signature on the mounting sheet, and documentation of the statue’s production process. Additional images capture studio and site moments involving members of the Keluarga Arca team, views of sculptural models—including figures holding anchors—and scenes around the Monas complex, including the bull statue and gatherings of artists and visitors. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/mon-pat-4-si-00000 MONAS - Patung 4 Sisi]
::Archival photographs documenting sculptural studies and studio processes at the Keluarga Arca sculpture studio in Yogyakarta, including numerous clay maquettes produced for the proposed four-sided statue project at Monumen Nasional, commissioned by President Soekarno to Edhi Sunarso and the Keluarga Arca group but ultimately unrealised. The materials record multiple views of the clay figure models prepared for the project, alongside studio scenes of sculptors working on statues and relief elements, including warrior figures and other sculptural studies. The set also includes images of Edhi Sunarso modelling clay figures with a live sitter, artists arranging composite statue-and-relief models, and group photographs of Edhi Sunarso with members of the Keluarga Arca team and their sculptural works in the studio. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/studi-patung-banteng-monas Studi Patung Banteng MONAS]
::Documentation photographs of clay bull statue models produced by Edhi Sunarso and the Keluarga Arca group, recorded across multiple study stages: First Study (3 views and 1 additional documentation image), Second Study (3 views), Third Study (2 documentation images), Fourth Study (3 views), Fifth Study (2 views), Sixth Study (3 views), Seventh Study (3 views), Eighth Study (3 documentation images), Ninth Study (3 views), Tenth Study (2 views), Twelfth Study (3 views), and Fourteenth Study (3 views). Several documentation photographs bear the signature of President Soekarno dated 7 January 1966, indicating approval of the proposed model. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

===Penerbitan seputar Monas===
====[https://archive.org/details/katalog-museum-sejarah-nasional-1977 Katalog Museum Sejarah Nasional, 1977]====
::The National History Museum Catalogue (1978) documents the chronological presentation of Indonesian history through a series of dioramas, spanning from prehistoric societies to the national struggle to maintain independence. The publication outlines the historical narratives represented in each diorama, including key events and significant figures, and describes the visual conception of the diorama as a medium for public historical education.

====[https://archive.org/details/keagungan-perjuangan-bangsa-indonesia-1996 Keagungan Perjuangan Bangsa Indonesia, 1996]====
::The book Monumen Nasional: Monumen Perjuangan Bangsa Indonesia yang Agung (1996) documents the history and philosophical meaning of National Monument as a national monument commemorating the Proclamation of Indonesian Independence on 17 August 1945. The publication outlines the origins, objectives, and three principal stages of construction undertaken between 1961 and 1975, and describes key architectural components of the monument, including the History Museum Room, the Independence Room, and the Flame of Independence.

====[https://archive.org/details/rencana-penyempuranaan-diorama-museum-sejarah-di-tugu-nasional Rencana Penyempuranaan Diorama Museum Sejarah di Tugu Nasional]====
::The publication documents the proposed improvement of the dioramas in the National History Museum at the National Monument (Monas), prepared following the Decree of the Minister of State Secretary No. 6 of 2007 concerning the formation of a committee for the enhancement of the museum’s historical diorama displays. The programme involved collaboration between the Indonesian Historians Society, the Faculty of Cultural Sciences, University of Indonesia, architects, and the original diorama designers, and presents recommendations derived from a comprehensive study addressing historical interpretation, factual accuracy, and the technical and aesthetic aspects of the existing diorama installations.

====[https://archive.org/details/tugu-nasional-laporan-pembangunan-1978_202602 Tugu Nasional - Laporan Pembangunan, 1978]====
::National Monument Book: Construction Report (1978) is an official publication documenting the planning, construction, and completion of the National Monument (Monas) as a monument commemorating the Proclamation of Indonesian Independence on 17 August 1945. The volume records the origins of the monument’s conception, the symbolic architectural ideas representing national identity and the spirit of independence, and the stages of construction from initiation to completion, including the participation of architects, engineers, and technical specialists, the use of construction technologies and materials, and the development of internal spaces such as the National History Museum and the summit monument structure. The publication was prepared under the direction of Prayogo and compiled by the DKI Jakarta Office of Building Design and Conservation under the leadership of W. Pragantha, with advisers Soedarmadji and J. H. Damais. Text contributions were written by Soedarsono, Imron Sugiono, and Wahjudiono, with documentation prepared by the Office of Building Design and Conservation as implementing authority for the project, graphic design by Didit Chris, Purnomo M., and Guruh Sulawat, and printing by P.T. Jayakarta Agung Offset.

===Relief dan Benteng Monas===
*[https://archive.org/details/mon-relief-00000 MON_RELIEF_00000]
::Archival photographs documenting the production and installation of narrative reliefs at the National Monument complex, showing artists carving and finishing relief panels, studio and on-site working processes, and scenes of sculptors resting or working collectively under the supervision of Edhi Sunarso. The photographs also record completed and in-progress relief panels depicting figures and episodes from Indonesian national history, including representations of Wage Rudolf Soepratman, Ki Hadjar Dewantara, Tjipto Mangoenkoesoemo, Ernest Douwes Dekker, Mohammad Hatta, and Sukarno. Additional images document supervisory visits, inspection scenes involving project officials, and general views of the relief programme forming part of the historical narrative environment of the monument. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

===Riset diorama===
====[https://archive.org/details/adegan-pepera-irian-barat Adegan Pepera Irian Barat]====
*Archival photographs documenting the Act of Free Choice (Penentuan Pendapat Rakyat / PEPERA) conducted in several locations across West Irian in 1969, recording public assemblies, local participants, and the political process determining the territory’s integration into the Republic of Indonesia. The images were later used as visual research material in the development of historical dioramas depicting the PEPERA episode for the narrative programme of the National Monument. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

====[https://archive.org/details/adegan-tanam-paksa Adegan Tanam Paksa]====
*Archival sketches and documentary photographs assembled as visual research material for the development of historical dioramas depicting the system of Cultivation System (Cultuurstelsel) in the Dutch East Indies. The materials document reference imagery and preparatory studies used by artists in constructing narrative scenes of forced agricultural production for the historical programme of the National Monument. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

====[https://archive.org/details/amp-pot-00 Amplop Potret]====
*Archival photographs, portraits, and sketches assembled as visual reference material for the research and development of historical dioramas at the National Monument. The materials include documentary photographs from Jayapura—including scenes at the Hollandia government building used for diorama studies related to Act of Free Choice—alongside portrait references of prominent Indonesian historical figures such as Ahmad Dahlan, Mas Mansur, Wahid Hasyim, Mohammad Yamin, Wage Rudolf Supratman, Djuanda Kartawidjaja, Ernest Douwes Dekker, Abdul Muis, Sutan Sjahrir, Sam Ratulangi, Pierre Tendean, Ki Hajar Dewantara, Supeno, Ferdinand Lumban Tobing, Soepomo, Oemar Said Tjokroaminoto, Tjipto Mangunkusumo, Raden Mas Tirto Adhi Soerjo, Samanhudi, Albertus Soegijapranata, and Agus Salim. Additional reference images include portraits of other Indonesian figures, a sketch of Tuanku Imam Bonjol, scenes of Indonesian soldiers, diplomatic receptions with the Swiss Guard, and documentary photographs of children in traditional dress, reflecting the diverse visual sources consulted for the construction of historical narrative scenes. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

====[https://archive.org/details/ske-dio-mon-00 Amplop Sketsa Diorama Monas]=====
*A series of photographs of sketches depicting several historical diorama scenes at the National Monument (Monas), including “Youth Pledge,” “The Aceh War,” “The Battle of Surabaya,” “Indonesian Association,” “The Palapa Oath,” “National Awakening,” “The Struggle to Return to the Unitary State,” “The Battle of Jagaraga,” “The Majapahit War Fleet,” “Recognition of Sovereignty,” “The Liberation of Irian,” “The Resistance of Sisingamangaraja,” “Indonesia Becomes a Member of the United Nations,” and “The Diponegoro War,” which were used as visual references in the planning and creation of the Monas historical dioramas. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

====[https://archive.org/details/dari-buku-gambar_202603 Dari Buku Gambar]====
*Documentary photographs and reference materials from a sketchbook used for diorama research at the National Monument (Monas), including images numbered 11–15 depicting research references for the Bugis Incident, Battle of Bogor, Battle of Cibadak, and the Three Regions Incident, with visible documentation of the former Merdeka Hotel and the Pekalongan Residency Office. Additional materials include a map of the Bogor Bus Terminal area, landscape photographs assembled as a collage, photographs related to the Five-Day Battle of Palembang, a collection of rifle models, and a soldier in a guarding position. The collection also contains a documentary reference image with captions “Maluku Expedition Ship Model” and “Indonesian Navy, 1945,” as well as a written document containing research notes for dioramas depicting the suppression of the Three Regions Incident, including the siege and capture of Sardjio’s troops around the Merdeka Hotel by TKR/Police forces, alongside notes for the dioramas Expedition to Maluku and Seaborne Operation from Banyuwangi to Bali, detailing fleet composition and operational context. The document was prepared and signed by Drs. Sukardi, S.H., Head of the ABRI Museum Contents Group. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

====[https://archive.org/details/draaiboek-monas-879pgs-2 Draaiboek Monas - 879pgs 2]====
*Guidelines for the creation of dioramas at the National Monument (Monas), titled: 1. Trikora and/or the Return of West Irian (the return of West Irian to the territory of the Republic of Indonesia). 2. GANEFO (the opening ceremony of GANEFO, 10 October 1963). The document outlines the conceptual and technical direction for the diorama scenes, including the arrangement of miniature figures, architectural elements, and painted backgrounds on the left and right walls of the display. It also contains the historical script underpinning the scenes, detailing key events that form the narrative background, as well as references and sources used in the historical research. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

====[https://archive.org/details/alb-gam-per-idn-00 Gambar-gambar perjuangan indonesia]====
*Collection of documentary photographs recording state and military ceremonies at the northern square (Alun-Alun Utara) of the Yogyakarta Palace, including the Indonesian flag raised on the palace north field, formations of fighters and soldiers marching or standing in ceremonial ranks, and crowds observing official proceedings. The photographs document appearances and speeches by Soekarno and Mohammad Hatta, alongside military and police figures including Sudirman, Raden Said Soekanto Tjokrodiatmodjo, and Hamengkubuwono IX, together with groups of state officials during ceremonies, speeches, and inspections of troops. Additional images show lines of soldiers standing at attention or saluting, armed troops in formation, National Police units including a marching band and members of the Kedoe Police Mobile Brigade demonstrating tactical skills, and scenes of military or police meetings. The set also includes images of President Soekarno inspecting the ranks of soldiers and adjusting a soldier’s uniform attributes, a woman undergoing rifle training, police personnel assembled in groups, and other documentary views of the ceremony grounds and surrounding spectators. One photograph records the presidential oath-taking of Suharto as President of Indonesia. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

====[https://archive.org/details/map-ris-tjg-mor-00000 Peristiwa Tanjung Morawa 16 Maret 1953]====
*Documentary photographs recording sites, equipment, and community presence associated with agricultural activity in North Sumatra, including land belonging to the Department of Agriculture in Tanjung Morawa District, Deli Serdang Regency, a heavy machine used for field or construction work, and a group of community members documented in it. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

==Museum Satriamandala, Jakarta==
Lorem ipsum dolor sit amet, consectetur adipiscing elit. Nunc porttitor mauris metus, vitae venenatis lacus gravida sit amet. Suspendisse cursus lectus eu leo varius, at auctor nibh imperdiet. Nunc consectetur metus eu venenatis commodo.

===[https://archive.org/details/sik-corps-al Album Beberapa Sikap Corps Marinir AL (Jakarta, 22-8-1978)]===
*This photo presents a systematic documentation of standard military drill and parade positions, both armed and unarmed, shown from multiple perspectives (front, rear, right, and left), including formations such as the perfect armed stance, armed salute, armed rest, normal rest unarmed, parade armed rest/guard stance, perfect armed shoulder stance, perfect unarmed stance, and parade rest unarmed, serving as a structured visual reference to ensure accuracy of posture, alignment, and formal disciplinary standards. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

===Album Diorama Proklamasi Museum Eka Ekstrim Kanan Satria Mandala===
*[https://archive.org/details/alb-dio-eka-sat-man-1-00000 Album Diorama Proklamasi Museum Eka Ekstrim Kanan Satria Mandala #1]
::Documentary photographs of miniature figures, architectural elements, and supporting components used in the construction of dioramas at the Satriamandala Museum, Jakarta. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
*[https://archive.org/details/alb-dio-eka-sat-man-2-00000 Album Diorama Proklamasi Museum Eka Ekstrim Kanan Satria Mandala #2]
::Documentary photographs of miniature figures, architectural elements, and supporting components used in the construction of dioramas at the Satriamandala Museum, Jakarta. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

===[https://archive.org/details/gar-mat-mak-00000 Album Foto Perjuangan Indonesia]===
*Documentation of the activities of the X Garuda Mataram Brigade in Makassar under the leadership of Lieutenant Colonel Suharto in military operations to overcome the Makassar Uprising, also known as the Andi Aziz rebellion, in Makassar, South Sulawesi, 1950. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

===[https://archive.org/details/alb-rpkad Album RPKAD]===
*A collection of photo documentation of a series of technical instructions regarding the RPKAD soldiers' marching regulations, which include various basic positions such as perfect stance, normal rest, to armed rest parade in guard position, which are systematically documented from the front, rear, and left and right side perspectives, for diorama research purposes. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

===Buku Panduan Museum Satriamandala===
====[https://archive.org/details/central-museum-of-the-armed-forces-satria-mandala Central Museum Of The Armed Forces SATRIA MANDALA]====
*An operational guidebook for visitors to the ABRI Satriamandala Central Museum in English, which includes information on visiting hours, descriptions of the main exhibition spaces in the First and Second Buildings, supporting facilities, floor plans, location maps, and descriptions of the reliefs. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

====[https://archive.org/details/museum-satria-mandala-buku-panduan Museum Satria Mandala - Buku Panduan]====
*An operational guidebook for visitors to the ABRI Satriamandala Central Museum in Indonesian, which includes information on visiting hours, descriptions of the main exhibition spaces in the First and Second Buildings, supporting facilities, floor plans, location maps, and descriptions of reliefs in Indonesian. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

===Dokumen dan Surat===
====[https://archive.org/details/surat-perintah-kerja-museum-pusat-abri Surat Perintah Kerja Museum Pusat ABRI, 1973]====
*Work Order Letter no. PRINT/1110/PUSJARAH/VIII/73, issued in Jakarta on 25 August 1973 by the ABRI History Center, instructing artist Edhi Sunarso to carry out Phase III construction of the ABRI Central Museum. Based on decrees of the Minister of Defence/Commander of the Armed Forces concerning the formation of the project committee and the 1973–1974 budget allocation, the order authorised the production of 24 diorama dome units with supporting installations (frames, windows, and glass), with a total project value of Rp11,947,000. Signed by Colonel Inf. Soepardijo, Deputy Head of the ABRI History Center, and stamped. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

====[https://archive.org/details/surat-perintah-kerja-diorama-museum-pusat-abri Surat Perintah Kerja Diorama Museum Pusat ABRI, 1974]====
*Work Order Letter no. SPRIN/161/PUSJARAH/XII/74, issued in Jakarta on 19 December 1974 by the ABRI History Center, assigning a team of artists led by Edhi Sunarso (with Saptoto, Ratmoyo, Heri Wibowo, and Ramelan) to conduct field research on historical objects in Java, Bali, Sumatra, and Sulawesi. The research was intended to ensure historical accuracy in the dioramas of the ABRI Satriamandala Museum. Signed by Colonel Inf. Soepardijo, Deputy Head of the ABRI History Center, and stamped. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

====[https://archive.org/details/19750107-surat-perintah-kerja-diorama-museum-pusat-abri Surat Perintah Kerja Diorama Museum Pusat ABRI, 1975]====
*Work Order Letter no. PRIN/02/PUSJARAH/I/73, issued in Jakarta on 7 January 1975 by the ABRI History Center, assigning artist Edhi Sunarso to produce 29 dioramas, including one large-scale diorama measuring 3 × 3 metres, with a total contract value of Rp52,000,000. Signed by Colonel Inf. Soepardijo, Deputy Head of the ABRI History Center, and stamped. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

====[https://archive.org/details/19750823-surat-perintah-kerja-diorama-museum-pusat-abri Surat Perintah Kerja Diorama Museum Pusat ABRI, 1975]====
*Work Order Letter no. SPRIN/167/PUSJARAH/VIII/75, issued in Jakarta on 23 August 1975 by the ABRI History Center, assigning Edhi Sunarso (diorama artist) and Ratmoyo (member of the museum contents team) to conduct in-depth historical research on the Red and White Incident in Manado, the Andi Azis Rebellion, and Westerling’s actions in South Sulawesi, as part of Phase III development of the ABRI Central Museum. Signed by Colonel Inf. Soepardijo, Deputy Head of the ABRI History Center, and stamped. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

====[https://archive.org/details/19750922-kwitansi-museum-pusat-sejarah-abri Kwitansi Museum Pusat Sejarah ABRI, 1975]====
*Payment receipt, issued on 22 September 1975, documenting payment to Edhi Sunarso from the ABRI History Center Museum Development Project “Satria Mandala,” Jakarta, for the fifth instalment of diorama production costs under contract no. 08/PUSJARAH/I/75, amounting to Rp7,800,000 (seven million eight hundred thousand rupiah). --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

====[https://archive.org/details/19751002-berita-acara-pemeriksaan-diorama-museum-pusat-abri Berita Acara Pemeriksaan Diorama Museum Pusat ABRI, 1975]====
*Minutes of Inspection no. BA/1307/PUSJARAH/IX/1975, recording the official verification conducted on 30 September 1975 of the completion of 29 dioramas for the ABRI Central Museum Satriamandala by artist Edhi Sunarso. The inspection team—Colonel Inf. Soepardijo, Drs. Sukardi SHH, and Sri Suko—confirmed that the work complied with the agreement dated 3 January 1975. The results authorised the fifth instalment payment of 15% of the contract value (Rp7,800,000) and stipulated a three-month maintenance period until 22 December 1975. Signed in Jakarta on 2 October 1975. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

====[https://archive.org/details/19751002-berita-acara-penyerahan-pertama-diorama-museum-pusat-abri Berita Acara Penyerahan Pertama Diorama Museum Pusat ABRI, 1975]====
*Minutes of First Handover no. BA/308/PUSJARAH/X/1975, issued on 2 October 1975, documenting the first formal handover of 29 completed diorama units for the ABRI Satriamandala Central Museum from Edhi Sunarso (Second Party/Contractor) to the ABRI History Center (First Party). The works were declared in good condition, with responsibility for maintenance remaining with the contractor during the three-month warranty period until 22 December 1975. The document served as the administrative basis for payment of the fifth instalment (15% of the contract value, Rp7,800,000). Signed by Edhi Sunarso and Colonel Inf. Soepardijo, Deputy Head of the ABRI History Center, and stamped. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

====[https://archive.org/details/19751002-kwitansi-diorama-museum-abri Kwitansi Diorama Museum ABRI, 1975]====
*Payment receipt, issued on 2 October 1975, documenting the transfer of Rp7,800,000 (seven million eight hundred thousand rupiah) from Marine Major (A) Drs. A. Kusaeri, Treasurer of the Wisma Yaso Project, to artist Edhi Sunarso as the fifth instalment payment for the ABRI Satriamandala Museum diorama project. Signed by Marine Major (A) Drs. A. Kusaeri and Edhi Sunarso. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

====[https://archive.org/details/19751200-berita-acara-penyerahan-kedua-diorama-museum-pusat-abri Berita Acara Penyerahan Kedua Diorama Museum Pusat ABRI, 1975]====
*Minutes of Second Handover, issued in Jakarta in December 1975, documenting the final administrative completion of the ABRI Central Museum diorama project. Signed by Brigadier General Drs. Nugroho Notosusanto, Head of the ABRI History Center and Head of the ABRI Museum Project (First Party), and Edhi Sunarso, contractor (Second Party). The document confirms payment of the sixth and final instalment, amounting to 5% of the total contract value (Rp2,600,000). --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

====[https://archive.org/details/19760624-kwitansi-sewa-bus Kwitansi Sewa Bus, 1976]====
*Payment receipt, issued in Yogyakarta on 24 June 1976, documenting payment from ASRI (Indonesian Fine Arts Academy), Yogyakarta, to Johnny for five days of bus rental from 24–28 June 1976 for travel to Jakarta, amounting to Rp200,000 (two hundred thousand rupiah). The receipt is signed by Johnny and affixed with a stamp. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

===EKA===

===Eka Ekstrem Kanan Satya Mandala_(dari meja)===

===Laporan Diorama Museum ABRI===

===MAP BIRU_Museum Satria Mandala===
Folder of archival materials related to the research and preparation of historical dioramas at the Satriamandala Museum. The contents include technical instructions, chronological notes, research photographs, and design sketches used in the development of the dioramas Liberation of Manado City, ABRI Landing in Ambon, People’s Resistance in Biak, and Paratrooper Landing in Teminabuan. The documents function as working references for the visual reconstruction of historical events, outlining scenographic arrangements, troop formations, environmental elements, and supporting military assets guiding the diorama construction process.

====[https://archive.org/details/00-folder-biru-00 Foto]====
::Collection of archival photographs used as research and visual reference materials for the development of historical dioramas at the Satriamandala Museum. The materials support the visual reconstruction of the following scenes: 1. Liberation of Manado City. 2. ABRI Landing in Ambon. 3. People’s Resistance in Biak. 4. Paratrooper Landing in Teminabuan (TRIKORA). The photographs function as reference material informing the historical context, environmental details, and scenographic composition used in the construction of the dioramas. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

====[https://archive.org/details/sketsa-0 Sketsa]====
::Collection of archival sketches used in the development of historical dioramas at the Satriamandala Museum. The drawings function as preparatory design references outlining compositional layout, spatial arrangement, and scenographic elements for the construction of the dioramas. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

====Dokumen====
*[https://archive.org/details/pembebasan-kota-menado Pembebasan Kota Menado]
::Archival document serving as a temporary technical guide and chronological reference for the preparation of a diorama depicting the liberation of Manado City by RPKAD (Army Para-Commando Regiment) and KKO AL (Navy Commando Corps) forces. The instructions outline scenographic elements including the consolidation of four platoons at the Maumbi Village intersection, with road signage, coconut trees, and village rooftops forming the background, while AURI aircraft P-51 Mustang and B-25, appear overhead. The document also records operational notes describing the strategic shift from an initial attack on Tondano to the assault on Manado under the command of Lieutenant Colonel Rukminto, as well as reports of heavy fighting at the Kairagi Bridge against Permesta bunker defenses and heavy weapons. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/pendaratan-abri-di-ambon Pendaratan ABRI di Ambon]
::Archival document serving as a technical guide and chronological reference for the construction of the “ABRI Landing in Ambon” diorama at the Satriamandala Museum. The instructions outline the visual composition of the landing operation at Tulehu Beach, depicting joint forces of KKO (Marine Corps), Army, and Brimob advancing from LCVP landing craft with weapons raised. The scene is framed by coconut groves and coastal vegetation, with naval support represented by the warships RI Rajawali and RI Patti Unus. In the sky, AURI aircraft Dakota C-47, Harvard, and B-25 bomber, are shown providing aerial support. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/gerakan-operasi-militer-iv-r.m.s-tanggal-25-april-1950 Gerakan Operasi Militer IV (R.M.S.) Tanggal 25 April 1950]
::Archival document serving as a technical guide and chronological reference for the construction of the “Military Operation IV (R.M.S.), 25 April 1950” diorama at the Satriamandala Museum. The notes outline the historical background to the conflict, beginning with unrest among KNIL personnel following the Round Table Conference (KMB), the political agitation of Ir. Manusama, and the proclamation of the Republic of South Maluku (RMS) by Dr. Soumokil. The document also records the failure of Dr. Leimena’s peace mission and the subsequent blockade and military mobilization under Colonel A.E. Kawilarang. Visual guidance focuses on the TNI landings in September 1950, including the arrival of Group 3 under Major Suryo Subandrio at Hitu and Group 2 led by Lieutenant Colonel Slamet Rijadi at Tulehu, aimed at cutting enemy supply lines and securing strategic locations such as Passo and Laha airfield. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/perlawanan-rakyat-di-biak Perlawanan Rakyat di Biak]
::Archival document serving as a technical guide and chronological reference for the construction of the “People’s Resistance in Biak” diorama at the Satriamandala Museum. The instructions outline the visual composition of an ambush on a Dutch military truck along the road to Bosnik, depicting West Irian freedom fighters armed with rifles, bows, and machetes surrounding Dutch troops, who retreat while abandoning equipment such as backpacks and personal belongings. The notes also provide historical context on the planned March 1948 uprising, the resistance led by Silas Papare, and the involvement of figures including Dr. Sam Ratulangi in supporting the independence movement in the region. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/penerjunan-di-teminabuan Penerjunan di Teminabuan]

::Archival document serving as a technical guide and chronological notes for the construction of the ""Paratrooper Landing in Teminabuan"" diorama at the Satriamandala Museum, outlining preliminary instructions for the dramatic visualization of the raising of the Indonesian Red and White flag following fierce combat during Operation Wolf (Operasi Serigala). The narrative directs the depiction of the scene in the chaotic front yard of a Dutch barracks, where the remaining members of the AURI's PGT (Quick Action Force) stand in solemn salute as the flag is hoisted, while a torn Dutch flag lies discarded on the ground. These notes also document the heroic struggle of the platoon led by Air Sergeant I Martin Paulus Mengko, who jumped on May 19, 1962, their success in capturing Teminabuan on May 29, 1962, and the great sacrifice of 14 soldiers who fell as national heroes while defending the area against Dutch counterattacks. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

===Map Hijau EKA #2===
*[https://archive.org/details/map-ijo-eka-00000 MAP_IJO_EKA_00000]
::Archival document from the Indonesian Air Force (1974) providing technical instructions for the production of a diorama depicting the “Paratrooper Landing in Teminabuan.” The document outlines scenographic details for representing a combat setting, including fallen trees, specialized parachutes, and Dutch P2V Neptune aircraft conducting air strikes. It also includes references to PGT (Pasukan Gerak Tjepat, -Quick Action Force) uniforms and technical sketches of Dutch aircraft insignia. Supplementary visual materials feature photographs of Lockheed Neptune aircraft from the Trikora era, a naval vessel bearing hull number 1006, documentation of KRI Dewaruci, photo of a life buoy bearing the words RI DEWARUTJI and a plaque commemorating ""Captain Cook's Bicentennial Celebration"", and an illustration of a colonial-style building. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

===MAP HIJAU_Angkatan Udara RI===
*[https://archive.org/details/map-ijo-tni-au-00000 MAP_IJO_TNI-AU_00000]
::Collection of archival documentation from the AURI (Indonesian Air Force) Museum, dated 1974, relating to the downing of a B-26 aircraft piloted by Allen Lawrence Pope during the Permesta conflict. The material includes photographs of a formation of P-51 Mustang aircraft—among them unit number 7-321 flown by Captain Dewanto in the interception—as well as images documenting the judicial proceedings, including the presentation and examination of related evidence. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

===Pembuatan Diorama "Eka-Ekstrimkanan" Satria Mandala Jakarta Tahun 1976===
*[https://archive.org/details/proses-eka-1976-00000 PROSES_EKA_1976_00000]
::Collection of documentary photographs taken at the Satriamandala Museum, Jakarta, depicting exhibition displays including historical dioramas and military vehicles. The images record elements of the museum’s permanent collection and exhibition environment, documenting the visual narratives and material artefacts presented within the Indonesian Armed Forces’ central military museum. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

===Potret Jendral-Jendral===
*[https://archive.org/details/pot-jen-00000 POT_JEN_00000]
::Collection of photographic documentation depicting Indonesian military figures, including portraits of Brigadier General Ignatius Slamet Rijadi (two images), I Gusti Ngurah Rai with Ciung Wanara troops, General Basuki Rahmat, General Ahmad Yani, and Lieutenant General R. Suprapto. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

===Proses revisi===

====Dokumen dan Surat====
*[https://archive.org/details/19780731-surat-perintah-kerja-museum-abri-satria-manda Surat Perintah Kerja_Museum ABRI Satria Mandala]
::Work Order Letter with letter number SPK/105/PUSJARAH/III/78 issued by the Department of Defense and Security in Jakarta on 31st July 1978 to Edhi Sunarso, to carry out the work of making ABRI uniform mannequins, to be installed at the ABRI Satriamandala Museum. The letter also explains the number of mannequins complete with their bases, the uniform period, the wholesale price, and the deadline for the work. This letter was signed by Brigadier General TNI Drs. Nugroho Notosusanto, as Head of the ABRI History Center, and stamped. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/19791016-surat-petunjuk-perubahan-dan-perubahandari-kapusjarah Surat Petunjuk Perubahan dan Perubahan dari Kapusjarah]
::Letter from the Head of ABRI History Center, dated 16th October, 1979, contains instructions for improvements and changes to technical details for a diorama project undertaken by Edy Sunarso (also known as Edhi Sunarso). These changes included adjustments to the posture of the WARA (Women of the Air Force) figures, clothing details, and the addition of military attributes to several historical scenes, such as the struggle institutions, the Morokrembangan scene, the Student Army (T.P.), and the Guerrillas. These improvements were urgent because the new multi-purpose building housing the work was soon to be inaugurated by the WAPANGAB (Deputy Commander of the Armed Forces). Specifically, the instructions emphasized aspects of historical realism, such as the mud effect on the feet, variations in uniforms, and corrections to the direction of the commander's gaze. This letter was signed by Lieutenant Colonel of the Navy (A) Drs. A Kusaeri, on behalf of the History Team. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/19791022-surat-laporan-hasil-koreksi-gam Surat Laporan Hasil Koreksi GAM]
::A letter addressed to the Head of the History Center (KAPUSJARAH), for the attention of the ASOPS PUSJARAH (Assistant Operations of History Center) ABRI, containing a report on the results of corrections to the uniform on the 1st floor as a follow-up to the report of Lieutenant Colonel A. Kusaeri dated 17th October 1979, and submitting proposals and suggestions for changes regarding the uniform itself. This letter was made in Jakarta, and signed by the Head of the ABRI Museum Uniform Team, Major of Infantry Saleh A. Djamhari on 22nd October 1979. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/19791023-laporan-hasil-koreksi-gam Laporan Hasil Koreksi GAM]
::A document containing detailed corrections to the uniforms on the uniform mannequins for the Indonesian Army, Air Force, Navy, and Police. This document was published in Jakarta by the ABRI History Center, Department of Security and Defense on 23rd October 1979, and signed by Major of Infantry Saleh A. Djamhari, head of the ABRI museum uniform team. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/usul-perubahan-gam Usul Perubahan GAM]
::A document containing proposed uniform changes (GAM) for the Indonesian Army, Navy, Air Force, and National Police. This document was signed by the Head of the ABRI Museum Uniform Team, Major of Infantry Saleh A. Djamhari, in Jakarta on 23rd October 1979. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/19791024-nota-dinas-gam-kadet-taruna-abri Nota Dinas GAM Kadet Taruna ABRI]
::An official memo addressed to the Head of the ABRI Uniform Team, containing a report on the preliminary results of research in Jakarta on ABRI Cadet/Taruna data and the challenges in obtaining additional information. This required out-of-town business permits to bring photography equipment to the Police Cadet Museum of the Indonesian Military Academy (AKABRI) in Sukabumi, the Army Technical Academy (ATEKAD) in Bandung, the Air Force Museum and the Secodiningratan Police School in Yogyakarta, and the Army Museum of the AKABRI in Magelang. The official memo was signed by Major Adm. GSK Marsudi, a member of the ABRI Uniform Team, on 24th October 1979, in Jakarta. The following pages contain information on ABRI Cadet/Taruna uniforms obtained in Jakarta through interviews with retired Brigadier General Soekasno Poespomidjojo, retired Colonel Soebarjo for information on the Indonesian Army uniform, and retired Police General Hugeng for information on the Indonesian National Police uniform. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/19791100-surat-perihal-pakaian-seragam-taruna Surat Perihal Pakaian Seragam Taruna]
::The official official letter from the ABRI History Center, Department of Defense and Security, issued in November 1979, addressed to Mr. Edy Sunarso (also known as Edhi Sunarso) in Yogyakarta. It requests prioritization of unfinished work, including improvements to posture, facial features, and additional equipment, as outlined in the previous letter. It also discusses the need for nine sets of cadet uniforms and plans to discuss the cost of these additional uniforms. The letter is signed by Navy Lieutenant Colonel Drs. A. Kusaeri on behalf of the ABRI Museum Project Team. The following page lists the nine sets of uniforms to be produced as an attachment to the letter. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/19791107-laporan-hasil-koreksi-gam-notes Laporan Hasil Koreksi GAM_notes]
::Official Memo addressed to Edy Sunarso (Edhi Sunarso) as the executor to pay attention to the continuation of the correction of the ABRI Museum ABRI Uniform Doll, immediately complete the repairs according to the corrections listed in the first and second letters, and submit a completion report so that when the Head of the Center arrives, all problems have been resolved. Official Memo from KOPKAMTIB (Operation Command for the Restoration of Security and Order), the Department of Research on the Development of Communist Problems was written and signed by Lieutenant Colonel A. Kusaeri in Jakarta on 7th November 1979. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/19791116-hasil-koreksi-terhadap-gam-tahun-1964-1975 Hasil Koreksi Terhadap GAM tahun 1964-1975]
::A letter containing the results of corrections to the uniforms of the Indonesian Army, Air Force, Navy, and Police from 1964 to 1975, located on the first floor. The letter provides detailed information on the condition of the uniforms at that time, and the condition of the uniforms that should have been (after corrections). The letter was signed by Lieutenant Colonel of the Navy, Drs. A. Kusaeri as Head of the Personnel and Logistics Section of the ABRI History Center, on 16th October 1979 in Jakarta. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/19791220-surat-tugas-survei-seragam Surat Tugas Survei seragam]
::A letter of assignment addressed to Ari Sutondo Tc, a member of the team producing replica figures for the historical display of ABRI uniforms, to conduct a survey and study the uniforms of cadets from the AMN (National Military Forces), AAU (Air Force Academy), and AAL (Naval Academy), to complete the data for ABRI uniforms to be exhibited in the ABRI uniform display room at the ABRI Satria Mandala Central Museum. The letter was signed by Edhi Sunarso, a lecturer at the ASRI Yogyakarta Fine Arts College, who was also tasked with filling the historical/uniform display room at the ABRI Satria Mandala Central Museum, on 20th December 1979, in Yogyakarta. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

====Lembar Panduan====
*[https://archive.org/details/19750522-pakaian-dinas-upacara-abri Pakaian Dinas Upacara ABRI]
::This document serves as an official guideline or regulation for the use of uniforms (attributes) of the Indonesian Armed Forces Ceremonial Service Uniform I (PDU-I) which displays illustrations of official ceremonial uniforms for the four branches, namely the Indonesian Army (AD), the Indonesian Navy (AL), the Indonesian Air Force (AU), and the Indonesian National Police (POLRI), then the Indonesian Armed Forces Ceremonial Service Uniform II (PDU-II) which displays illustrations of other versions of the ceremonial uniforms used in the military and police environment of the Republic of Indonesia during that period. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/19780803-deskripsi-tokoh-tokoh-gam-1964-sekarang Deskripsi Tokoh Tokoh GAM 1964-sekarang]
::This document is a technical guide regarding the description of the official uniforms of the four services (TNI Army, Navy, Air Force and POLRI) for the period 1964 until now. This guideline was prepared specifically for the purpose of filling in dummy models in the exhibition space on the ground floor of the Satriamandala ABRI Central Museum Building. The inventory in this document includes in-depth details regarding the origin of the force, year of service, service clothing category, rank level, body posture (gesture), as well as the completeness of the attributes and equipment that accompanies it. This document was ratified in Jakarta on August 3, 1978 through the signature and official stamp of Infantry Major Drs. Saleh AD, as Head of the Team to Fill the GAM ABRI Exhibition Space at the Satriamandala ABRI Central Museum. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/19781109-deskripsi-tokoh-tokoh-gam-1950-1964 Deskripsi Tokoh Tokoh GAM 1950-1964]
::This document is a technical guide regarding the description of the official uniforms of the four services (Army, Navy, Air Force, and POLRI) for the period from 1950 to 1964. This guide was prepared specifically for the purpose of filling in dummy models in the exhibition space on the top floor of the Satriamandala ABRI Central Museum Building. The inventory in this document includes in-depth details regarding the origin of the force, year of service, service clothing category, rank level, body posture (gesture), as well as the completeness of the attributes and equipment that accompanies it. This document was ratified in Jakarta on 9 November 1978 through the signature of Infantry Major Supardi Rapanoi, as Secretary of the Team for Filling the ABRI GAM Exhibition Room at the Satriamandala ABRI Central Museum, and was stamped. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/gam-abri-black-tie-bentuk-i-au GAM ABRI_Black Tie Bentuk I AU]
::This document contains the uniform specifications for the First Form Black Tie category for the Air Force, the uniform for Air Force Lieutenant Colonels/Flight Lieutenant Colonels in a casual position during receptions. The uniform details are as follows: - Headgear: No headgear. - Bodywear: Shirt: Special fancy shirt with black bow tie. - Jacket (Black):Opens with one button, Black material with a satin collar, Has two inside pockets at the bottom (without flaps) and one upper pocket on the left (without flaps). - Pants: Black. - Footwear: Black cruiser shoes and black socks. This document also includes hand-drawn sketches showing the front and back of the uniform and details of the shirt with its pleats. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/gam-abri-korsik-i-iv GAM ABRI_Korsik I-IV]
::Sketch of 4 types of ABRI music corps uniforms --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/gam-abri-mess-dress-i-au GAM ABRI_Mess Dress I AU]
::This technical specification guide document for the 1st Air Force Mess Dress uniform, intended for officers with the rank of Colonel for casual activities during receptions. The guide details the types of materials and other details that characterize the uniform. The document also includes a picture of the uniform with details to note. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/gam-abri-pakaian-dinner-jaket-kowal GAM ABRI_Pakaian Dinner Jaket Kowal]
::Formal uniform specification for officers of the Indonesian Naval Women’s Corps (KOWAL) during the ABRI era, intended for lieutenant-rank personnel attending official evening functions. The regulation details a white Wave Topi made of mercerized drill; a cropped white dinner jacket with six gold anchor buttons; and a long-sleeved pleated shirt worn with a black ribbon tie. The ensemble is completed with a black semi-fitted gabardine wool skirt, 5 cm black heels, and a matching black clutch bag. Accompanying hand-drawn sketches function as technical references for tailoring, uniform construction, and standardized military presentation. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/gam-abri-pd-harian-hijau-al GAM ABRI_PD Harian Hijau AL]
::Regulation sheet specifying the Green Daily Service Uniform (PDH) for Indonesian Navy personnel of the rank Kopral I. The uniform comprises a green drill field cap, short-sleeved shirt with two pleated breast pockets and shoulder straps, and matching trousers. Technical details include a 3.5 cm green belt with brass buckle and the ALRI insignia placed above the left pocket (3 × 9.5 cm). Completed with black low-cut shoes and black socks for daily naval duties. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/gam-abri-pd-pesiar-al GAM ABRI_PD Pesiar AL]
::Regulation sheet outlining the Liberty Service Uniform (PD Pesiar) for Indonesian Navy personnel of the rank Kelasi I. The ensemble includes a dark-blue wool beret worn tilted to the right with enlisted metal insignia, a light-gray short-sleeved jacket-style shirt, dark-gray drill trousers, and a long black necktie. Rank and corps insignia appear on the sleeves, with service ribbons above the left pocket. Completed with a dark-gray belt, black shoes, and black socks. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/gam-abri-pd-upacara-al GAM ABRI_PD Upacara AL]
::Regulation sheet establishing the Ceremonial Service Uniform (PD Upacara) for Indonesian Navy personnel of the rank Kelasi II, illustrated in an at-ease position with a SAFN rifle. The uniform consists of a white drill dop (sailor hat), white long-sleeved Blauwkraag sailor shirt, and white drill trousers secured with a 3.5 cm white belt and brass buckle. Rank insignia and Tanda Vak specialty marks appear on the sleeves. Completed with black shoes and black socks. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/gam-abri-pdh-abu-abu-al GAM ABRI_PDH Abu-abu AL]
::Regulation sheet defining the Gray Daily Service Uniform (PDH Abu-abu) for Indonesian Navy officers of the rank Letda Supply on picket duty with sidearm. The uniform includes a gray gabardine pet (service cap), light-gray short-sleeved drill shirt with pleated breast pockets, and dark-gray drill trousers. Rank insignia appear on shoulder straps and corps insignia on the collar. Completed with a dark-blue belt, black low-cut shoes, and short black socks. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/gam-abri-pdh-khusus-al GAM ABRI_PDH Khusus AL]
::Regulation sheet establishing the Special Daily Service Uniform (PDH Khusus) for Indonesian Navy officers of the rank Captain or Technical Captain. The uniform comprises a dark-gray officer’s pet, gray drill Wavel Dress jacket with open collar and four pockets, and a matching external belt with brass buckle and gold anchor buttons. Rank insignia are placed on the shoulder straps. Completed with gray trousers and black low-cut shoes for formal daily service. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/gam-abri-pdh-pol GAM ABRI_PDH POL]
::Regulation sheet outlining the Daily Service Uniform (PDH) for Police personnel of the rank Brigadir Polisi / Serma Pol. (Perintis) assigned to guard duty with a jungle rifle. The uniform includes a khaki drill shirt with pleated pockets, brown drill trousers, and a service pet bearing the police insignia. A black utility belt secures the ensemble. Completed with black low-cut shoes and black socks for operational service duties. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/gam-abri-pdh-tenue-iii-al GAM ABRI_PDH Tenue III AL]
::Regulation sheet describing PDH Tenue III for KKO (Marine Corps) personnel of sergeant rank. The uniform features a dark-gray gabardine peci (songkok) with blue piping and anchor–Garuda emblem, a light-gray short-sleeved sport shirt without shoulder straps, and dark-gray trousers. Ribbon-style service medals are worn on the left chest. The ensemble reflects the Marine Corps’ distinctive adaptation of daily service attire. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/gam-abri-pdl-pol GAM ABRI_PDL POL]
::Regulation sheet specifying the Field Service Uniform (PDL) for Police personnel of the rank Bharada on guard duty with an SKS rifle. The ensemble includes a brown field cap, khaki drill shirt with standing collar, and brown drill trousers. A black koppelriem combat belt functions as the primary equipment support. Designed for operational field service, the uniform emphasizes durability and mobility. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/gam-abri-pds-hamil-kowad GAM ABRI_PDS Hamil KOWAD]
::Regulation sheet defining the Maternity Service Uniform (PDS Hamil) for the Army Women’s Corps (KOWAD). The uniform consists of a light-green blouse paired with a dark-green skirt and is worn without headgear. The ensemble includes low-heeled black shoes and a black daily handbag bearing the “Dharma Puspa” emblem, maintaining institutional identity during maternity duty assignments. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/gam-abri-pds-hamil-wara GAM ABRI_PDS Hamil WARA]
::Regulation sheet defining the Maternity Service Uniform (PDS Hamil) for the Air Force Women’s Corps (WARA). The uniform consists of a light-blue blouse and dark-blue skirt worn without headgear. Accessories include low-heeled black shoes and a black daily handbag bearing the “Swa Bhuwana Paksa” emblem, reflecting Air Force institutional identity during maternity service assignments. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/gam-abri-pds-korsik-ii-au GAM ABRI_PDS Korsik II AU]
::Regulation sheet specifying the PDS Korsik II uniform and equipment for the Indonesian Air Force Music Corps (Korsik), rank Peltu, serving as ensemble conductor. The uniform includes an Air Force blue service cap with the Swa Bhuwana Paksa emblem, light-blue shirt, and dark-blue trousers marked with a 2 cm yellow stripe. Equipment includes baton, black leather koppelriem, and Raras-wara Andrepati buckle for ceremonial command during military performances. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/gam-abri-pds-pembawa-panji-al GAM ABRI_PDS Pembawa Panji AL]
::Regulation sheet specifying the PDS Pembawa Panji (Color Guard/Standard Bearer) uniform for Indonesian Navy personnel of the rank Letda. The ceremonial ensemble consists of a white helmet with light-blue stripes and the Jalesveva Jayamahe emblem, white tunic, and trousers with yellow side stripes. Accessories include white webbing set, gloves, scarf, and white field boots, worn with full decorations during naval ceremonial processions. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/gam-abri-pdu-b-malam-kowad GAM ABRI_PDU B Malam KOWAD]
::Regulation sheet specifying the PDU B Malam (Evening Grand Ceremonial Uniform) for the Army Women’s Corps (KOWAD). The ensemble comprises a white linen tunic with a 3 cm standing collar and decorative pockets, paired with a tapered black wool skirt with four front pleats. Accessories include a black peaked cap bearing the Kartika Eka Paksi emblem, wide-heeled dress shoes, and ceremonial insignia including TPU, corps badges, and medals. Precise tailoring standards include a skirt hem set 39 cm above the ground. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/gam-abri-pdu-i-ad GAM ABRI_PDU I AD]
::Regulation sheet specifying PDU I (Grand Ceremonial Dress I) for Indonesian Army officers, illustrated for the rank Mayor Infanteri. The uniform consists of a hijau Kanada tunic and trousers worn with an olive-green shirt and hijau tahi kuda necktie. A black peaked cap with the Kartika Eka Paksi emblem and gold buttons completes the ensemble. Ceremonial insignia include TPU, TNI badges, and service decorations. Completed with black dress shoes and socks for formal state ceremonies. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/gam-abri-pdu-i-pol GAM ABRI_PDU I POL]
::Regulation sheet defining PDU I (Type I Ceremonial Dress) for the Indonesian National Police, illustrated for the rank First Police Inspector (Lettu Pol.). The uniform comprises a brown peaked cap, white long-sleeved shirt with black tie, and khaki gabardine tunic with four external pockets. The ensemble is paired with brown trousers and black dress shoes. Accompanying diagrams indicate the placement of shoulder epaulettes and insignia, establishing formal standards for police ceremonial protocol. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/gam-abri-pdu-ii-polri GAM ABRI_PDU II POLRI]
::Regulation sheet specifying PDU II (Type II Ceremonial Dress) for the Indonesian National Police, illustrated for the rank AIPDA / Pelda Pol. The ensemble includes a white peaked cap, white long-sleeved shirt with black bow tie, white tunic, and black trousers marked with a yellow side stripe. Accessories include white gloves and small ceremonial decorations. The uniform is completed with black dress shoes and socks, forming the prescribed attire for specific ceremonial duties. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/gam-abri-pdu-iii-au-1 GAM ABRI_PDU III AU_1]
::Regulation sheet specifying PDU III (Type III Ceremonial Dress) for the Indonesian Air Force, illustrated for the rank Kapten Meteo. The uniform includes an Air Force blue peaked cap and Trivera-fabric tunic with four-button closure, upper flap pockets, and internal lower pockets. The ensemble is worn with a white shirt, black necktie, and blue trousers secured with a 3.5 cm belt. Ceremonial rank insignia, TNI badge, and service ribbons complete the formal presentation. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/gam-abri-pdu-iii-au GAM ABRI_PDU III AU]
::Regulation sheet defining PDU III ceremonial dress for Indonesian Air Force enlisted personnel, illustrated for the rank Serma. The uniform consists of a blue peaked cap with the Swa Bhuwana Paksa emblem, blue tunic and trousers, white shirt, and black necktie. Ceremonial insignia include TPU, TNI badge, and service ribbons or decorations. Skill badges may also be displayed. Completed with black dress shoes and socks in accordance with formal Air Force protocol. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/gam-abri-pdu-kebesaran-kowal GAM ABRI_PDU Kebesaran KOWAL]
::Regulation sheet defining PDU Kebesaran (Grand Ceremonial Dress) and PDL (Field Service Uniform) for the Women’s Naval Corps (KOWAL), illustrated for the rank Lettu. The ceremonial ensemble includes a white bivouac cap with officer emblem, white tunic with gold buttons, white skirt, and high-heeled shoes with gloves and leather handbag. The accompanying field uniform specifies a black beret, green service shirt and trousers, black field boots, and green koppelriem belt. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/gam-abri-pdu-malam-tenue-iib-al GAM ABRI_PDU Malam Tenue IIB AL]
::Regulation sheet specifying PDU Malam Tenue II B (Evening Ceremonial Uniform) for Indonesian Navy officers, illustrated for the rank Kapten Elektro. The uniform includes a dark-gray peaked cap with officer emblem and gold sierband, worn with a gray gabardine tunic featuring anchor buttons and four pockets. The ensemble is paired with a light-gray shirt, black tie, and dark-gray trousers with light-gray piping. Completed with ceremonial rank insignia and black dress shoes. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/gam-abri-pdu-parade-polri GAM ABRI_PDU Parade POLRI]
::Regulation sheet specifying PDU Parade for Indonesian National Police personnel, illustrated for the rank Bhayangkara I. The tactical-ceremonial uniform includes a khaki drill shirt, brown trousers, and a black webbing set worn with a peaked cap. Accessories include high black boots, white gloves, and field rank insignia. Unit scarves indicate service divisions—yellow for Sabhara, white for Traffic, and blue for Airud. Parade formation includes the carrying of an SKS rifle with bayonet. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/gam-abri-pdu-siang-al GAM ABRI_PDU Siang AL]
::Regulation sheet specifying PDU Siang Tenue I / II A (Day Ceremonial Uniform) for Indonesian Navy officers, illustrated for the rank Mayor Pelaut. The ensemble consists of a white peaked cap with officer emblem and gold sierband, a white high-collared tunic with anchor buttons, and matching white trousers. The uniform is worn with a white belt, white dress shoes, and ceremonial rank insignia on the shoulders, with corps insignia and service medals positioned above the left chest pocket. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/gam-abri-pdub-ad GAM ABRI_PDUB AD]
::Regulation sheet specifying PDU B (Pakaian Dinas Upacara Besar / Grand Ceremonial Dress) for the Indonesian Army (AD). The ensemble includes a black peci with yellow piping and a bronze Bhinneka Tunggal Ika emblem, worn with a khaki wavel shirt and double-pleated trousers secured by a belt. The uniform is completed with black dress shoes and khaki socks. Ceremonial rank insignia (TPU) are placed on both shoulders with corps insignia positioned above, forming the prescribed appearance for formal military ceremonies. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/gam-abri-pduk-polwan GAM ABRI_PDUK POLWAN]
::Regulation sheet specifying PDUK (Pakaian Dinas Upacara Kecil / Minor Ceremonial Dress) for Women’s Police Corps (POLWAN) personnel, illustrated for the rank First Police Inspector (Lettu Polwan). The uniform consists of a POLWAN peaked cap with police emblem, a long-sleeved tunic with shielerkraag collar and two lower flap pockets, and a decorative belt (sabuk hias). The ensemble is worn with a service skirt and black dress shoes. Daily rank insignia are required, with white gloves worn only when ordered. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/gam-abri-pduk-tenue-iic-al GAM ABRI_PDUK Tenue IIC AL]
::Regulation sheet specifying PDUK Tenue IIC (Minor Ceremonial Dress) for Indonesian Navy (AL) personnel, illustrated for the rank Serma. The uniform includes a dark-grey peaked cap of Gabardine Tetoron with officer emblem, a light-grey short-sleeved drill shirt with two breast pockets and sewn shoulder loops, and dark-grey drill trousers secured by a 3.5 cm belt. Daily rank insignia are worn on the shoulder loops with corps insignia on the collar. Completed with black dress shoes and socks. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/gam-abri-pdukb-pol GAM ABRI_PDUKB POL]
::Regulation sheet specifying PDUKB (Minor Grand Ceremonial Dress) for Women’s Police Corps (POLWAN) officers, illustrated for the rank Kompol / Mayor Polwan. The uniform comprises a white peaked cap with police emblem and a white tunic styled after Baju Bodo, featuring a standing collar, gold buttons, and corded cuffs. The tunic is paired with a black skirt with five front pleats and black dress shoes. Daily rank insignia and white gloves are prescribed, with aiguillettes (nestles) worn according to regulation. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/gam-abri-ps-bentuk-pa-a-1-au GAM ABRI_PS Bentuk Pa-A-1 AU]
::Regulation sheet specifying PS (Pakaian Seragam / Service Uniform), Bentuk Pa-A-1, for Indonesian Air Force (AU) officers, illustrated for the rank Mayor Udara / Mayor Pas. The ensemble includes an Air Force Blue (AFB) peaked cap, white long-sleeved shirt with black tie, and open AFB wool tunic with four buttons and flap pockets, worn with matching trousers. Formal protocol requires ceremonial insignia, service ribbons, and gold buttons. For parade duties the officer may carry a pistol and ceremonial sword with white gloves. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/gam-abri-ps-parade-au GAM ABRI_PS Parade AU]
::Regulation sheet specifying the Parade Service Uniform (PS) for Indonesian Air Force (AU) personnel, illustrated for the rank Serda (Second Air Sergeant). The uniform includes an AFB wool peci, khaki drill shirt with four pockets and brass buttons, and matching trousers. Equipment includes black combat boots, a koppelriem belt with ammunition pouches, and webbing set. Parade formation requires the carrying of a Senapan Cung rifle with bayonet, accompanied by rank insignia, name tag, service stars, and qualification badges. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/gam-abri-psu-kecil-au GAM ABRI_PSU Kecil AU]
::Regulation sheet specifying PSU Kecil (Minor Ceremonial Service Uniform) for Indonesian Air Force (AU) enlisted personnel, illustrated for the ranks Kopral II Udara / Serma. The uniform consists of an AFB enlisted peci, short-sleeved khaki drill tunic with four pockets and external fabric belt, and blue trousers secured with a 3.5 cm belt. Rank insignia are worn on both sleeves with unit badges and service ribbons. The ensemble is completed with black dress shoes and worn during ceremonial rifle salutes. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/gam-abri-psub-i-au GAM ABRI_PSUB I AU]
::Regulation sheet specifying PSUB I (Pakaian Seragam Upacara Besar I / Grand Ceremonial Uniform I) for Indonesian Air Force (AU) officers, illustrated for the rank Letnan Udara I. The ensemble includes an AFB peaked cap, white long-sleeved shirt with black tie, and open AFB tunic with flap pockets and shoulder loops. Matching trousers and black dress shoes complete the uniform. Ceremonial rank insignia, corps badges, and service medals are worn in accordance with official regulations. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/gam-abri-psub-i-wara GAM ABRI_PSUB I WARA]
::Regulation sheet specifying PSUB I (Grand Ceremonial Uniform I) for Women’s Air Force (WARA) personnel, illustrated for the rank Letnan Udara II. The uniform includes a WARA Air Force Blue cap, white shirt with black tie, and AFB wool jacket with gold buttons and shoulder tabs, worn with a matching skirt. Ceremonial rank insignia, corps badges, medals, and brevet wings complete the ensemble, establishing the formal appearance of female officers during official Air Force ceremonies. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/gam-abri-psub-ii-wara GAM ABRI_PSUB II WARA]
::Regulation sheet specifying PSUB II (Grand Ceremonial Uniform II) for Women’s Air Force (WARA) officers, illustrated for the rank Letnan Udara I. The ensemble comprises a khaki wool jacket and skirt worn with a white shirt and black tie. The uniform includes a WARA Air Force Blue cap, high-heeled shoes, and ceremonial insignia including rank, corps badges, medals, and brevet wings. The regulation establishes formal standards for the appearance of female Air Force officers in ceremonial protocol. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/gam-abri-psub-ii GAM ABRI_PSUB II]
::Regulation sheet specifying PSUB II (Grand Ceremonial Uniform II) for Indonesian Air Force (AU) officers and warrant officers. The uniform includes an Air Force Blue peaked cap, khaki wool tunic with four buttoned pockets and shoulder straps, worn over a white shirt with black tie. Matching trousers and black dress shoes complete the ensemble. Full ceremonial insignia—including rank, corps badges, medals, and brevet wings—are worn during official state or military ceremonies. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

*[https://archive.org/details/gam-abri-psuk-wara-au GAM ABRI_PSUK WARA AU]
::Regulation sheet specifying PSUK (Pakaian Seragam Upacara Kecil / Minor Ceremonial Uniform) for Women’s Air Force (WARA) personnel, illustrated for the ranks Sersan Udara / Serda. The ensemble comprises a khaki wool skirt and open-style tunic with three-quarter sleeves, shoulder straps, and gold buttons. The uniform is worn with a WARA Air Force Blue cap and high-heeled shoes. Daily rank insignia, unit badges, and service ribbons complete the prescribed appearance for minor ceremonial duties. --- Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

===[https://archive.org/details/ris-ser-tni-al Riset seragam TNI AL]===

*Photo documentation of Indonesian uniforms from the era of the Maritime Homeland Defense Forces (PETA Laut, 1946) to standardization in 1975. The scope includes various categories of service clothing (Daily, Ceremonial, and Servant) as well as special uniforms for the Navy Women's Corps and Military Police. This information includes technical details of materials (drill, gabardine, tetoron), colors (white, gray, Navy green), and specifications for the front and back of the clothing pieces stored at the Indonesian Navy National Armed Forces Museum, Morokrembangan, Surabaya. contains 34 photos (only 26 found, ed. Hyphen —)

===[https://archive.org/details/sejarah-singkat-hakekat-museum-sejarah-dan-perpustakaan Sejarah Singkat, Hakekat Museum, Sejarah, dan Perpustakaan, 1978]===

*This book details the history of the founding of the Indonesian Air Force Central Museum "Dirgantara Mandala", which began with the idea of the AURI leadership in 1960 to immortalize the historical events of the air force, until its inauguration in Jakarta in 1969 and its relocation to Yogyakarta in 1978 due to the historical value of the city as the birthplace of the Indonesian Air Force.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

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Sketches, stitches, and negotiations: Data catalogue

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<div style="float:right;">__TOC__</div>

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==Museum Sejarah Nasional (National History Museum)==
Located in the basement of Monumen Nasional (National Monument), Jakarta, popularly known as Monas. Colloquially, the museum is dubbed as "Museum Monas".

===Dokumen dan Surat===
; '''[https://archive.org/details/19651228-surat-idzin-djalan-menemui-pjm-soekarno Surat Idzin Djalan - Menemui PJM Soekarno]'''
*Travel Permit with letter number 023/Djl./I.J./12/65 issued by the Yogyakarta Palace Household for Edhi Sunarso, A.S.R.I. (Indonesian Academy of Fine Arts) Lecturer in Yogjakarta, with address at A.S.R.I. Gampingan Yogyakarta, to meet with His Majesty the President in Jakarta, by train, on 29th December 1965 until it is completed, with one person accompanying him. The Travel Permit was issued in Yogyakarta, on 28th December 1965, at 12.00 West Indonesian Time, signed by Alip Parintono, as Supervisor of the Yogyakarta Palace Household, and stamped.

; '''[https://archive.org/details/19660108-surat-keterangan-monas-auri-musi Surat Keterangan Monas, AURI, Musi]'''
*Statement letter with letter number 7/Ktr./U.P./66.-, which explains that Edhi Sunarso, with a job as a Lecturer at the Indonesian Academy of Fine Arts R.I. (Republic of Indonesia)/Head of the Keluarga Arca Sculptor Team in Yogjakarta, received an assignment from His Majesty the President, as the executor/coordinator of the A.U.R.I. (Indonesian Air Force) Monument Statue project, Musi Bridge Decoration Statue, Hotel Decoration, National Monument, and others. The letter was issued in Jakarta, on 8th January, 1966, and signed by Djamin, as Presidential Secretary-Head of the Presidential Cabinet, and stamped.

; '''[https://archive.org/details/19660114-susunan-personalia-patung-banteng-monas Susunan Personalia Patung Banteng Monas]'''
*The composition of the personnel of the Jakarta National Museum Bull Statue Implementation Team, consisting of Soedarsono as the National Monument Executive Director, Edhi Sunarso and I. Gardono as the Personnel in Charge of the Implementation, Drs. Soepardjo and A. Singgih as the Implementation Staff, the Keluarga Arca Sculptor Team as the Planning Team, and Sarpomo, Soewardi, Boediani, Mon Moedjiman, Herjana Iskandar, Askabul, and Harri Djauharuddin as the Core Team of Sculptors. The composition of the personnel was signed by Edhi Sunarso as the sculptor on 14th January 1966 in Jakarta.

; '''[https://archive.org/details/19660707-surat-keterangan-monas Surat Keterangan MONAS]'''
*This certificate was issued by the National Monument Implementation Command in Jakarta on July 7, 1966, providing official identification and details of the work of Edhi Sunarso, aged 33, who was assigned as an artist in the National Monument (Monas) Project at Merdeka Square, Jakarta, and lived in the National Monument Project Housing in Medan Merdeka. This document serves as an official assignment letter authorizing the holder to carry out daily duties in the National Monument Project area and serves as official identification when dealing with military or police authorities, who are requested to contact the Security Division of the National Monument Implementation Command. The certificate is valid for a period of one month from the date of issuance and is signed by Kunto Sudarsono, Lieutenant Colonel of the Military Police Corps (CPM), service number 12687, in his capacity as Deputy Commander and Special Assistant for Security Affairs of the National Monument Implementation Command.

; '''[https://archive.org/details/surat-dinas-project-monas-1 Surat Dinas Project Monas_1]'''
*A statement letter issued by the State Secretariat of the Presidential Cabinet stating that Edhi Sunarso, a sculptor/lecturer at the Indonesian Fine Arts Academy (A.S.R.I.) in Yogyakarta, was assigned by His Majesty the President to carry out the following projects: 1. The Air Force Monument Statue. 2. Decoration of the Musi River Bridge Project. 3. Coordinator of Special Projects Ordered by the His Majesty the President. The letter was drawn up in Jakarta on 29th January 1965, signed by Djamin, the Presidential Secretary/Head of the Presidential Cabinet, and stamped.

; '''[https://archive.org/details/surat-dinas-project-monas-2 Surat Dinas Project Monas_2]'''
*Official duty order issued by the Indonesian Fine Arts Academy of Yogyakarta for Edy Sunarso (another name from Edhi Sunarso), who serving as a Lecturer at the Indonesian Fine Arts Academy, with a basic salary of Rp.1,764, located in Yogyakarta, with the destination being Jakarta, for official purposes to accompany the Director of A.S.R.I. (Indonesian Fine Arts Academy) to the National Monument Project, which departed on 11th February 1966, until it is completed. The official duty order was made in Yogyakarta on 10th February 1966 signed by Alibasjah as Director of the Indonesian Fine Arts Academy and Edhi Sunarso as the letter holder.

===Foto===
; '''Foto diorama MONAS oleh Ary "Jimged" Sendy'''
; '''[https://archive.org/details/01-masyarakat-indonesia-purba-3000-2000-sm-img-9473 MASYARAKAT INDONESIA PURBA, 3000-2000 SM]'''
*DIORAMA 1: MASYARAKAT INDONESIA PURBA (3.000 - 2.000 SM)
::Nenek moyang Bangsa Indonesia (Paleo-Mongoloid) pada Zaman Megalithikum sudah hidup dalam masyarakat teratur. Mereka sudah mempunyai tempat tinggal tetap, sebagian sudah jadi pelaut dan sebagian lagi hidup sebagai petani. Selain pakaian dari kulit kayu sudah dikenal juga pakaian dari tenunan. Hasil budaya Megalithikum yang terpenting diantaranya adalah alat-alat serpih (flakes, pebbles dan bones), menhir (tiang batu), dolmen (meja batu), sarcophagus, kubur batu (peti mayat batu), punden berundak-undak (bangunan pemujaan) dan arca. Benda-benda peninggalan budaya Megalithikum it tersebar di seluruh Indonesia, tetapi yang terpenting terdapat di Pasemah (daerah pegunungan yang terletak antara wilayah Palembang dan Bengkulu) dan Besuki (Pulau Jawa). Diorama in menggambarkan kehidupan nenek moyang bangsa Indonesia.

*DIORAMA 1: THE PREHISTORIC INDONESIAN SOCIETY (3.000 - 2.000 BC)
::The Indonesian forefathers (Paleo-Mongoloid) in the Neolithic age had already a sort of ordered society. They had permanent homes making a living as fisher-men or farmers. They knew clothing either woven besides clothing made from the bark of trees. The most important instruments of the Neolithi-cum culture are flakes, pebbles and bones, stone coffin, little houses of worship and even statues. These remains are scattered over the whole of Indonesia, but the most important things are found at the Pasemah plain (between Palembang and Bengkulu) and at Besuki (East Java). The diorama shows the life-style of Indonesian prehistoric society.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

; '''[https://archive.org/details/02-bandar-sriwijaya-abad-viii-xiii-img-9469https://archive.org/details/02-bandar-sriwijaya-abad-viii-xiii-img-9469, BANDAR SRIWIJAYA, ABAD VIII-XIII]'''
*DIORAMA 2: BANDAR SRIWIJAYA (ABAD KE 8 - 13)
::Bandar Sriwijaya terletak di persimpangan tiga jalur pelayaran antara Indonesia, Cina dan India. Posisi ini sangat menguntungkan bagi Kerajaan Sriwijaya, sehingga dengan sendirinya memegang peranan penting pula dalam perjalanan perdagangan selama berabad-abad. Kapal-kapal dari negeri Cina yang membawa pendeta-pendeta Budha banyak berlabuh dan sering menetap untuk waktu yang lama. Bandar tersebut akhirnya menjadi pusat perdagangan dan budaya pada waktu itu. Letak Bandar Sriwijaya berada di muara sungai di daerah pertemuan sungai Kampar Kanan dan Kampar Kiri kira-kira 2.5 derajat sebelah Utara Palembang. Diorama ini menggambarkan kegiatan perdagangan di Bandar Sriwijaya.

*DIORAMA 2: THE PORT OF SRIWIJAYA (8TH - 13TH CENTURY)
::The Port of Sriwijaya was very favorably located for the Kingdom as it used to be the crossroad of the prominent trade routes among Indonesia - China - India and brought many windfalls to the Sriwijaya dynasty. Automatically it had a prominent part and influenced the international trade. Strange and foreign vessels fre-quented the Port, moreover, many Buddhist priests from China stopped over, so that finally it became the center of trade and culture. The Port of Sriwijaya is located in mouth of the river Kampar Kanan and Kampar Kiri, about 2,5 degree of the northern of Palembang, South Sumatra. The diorama shows the atmosphere of trading ac-tivities among the merchants.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

; '''[https://archive.org/details/03-candi-borobudur-824-img-9480 CANDI BOROBUDUR (824)]'''
*DIORAMA 3: CANDI BOROBUDUR (824)
::Candi Borobudur didirikan pada sekitar tahun 824 M oleh Raja Samaratungga dari keluarga Sailendra. Bangunan candi berbentuk pyramid dan mencerminkan alam semesta. Bangunan ini dibuat dari batu sumbangan para menganut agama Budha dan dibangun dengan cara gotong-royong. Dalam pembangunan Candi Borobudur, hampir dua ratus ribu kaki kubik batu dipergunakan, lebih dari empat puluh ribu kaki kubik masuk dalam tingkat-tingkat terbuat dari batu. Pada candi ini terdapat 505 buah patung Budha dan 1.555 Stupa ukuran besar dan kecil yang melengkapi monumen Budha yang megah ini. Dari pendirian bangunan ini terbukti bahwa kemampuan bangsa Indonesia di bidang teknik dan organisasi sudah baik. Diorama ini menggambarkan tahap akhir pembangunan Candi Borobudur.

*DIORAMA 3: THE BOROBUDUR TEMPLE (824)
::Candi Borobudur was founded by King Samaratungga of the Cailendra dynasty in the year 824 and is a reflection of the universe. It was built by means of contributions from the Buddhist population and mu-tual cooperation of the people. The construction of the Candi has indicated that time the nation had already achieved a high technical knowledge and organization. Candi Borobudur is regarded to be one of the wonders of the world. On the temple founded 505 Buddhist statues and 1.555 large and little "Stupa" which completed the great Buddhist monument. On the temple construction was proved the ability of the Indonesian people in technical and organization. The diorama shows the last stage of the construction

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

; '''[https://archive.org/details/04-bendungan-waringin-sapta-abad-xi-img-9482 BENDUNGAN WARINGIN SAPTA ABAD XI]'''
*DIORAMA 4: BENDUNGAN WARINGIN SAPTA (ABAD KE 11)
::Setelah Raja Airlangga memperoleh wilayah yang menjadi haknya, kemudian ia berusaha memakmurkan rakyatnya. Sungai Brantas yang sering meluap dan selalu menimbulkan kerusakan-kerusakan pada tanah-tanah persawahan dibendung dengan mendirikan tanggul di Waringin Sapta. Untuk menjaga supaya tanggul tidak rusak, Raja Airlangga menunjuk rakjat setempat untuk memeliharanya, dan sebagai imbalan daerah tersebut dibebaskan dari kewajibannya membayar pajak. Akibatnya, rakyat makmur, pelayaran di Sungai Brantas bertambah ramai dan Pelabuhan Hujung Galuh menjadi pusat perdagangan antar pulau. Diorama ini menggambarkan ketika sungai Brantas sedang dibendung dekat Kelagen dan diawasi oleh Raja Airlangga.

*DIORAMA 4: WARINGIN SAPTA DAM (11TH CENTURY)
::After King Airlangga obtained his right domain, he endeavored to promote the prosperity and welfare of his people. The Brantas River which frequently over-flowed its bank caused much damage to large areas of the people's rice fields, was dammed up by rearing dike in order to control the flood and provide irrigation. To guard the dike against harm and damage, he ordered the local people to maintain it, and as a compensation he decreed them free from taxes and as a result the people prospered, the trip increased in Brantas river, and Hujung Galuh became the center of inter island trading. The diorama shows the Brantas River being dammed up near the village of Kelagen and King Airlangga supervising.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

; '''[https://archive.org/details/05-candi-jawi-perpaduan-sivaisme-dan-buddhisme-1292-img-9488 CANDI JAWI PERPADUAN SIVAISME DAN BUDDHISME, 1292]'''
*DIORAMA 5: CANDI JAWI PERPADUAN SIVAISME-BUDHISME (1292)
::Candi Jawi terletak di Gunung Welirang, sebelah barat daya Pandakan di tepi jalan ke Prigen dan didirikan untuk makam Raja Kertanegara, raja terakhir kerajaan Singasari yang meninggal pada tahun 1292. Dibagian atas candi terdapat arca Budha Aksobhya sedangkan di bagian bawah caridi terdapat arca Siva-Mahadewa. Dari bangunan ini dapat diketahui bahwa pada jaman Singasari dan Majapahit terjadi perpaduan Sivaisme-Budhisme. Diorama ini menggambarkan ketika pemimpin agama Budha serta pengikut-pengikutnya sedang mengadakan upacara keagamaan di Candi Jawi

*DIORAMA 5: JAWI TEMPLE, A BLEND OF SIVAISM-BUDDHISM (1292)
::Candi Jawi is located at Gunung Welirang. South-west of Pandaan along side the road to Prigen, East Java and founded as the grave of King Kartanegara, the last King of the Singasari Dynasty, who died in 1292. It features Buddha statue at its upper part and statue of Siva-Mahadewa at its lower part. From the Candi can be deducted that at time a merging of Sivaism and Buddhism occurred in the era of Singosari and Majapahit dynasties. The diorama shows a Buddhist priest and monks conducting a religious ceremony at Candi Jawi.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

; '''[https://archive.org/details/06-sumpah-palapa-1331-img-9490 SUMPAH PALAPA 1331]'''
*DIORAMA 6: SUMPAH PALAPA (1331)
::Dalam rangka membela integrasi Negara Majapahit, Gajah Mada seorang Patih dari Kerajaan Majapahit yang terkenal, bersumpah tidak akan makan Palapa sebelum Nusantara dapat dipersatukan di bawah mahkota Majapahit. Peristiwa ini dikenal dengan nama Sumpah Palapa. Sumpah itu dilakukan di Panangkilan, suatu tempat yang terletak di sebelah selatan alun-alun Majapahit. Pada saat itu banyak rekan-rekan Gajah Mada yang menertawakan dan mencemoohkannya. Namun Gajah Mada tejap teguh pada pendiriannya dan akhirnya berhasil menepati janji itu. Diorama ini menggambarkan Patih Gajah Mada dengan menggenggam sebilah keris mengucapkan Sumpah Palapa di hadapan prajurit-prajurit kerajaan Majapahit.

*DIORAMA 6: THE PLEDGE OF PALAPA (1331)
::In his effort to maintain the integration of Nusantara, Gajah Mada, the famous Vice-regent of the Majapahit Kingdom, pledged not to eat Palapa (rice with side dishes) before Nusantara (the Indonesian Archipelago) has been united under the reign of Majapahit. The pledge took place at Penangkilan, a certain place south of the Alun-alun of Majapahit. Many of his contemporaries laughed and ridiculed him. Gajah Mada. however, held firmly and eventually fulfilled his promise. The diorama shows Gajah Mada being pledged in front of the Gajah Mada troops.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

; '''[https://archive.org/details/07-armada-perang-majapahit-abad-ke-14-img-9500 ARMADA PERANG MAJAPAHIT ABAD KE-14]'''
*DIORAMA 7: ARMADA PERANG MAJAPAHIT (ABAD KE 14)

::Setelah Gajah Mada meninggal, timbul kesulitan dalam pemerintahan Raja Hayam Wuruk. Pemerintah yang baru berusaha mengekalkan keutuhan negara. Maka tindakan-tindakan ditujukan kepada kemakmuran rakyat dan keamanan daerah-daerah mendapat prioritas utama. Upaya tersebut dilakukan dengan memperkuat armada Majapahit dengan tujuan untuk menjaga keutuhan Nusantara dan mengatasi tindakan pengacauan yang dilakukan oleh Cina. Diorama ini menggambarkan armada Majapahit sedang menghadang kapal-kapal Cina di perairan Nusantara.

*DIORAMA 7: THE FLEET OF MAJAPAHIT (14TH CENTURY)
::After the death of the prominent figure Gajah Mada. disturbances arose under the reign of King Hayam Wuruk. The new sovereign strove to enforce the unity of Majapahit Kingdom. So, efforts for the people's pros-perity and the defence of all territory were given high priority. This was proved by strengthening the Majapahit's fleet with the aim to safeguard Nusantara's unity and resist attempts to create disorders by Chinese fleet, among other things. The diorama shows the Majapahit's fleet succeeds in driving away the Chinese fleet.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

; '''[https://archive.org/details/08-utusan-china-ke-majapahit-1405-img-9503 UTUSAN CHINA KE MAJAPAHIT 1405]'''
*DIORAMA 8: UTUSAN CINA KE MAJAPАНІТ (1405)
::Semasa pemerintahan raja Wikrama-wardhana, hubungan persahabatan dengan negara-negara tetangga berlangsung baik. Hal ini terbukti dengan kedatangan Cheng Ho, utusan kerajaan Kaisar Cina ke Majapahit sebagai pengakuan kedaulatan Kerajaan oleh Cina. Diorama ini menggambarkan Cheng Ho sedang membawa hadiah dari Kaisar Cina sedang menghadap raja Wikramawardhana.

*DIORAMA 8: THE CHINESE ENVOY TO MAJAPAHIT (1405)
::In the reign of king Wikramawardhana friendly relations with neighboring states and kingdoms were main-tained in good order. This was confirmed with the com-ing of Cheng Ho, the Emperor of China delegation visiting Majapahit as recognition of the Kingdom's sover-eignty by China. The diorama shows Cheng Ho with presents from the Emperor of China makes a formal appearance before King Wikramawardhana.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

; '''[https://archive.org/details/09-peranan-pesantren-dalam-penyatuan-bangsa-abad-ke-14-img-9507 PERANAN PESANTREN DALAM PENYATUAN BANGSA, ABAD KE-14]'''
*DIORAMA 9: PESANTREN SEBAGAI PEMERSATU BANGSA INDONESIA (ABAD KE 14)
::Salah satu cara untuk menyebarkan Agama Islam di Indonesia adalah melalui pendidikan di pesantren atau pondok yang diselenggarakan oleh guru-guru agama, kyai-kyai atau ulama. Pesantren merupakan lembaga penting dalam penyebaran agama Islam. Di tempat ini dilakukan pembinaan calon-calon guru agama, kyai-kyai atau ulama. Setelah keluar dari pesantren itu mereka akan kembali ke daerah asal masing-masing. Pesantren-pesantren beserta kyai-kyai mempunyai peranan yang penting dalam proses pengembangan pendidikan masyarakat. Semakin terkenal kyai yang mengajar itu semakin terkenal pesantrennya dan pengaruhnya akan mencapai radius yang lebih jauh lagi. Dengan cara ini integrasi nasional berdasarkan Islam meliputi wilayah yang makin lama makin luas. Diorama ini menggambarkan suasana pengajaran di Pondok Pesantren yang dipimpin oleh Sunan Giri di Jawa Timur.

*DIORAMA 9: MOSLEM BOARDING SCHOOLS IN UNITING THE NATION (14TH CENTURY)
::One of the methods of spreading the Islam in Indonesia is education conducted in the Pesantren (Moslem Boarding Schools) by religious teachers, scholars or kiaies. Pesantrens are significant institution in the spreading of Islam. After graduation, the students return to their homestead or villages. At their homestead they become prominent religious figures and establish their own Pesantrens. The Pesantren and Muslim religious leaders rep-resent an important element in the propagation of Is-lam and the spread of education. The more well-known the kiaies the more well-known his Pesantren and his influence will be widespread. This way the longer the wider the area of integration based on Islam. The diorama shows the atmosphere of Islamic teaching at a pesantren led by Sunan Giri in East Java

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

; '''[https://archive.org/details/10-pertempuran-pembentukan-jayakarta-22-juni-1527-img-9511 PERTEMPURAN PEMBENTUKAN JAYAKARTA, 22 JUNI 1527]'''
*DIORAMA 10: PERTEMPURAN SUNDA KELAPA (1527)
::Dalam usaha menyerang Malaka yang diduduki Portugis, Sultan Trenggono dari Demak tidak melakukannya secara langsung melainkan dengan jalan mengisolasi daerahnya dari pengaruh Portugis, terutama daerah-daerah yang pendukungnya belum masuk Islam. Setelah diketahui bahwa Portugis berhubungan dengan Raja Samian yang saat itu menguasai Pelabuhan Sunda Kelapa, Sultan Trenggono segera memerintahkan menantunya, yakni Pangeran Fatahillah, untuk segera menduduki Banten, Sunda Kelapa dan Cirebon. Pada tahun 1522 Penguasa daerah Sunda Kelapa. Raja Samian, mengadakan perjanjian dengan wakil Portugis. Henrique Leme, yang memberikan izin mendirikan benteng bagi Portugis. Ekspedisi Demak yang dipimpin Fatahillah pada tahun 1527 berhasil menduduki Banten, Sunda Kelapa dan Cirebon. Untuk menagih janji Raja Samian, pada tahun 1527 Portugis mengirim ekspedisi terdiri dari 6 buah kapal yang dipimpin oleh Francisco de Sa. Ternyata Portugis tidak lagi berhadapan dengan kerajaan Hindu melainkan dengan kerajaan Islam. Setelah tuntutan mereka ditolak oleh Fatahillah mereka mencoba mendaratkan tentaranya. Usaha tersebut dilawan oleh Fatahillah sehingga terjadilah pertempuran yang berlangsung di Teluk Sunda Kelapa. Armada Portugis akhirnya berhasil dipukul mundur. Peristiwa ini diabadikan dengan mengganti nama Sunda Kelapa menjadi Jayakarta. Diorama ini menggambarkan pertempuran yang berlangsung di Teluk Sunda Kelapa pada tanggal 22 Juni 1527.

*DIORAMA 10: THE BATTLE OF SUNDA KELAPA (1527)
::In the effort to attack Malacca which was ruled by the Portuguese, Sultan Trenggono of Demak did not carry it out directly but he isolated his area from the influence of the Portuguese, especially the area whose inhabitants were not converted yet to Islam. When he realized that the Portuguese was in contact with King Samian, the authority of Sunda Kelapa, Sultan Trenggono immediately ordered his son-in-law to occupy Banten. Sunda Kelapa and Cirebon. In 1522, King Samian signed an agreement with the Portuguese, represented by Henrique Leme which gave the Portuguese the right to build a fortress for his trade interest in Sunda Kelapa. Early in 1522 Demak expedition led by Fatahillah succeeded in occupying Banten, Sunda Kelapa and Cirebon. To press his claim further on King Samian, on 1527, the Portuguese sent an expedition of six ships led by Francisco de Sa. But evidently they did not oppose, a Hindu kingdom anymore, but an Islamic monarch. When their demand were rejected by Fatahillah, they tried to embark with force and so began the siege of the Bay of Sunda Kelapa. The Portuguese was then successfully by Fatahillah's troops. This event is immortalized by changing the name of Sunda Kelapa to Jayakarta (Glorious City). The diorama shows the battle of Sunda Kelapa on A June 22, 1527 when the Prince Fatahillah and his troops defeated the Portuguese fleet off Sunda Kelapa Bay

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.
; '''[https://archive.org/details/11-armada-perang-bugis-abad-ke-15-img-9515 ARMADA PERANG BUGIS, ABAD KE-15]'''
*DIORAMA 11: ARMADA DAGANG BUGIS (ABAD KE 15)
::Pelayaran orang Makasar dan Bugis dengan pinisi mulai abad ke 15 atau sebelumnya sudah meliputi hampir seluruh perairan Nusantara. Cerita tentang pengembaraan Sawerigading bisa memberi petunjuk tentang luasnya daerah-daerah yang dikunjungi. Gambaran lebih jelas baru diperoleh dari catatan pada masa sesudahnya. Misalnya dalam tulisan tentang hukum laut Amanna Gappa dan juga dari peta laut Bugis. Dari bukti-bukti ini kita melihat bahwa pelayaran mereka sampai ke Aceh. Kedah, Kamboja. ke Timur sampai ke Kei dan Teluk Ternate dan ke Utara sampai ke pulau-pulau Filipina (Sulu) dan Kalimantan Utara (Berau). Selanjutnya, menurut kisah Daeng Saro dari kampung Bontoranu, pelayaran penangkap-penangkap teripang dari Sulawesi Selatan sampai ke Marege, yaitu nama penduduk asli Australia dalam bahasa Bugis dan Makasar mengambil rute Ujung Pandang, Selayar, Wetar, Kisar. Leti dan Moa, selajutnya ke arah Tenggara ke pelabuhan Darwin. Diorama ini menggambarkan pelayaran armada dagang Bugis.

*DIORAMA 11: THE BUGINESE MERCANTILE FLEET (15TH CENTURY)
::The voyages of the Makassarese and Buginese using pinisi (Bugis traditional cargo boat) in the 15th cen-tury and before reached almost all the outskirts of the Indonesian archipelago and beyond. The story of Sawerigading adventures showed how wide was their visitation area. The figure became cleaner when the new evidence was obtained from the sea law Amanna Gappa and the Buginese nautical chart. From these evidences we could see that their voy-ages reached Aceh, Kedah, Cambodia, and east to Kei islands and Ternate Bay, and north to the Philippines archipelago (Sulu) and northern Kalimantan (Borneo). Furthermore, according to Daeng Saro story of the Bontoranu village, the voyages of fishermen from South Sulawesi to Marega took the route Ujung Pandang, Selayar, Wetar, Kisar, Leti and Moa, and then to south-east heading for Darwin sea port. The diorama shows a number of the Buginese mercantile fleet being ready to sail away.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.
; '''[https://archive.org/details/12-perang-makassar-1654-1668-img-9517 PERANG MAKASSAR, 1654-1668]'''
*DIORAMA 12: PERANG MAKASAR (1654 - 1668)
::Saingan V.O.C. dalam perdagangan abad ke 17 adalah Makasar. Sultan Makasar, Hasanuddin, membuka pelabuhannya untuk negara asing yang mau berhubungan dagang dengan Makasar. Melihat perkembangan Makasar dan sikap Sultan yang menjalankan politik bebas dalam perdagangan itu. Kompeni kemudian menggunakan politik pecah belah dan kuasai dengan menunggangi Aru Palaka. Sultan Hasanuddin terpaksa menerima perjanjian Bonggaya yang ditandatangani tanggal 18 November 1667. Dalam perjanjian ini V.O.C. diberi hak untuk membuat benteng di Makasar yang akhirnya mengurangi ruang gerat bagi pelaut Makasar. Diorama ini mnggambarkan Sultan Hasanuddin memimpin pertempuran mempertahankan benteng Sombaopu dari serbuan Belanda pada tnggal 8-9 Agustus 1668.

*DIORAMA 12: MAKASSAR WAR (1654-1668)
::The V.O.C. trading competitor on 17th century was Makassar. Sultan Hasanuddin of Makassar adopted a policy of free trade with all nations, he opened his Port for foreign traders who desired to trade with Makassar. Observing the growth and development of Sultan's policy, the V.O.C. (the Dutch East Indies Com-pany that held a monopoly in Indonesia 1602-1799) decided to use its 'the divide and rule' policy by using Aru Palaka. Sultan Hasanuddin was forced to accept the Bonggaya treaty which was signed on 18 Novem-ber 1667. The V.O.C. was given the right to build a fortress in Makassar and afterwards was able to decrease the space of activities of the Makassar fleet. The diorama shows Sultan Hasanuddin personally leads the fight defending Sombaopu fortress against the Dutch attack on 8-9 August 1668.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

; '''[https://archive.org/details/13-perlawanan-pattimura-1817-img-9519 PERLAWANAN PATTIMURA, 1817]'''
*DIORAMA 13: PERLAWANAN PATTIMURA (1817)
::Berdasarkan Konvensi London tahun 1814, Belanda berkuasa kembali di Indonesia serta mengulangi menjalankan monopolinya di mana segala sesuatu yang bersifat eksploitasi dilaksanakan kembali. Rakyat Maluku dipimpin oleh Pattimura dan dibantu oleh Christina Martha Tiahahu menolak politik monopoli tersebut kemudian memberontak terhadap Belanda. Diorama ini menggambarkan serbuan rakyat Maluku di bawah pimpinan Pattimura pada tanggal 15 Mei 1817 berhasil merebut benteng Duurstede di Pulau Saparua di mana hampir seluruh tentara Belanda di dalam benteng ini terbunuh.

*DIORAMA 13: PATTIMURA UPRISING (1817)
::Based on the London Convention in 1814, the Dutch Government reclaimed their sovereignty in Indonesia and re-established their policy of monopoly in trade by reinforcing their method o f exploitation. The people of the Mollucas led by Pattimura and assisted by Christina Martha Tiahahu rejected the monopoly policy and then revolted against the Dutch. The diorama shows Pattimura and his troops succeeding i n capturing the Dutch fortress Duurstede. The uprising broke out on May 15th, 1817, on Saparua island whereby most of the Dutch soldiers were killed in the fortress.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.
; '''[https://archive.org/details/14-perang-diponegoro-1825-1830-img-9521 PERANG DIPONEGORO, 1825-1830]'''
*DIORAMA 14: PERANG DIPONEGORO (1825 - 1830)
::Perang yang dicetuskan pada tahun 1825 oleh Pangeran Diponegoro merupakan suatu perlawanan rakyat semesta. Perang selama 5 tahun itu (1825-1830) berlangsung secara terus menerus sehingga Belanda menderita kerugian sebanyak 15.000 tentara dan biaya sekitar 20 juta gulden. Diponegoro beserta para pembantunya seperti Mangkubumi. Kyai Modjo, Sentot Prawirodiredjo dan pahlawan-pahlawan lainnya hingga tahun 1828 menguasai medan perang. Untuk mengakhiri perang. jerideral de Kock menggunakan siasat benteng stelsel dengan tujuan mempersempit daerah operasi Diponegoro dan mendesaknya ke daerah selatan. namun tidak berhasil. Dengan perangkap berkedok perundingan, akhirnya Diponegoro pada tanggal 28 Maret 1830 ditangkap di Magelang. Diponegoro meninggal dunia dalam benteng Belanda Ujung Pandang di Makasar pada tanggal 8 Januari 1855. Diorama ini menggambarkan pertempuran di tepi sungai Bogowonto di mana Diponegoro berhasil mengalahkan pasukan Kavaleri Belanda.

*DIORAMA 14: THE DIPONEGORO WAR (1825-1830)
::The war ignited in 1825 by Prince Diponegoro constituted a total war involving the whole population. That five-year war in Central Java went on continuously caused the Dutch lost 15,000 soldiers and 20 million guilders. In 1825 Diponegoro and his assistants such as Mangkubumi, Kyai Mojo, Sentot Prawirodirjo and other heroes dominated the battle field. In his effort to win the war, General de Kock applied the benteng stelsel (Fortress System) with the aim to decrease Prince Diponegoro's operational areas and drive him south-ward, but without success. Pretending that they were willing to negotiate, the Dutch lured the Prince into cap-tivity on 28 March 1830 in Magelang. Prince Diponegoro died on 8 January 1855 in the Dutch fortress in Ujung Pandang. The diorama shows the battle near the Bogowonto River where Prince Diponegoro and his troops defeated the Dutch troops.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.
; '''[https://archive.org/details/15-perang-imam-bonjol-1821-1837-img-9524 PERANG IMAM BONJOL, 1821-1837]'''

*DIORAMA 15: PERANG IMAM BONJOL (1821 - 1837)
::Perang yang berlangsung dari tahun 1821 - 1837 itu dapat dibagi dalam 3 tahap. Tahap pertama, perang antara kaum adat dengan kaum agama. Hal ini terjadi setelah kembalinya 3 orang ulama dari tanah suci. Mereka melihat keadaan kehidupan di tanah airnya jauh dari pada kesesuaian dengan ajaran-ajaran Islam. Oleh karena itu, mereka bermaksud hendak mengadakan pembaruan-pembaruan, tetapi ditentang oleh kaum adat. Pemimpin kaum ulama yang menjadi terkenal dalam perang ini ialah Tuanku Imam Bonjol. Tahap kedua: Kaum adat dibantu Belanda melawan kaum ulama. Pertempuran-pertempuran yang terjadi antara tahun 1821 1825 di Sulit Air, Para Palam dan Sawah Tengah. Tahap ketiga: Setelah Perang Diponegoro berakhir, perlawanan terhadap Belanda dilakukan oleh kaum ulama bersama kaum adat. Barulah dengan kekuatan militer yang besar pada tahun 1837 Belanda berhasil merebut Bonjol, daerah pertahanan terakhir Tuanku Imam Bonjol. Diorama ini menggambarkan tatkala Tuanku Imam Bonjol memimpin perlawanan terhadap Belanda.

*DIORAMA 15: THE IMAM BONJOL WAR (1821 - 1837)
::The war which took place in 1821 - 1837 could be divided into three phases. The first phase: the war between the traditionalists against the religious group from Mecca. They were observing the backward way of life a far cry from the Islamic teachings. They tried to bring upon innovations which the traditionalists rejected. A leading prominent figure who became famous in this war was Tuanku Imam Bonjol. The second phase: After the Dutch government decided to take side with the traditionalists against the religious group. The battle broke out in Sulit Air, Para Palam and Sawah Tengah in 1821-1825. The third phase: After the Diponegoro war ended, both opponents came together and opened the resis-tance struggle against the Dutch. Eventually with large military force in 1837, the Dutch was able to seize Bonjol, the last resistance stronghold of Tuanku Imam Bonjol. The diorama shows Tuanku Imam Bonjol who per-sonally leads the fighting against the Dutch

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.
; '''[https://archive.org/details/20-tanam-paksa-1830-1870-img-9548 PERANG BANJAR, 1859-1905]'''
*DIORAMA 16: PERANG BANJAR (1859-1905)
::Sudah sejak beberapa waktu Belanda memperoleh hak ikut campur tangan mengatur penggantian Sultan Banjar. Pada tahun 1824 timbul persoalan penggantian Sultan dimana Belanda memaksakan kehendaknya untuk menempatkan calon pilihannya. Hal ini ditentang oleh Sultan dan rakyatnya. Putra Mahkota yang ditunjuk oleh Sultan yaitu Prabu Anom ditawan oleh Belanda di Banjarmasin. Calon lainnya, Pangeran Hidayatullah, juga ditawan oleh Belanda dan dibawa ke Jawa. Inilah yang menyebabkan Pangeran Antasari dan rakyat Banjar mengangkat senjata melawan Belanda pada tahun 1859. Pada tanggal 9 -10 Mei 1859 Pangeran Antasari melakukan pengepungan dan penyerangan terhadap tambang batu bara Belanda di Pengaron. Diorama ini menggambarkan rakyat Banjar dipimpin oleh Pangeran Suropati menyerang kapal Belanda di Lontartur, sungai Kapuas.

*DIORAMA 16: THE BANJAR WAR (1859-1905)
::From some period of time, the Dutch government created a right to have a say in choosing the crown suc-cessor of the Sultan of Banjarmasin and eventually in 1824 arose the matter to replace the Crown Prince in which the Dutch forced their decision to place their nominee. This was opposed by the Sultan and his people. The Crown Prince of the Sultan's choice, Prabu Anom, was captured by the Dutch in Banjarmasin. An-other successor, Prince Hidayatullah, was also captured and exiled to Java. This caused Prince Antasari and his people opposed the Dutch intervention in the adminis-tration affairs of the Sultanate of Banjar in South of Kalimantan in 1859. On 9-10 May 1859 Prince Antasari and the Banjar people encircled and attacked the Dutch coal mine in Pengaron. The diorama shows the people of Banjar led by Prince Suropati attack the Dutch sailing vessel in Lontartur, Kapuas river.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.
; '''[https://archive.org/details/17-perang-aceh-1873-1904-img-9532 PERANG ACEH, 1873-1904]'''

*DIORAMA 17: PERANG ACЕН (1873 - 1904)
::Pada tahun 1871 Belanda dan Inggris mengadakan perubahan Traktat London sebagai rangkaian dari Konvensi London tahun 1814. Pembaruan terakhir bernama Traktat Sumatra yang memberikan kepada Belanda kekuasaan atas Sumatra. Perjanjian ini membuka jalan kepada Belanda untuk menduduki Aceh. Perang Aceh pecah akibat konflik yang semakin meruncing ketika pada tahun 1873 Belanda menuntut agar Aceh menghentikan hubungannya dengan negara-negara lain ditolak. Belanda segera mengirimkan ekspedisi militer ke Aceh, tetapi merekadikalahkan, bahkan panglimanya JHR Kohler tewas dalam pertempuran tanggal 13-14 April 1973 di depan Masjid Agung Baiturrahim. Diorama ini menggambarkan pertempuran sengit di halaman Masjid Agung Baiturrahim ketika JHR Kohler menjadi korban penembak jitu Aceh.

*DIORAMA 17: THE ACEH WAR (1873 - 1904)
::In 1871 the Dutch and the British amended the London Treaty as an attachment to the London Con-vention 1814. The last renewal was the Sumatra Treaty which gave the Dutch sovereignty over Sumatra. This treaty opened the way for the Dutch to occupy Aceh. The Aceh war broke out as a result of mounting conflicts when in 1873 the Dutch demanded the de-crease of Aceh's relation with foreign countries but it was rejected by the Aceh authority. The Dutch immediately sent in a military expedi-tion to Aceh, but they were defeated, more over the army commander JHR Kohler was killed in a battle near the grand Mosque Baiturrahim. The diorama shows the fierce fighting on 13 April 1973 around the Baiturrahim grand Mosque when JHR Kohler was hit by Acehnese sniper.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.
; '''[https://archive.org/details/18-perlawanan-sisimangaraja-1877-1907-img-9536 PERLAWANAN SISIMANGARAJA, 1877-1907]'''

*DIORAMA 18: PERLAWANAN SI SINGAMANGARAJA (1877 - 1907)
::Dengan dalih bahwa zending sering diganggu oleh pasukan Si Singamangaraja, Belanda mendapatkan kesempatan melakukan ekspedisi ke Tanah Batak, Tapanuli. Bentrokan pertama dengan Belanda terjadi pada tanggal 15 Februari 1878, setelah terlebih dahulu Si Singamangaraja memberi peringatan kepada pasukan Belanda supaya meninggalkan Tapanuli. Perlawanan terhadap kolonialis Belanda ternyata mendapat bantuan dari rakyat Aceh dan Minangkabau. Penyerangan besar-besaran terhadap markas Belanda dengan bantuan rakyat kedua daerah tersebut dilakukan pada tahun 1887. Perjuangan Si Singamangaraja berlangsung hingga awal abad ke dua puluh. Si Singamangaraja gugur dalam pertempuran di Pearaja Diri pada tanggal 17 Juni 1907. Diorama ini menggambarkan pertempuran di Tanggabatu dekat kota Balige pada tahun 1884 ketika Si Singamangaraja berhasil memukul mundur pasukan Belanda.

*DIORAMA 18: SI SINGAMANGARAJA REVOLT (1877 - 1907)
::With the excuse that the missionaries were frequently assaulted by Si Singamangaraja, the Dutch government seized at the opportunity to expand their territory to land of Batak People, Tapanuli. The first con-tact took place on February 15, 1878, after Si Singamangaraja reminded the Dutch to leave Tapanuli. The resistance movement against the Dutch was aided by the people of Aceh and Minangkabau. The large scale offensive to the Dutch headquarter with the assistance of both neighboring people took place in 1887. Si Singamangaraja's struggle went on until the beginning of the twentieth century. He was killed in a battle in Pearaja Diri on June 15, 1907. The diorama shows the battle at Tanggabatu near Balige in 1884 where Si Singamangaraja repulsed the Dutch troops.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.
; '''[https://archive.org/details/19-pertempuran-jagaraga-1848-1849-img-9544 PERTEMPURAN JAGARAGA, 1848-1849]'''

*DIORAMA 19: PERTEMPURAN JAGARAGA (1848-1849)
::Pada tahun 1841 Belanda memaksakan penghapusan peraturan tawan karang yang diakui sebagai lembaga hukum adat di Bali. Menurut peraturan tawan-karang semua muatan kapal yang kandas menjadi milik raja dan penduduk pantai, sedang penumpangnya dijadikan budak. Beberapa kerajaan di Bali menerima peraturan Belanda itu, kecuali Buleleng dan Karangasem. Dua kali Buleleng mengenakan tawan-karang terhadap kapal-kapal Belanda yang terdampar di daerahnya. Belanda menuntut agar muatan dan isi kapal itu dikembalikan, tetapi ditolak oleh Raja Buleleng sehingga perang tidak dapat dihindarkan lagi. Meskipun dalam serangan Belanda tahun 1846 Buleleng dan Karangasem dapat diduduki namun semangat juang rakyat tetap berkobar dan mereka menyiapkan pertahanan di jagaraga. Diorama ini menggambarkan pertempuran yang terjadi di muka Pura Dalem Jagaraga yang berakhir dengan gugurnya seisi Pura.

*DIORAMA 19: THE BATTLE OF JAGARAGA (1848-1849)
::In 1841 the Dutch government tried to enforce the abolition of the Balinese customary law of Tawan Karang. According to the rule of Tawan Karang, the people and his King had the right to appropriate the goods of stranded ships and to enslave all passengers and crew alike. Several Kingdoms in Bali accepted this rule, except the Kingdoms of Buleleng and Karangasem. Twice the King of Buleleng applied the customary law to the Dutch stranded ship in his domain. The Dutch demanded the return of all merchandises and personnels but this was rejected by King of Buleleng caused the war could not be avoided. Although in the Dutch attack in 1846 Buleleng and Karangasem was occupied, the fighting spirit of the people was constantly exuberant and they developed a stronghold in Jagaraga. The diorama shows the tremendous battle in front of the Pura Dalem of Jagaraga, which ends with the fall of all Pura's occupants.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.
; '''[https://archive.org/details/20-tanam-paksa-1830-1870-img-9548 TANAM PAKSA, 1830-1870]'''

*DIORAMA 20: TANAM PAKSA (CULTUUR STELSEL) (1830-1870)
::Perang Diponegoro yang berlangsung selama lima tahun (1825-1830) mengakibatkan krisis keuangan bagi kerajaan Belanda. Tetapi di daerah kerajaan Mataram, Belanda berhasil menduduki wilayah seluas 3000 km persegi yang terdiri dari tanah yang subur. Untuk mengatasi keadaan krisis itu muncul gagasan Gubernur Jenderal Van Den Bosch untuk menjadikan tanah Jawa sebagai perkebunan yang besar atas dasar perjanjian antara pemerintah Hindia Belanda dan petani. Pemerintah Belanda akan menjadi pedagang dan tuan kebun, Tanaman yang akan ditanam di Jawa haruslah tanaman yang sangat laku di pasar Eropa, seperti nila, gula, teh, lada, kopi dan kayumanis. Gagasan Van Den Bosch disetujui oleh Raja Belanda dan realisasi di Jawa dimulai tahun 1830. Dalam kenyataannya tidak terdapat kontrak antara pemerintah kolonial dengan rakyat petani, melainkan hubungan paksa. Sejak inilah dimulai periode eksploitasi tenaga rakyat secara besar-besaran. Bagi rakyat yang tidak memiliki tanah diharuskan bekerja pada perkebunan nila (indigo) seperti yang terjadi di Jawa Barat. Mereka tidak diperkenankan pulang dari tempat bekerja yang letaknya puluhan kilometer dari kampung halamannya. Mereka yang dianggap malas dikenai hukuman cambuk dan siksaan lainnya. Tanam paksa ini memberikan keuntungan luar biasa bagi pemerintah Belanda, sedangkan bagi rakyat Indo-nesia mengakibatkan penderitaan yang sangat berat. Rakyat kelaparan karena mereka tidak berkesempatan menggarap sawah dan ladangnya. Diorama ini menggambarkan penderitaan rakyat In-donesia yang dipaksa untuk bekerja keras di daerah perkebunan disertai dengan siksaan fisik.

*DIORAMA 20: THE FORCED CULTURE SYSTEM (1830-1870)
::The Diponegoro War which had lasted for a term of five years (1825-1830) caused a financial crisis for the Dutch Crown. But in Mataram Kingdom area, the Dutch succeeded in controlling a 3000 km square land comprising of fertile soil. To overcome this crisis Governor General Van Den Bosch conceived the idea of making the land of Java into a big plantation on the basis of an agreement between the Dutch Indies government and the farmers. The Dutch Indies government would be the trader as well as land-lord. The plants which would be cultivated in Java ought to produce commodities being much in demand in Europe, such as indigo, sugar, tea, pepper and cinnamon. Bosch's idea was approved by the King of Netherlands and its implementation was started in 1830 in Java. In fact the work contract had never been made between the colonial government and the farmers, rather it was a forced relation. So began the extortion and the oppression of the people. Those who did not own land were forced to work in the indigo plantation for free as was known in West Java. They were forbidden to go home as they worked tens kilometers away from home. Those who were thought lazy were imposed whipping punishment and other physical torture. This system was indeed very profitable for the Dutch, on the contrary it was a misery for the Javanese people. The farmers died of starvation as they had no time at all to cultivate their own land. The diorama shows how cruelly the people are forced to work under physical torture and other punishment.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.
; '''[https://archive.org/details/21-peranan-gereja-protestan-dalam-penyatuan-bangsa-1930-img-9552 PERANAN GEREJA PROTESTAN DALAM PENYATUAN BANGSA, 1930]'''

*DIORAMA 21: KEGIATAN GEREJA PROTESTAN DALAM PROSES PENYATUAN BANGSA (Abad ke 20)
::Gereja Protestan dengan zendingnya giat mengadakan propaganda terutama di daerah-daerah yang masih terbelakang. Selain bergerak dalam bidang keagamaan, gereja Protestan giat bergerak dalam bidang pendidikan sehingga secara langsung telah membantu menyatukan bangsa Indonesia dari berbagai suku yang sedang mengalami proses penyatuan. Selain di beberapa daerah dan kota-kota di Jawa. pusat-pusat agama Kristen terutama terdapat di Ambon. Minahasa dan Tapanuli. Pada tahun 1930 berdiri Perserikatan Kaum Christen (PKC) dan Partai Kaum Masehi Indonesia, keduanya merupakan bagian dari gerakan nasional untuk Indonesia merdeka. Diorama ini menggambarkan kegiatan umat Kristen Protestan dalam bidang sosial, pendidikan dan keagamaan.

*DIORAMA 21: THE ACTIVITIES OF THE PROTESTANT CHURCH IN UNITING THE NATION (20TH CENTURY)
::The activities of the Protestant church in the field of propagation of the Protestant faith were of great sig-nificance, especially in backward areas. Apart from that, the Protestant church were active in the educational field so that it directly gave contribution in process of unification of several ethnics groups in Indonesia. Besides several regions and cities in Java, Protes-tant centers are mostly found in Ambon, Minahasa and Tapanuli. In 1930 Perserikatan Kaum Christen (Christian Association) and Partai Masehi Indonesia (Indonesian Christian Party) were set up, both were part of the national movement for the independence of Indonesia. The diorama shows the activities of the Protestant in the social and educational fields and religious affairs.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.
; '''[https://archive.org/details/22-ra-kartini-1879-1904-img-9554 RA KARTINI, 1879-1904]'''

*DIORAMA 22: PERJUANGAN KARTINI (1879-1904)
::Gerakan mengejar kemajuan pada akhir abad ke 19 terbukti dari kebutuhan akan pendidikan dan pengajaran yang semakin besar Tetapi pandangan umum masih dihinggapi konservatisme yang kuat bagi anak perempuan. Lahir di Jepara pada tanggal 21 April 1879 Kartını berjuang untuk memperoleh persamaan hak bagi kaum wanita dan melepaskan diri darı kungkungan dan prasangka tradisi dan adat. Kumpulan surat-surat yang dikirimkan kepada sahabat-sahabatnya di mana dia mengungkapkan buah pikiran dan cita-citanya telah diterbitkan dalam sebuah buku yang menarik berjudul Habis Gelap Terbitlah Terang (aslinya Door Duisternis tot Licht). Diorama ini menggambarkan Kartini menyelenggarakan sekolah untuk pendidikan anak-anak perempuan

*DIORAMA 22: THE STRUGGLE OF KARTINI (1879-1904)
::The movement to achieve progress at the end of the 19th century was confirmed by the increasing de mands for education and studies, but the public opinion was still under great influence of the prevailing tradi tion, especially for women. Born in Jepara on 21 April1879, Kartini fought for equal rights for the Indonesian women and her libera-tion from the shackles and prejudice of the customary law and tradition. A collection of her letters to friends in which she express her thoughts and opinion were subsequently published as an interesting book entitled Letters of A Javanese Princess (onginally Door Duisternis tot Licht). The diorama shows Kartini personally conducting a class of girls students.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.
; '''[https://archive.org/details/23-kebangkitan-nasional-20-mei-1908-img-9556 KEBANGKITAN NASIONAL, 20 MEI 1908]'''

*DIORAMA 23: KEBANGKITAN NASIONAL (20 MEI 1908)
::Menjelang akhir abad ke 19 masyarakat Indonesia masih terbelakang baik di bidang politik, ekonomi, maupun sosial budaya termasuk pendidikan. Keadaan ini adalah akibat langsung dari politik kolonial Belanda yang tidak menghendaki rakyat Indonesia menjadi cerdas, karena hal itu akan membahayakan kedudukannya. Tetapi kemudian kaum kolonialis terpaksa juga memberikan pendidikan modern kepada pemuda-pemuda Indonesia, pertama untuk memenuhi kebutuhannya akan tenaga-tenaga terdidik di perusahaan-perusahaannya dan kedua untuk meningkatkan potensi masyarakat Indonesia sebagai pasar bagi industrinya. Sebagai hasil dari pendidikan itu timbul suatu generasi pemuda Indonesia yang terkena gagasan-gagasan nasionalisme dan modernisasi yang menyebar dani Eropa. Pemuda-pemuda itulah yang kemudian mengorganisir pergerakan Nasional sebagai perwujudan dan Kebangkitan Nasional rakyat Indonesia. Yang dianggap manifestasi pertama dan Kebangkitan Nasional tu adalah pembentukan organisasi modern yang pertama oleh orang Indonesia, yakni Budi Utomo. Budi Utomo dibentuk atas prakarsa beberapa mahasiswa Sekolah Dokter Jawa (School Tot Opleiding Van Indische Artsen STOVIA), seperti Sutomo, Gunawan Mangunkusumo, dan lain-lain dengan Dokter Wahidin Sudirohusodo sebagai penasehatnya. Kemudian lahirlah organisasi lain seperti Sarikat Is-lam, Indische Party, Muhammadiyah, dan lain-lain yang dalam perkembangan selanjutnya bertujuan Indonesia Merdeka. Diorama ini menggambarkan suasana Kongres Budi Utomo Pertama yang diadakan di Yogyakarta.

*DIORAMA 23: The National Resurgence (20 May 1908)
::By the end of 19th century, Indonesian people were still backward politically, economically and socio-cultural including education. This was a direct result of the Dutch colonialism policy that did not want to see Indonesia become smart and intelligent as these would endanger their position. Finally, however, the colonialist had to give modern education to Indonesian youth to meet the needs for educated people at their enterprises and secondly to increase Indonesia's potentials for their market. As a result of the modern education, a younger generation of people were born who had nationalism and modernization ideals that came from Europe. Those young people who then organized the National Move-ment as the realizations of the Indonesian people's national resurgence. The first manifestation of the national resurgence was the establishment of the first modern organization by the Indonesian, Budi Utomo. Budi Utomo was established by students of native Medical College (STOVIA: School Tot Opleiding Van Indische Artsen) such as Sutomo, Gunawan Mangunkusumo etc. and Dr. Wahidin Sudirohusodo as the adviser. Afterward other organizations were established such as Sarikat Islam (Islamic Association), Indische Party (Indies Party), Muhammadiyah (an important Islamic modernist organization), and others which in their fur-ther development wanted an Independent Indonesia. This diorama shows the first congress of Budi Utomo (High Endeavor) held in Yogyakarta.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.
; '''[https://archive.org/details/24-taman-siswa-3-juli-1922-img-9558 TAMAN SISWA, 3 JULI 1922]'''

*DIORAMA 24: TAMAN SISWA (3 JULI 1922)
::Politik pendidikan pada jaman penjajahan tidak dapat dipisahkan dari kepentingan kolonial. Sebagai suatu reaksi politik, pada tanggal 3 Juli 1922 Ki Hajar Dewantara mendinkan perguruan Taman Siswa di Yogyakarta. Perkembangan perguruan ini sangat pesat sehingga pemerintah merasa khawatir. Pada tahun 1922 pemerintah mengeluarkan Ordonansi Sekolah Liar hingga praktis sekolah-sekolah swasta kehilangan identitasnya. Protes timbul dari berbagai pihak, sehingga ordonansi tersebut dicabut kembali. Semangat nasionalisme sangat menjiwai kehidupan Perguruan Taman Siswa. Pada tahun 1935 berlangsung Kongres Pendidikan Nasional yang pertama dengan tujuan hendak menggalang persatuan nasional dan mencari perumusan tentang pendidikan dan pengajaran yang bersifat nasional. Diorama ini menggambarkan Ki Hajar Dewantara yang pada tahun 1921 mendirikan organisasi nasionalis kebudayaan Indonesia yang sangat penting menyambut orang tua murid di perguruan Taman Siswa

*DIORAMA 24: TAMAN SISWA (3 JULY 1922)
::The educational policy under colonial regime was inseparable from its interest. As a political reaction, on 3 July 1922 Ki Hajar Dewantara set up Taman Siswa Institution in Yogyakarta. This institution expanded rap-idly caused apprehension among the Dutch authorities In 1932 the Dutch government issued an ordinance on regulating the activities of non governmental schools. known as ordinance of illegal school. Practically it made private school lost its identity. Protest sprang up from everywhere caused the revocation of the ordinance. The spint of nationalisms inspired the existence of Taman Siswa. In 1935 the first National Education Congress took place which had the insistence on giving national unity a firm platform and setting the platform for national education and teaching. The diorama shows Ki Hajar Dewantara who in 1921 founded the very important Indonesian cultural nationalist organization Taman Siswa welcoming the students parents at Taman Siswa.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.
; '''[https://archive.org/details/25-muhammadiyah-18-november-1912-img-9572 MUHAMMADIYAH, 18 NOVEMBER 1912]'''

*DIORAMA 25: MUHAMMADIYAH (18 NOVEMBER 1912)
::Keadaan masyarakat Islam Indonesia pada abad sembilan belas dan permulaan abad dua puluh sangat menyedihkan. KH. Ahmad Dahlan tampil ke depan dengan mendirikan Muhammadiyah pada tanggal 18 November 1912 di Yogyakarta dengan tujuan untuk mengembalikan kemurnian ajaran Islam dan memperbaiki kesejahteraan masyarakat. Di dalam kegiatannya Muhammadiyah mendinkan sekolah, rumah yatim piatu, rumah-rumah sakit, pelatihan bag juru dakwah, dan organisasi kepanduan. Saat ini organisasi tersebut merupakan salah satu lembaga Islam terbesar di Indonesia. Diorama menggambarkan salah satu kegiatan kepanduan Hizbul Wathan disaksikan oleh K.H. Ahmad Dahlan

*DIORAMA 25: MUHAMMADIYAH (18 NOVEMBER 1912)
::In the nineteenth century and the beginning of the twentieth century the situation of the community of Islam in Indonesia was very saddening indeed. K.H. Ahmad Dahlan came forward by setting up Muhammadiyah on 18 November 1912 in Yogyakarta. The objective of Muhammadiyah was to rejuvenate the teaching of Islam and improve the people's welfare. In its activities. Muhammadiyah established a large number of schools, orphanages, hospitals, a training course for missionaries, and scout club. Today the organization is still one of the largest Muslim bodies in the country. The diorama shows one of the activities of the Hizbul Wathan Scout Club, witnessed by K.H. Ahmad Dahlan.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.
; '''[https://archive.org/details/26-perhimpunan-indonesia-1922-img-9575 PERHIMPUNAN INDONESIA, 1922]'''

*DIORAMA 26: PERHIMPUNAN INDONESIA (1925)
::Perjuangan mencapai Indonesia Merdeka di luar negeri dipelopori oleh mahasiswa-mahasiswa Indonesia yang belajar di Negeri Belanda. Pada tahun 1908 berdiri Indische Vereeniging (Perhimpunan Hindia) yang pada mulanya bersifat sosial degan tujuan sebagai forum tempat bertemu orang-orang termasuk para pelajar yang merantau ke negeri Belanda. Pada tanggal 19 Februari 1922 perhimpunan ini mengadakan pertemuan di Den Haag dan salah satu keputusan penting yang diambil dalam pertemuan tersebut adalah penggantian nama dari Indische Vereeniging menjadi Indonesisch Vereeniging. Kemudian pada tanggal 8 Februari 1925 nama tersebut berganti menjadi Perhimpunan Indonesia. Mereka menuntut agar pemerintah Hindia Belanda bertanggung. jawab kepada rakyat Indonesia dan bukan kepada pemerintah Belanda. Akhirnya mereka menuntut kemerdekaan Indonesia yang berdasarkan kepada kekuatan din sendiri. Dibandingkan dengan rekan-rekan mereka di Indonesia, mereka lebih banyak memperoleh kebebasan bergerak. Pada bulan Februan 1927 Perhimpunan Indonesia berjuang di forum internasional dengan mengambil bagian dalam Kongres Menentang Imperialisme dan Penindasan Kolonial yang diadakan oleh Liga Anti Imperialisme dan Bagi Kemerdekaan Nasional di Brussels. Selanjutnya, propagada Perhimpunan Indonesia, semakin berani dan tajam sehingga pemerintah Belanda mengadakan penangkapan terhadap pimpinannya, yaitu Mohammad Hatta, Abdul Majid Joyohadiningrat, Ali Sastroamidjojo dan Nasir Pamuncak dengan tuduhan menjadi anggota perkumpulan terlarang, terlibat dalam pemberontakan dan menghasut untuk menentang kerajaan Belanda. Tetapi, pengadilan membebaskan mereka dari semua tuduhan. Diorama ini menggambarkan suasana pertemuan perhimpunan Indonesia yang dipimpin oleh Mohammad Hatta.

*DIORAMA 26: THE INDONESIAN ASSOCIATION (1925)
::The struggle for national independence abroad was spearheaded by the Indonesian students in the Netherlands. In 1908 The Indische Vereeniging (Indies Association) was established which at first had a societal function as a meeting forum for the people included the Indonesian students who went overseas in the Netherlan's. On February 1922. the association held a meeting in The Hague and an important decision taken at this meeting was a change of the name from Indische Vereeniging to Indonesische Vereeniging. Then, on 8 February 1925 the later name was changed into the new name Perhimpunan Indonesia (Indonesian Association). They demanded that the Netherlands Indies government to be responsible to the people of Indonesia not to the Dutch government. Finally they demanded the independence of Indonesia on the basis of their own power. In comparison with their colleagues in Indonesia, they had more freedom of action. In February 1927 the Indonesian Association brought their struggle to the international forum by taking part in the Congress of Anti Colonialism and Colonial Oppression held by the League Against Imperialism and for National Inde-pendence in Brussels. Furthermore, the propaganda of Perhimpunan Indonesia became brave and sharp that its leaders Mohammad Hatta, Ali Sastroamidjojo. Nasir Pamuncak and Abdul Majid Joyohadiningrat were arrested on charges: being a member of prohibited organization, being involved in a rebellion, and instigating opposition to the Dutch crown. But then they were acquitted of all charges. The diorama shows Mohammad Hatta chairing the meeting of the association.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.
; '''[https://archive.org/details/27-the-stovia-1898-1926-img-9577 THE STOVIA, 1898-1926]'''

*DIORAMA 27: STOVIA SEBAGAI TEMPAT PERSEMAIAN PERGERAKAN PEMUDA INDONESIA (1926)
::Kemiskinan bangsa Indonesia dalam arti lahir dan batin yang juga dirasakan oleh beberapa orang terpelajar, telah menggerakkan hati mereka untuk mempertinggi derajat bangsa Usaha dr. Wahidin Sudirohusodo mendirikan dana belajar tidak berjalan sebagaimana yang diharapkan. Namun cita-cita luhur yang terkandung di dalamnya telah menggugah semangat pelajar-pelajar STOVIA (School Tot Opleiding Van Indische Artsen -Sekolah Dokter Bumi Putera) di Jakarta. Pada hari bersejarah tanggal 8 Mei 1908 mereka mendirikan perserikatan bernama Budi Utomo. Kenyataannya, para lulusan dan mahasiswa STOVIA memainkan peranan penting dalam pertumbuhan gerakan nasional Indonesia modern. Diorama ini menggambarkan pertemuan yang diadakan oleh pelajar-pelajar STOVIA di gedung STOVIA yang lebih dikenal sekarang sebagai gedung Museum Kebangkitan Nasional, Jakarta. Pertemuan pertemuan semacam ini sering kali dilakukan yang merupakan kegiatan para pelajar STOVIA untuk membebaskan negerinya dari penjajahan dan keterbelakangan.

*DIORAMA 27: STOVIA AS THE PLACE FOR SEEDBED OF INDONESIA'S YOUTH MOVEMENT(1926)
::The poverty of body and mind of the little men in Indonesia which strongly felt by several educated men arose their anxiety to bring enlightenment. Dr. Wahidin Sudirohusodo's effort to establish study fund did not meet the expectations, but his aspiration had awaken the STOVIA (School Tot Opleiding Van Indische Artsen) student's sprint. On the historical day, May 8, 1908 they founded Budi Utomo (High Endeavour). It was al ready known that the graduates and students of the STOVIA (a medical training college) played an impor ant role in the genesis of the modern Indonesian nationalist movement. The diorama shows the meeting of STOVIA held in STOVIA building which is known as The Museum of National Resurrection, Jakarta. Such meetings were held frequently as their activities to liberate their country from colonialism and backwardness.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.
; '''[https://archive.org/details/28-digul-1926-1927-img-9580 DIGUL, 1926-1927]'''

*DIORAMA 28: DIGUL (1927)
::Pada tahun 1926 di Pulau Jawa timbul pemberontakan melawan pemerintahkolonial Pemberontakan ini merupakan puncak dari gerakan tani yang mula-mula pecah di Banten kemudian menjalar ke Jawa Barat dan Jawa Tengah. Pada Januari 1927 pecah pula pemberontakan serupa di Sumatra Barat, akan tetapi dapat ditumpas dengan kejam. 13.000 orang ditangkap, diantaranya 4.500 dijatuhi hukuman dan 1.300 dibuang ke Tanah Merah, Digul Atas, Irian Jaya. Kemudian Digul Atas menjadi tempat pengasingan bagi tokoh-tokoh pergerakan nasional. Sebagai tawanan, di samping harus mencukupi kebutuhannya sendiri, mereka harus tahan melawan hawa panas dan penyakit malaria yang ganas. Diantara semua penderitaan itu yang sangat berat adalah penderitaan tekanan jiwa, sehingga di tempat pengasingan ini tercapailah puncak, penderitaan lahir dan batin. Hingga kini Digul Atas menjadi lambang pengorbanan pemimpin-pemimpin nasional kita dari generasi sebelum Perang Dunia II. Diorama ini menggambarkan sebagian tokoh-tokoh pergerakan nasional di tempat pengasingan Digul Atas. antara lain Mohammad Hatta dan Sutan Syahrir.

*DIORAMA 28: DIGUL (1927)
::In the year 1926, a rebellion rose in Java against the colonial government. This rebellion was the culmination of the farmers' movement in Banten, West Java that spread through Central Java. In January 1927, in West Sumatra the same uprising broke out. Within short time both up risings were cruelly suppressed. 13.000 men were ar rested among which 4.500 were imprisoned and 1.300 exiled to Tanah Merah, Upper Digul in West Irian. Afterwards the swampy forest of Digul, in West Irian served as a home for Indonesian nationalists exiled by the Dutch colonial regime. As prisoners besides having to sustain themselves they had to stand the heat and over bearing malaria, but uppermost and culminating point of body and mental suffering. Up to the present time Digul is the symbol of sacrifice for national leaders of the generation before the second World War. The diorama shows a number of prominent figures in the national movement organizations being in exile in Upper Digul, Inan, among others. Mohammad Hatta and Sutan Syahrir.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.
; '''[https://archive.org/details/29-sumpah-pemuda-28-oktober-1928-img-9582 SUMPAH PEMUDA, 28 OKTOBER 1928]'''

*DIORAMA 29: SUMPAH PEMUDA (28 OCTOBER 1928)
::Dalam lingkungan pergerakan nasional Indonesia para pemuda telah melahirkan berbagai ragam organisasi pemuda, seperti Jong Ambon, Jong Bataks, Jong Celebes, Jong Islamiten Bond, jong Java and Jong Sumatranen Bond. Organisasi-organisasi ini pada umumnya bersifat kedaerahan dan masing-masing tidak mempunyai hubungan dengan yang lain. Lama-kelamaan iklim persatuan Indonesia mempengaruhi meseka pula dan terasa dorongan untuk membina suatu pergerakan pemuda Indonesia yang berjiwa nasional kesatuan. Usaha ke arah itu dilakukan dalam serangkaian kongres pemuda. Pada Kongres Pemuda kedua tanggal 28 Oktober 1928 di Jakarta dicetuskan Sumpah Pemuda 1. Kami putra dan putri Indonesia mengaku berbangsa yang satu. Bangsa Indonesia.2. Kami putra dan putri Indonesia mengaku bertanah air yang satu. Tumpah Darah Indonesia.3. Kami putra dan putri Indonesia menjunjung bahasa persatuan, Bahasa Indonesia. Diorama ini menggambarkan suasana Kongres Pemuda Kedua pada tanggal 28 Oktober 1928 di Jakarta.

*DIORAMA 29: THE YOUTH PLEDGE (28 OCTOBER 1928)
::In the circle of national movement the Indonesian youth gave birth to heterogeneous youth organizations. such as: Jong Ambon, Jong Bataks, Jong Celebes, Jong Islamiten Bond, Jong Java and Jong Sumatranen Bond. Most of these organizations had the nature of regional ism and each had no relation to others. Eventually the climate of Indonesia's unity had influenced each other and felt the willpower to found a unifying youth move-ment in the spirit of national unity. In a senes of youth congress they managed to make concrete efforts towards the youth unity. In the Second Youth Congress held on 28 October 1928 in Jakarta the youth proclaimed the Youth Pledge 1. We the Indonesia's youth admit to having one nation, Indonesia. 2. We the Indonesia's youth admit to having one motherland, Indonesia 3. We the Indonesia's youth have respect for unity language, Indonesian language.The diorama shows the atmosphere of the Second Youth Congress on 28 October 1928 in Jakarta.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.
; '''[https://archive.org/details/30-romusha-1942-1945-img-9585 ROMUSHA, 1942-1945]'''

*DIORAMA 30: ROMUSHA, 1942-1945
::Pada tanggal 8 Maret 1942, Panglima Tentera Hindia Belanda menyerah kepada Jenderal Hitoshi Imamura Panglima tentara ekspedisi Jepang di Kalijati. Jawa Barat. Dalam upaya memenangkan Perang Pasifik. Jepang mengerahkan seluruh tenaga dan kekayaan bumi Indonesia tanpa pembatasan apapun. Dengan meningkatya situasi perang. Jepang mengerahkan secara paksa orang Indonesia untuk dipekerjakan pada objek-objek vital dan bangunan-bangunan militer. Sebelum diangkut ke tempat-tempat yang dituju, mereka dibujuk dan diberi predikat muluk sebagai prajurit pekerja atau romusya. Dalam prakteknya mereka melaksanakan kerja-paksa dengan mengalami siksaan-siksaan tanpa diberi makan dan minum yang cukup menyebabkan puluhan ribu romusya Indonesia menemui ajalnya. Diorama ini menggambarkan bagaimana para romusya dalam keadaan kurus kering dan lemah lunglai dipaksa bekerja berat di bawah pengawasan tentara Jepang.

*DIORAMA 30: THE JAPANESE FORCED LABOUR, 1942-1945
::On 8 March 1942 the Commander of the Netherlands East Indies army General Ter Poorten surrendered to General Hitoshi Imamura, the japanese expedition army commander in Kalijati, West Java. In its effort to win the Pacific War, the Japanese occupational army exploited Indonesia's human and natural resources. Since the intensity of the Pacific War increased the Japanese army conscripted Indonesian workers to forced labour to vital Japanese military installations and buildings. Before leaving for the destination places they were urged and given pomposity predicate as militia workers or romushas. in actual practice, they were sent to do forced labour under torture without enough food and drink caused tens of thousand Indonesia's romushas met their end. The diorama shows how hard the weak and emaciated labours are forced to work under the Japanese army supervision.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.
; '''[https://archive.org/details/31-pemberontakan-tentara-peta-di-blitar-14-februari-1945-img-9586 PEMBERONTAKAN TENTARA PETA DI BLITAR, 14 FEBRUARI 1945]'''

*DIORAMA 31: PEMBERONTAKAN TENTARA PETA DI BLITAR (14 FEBRUARI 1945)
::Pada bulan Oktober 1943 Pemerintah Pendudukan Jepang mengeluarkan Osamu Seiroi No. 44/1943 tentang pembentukan pasukan sukarela untuk membela Tanah Jawa. Peraturan ini mendapat sambutan hangat dari kalangan masyarakat Indonesia, khususnya para pemuda yang benar-benar berhasrat untuk membela tanah air. Dengan berbondong-bondong mereka. mendaftarkan diri menjadi anggota Tentara Pembela Tanah Air (PETA). Tentara PETA dibagi atas daidan-daidan (batalyon) yang tidak ada hubungan organisatoris satu sama lainnya. Segenap Perwira. Bintara dan Tamtama Tentara PETA adalah orang Indonesia, akan tetapi mereka didampingi orang Jepang sebagai pelatih merangkap pengawas. Di Blitar terdapat pula suatu batalyon yang seperti batalyon-batalyon lainnya juga melaksanakan tugas membangun kubu-kubu pertahanan dengan memakai romusya sebagai tenaga kasar. Perasaan benci terhadap Jepang yang sudah timbul di kalangan mereka menjadi semakin mendalam setelah mengetahui keadaan keluarga mereka yang menderita sebagai akibat tindakan-tindakan Jepang ketika mereka bertugas bersama para romusya. Mereka tidak tahan menyaksikan bangsanya diperas tenaganya dan mati kelaparan. Ditambah dengan faktor aspirasi kemerdekaan, pelbagai faktor itu menyebabkan tekad bulat di kalangan mereka untuk memberontak. Dengan dipimpin oleh Suprijadi, Muradi and mendapat nasehat dari dr. Ismangil, mereka mengadakan serangkaian rapat-rapat persiapan. Dan pada tanggal 14 Pebruari 1945 pukul 03.30 dinihari mulailah pemberontakan. Mereka membunuh beberapa orang Jepang lalu mengingkir ke luar kota. Pemberontakan berhasil ditumpas oleh pihak Jepang. Suprijadi, pemimpin pemberontakan menghilang. Pemimpin-pemimpin lainnya seperti dr. Ismangil, Muradi, Sunanto, Halir dan kawan-kawannya tertangkap lalu dibawa di Jakarta pada tanggal 8 Maret 1945. Selanjutnya pada tanggal 14-16 Maret 1945 dihadapkan ke Mahkamah Militer. 6 orang dijatuhi hukuman mati, 3 orang dijatuhi hukuman seumur hidup. dan yang lainnya dijatuhi hukuman antara dua sampai limabelas tahun. Diorama ini menggambarkan serangan tentara PETA terhadap markas militer Jepang di Blitar pada tanggal 14 Februari 1945.

*DIORAMA 31: THE MUTINY OF JAPANESE TRAINED PETA ARMY IN BLITAR (14 FEBRUARY 1945)
::In October 1943, the Government of the Japanese occupational army issued the Osamu Seiro No.44/1943 on the forming of the volunteer troops to defend Java. This ordinance was received with enthu-siasm by youth movements, who were very eager to defend their country. In hordes they came to enlist as soldier of the PETA (The Defenders of The Mother land). PETA was divided into several Daidans (battalions) which had no organizational connections with each other. Every private, subaltern, officer and commanding officer was an Indonesian with Japanese as instructor who also held position as supervisor. In Blitar, East Java, there was also a daidan with the same formations and construction with romushas as the main labour force which had orders to set up fortifications. A hatred feeling that had already emerged among the PETA soldiers was growing more and more when they discovered their relatives who worked with them as romusha suffered from Japanese action Obviously they could not stand seeing the people were exploited and died of starvation. All of those factors and spir ited by their aspiration for national independence caused a great deal willpower to stage a mutiny. Led by Suprijadi and Muradi, after getting dr. Ismangil's advice, they held a series of preparation meetings. On 14 February 1945 at 03.00 am the revolt against Japa-nese broke out in Blitar. They killed a number of Japa-nese and then moved to a safe place out of the city. The revolt was annihilated by Japanese. Suprijadi, the leader disappeared. Other leaders such as dr. Ismangil, Muradi, Sunanto, Halir and their compan-ions were captured and then brought to Jakarta on 8 March 1945. In 14-16 March 1945 they were brought to military court. 6 were sentenced to death, 3 were sentenced for life, and the others got two to fifteen years. This diorama shows the PETA soldiers attack the Japanese army post on 14 February 1945 in Blitar.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.
; '''[https://archive.org/details/32-proklamasi-kemerdekaan-indonesia-17-agustus-1945-img-9593 PROKLAMASI KEMERDEKAAN INDONESIA, 17 AGUSTUS 1945]'''

*DIORAMA 32: PROKLAMASI (17 AGUSTUS 1945)
::Pada tanggal 17 Agustus 1945 dinihari teks Proklamasi: selesai dirumuskan oleh Ir. Soekarno. Drs. Mohammad Hatta dan Mr. Ahmad Subardjo. Beberapa jam kemudian, yaitu pada pukul 10.00 Proklamasi Kemerdekaan dibacakan oleh Ir. Soekarno yang didampingi oleh Drs. Mohammad Hatta bertempat di Jalan Pegangsaan Timur Nomor 56 Jakarta.Hadir pada saat pengucapan teks Proklamasi itu adalah: 1. Abikusno Tjokrosujoso, Sukardjo Wirja-pranoto. Sukardjo Kartohadikusumo, KHA Wahid Hasjim dan Dr. Radjiman Widiodiningrat. 2. Wakil Walikota, Suwirjo. 3. Ibu Fatmawati. 4. Ny. SK. Trimurti. 5. Para perwira PETA: Abdul Kadir, Latif Hendraningrat. dan dr. Soetjipto, Kemal Idris, Daan Jahja, Arifin Abdurrachman dan Singgih. 6. Barisan Pelopor: Dr. Muwardi dan Asmarahadi. 7. Barisan Pelopor Istimewa: Soediro, Soehoed Sastro Koesoemo, Djohar Nur dan Soepeno. 8. Pers: Soeroto, S.F. Mendoer dan Sjahruddin.Diorama ini menggambarkan peristiwa detik-detik Proklamasi Kemerdekaan Indonesia 17 Agustus 1945.

*DIORAMA 32: PROCLAMATION OF INDEPENDENCE (17 AUGUST 1945)
::Early at dawn on 17 August 1945, the text for Proclamation of Indonesian Independence was drafted by Soekamo, Mohammad Hatta and Ahmad Subardjo. A few hours later, at ten o'clock in the morning the Proclamation of Indonesia's Independence was read out by Soekarno in the company of Mohammad Hatta at Pegangsaan Timur 56 Jakarta. Present at the reading out the text of Proclamation were: 1. Abikusno Tjokrosujoso. Sukardjo Wirjopranoto. Sukardjo Kartohadikusumo, KHA Wahid Hasyim and dr. Radjiman Widiodiningrat. 2. Vice Mayor Suwirjo. 3. Ms. Fatmawati. 4. Ms. SK. Trimurti. 5. PETA officers: Abdul Kadir, Latif Hendraningrat. dr. Soetjipto, Kemal Idris. Daan Jahja, Arifin Abdurrachman and Singgih. 6. Pioneer Troops: Dr. Muwardi and Asmarahadi. 7. Special Pioneer Troops: Soediro, Soehoed Sastro Koesoemo, Djohar Nur and Soepeno. 8. Press: Soerato, S.F. Mendoer and Sjahruddin.The diorama shows the very moment of the Proclamation of Indonesia's Independence 17 August 1945.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

; '''[https://archive.org/details/33-pengesahan-pancasila-dan-undang-undang-dasar-1945-18-agustus-1945-img-9600 PENGESAHAN PANCASILA DAN UNDANG-UNDANG DASAR 1945, 18 AGUSTUS 1945]'''
*DIORAMA 33: PENGESAHAN PANCASILA SEBAGAI LANDASAN FALSAFAH NEGARA DAN U.U.D. 1945
::Sebelum kemerdekaan Indonesia diproklamasikan tanggal 17 Agustus 1945, Badan Penyelidik Usaha-usaha Persiapan Kemerdekaan Indonesia membahas berbagai konsep falsafah negara. Diantara konsep yang terpenting adalah konsep Mr. Muhammad Yamin yang diajukan tanggal 29 Mei 1945, konsep Ir. Soekamo yang diajukan tanggal I juni 1945, lengkap dengan namanya, yakni PANCASILA dan konsep Panitia Sembilan yang biasa disebut Piagam Jakarta disusun tanggal 22 Juni 1945. Dalam sidang PPPKI tanggal 10-16 Juli 1945. disusunlah konsep Undang-Undang Dasar negara Indonesia beserta mukadimahnya. Mukadimah itu ada dalam Piagam Jakarta yang mengandung pula dasar falsafah negara. Konsep tersebut, setelah diperbaiki, disahkan oleh sidang pertama Panitia Persiapan Kemerdekaan Indonesia tanggal 18 Agustus 1945 di Jakarta sebagai Undang-Undang Dasar Negara Republik Indonesia yang kemudian dikenal sebagai Undang-Undang Dasar 1945. Diorama ini menggambarkan suasana sidang Panitia Persiapan Kemerdekaan Indonesia yang berakhir dengan disahkannya Pancasila Landasan (Dasar) Falsafah Negara dan Undang-Undang Dasar 1945.

*DIORAMA 33: THE RATIFICATION OF PANCASILA AND THE 1945 CONSTITUTION
::Before the Independence of Indonesia was pro claimed, the Committee to Investigate Preparations for Indonesian Independence had studied several concepts for the state philosophy, particularly Mr. Muhammad Yamin's concept. Ir. Soekarno's concept, which outlined the Pancasila, the Five Principles. Concept of the Committee of Nine, known as the Jakarta Charter, which was drawn up on 22 June 1945. In July 10-16 1945 the Committee to Investigate Preparations for indonesian Independence composed the draft of the Constitution of the Republic of Indonesia along with its Preambule. The preambule to the Constitution was found in the Jakarta Charter which also contained the philosophy of the state. The concept, after revised, was legalized by the Indonesian Independence Preparatory Committee at its first meeting on 18 August 1945 in Jakarta as the Constitution of the Republic of Indonesia, known as the 1945 Constitution. The diorama shows the atmosphere of the meeting of the Indonesian Independence Preparatory Committee, which afterwards ratifies the Pancasila as the State Philosophy and the 1945 Constitution as the Constitution of the Republic of Indonesia.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

; '''[https://archive.org/details/34-hari-abri-5-oktober-1945-img-9603 HARI ABRI, 5 OKTOBER 1945]'''

*DIORAMA 34: HARI LAHIR ABRI (5 OKTOBER 1945)
::Dalam Sidang Panitia Persiapan Kemerdekaan Indonesia (PPKI) tanggal 22 Agustus 1945 ditetapkan pembentukan Badan Keamanan Rakyat (BKR) yang bertugas memelihara keamanan dan ketertiban umum di daerahnya masing-masing. Untuk memperkuat perasaan keamanan umum maka pada tanggal 5 Oktober 1945 dibentuk Tentara Keamanan Rakyat. Peristiwa ini diperingati sebagai Hari Angkatan Bersenjata Republik Indonesia. Diorama ini menggambarkan Jenderal Sudirman sedang memeriksa pasukan Tentara Nasional Indone sia yang pada waktu itu anggota-anggotanya masih belum memiliki peralatan lengkap.

*DIORAMA 34: ARMED FORCES DAY (5 OCTOBER 1945)
::At the meeting of the Indonesian Independence Preparatory Committee, on August 22, 1945, it was decided to set up the organization of the Badan Keamanan Rakyat (People's Security Body) with the task of maintaining the security in their territory. To strengthen public confidence and order, on 5 October 1945 the People's Security Army was formed. This event is subsequently commemorated as the Republic of Indonesia Armed Forces Day. The diorama shows General Sudirman inspecting Indonesian National Army troops the members of which, at that time, were not well equipped yet.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.
; '''[https://archive.org/details/35-pertempuran-surabaya-10-november-1945-img-9608 PERTEMPURAN SURABAYA, 10 NOVEMBER 1945]'''
*DIORAMA 35: PERTEMPURAN SURABAYA (10 NOPEMBER 1945)
::Pada bulan Oktober 1945 Tentara Sekutu (Inggris) mendarat di Surabaya untuk melaksnakan tugas melucuti pasukan-pasukan Jepang dan membebaskan orang-orang Sekutu yang ditawan oleh Jepang. Mereka berjanji tidak mencampuri urusan dalam negeri Republik Indonesia. Ternyata Sekutu tidak menepati janjinya, sehingga menimbulkan beberapa insiden yang kemudian meningkat menjadi pertempuran. Campur tangan Pemerintah Republik Indonesia untuk menciptakan keadaan yang tenang tidak berhasil. Dalam salah satu insiden, komandan Brigade Inggris Brigjen Mallaby tertembak mati. Panglima Sekutu untuk daerah Jawa Timur, Mayjen Mansergh, mengultimatum agar rakyat Surabaya termasuk para pejabatnya menyerahkan senjatanya masing-masing sebelum pukul 06.00 tanggal 10 Nopember 1945. Ultimatum itu tidak dihiraukan rakyat Surabaya, mereka sama sekali tidak mengakui wewenang pihak Sekutu (Inggris) untuk memerintah Surabaya. Mereka hanya tunduk dan taat kepada Republik Indonesia. Pada tanggal 10 Nopember 1945 Sekutu mengerahkan segala kekuatannya di darat, laut dan udara dalam usaha membinasakan pejuang-pejuang di Surabaya. Serangan tersebut disambut dengan tekad pantang mundur oleh para pejuang sehingga beribu mereka gugur sebagai pahlawan kusuma bangsa. Diorama ini menggambarkan Pertempuran Surabaya, 10 Nopember 1945 yang kemudian diperingati secara resmi sebagai Hari Pahlawan.

*DIORAMA 35: BATTLE OF SURABAYA (10 NOVEMBER 1945)
::In October 1945, the Allied Forces (British Troops) landed in Surabaya to disarm Japanese forces and to set free Allied prisoners of war arrested by Japanese. The Allied Forces promised not to interfere in the domestic affairs of the Republic of Indonesia. As a matter of fact, the Allied Forces did not keep their words and some minor incidents occurred which finally broke out in battle. The government of the Republic of Indonesia endeavored to mediate but was unsuccessful. In one of the incidents, the British Brigade Com-mander, Brigadier General Mallaby, was assassinated. Major General Mansergh, the Allied Commander in East Java, issued an ultimatum calling the Surabaya people, including their leaders to surrender all their firearms to the Allied Forces before 06.00 a.m. on November 10, 1945. The people of Surabaya ignored the ultimatum as they did not recognize the Allied (British) to govern them. They only adhered to the government of the Republic of Indonesia. On November 10, 1945 the Allied land, sea and air forces attacked the Surabaya freedom fighters. The attack was met with bravery by the freedom fighters and a great many of them died in the battle as national heroes. The diorama shows the Battle of Surabaya 10 November 1945 which is then officially comтето-rated as National Heroes Day.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.
; '''[https://archive.org/details/36-peranan-gereja-katolik-roma-dalam-proses-penyatuan-bangsa-img-9610 PERANAN GEREJA KATOLIK ROMA DALAM PROSES PENYATUAN BANGSA]'''
*DIORAMA 36: KEGIATAN GEREJA KATHOLIK ROMA DALAM PROSES PENYATUAN BANGSA (1947)
::Gereja Katholik-Roma melalui misinya mengumpulkan pemuda-pemuda dari berbagai suku dan daerah di bawah naungan agamanya Dengan demikian terbentuk suatu masyarakat Katholik-Roma yang di dalamnya bersemi pula semangat nasioalisme Indonesia. Mereka giat mendirikan rumah sakit dan sekolah. Terhadap cita Gita Indonesia Merdeka Perhimpunan Politik Katolik Indonesia ikut menandatangani petisi Soetardjo tahun 1936 yang menuntut kepada pemerintah kolonial untuk memberikan kemerdekaan kepada bangsa Indonesia Demikian pula dalam masa perang kemerdekaan 1945-1949 mereka bersatu dengan segenap lapisan dan golongan untuk mengusir penjajah dan memper tahankan kemerdekaan. Diorama ini menggambarkan suasana perayaan Natal yang diadakan di Semarang dan dihadiri oleh hampir segenap lapisan masyarakat

*DIORAMA 36: THE ACTIVITY OF THE CATHOLIC CHURCH IN UNITING THE NATION (1947)
::The role of the Roman Catholic Church in the propagation of the Christian faith and the promotion of educational activities by the Roman Catholic missionaries contributed significantly to the unification of the nation. Besides, they were very active in building hospitals and schools. Having the Independence of Indonesia as its ideal. the Political Association of the Indonesian Catholic jointly signed the Soetardjo Petition in 1936 demand-ing the colonial government to give independence to the people of Indonesia. During the war defending the independence 19456 1949, the Roman Catholic Church united with other social groups and strata firmly to drive out the colonizer and defend freedom and independence. The diorama shows the atmosphere of the celebration of Christmas in Semarang Central Java, in the year 1947

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.
; '''[https://archive.org/details/37-gerilya-mempertahankan-kemerdekaan-1945-1949-img-9616 GERILYA MEMPERTAHANKAN KEMERDEKAAN, 1945-1949]'''
*DIORAMA 37: GERILYA DALAM PERANG KEMERDEKAAN (1945-1949)
::Pada masa perang kemerdekaan Angkatan Bersenjata Republik Indonesia masih memiliki peralatan yang sederhana untuk melawan musuh yang memiliki perlengkapan modern Perang Dunia II Angkatan bersenjata kita menggunakan taktik geniya, menyerang secara mendadak lalu menghilang. Gerilya ini kemudian dilaksanakan sebagai Perang Rakyat Semesta Di daerah-daerah yang dikuasai musuh disusun kantong kantong gerilya untuk menegakkan kekuasaan Republik Indonesia. Sistim tersebut berkembang menjadi sistim Wehrkreise dengan menyusun daerah pertempuran dalam lingkaran lingkaran yang dapat melaksanakan pertahanan secara berdiri sendiri dengan integrasi segenap kekuatan politik, ekonomi sosial budaya dan militer. Diorama ini menggambarkan keberhasilan sejumlah kecil pasukan gerilya menghadang serta menghancurkan iring iringan pasukan Belanda di Ambarawa

*DIORAMA 37: GEURRILLA IN INDEPENDENCE WAR (1945-1949)
::With the aid of obsolete weapons, the Indonesian Armed Forces and the civilian population conducted a guerrilla warfare against the Allied Forces who were trying to reinstall the Dutch colonial regime. Our troops applied the guerrilla tactics which were then camed out as a total war involving the whole population. In the region occupied by the enemy, pockets of the guerrillas were formed to establish the authority of the Republic of Indonesia. This system was developed into the Wehrinese system with the forming of operational areas in self Sustaining penmeters with the thoroughly integrated forces in the economic social, political and military elements. The diorama shows the Indonesian Armed Forces succeeding in attacking the Dutch Military convoy in Ambarawa

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.
; '''[https://archive.org/details/38-jenderal-soedirman-1948-img-9617 JENDERAL SOEDIRMAN, 1948]'''

*DIORAMA 38: JENDERAL SUDIRMAN MEMIMPIN PERJUANGAN GERILYA (1948-1949)
::Pada tanggal 19 Desember 1948 Belanda melancarkan aksı militer kedua dengan menyerang Yogyakarta. Ibukota Republik Indonesia. Pemerintah menunjuk Syafruddin Prawiranegara membentuk Pemerintah Darurat di Bukittinggi untuk mengambil alih sementara fungsi Pemerintah Pusat. Pada waktu itu Panglima Besar Jenderal Sudirman memutuskan untuk memimpin sendiri perjuangan gerilya. Walaupun penyakit beliau bertambah parah. nyala semangat juang beliau untuk memimpin gerilya tidak pernah terpadamkan Beliau baru kembali ke Yogyakarta pada bulan Juli 1949 setelah pemulihan kembali Ibukota Republik Indonesia di Yogyakarta. Diorama ini menggambarkan Jenderal Sudirman. memberikan dorongan semangat kepada prajurit TNI bahwa dalam keadaan sulit sekalipun pemimpin mereka tetap setia untuk memimpin perjuangan gerilya mempertahankan kemerdekaan

*DIORAMA 38: GENERAL SUDIRMAN LED A GUERRILLA STRUGGLE (1948-1949)
::On 19 December 1948 the Dutch launched the second military action by attacking Yogyakarta, the capital city of the Republic of Indonesia The government authorized Syafruddin Prawiranegara in Bukittinggi to form an emergency government to take over temporarily the function of the central government. At that time it was already known that the Com mander in Chief of the army, General Sudirman, who was being very sick, had decided that he himself would lead the guerrilla struggle. Eventhough he was be coming very ill, he never gave up and his sprint to lead the guernila forces was not extinguishable. He returned to Yogyakarta in July 1949 only after the capital city of the Republic of Indonesia reinstated in Yogyakarta. The diorama shows that General Sudirman gives TNI soldiers a great moral support and strong conviction that in whatever severe situation, he shall keep his promise and lead the fight.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.
; '''[https://archive.org/details/39-pengakuan-kedaulatan-27-desember-1949-img-9620 PENGAKUAN KEDAULATAN, 27 DESEMBER 1949]'''

*DIORAMA 39: PENGAKUAN KEDAULATAN (27 DESEMBER 1949)
::Perjuangan gigih rakyat Indonesia melawan agresi militer kedua Belanda dan adanya desakan Dewan Keamanan PBB memaksa Pemerintah Belanda untuk kembali ke meja perundingan Perundingan tersebut diadakan di Jakarta yang menghasilkan perjanjian Roem Van Royen pada tanggal 13 Mei 1949. Isinya adalah pemulihan pemerintahan Republik Indonesia di Yogyakarta, persiapan untuk mengadakan suatu Konferensi Meja Bundar dan penarikan tentara Belanda dari Yogyakarta. Konferensi Meja Bundar dibuka pada tanggal 23 Agustus 1949 di Den Haag, berakhir 29 Oktober dan ketetapan terpentingnya adalah Kerajaan Belanda mengakui kedaulatan atas Indonesia pada Republik Indonesia Serikat. Upacara resmi pengakuan kedaulatan tersebut berlangsung tanggal 27 Desember 1949 di Amsterdam dan pada hari yang sama upacara serupa diadakan di Jakarta. Diorama ini menggambarkan pengibaran bendera Merah Putih di Istana Merdeka Jakarta, dipimpin oleh Sultan Hamengku Buwono pada upacara pengakuan kedaulatan Republik Indonesia Serikat tanggal 27 Desember 1949.

*DIORAMA 39: RECOGNITION OF SOVEREIGNTY (27 DECEMBER 1949)
::The unyielding struggle against the second Dutch military action and the pressure of the United Nations Security Council forced the Dutch to return to the conference table. The conference was held in Jakarta which resulted in the Roem-Van Royen agreement on 13 May 1949. It contains that the Republic of Indonesia should be reinstated in Yogyakarta, the Round Table Conference should be conducted: and the Dutch army should be withdrawn from Yogyakarta. The Round Table Conference was opened in The Hague on 23 August 1949. It concluded on 29 October and its important provision that the Kingdom of the Netherlands recognized sovereignty over Indonesia to the Republic of the United States of Indonesia. The formal ceremony transferring sovereignty over Indonesia was held in Amsterdam, on 27 December 1949 On the same day a similar ceremony took place in Jakarta. The diorama shows the red and white flag raises in the Merdeka Palace in Jakarta at the recognition sovereignty ceremony led by Sultan Hamengku Buwono on 27 December 1949

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.
; '''[https://archive.org/details/40-kembali-ke-negara-kesatuan-1950-img-9621 KEMBALI KE NEGARA KESATUAN, 1950]'''

*DIORAMA 40: KEMBALI KE NEGARA KESATUAN (1950)
::Pengakuan kedaulatan terhadap Republik Indonesia Serikat diberikan pada tanggal 27 Desember 1949 oleh Kerajaan Belanda. Bentuk negara Serikat bukan tujuan bangsa Indonesia melainkan terpaksa diterima sebagai hasil kompromi dengan Belanda. Rakyat di setiap daerah menuntut agar bentuk negara federal dihapuskan dan diberlakukan kembali bentuk negara kesatuan. Beberapa negara bagian secara spontan menyatakan bergabung dengan Republik Indonesia yang pada waktu itu merupakan bagian dan Republik Indonesia Serikat. Puncak dan perjuangan itu adalah perundingan antara RIS dengan negara bagian Republik Indonesia yang menghasilkan keputusan tentang penghapusan bentuk negara Serikat dan pembentukan lærmbali negara kesatuan Republik Indonesia pada tanggal 17 Agustus 1950. Diorama ini menggambarkan Soepomo berpidato di hadapan massa menandai kembali terbentuknya Negara Kesatuan Republik Indonesia

*DIORAMA 40: RETURN TO THE UNITARY STATE (1950)
::The recognition of the sovereignty over Indonesia to the Republic of the United States of Indonesia was given by the Kingdom of the Netherlands on 27 December 1949. The Federation States was not the main purpose of the Indonesian people but was forced upon them and was only tolerated as a result of compromise. The people in the regions had rejected to have the form of a federal states and they demanded the return to the Unitary State Consequently, several members of the United States of Indonesia spontaneously declared unification in the Republic of Indonesia. The struggle to return to the Unitary State reached its peak with the abolishment of the Federal States and the declaration of return to the Unitary State of the Republic of Indonesia on 17 August 1950 as the result of the Interstate Conference. The diorama shows Soepomo gives his speeches before the mass meeting signifying the return to the Unitary State of the Republic of Indonesia

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.
; '''[https://archive.org/details/41-indonesia-menjadi-anggota-pbb-28-sepetember-1950-img-9625 INDONESIA MENJADI ANGGOTA PBB, 28 SEPETEMBER 1950]'''

*DIORAMA 41: INDONESIA MENJADI ANGGOTA PERSERIKATAN BANGSA-BANGSA (28 SEPTEMBER 1950)
::Perserikatan Bangsa-Bangsa memainkan peranan penting dalam memelihara perdamaian dunia serta mengatasi perbedaan diantara negara-negara di dunia, dan membantu mempercepat proses dekolonisasi. PBB serta organisasi bawahannya membantu menyelesaikan sengketa Indonesia-Belanda, maka Indonesia cenderung menjadi anggota badan dunia tersebut. Pada tanggal 28 September 1950, dalam Sidang Umum PBB di Flushing Meadow, Lake Success, Indonesia dengan suara bulat resmi diterima menjadi anggota PBB. Diorama ini menggambarkan upacara pengibaran bendera Merah Putih di PBB, New York yang menandai masuknya Indonesia menjadi anggota PBB

*DIORAMA 41: THE UNITED NATION MEMBERSHIP (28 SEPTEMBER 1950)
::The United Nations Organization plays an important role in maintaining world peace and overcoming differences among nations. It also helps in accelerating the process of decolonization in the world. It was already known that the United Nations and its subordinate agencies had assisted in settling the dispute between Indonesia and the Dutch. Therefore, Indo-nesia felt the urgency to become member of the world body. On 28 September 1950 the United Nation Gen-eral Assembly held in Flushing, Lake Success unani-mously approved Indonesia as its sixtieth member. The diorama shows on 28 September 1950 the Red and White flag raises at the ceremony admitting the membership of Indonesia to the United Nations.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.
; '''[https://archive.org/details/42-konferensi-asia-afrika-18-24-april-1955-img-9627 KONFERENSI ASIA AFRIKA, 18-24 APRIL 1955]'''

*DIORAMA 42: KONPERENSI ASIA-AFRIKA (18 - 24 APRIL 1955)
::Sesudah berakhirnya Perang Dunia II muncul Blok Barat dan Blok Timur. Sejak saat itu dunia diliputi mendung ketidakpastian dan merasakan ketegangan karena kedua Blok tersebut terlibat perebutan pengaruh serta perlombaan persenjataan yang setiap saat dapat memicu perang nuklir. Menyadari akan bahaya ini rakyat Asia-Afrika yang berbeda-beda sistim politiknya mencari suatu persatuan untuk bersama-sama berusaha menyelamatkan dunia dari kehancuran nuklir dan membentuk dunia baru yang damai dan sejahtera bebas dari kolonialisme dan imperialisme. Melalui konperensi-konperensi di Kolombo tanggal 28 April 2 Mei 1954 dan di Bogor tanggal 28 - 31 Desember 1954 lima negara sponsor konperensi Asia-Afrika, Indonesia, India, Birma, Pakistan dan Srilanka menetapkan langkah-langkah yang lebih konkrit untuk konperensi Asia-Afrika. Konperensi Asia-Afrika yang kemudian dilaksanakan di Bandung tanggal 18-24 April 1955, dihadiri oleh 30 negara-negara Asia-Afrika dan menghasilkan suatu keputusan yang terkenal dengan nama "Dasasila Bandung". Diorama ini menggambarkan Presiden Republik Indonesia menyampaikan pidato pada upacara pembukaan Konperensi Asia-Afrika tanggal 18 April 1955 di Bandung.

*DIORAMA 42: AFRO-ASIAN CONFERENCE (18-24 APRIL 1955)
::After World War II emerged two opposing forces, the West and the East Block. Since then the world was wrapped in a mist of uncertainty and felt the strain, because the two blocks fought for the supremacy in influence and weaponry in a severe cold war, which at anytime threatened the start of a nuclear warfare. Aware of this danger the Asian and African nations which have several different political aspirations tried to wedge a way to unite efforts to save the world from the disaster of nuclear warfare, and form a new world, secure and peaceful free from colonialism and imperialism. Through the preliminary conferences on 28 April -2 May 1954 in Colombo and on 28-31 December 1954 in Bogor five nations that sponsored the Afro-Asian Conference, Indonesia, India, Myanmar, Pakistan and Srilangka set up a concrete platform to hold the conference. On 18 April 1955 in Bandung the Afro-Asian Conference was opened, attended by 30 delegates. It concluded on 24 April and its result was already known as the Declaration of Ten Principles of Bandung. The diorama shows President of the Republic of Indonesia gives his speeches at the opening ceremony of the conference on 18 April 1955 in Bandung.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.
; '''[https://archive.org/details/43-pemilihan-umum-pertama-1955-img-9629 PEMILIHAN UMUM PERTAMA, 1955]'''

*DIORAMA 43: PEMILIHAN UMUM PERTAΜΑ (1955)
::Sejak semula Pemerintah Republik Indonesia menyadari bahwa pemilihan umum harus dilaksanakan sebagai salah satu sarana demokrasi. Akan tetapi pada tahun-tahun pertama berdirinya. Republik Indonesia harus menghadapi musuh dari luar, sehingga pemilihan umum sulit dilaksanakan. Barulah sesudah tahun 1950 usaha untuk menyelenggarakan pemilihan umum digiatkan kembali dengan pembuatan Undang-Undang Pemilihan Umum. Keinginan untuk melaksanakan pemilihan umum dapat menstabilkan keadaan politik waktu itu dan pembangunan dapat dilaksanakan dengan sebaik-baiknya. Akhirnya semasa kabinet Burhanuddin Harahap. pemilihan umum dapat dilaksanakan, tanggal 29 September 1955 untuk wakil-wakil rakyat di Dewan Perwakilan Rakyat dan tanggal 15 Desember 1955 untuk wakil-wakil rakyat di Dewan Konstituante. Diorama ini menggambarkan peristiwa pemilihan umum pertama di Indonesia tahun 1955.

*DIORAMA 43: THE FIRST GENERAL ELECTION (1955)
::From the very beginning, the Government of the Republic of Indonesia has been aware that there had to be an election in order to implement the principle of democracy. But, since beginning of her existence the Republic of Indonesia had to face enemies from outside, so that it was very difficult to accomplish elections In 1950, efforts to accomplish a general election took a concrete form with the legislation of the law of general election. The desire to act was very great, with the hope that the result of the elections would stabilize the political situation, enabling the building up of the country with the most desirable effect. Finally, under the cabinet of Burhanuddin Harahap administration the election was carried out on 29 September 1955 and on 15 December 1955 respectively for the people's representatives in Legislative Assembly and Constituent Assembly. The diorama shows the atmosphere of the first general election in 1955.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.
; '''[https://archive.org/details/44-pembebasan-irian-jaya-1-mei-1963-img-9631 PEMBEBASAN IRIAN JAYA, 1 MEI 1963]'''

*DIORAMA 44: PEMBEBASAN IRIAN JAYA (Ι ΜΕΙ 1963)
::Dengan dasar pemikiran bahwa wilayah kekuasaan Republik Indonesia meliputi seluruh wilayah bekas jajahan Hindia Belanda, maka segala upaya pembebasan Irian Jaya terus dijalankan. Usaha-usaha pengembalian Irian Jaya yang masih dikuasai Belanda ke dalam wilayah kekuasaan Republik Indonesia melalui meja perundingan selalu gagal. Begitupun melalui sidang-sidang Majelis Umum Perserikatan Bangsa-Bangsa. Ketika Belanda bermaksud memberikan hak menentukan nasib sendiri pada rakyat Irian Jaya yang menjurus untuk melepaskan dari Republik Indonesia dan membentuk pemerintah boneka, Indonesia memutuskan untuk membebaskan Irian Jaya dengan kekuatan senjata. Dalam rapat umum tanggal 19 Desember 1961 di Yogyakarta, Presiden mengumumkan Tri Komando Rakyat (Trikora), yang meliputi: Gagalkan pembentukan negara Papua bikinan kolonialis Belanda, Kibarkan Sang Merah Putih di Irian Jaya, dan Bersiaplah untuk mobilisasi umum. Satuan tugas dengan nama Komando Mandala dibentuk yang dipimpin oleh Mayor Jenderal Soeharto, dan dengan demikian dimulailah operasi militer ke Irian Jaya. Dalam keadaan demikian pada tanggal 15 Agustus 1962 tercapai Persetujuan New York antara Indonesia-Belanda. Pada tanggal 1 Mei 1963 secara resmi Belanda melalui PBB menyerahkan kekuasaan atas Irian Jaya kepada Indonesia. Diorama ini menggambarkan Sudjarwo Tjondronegoro mewakili Indonesia pada upacara resmi penyerahan kedaulatan Irian kepada Republik Indonesia pada tanggal | Mei 1963 di Jayapura. Bendera Belanda diturunkan dan bendera Indonesia dinaikkan.

*DIORAMA 44: THE LIBERATION OF IRIAN JAYA (1 MAY 1963)
::Based on the conception that the Republic of Indonesia teritory of sovereignty consists of the entire former the Netherlands Indies Territory, the Republic kept on taking all necessary measures to liberate Irian. Effort to reclaim Irian back in the unity from the Dutch authority to Indonesia by means of negotiations as well as through the General Assembly of the United Nations Organization had never been successful, When the Dutch intended to give the Irian people the right of self determination which had the tendency to make it an independent state, Indonesia lost its patience which she had been trying to endeavour for 12 years and decided to take Irian by force. On 19 December 1961 at a mass meeting in Yogyakarta President declared The People's Three Commands: Foiling the establishment of the Papua State setting up by the Dutch, Raising the Red and White flag in Irian, and Getting ready for general mobilization. The special task force, known as Mandala Com-mand was set up led by Major General Soeharto and so began the military operations to Irian. Under such circumstances on 15 August 1962 Indonesia and the Dutch reached the New York agree-ment. On May 1963 the Dutch through the good offices of the United Nations officially transferred the sovereignty over Irian to the Republic of Indonesia. The diorama shows Soedjarwo Tjondronegoro, Indonesia's representative, at the ceremony transferring sovereignty over Irian to the Republic of Indonesia on May 1963 in Jayapura. The Dutch flag is lowered and the Indonesian flag raised.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.
; '''[https://archive.org/details/45-hari-kesaktian-pancasila-1-oktober-1965-img-9637 HARI KESAKTIAN PANCASILA, 1 OKTOBER 1965]'''

*DIORAMA 45: HARI KESAKTIAN PANCASILA (1 OKTOBER 1965)
::Pada masa pemerintahan Orde Lama, PKI meningkatkan serangannya terhadap kekuatan Pancasila. Karena menurunnya kesehatan Presiden Soekarno saat itu. PKI merasa adanya bahaya yang akan mengancam eksistensinya. Yang dianggap bahaya terbesar adalah pihak TNI-Angkatan Darat, karena Pemimpinnya bersikap waspada terhadap kegiatan PKI yang hendak menyelewengkan Pancasila. Untuk mendiskreditkan lawannya itu, PKI membuat fitnah terhadap Pimpinan TNI Angkatan Darat seolah-olah mereka membentuk Dewan Jenderal yang akan merebut kekuasaan negara. Dengan dalih mendahului coup Dewan Jenderal itu maka pada tanggal | Oktober 1965 PKI, dibantu oleh oknum-oknum ABRI, melancarkan Gerakan 30 September dan melakukan pembunuhan terhadap pimpinan TNI-Angkatan Darat di Lubang Buaya, Jakarta Timur. Tetapi rakyat yang berjiwa Pancasila sejati segera sadar bahwa gerakan itu bertujuan untuk melenyapkan Pancasila dan UUD 45. Dibawah pimpinan Mayor Jenderal Soeharto. Panglima Kostrad, usaha perebutan kekuasaan oleh Gerakan 30 September/PKI berhasil digagalkan dan gerakannya ditumpas dalam waktu singkat. Peristiwa ini merupakan kemenangan dari Pancasila yang telah benar-benar dihayati oleh seluruh rakyat. Diorama ini menggambarkan jenazah para Pahlawan Revolusi diangkat dari sumur di Lubang Buaya dipimpin langsung oleh Mayor Jenderal Soeharto.

*DIORAMA 45: PANCASILA SANCTITY DAY (1 OCTOBER 1965)
::During the Old Order regime, the Indonesian Communist Party increased its offensive against the forces of Pancasila. Because of the decline of Presi-dent Soekarno's health, who was its ally and protec-tor, the Indonesian Communist Party felt the danger that threatened its existence. The biggest danger they considered was the Indonesian Army (TNI-AD), because TNI-AD commander were very much alert of the Indonesian Communist Party activities that had the aim of diverting the Pancasila. To bring discredit to his opponent, they slandered the TNI-AD leaders accusing them of forming a Council of General with which to carry out a coup d'etat. With the excuse of intercepting the coup d'etat of the Council of Generals, on October 1, 1965, the In-donesian Communist Party with several officers from the Armed Forces, launched the 30 September Move-ment by killing the top leaders of the army in Lubang Buaya, East Jakarta. But the Indonesian people who are true Pancasialists were immediately aware that the Indonesian Communist Party movement was aimed at destroying the Pancasila state philosophy and the 1945 Constitution. Under the command of Major General Soeharto the effort for a coup d'etat by the Indonesian Commu-nist Party were thwarted, and the movement was destroyed within a very short time. This event proved of the invulnerability of the Pancasila as it is in the soul of the people. The diorama shows on 4 October 1965 the corpses of the Revolution Heroes are lifted from the well in Lubang Buaya led by Major General Soeharto.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.
; '''[https://archive.org/details/46-aksi-aksi-tri-tuntutan-rakyat-1966-img-9640 AKSI-AKSI TRI TUNTUTAN RAKYAT, 1966]'''

*DIORAMA 46: AKSI-AKSI TRI TUNTUTAN RAKYAT (1966)
::Semenjak gagalnya coup berdarah yang dilakukan oleh Partai Komunis Indonesia, pemerintahan Orde Lama menjadi goyah. Di samping itu krisis politik dan ekonomi semakin parah. Mahasiswa sebagai generasi muda yang tergabung dalam Kesatuan Aksi Mahasiswa Indonesia (KAMI) mengajukan Tri Tuntutan Rakyat (Tritura), meliputi 1. Bubarkan PKI 2. Bersihkan Kabinet dari unsur-unsur G-30-S/PKI 3. Turunkan harga-harga. Diorama ini menggambarkan suasana gelombang demonstrasi yang pada saat itu diadakan di area Taman Medan Merdeka Utara, Jakarta.

*DIORAMA 46: THE PEOPLE'S THREE DEMAND ACTION (1966)
::Since the failure of the bloody coup d'etat of the Indonesian Communist Party, the Old Order regime became unstable. Besides, political and economical crisis apparent. Throughout the country, universities and high schools students with the support of the Pancasila forces and the Armed Forces, demanded: 1 Banning the Indonesian Communist Party 2. Purging communist elements from the Dwikora Cabinet 3. Lowering prices of basic commodities.The diorama shows the demonstration to voice the people's Three Demands held in northern area of Medan Merdeka Square, Jakarta.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.
; '''[https://archive.org/details/47-surat-perintah-11-maret-1966-img-9645 SURAT PERINTAH 11 MARET 1966]'''

*DIORAMA 47: SURAT PERINTAH SEBELAS MARET (1966)
::Situasi negara Indonesia sesudah digagalkannya kudeta Gerakan 30 September/PKI merupakan masa kritis yang menggoncangkan sendi-sendi negara. Presiden Soekarno beserta pemerintahannya yang penuh dengan oknum-oknum Gerakan 30 September/PKI sama sekali kehilangan kepercayaan rakyat. Pada tanggal 11 Maret 1966 Presiden Soekarno mengeluarkan Surat Perintah kepada Jenderal Soeharto untuk memulihkan kewibawaan Pemerintah dengan jalan mengambil semua tindakan yang dianggap perlu. Jenderal Soeharto dengan cepat melaksanakan Surat Perintah | Maret 1966 itu dengan memenuhi dua diantara. Tri Tuntutan Rakyat, yakni membubarkan Partai Komunis Indonesia dan membersihkan kabinet dari menteri-menteri yang ada indikasi terlibat Gerakan 30 September/PKI atau memperlihatkan itikad kurang baik terhadap usaha-usaha pemulihan keamanan dan ketertiban. Dalam diorama ini digambarkan tiga Perwira Tinggi Angkatan Darat, yakni Mayjen Basuki Rahmat. Brigjen M. Jusuf dan Brigjen Amir Machmud sedang melaporkan Surat Perintah 11 Maret 1966 kepada Jenderal Soeharto, yang sedang berbaring karena sakit.

*DIORAMA 47:DIORAMA 47: THE WRITTEN ORDER OF MARCH ELEVENTH (1966)
::The time after the failure of the September 30 Movement/the Indonesian Communist Party, a new crisis emerged which shook the foundation of the country. On 11 March 1966 President Soekarno issued his mandate to General Soeharto in order to reinstate the Government authority and restore the national security by taking any necessary measures. General Soeharto immediately executed the or-der by fulfilling two of the People's Three Demands. i.e. Banning the Indonesian Communist Party, and purging the cabinet from the ministers who were involved in the September 30 Movement/ Indonesian Communist Party or those who hampered efforts to recovering security and order. The diorama shows General Soeharto as he was very sick - lying on bed receives, from left to right, army officers Brigadier General Amir Machmud, Major General Basuki Rachmat and Brigadier General M. Jusuf who have come to report the written order of March Eleventh.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.
; '''[https://archive.org/details/48-penentuan-pendapat-rakyat-irian-jaya-1969-img-9646 PENENTUAN PENDAPAT RAKYAT IRIAN JAYA, 1969]'''

*DIORAMA 48: PENENTUAN PENDAPAT RAKYAT IRIAN BARAT (1969)
::Salah satu isi persetujuan New York tanggal 15 Agustus 1962 mengenai penyerahan Irian Barat kepada Indonesia adalah bahwa pada tahun 1969 harus diadakan Penentuan Pendapat Rakyat (Pepera), apakah memilih Republik Indonesia atau tidak. Pelaksanaannya akan diawasi oleh Perserikatan Bangsa-Bangsa. Timbul masalah dalam pelaksanaannya, apakah setiap orang memberikan suara langsung sebagaimana usul wakil PBB, Duta Besar Bolivia Ortin Sede, atau perwakilan setiap kelompok melalui pemilihan secara bertingkat seperti usul Indonesia. Karena usul wakil PBB adalah amat sulit untuk dilaksanakan dalam kondisi seperti di Irian Barat, usul Indonesia yang diterima. Dengan disaksikan oleh wakil-wakil PBB, pers dalam dan luar negeri serta peninjau-peninjau dari beberapa kedutaan asing di Jakarta, dimulailah Pepera tersebut dari bulan April - Juni 1969, untuk pemilihan anggota Dewan Musyawarah Kabupaten (Regency Consultative Assemblies) di mana terpilih 1026 anggota mewakili 8 kabupaten, diantaranya 43 wanita. Keputusan Dewan Musyawarah Pepera dengan suara bulat memilih Irian Barat tetap merupakan bagian dari Negara Kesatuan Republik Indonesia. Padá tanggal 19 November 1969, PBB mensahkan hasil Pepera tersebut dengan 84 suara setuju, 6 menolak dan 30 suara abstain (terutama negara Afrika). Diorama ini menggambarkan suasana Sidang Musyawarah Penentuan Pendapat Rakyaat Irian Barat pada bulan Juli 1969.

*DIORAMA 48: REFERENDUM OF THE PEOPLE OF WEST IRIAN (1969)
::The contents of the agreement of New York on August 15, 1962, concerning the transfer of sovereignty of West Irian to Indonesia, said that in 1969, the people of Irian should be given the right of self-determination in order to choose whether they would consent to be a part of Indonesia or otherwise. The execution would be under supervision of the United Nations. Complication arose concerning the procedure of execution whether every voter would directly give his vote, as was suggested by the delegation of the United Nations, Bolivian Ambassador Ortin Sede, or repre-sentatives of each group and so voting in stages (Indonesia's proposal). Based on the geographical con-dition in Irian, finally Indonesia's proposal was accepted. From April to June 1969, the Indonesia's govern-ment held a United Nations' supervised referendum in West Irian, witnessed by United Nations representatives, local and foreign journalists and observers from several embassies in Jakarta in which 1026 delegates were elected representing 8 regencies, among them 43 were women. The result was a unanimous option for joining the Republic of Indonesia as an integral part of the Republic. On 19 November the United Nations approved the result of the referendum after taking of a vote, 84 in favor, 6 opposed and 30 abstain (mostly African States). The diorama shows the atmosphere of the People's Referendum Assembly in Irian in July 1969.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

; '''(The museum)'''
; '''[https://archive.org/details/img-9384_202601 IMG_9384]'''

*Interior of Museum Sejarah Nasional (National History Museum), located in the basement of Monas.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

; '''[https://archive.org/details/img-9391a IMG_9391a]'''

*Interior of Museum Sejarah Nasional (National History Museum), located in the basement of Monas.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

; '''[https://archive.org/details/img-9402_202601 IMG_9402]'''

*Interior of Museum Sejarah Nasional (National History Museum), located in the basement of Monas.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

; '''[https://archive.org/details/img-9415_202601 IMG_9415]'''

*Interior of Museum Sejarah Nasional (National History Museum), located in the basement of Monas.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

; '''[https://archive.org/details/img-9436_202601 IMG_9436]'''

*Interior of Museum Sejarah Nasional (National History Museum), located in the basement of Monas.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

; '''[https://archive.org/details/img-9439_202602 IMG_9439]'''

*Interior of Museum Sejarah Nasional (National History Museum), located in the basement of Monas.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

; '''[https://archive.org/details/img-9614_202601 IMG_9614]'''

*Interior of Museum Sejarah Nasional (National History Museum), located in the basement of Monas.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

; '''[https://archive.org/details/img-9384_202601 IMG_9384]'''

*Interior of Museum Sejarah Nasional (National History Museum), located in the basement of Monas.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

; '''[https://archive.org/details/img-9391a IMG_9391a]'''

*Interior of Museum Sejarah Nasional (National History Museum), located in the basement of Monas.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

; '''[https://archive.org/details/img-9402_202601 IMG_9402]'''

*Interior of Museum Sejarah Nasional (National History Museum), located in the basement of Monas.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

; '''[https://archive.org/details/img-9415_202601 IMG_9415]'''

*Interior of Museum Sejarah Nasional (National History Museum), located in the basement of Monas.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

; '''[https://archive.org/details/img-9436_202601 IMG_9436]'''

*Interior of Museum Sejarah Nasional (National History Museum), located in the basement of Monas.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

; '''[https://archive.org/details/img-9439_202602 IMG_9439]'''

*Interior of Museum Sejarah Nasional (National History Museum), located in the basement of Monas.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

; '''[https://archive.org/details/img-9614_202601 IMG_9614]'''

*Interior of Museum Sejarah Nasional (National History Museum), located in the basement of Monas.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

; '''Hasil Jadi'''
; '''[https://archive.org/details/mon-jam-00001 MON_JAM_00001]'''
*Photo of the installation of diorama number 29, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team at the National Monument, with the title Youth Pledge.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-jam-00002 MON_JAM_00002]'''
*Photo of the installation of diorama number 29, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team at the National Monument, with the title Youth Pledge.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-jam-00003 MON_JAM_00003]'''
*Photo of the installation of diorama number 29, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team at the National Monument, with the title Youth Pledge.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-jam-00004 MON_JAM_00004]'''
*Photo of the installation of diorama number 17, commissioned by Edhi Sunarso and the Keluarga Arca sculptor team at the National Monument, titled The Aceh War, shows a miniature building resembling the Baiturrahman Mosque in Aceh, which was later abandoned.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-jam-00005 MON_JAM_00005]'''
*Photo of the installation of diorama number 17, commissioned by Edhi Sunarso and the Keluarga Arca sculptor team at the National Monument, titled The Aceh War, shows a miniature building resembling the Baiturrahman Mosque in Aceh, which was later abandoned.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-jam-00006 MON_JAM_00006]'''
*Photo of the installation of diorama number 17, commissioned by Edhi Sunarso and the Keluarga Arca sculptor team at the National Monument, titled The Aceh War, shows a miniature building resembling the Baiturrahman Mosque in Aceh, which was later abandoned.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-jam-00007 MON_JAM_00007]'''
*Photo of the installation of diorama number 37, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team at the National Monument, with the title Guerrilla in the War of Independence.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-jam-00008 MON_JAM_00008]'''
*Photo of the installation of diorama number 37, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team at the National Monument, with the title Guerrilla in the War of Independence.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-jam-00009 MON_JAM_00009]'''
*Photo of the installation of diorama number 30, which was done by Edhi Sunarso and the Keluarga Arca sculptor team, at the National Monument, with the title Romusha.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-jam-00010 MON_JAM_00010]'''
*Photo of the installation of diorama number 33, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team at the National Monument, with the title Ratification of Pancasila as the Philosophical Foundation of the State and the 1945 Constitution.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-jam-00011 MON_JAM_00011]'''
*Photo of the installation of diorama number 33, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team at the National Monument, with the title Ratification of Pancasila as the Philosophical Foundation of the State and the 1945 Constitution.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-jam-00012 MON_JAM_00012]'''
*Photo of one of the artists in front of diorama number 33 with the title Ratification of Pancasila as the State Foundation and the 1945 Constitution, which was done by Edhi Sunarso and the Keluarga Arca sculptor team at the National Monument

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-jam-00013 MON_JAM_00013]'''
*Photo of the installation of diorama number 20, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team at the National Monument, with the title Cultivation Forced Planting.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-jam-00014 MON_JAM_00014]'''
*Photo of the installation of diorama number 20, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team at the National Monument, with the title Cultivation Forced Planting.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-jam-00015 MON_JAM_00015]'''
*Photo of the installation of diorama number 20, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team at the National Monument, with the title Cultivation Forced Planting.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-jam-00016 MON_JAM_00016]'''
*Photo of the installation of diorama number 20, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team at the National Monument, with the title Cultivation Forced Planting.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-jam-00017 MON_JAM_00017]'''
*Photo of the installation of diorama number 30, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team, at the National Monument, with the title Romusha.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-jam-00018 MON_JAM_00018]'''
*Photo of the installation of diorama number 23, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team, at the National Monument, with the title National Awakening.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-jam-00019 MON_JAM_00019]'''
*Photo of one of the Keluarga Arca artists in front of diorama number 6 entitled Palapa Oath, which was done by Edhi Sunarso and the Keluarga Arca sculptor team at the National Monument

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-jam-00020 MON_JAM_00020]'''
*Photo of an artist from the Keluarga Arca sculptor team working on installing diorama number 14 entitled The Diponegoro War, at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-jam-00021 MON_JAM_00021]'''
*Photo of the installation of diorama number 14, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team,at the National Monument, with the title Diponegoro War.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-jam-00022 MON_JAM_00022]'''
*Photo of artists from the Keluarga Arca sculptor team preparing statues for a diorama at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-mer-00001 MON_MER_00001]'''
*Photo of the installation of diorama number 2, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team at the National Monument, with the title Sriwijaya seaport.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-mer-00002 MON_MER_00002]'''
*Photo of the finished product from the installation of diorama number 3, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team at the National Monument, with the title Borobudur Temple Under Construction

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-mer-00003 MON_MER_00003]'''
*Photo of the installation of diorama number 7, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team, at the National Monument, with the title Majapahit War Fleet.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-mer-00004 MON_MER_00004]'''
*Photo of the installation of diorama number 44, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team, at the National Monument, with the title Liberation of West Irian.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-mer-00005 MON_MER_00005]'''
*Photo of the installation of diorama number 15, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team at the National Monument, with the title Imam Bonjol War

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-mer-00006 MON_MER_00006]'''
*Photo of the installation of diorama number 12, which was carried out by Edhi Sunarso and the keluarga Arca sculptor team,at the National Monument, with the title Makassar War.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-mer-00007 MON_MER_00007]'''
*Photo of the installation of diorama number 10, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team , at the National Monument, with the title The War for the Formation of Jayakarta.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-mer-00008 MON_MER_00008]'''
*Photo of the installation of diorama number 30, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team , at the National Monument, with the title Romusha.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-mer-00009 MON_MER_00009]'''
*Photo of the installation of diorama number 11, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team, at the National Monument, with the title Bugis Trading Fleet.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-mer-00010 MON_MER_00010]'''
*Photo of the installation of diorama number 8, which was done by Edhi Sunarso and the Keluarga Arca sculptor team, at the National Monument, with the title Chinese Envoy to Majapahit.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-mer-00011 MON_MER_00011]'''
*Photo of the installation of diorama number 9, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team, at the National Monument, with the title Pesantren as a Uniter of the Indonesian Nation.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-mer-00012 MON_MER_00012]'''
*Photo of the installation of diorama number 25, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team, at the National Monument, with the title Muhammadiyah.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-mer-00013 MON_MER_00013]'''
*Photo of the installation of diorama number 42, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team, at the National Monument, with the title Asia-Africa Conference.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-mer-00014 MON_MER_00014]'''
*Photo of the installation of diorama number 37, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team at the National Monument, with the title Guerrilla in the War of Independence.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-mer-00015 MON_MER_00015]'''
*Photo from one corner of the diorama room at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-mer-00016 MON_MER_00016]'''
*Photo of the installation of diorama number 38, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team, at the National Monument, with the title General Soedirman.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-mer-00017 MON_MER_00017]'''
*Photo of the installation of diorama number 5, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team at the National Monument, with the title Jawi Temple: A Combination of Shivaism and Buddhism

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-mer-00018 MON_MER_00018]'''
*Photo of the installation of diorama number 26, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team at the National Monument, with the title Indonesian Association.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-mer-00019 MON_MER_00019]'''
*Photo of the installation of diorama number 27, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team at the National Monument, with the title STOVIA

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-mer-00020 MON_MER_00020]'''
*Photo of the installation of diorama number 6, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team at the National Monument, with the title Palapa Oath.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-mer-00021 MON_MER_00021]'''
*Photo of the installation of diorama number 39, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team at the National Monument, with the title Recognition of Sovereignty.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-mer-00022 MON_MER_00022]'''
*Photo of the finished product from the installation of diorama number 4, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team at the National Monument, with the title Waringin Sapta Dam.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-mer-00023 MON_MER_00023]'''
*photo documentation of one of the dioramas

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-mer-00024 MON_MER_00024]'''
*Photo of the installation of diorama number 4, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team at the National Monument, with the title Diponegoro War.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-mer-00025 MON_MER_00025]'''
*Photo of the installation of diorama number 46, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team at the National Monument, with the title Three Demands of the People's Action

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-mer-00026 MON_MER_00026]'''
*Photo of the installation of diorama number 45, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team at the National Monument, with the title Pancasila Sanctity Day.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-mer-00027 MON_MER_00027]'''
*Photo of the installation of diorama number 45, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team at the National Monument, with the title Pancasila Sanctity Day.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-mer-00028 MON_MER_00028]'''
*Photo of the installation of diorama number 47, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team at the National Monument, with the title 11th March 1966 Order Letter

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-post-00001 MON_POST_00001]'''
*Photo of one of the artists from the Keluarga Arca sculptor team on one side of the National Monument building.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-post-00002 MON_POST_00002]'''
*Photo of artists from the Keluarga Arca sculptor team creating sculptures in the studio

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-post-00003 MON_POST_00003]'''
*Photo of the installation of diorama number 45, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team at the National Monument, with the title Pancasila Sanctity Day.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-post-00004 MON_POST_00004]'''
*Photo of the installation of diorama number 7, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team at the National Monument, with the title Majapahit War Fleet.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-post-00005 MON_POST_00005]'''
*Photo of the installation of diorama number 45, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team at the National Monument, with the title Pancasila Sanctity Day.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-post-00006 MON_POST_00006]'''
*Photo of the installation of diorama number 40, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team at the National Monument, with the title Returning to the Unitary State.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-post-00007 MON_POST_00007]'''
*Photo of the installation of diorama number 46, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team at the National Monument, with the title Three Demands of the People's Action

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-post-00008 MON_POST_00008]'''
*Photo of the installation of diorama number 7, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team at the National Monument, with the title Majapahit War Fleet.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

; '''Pemasangan Diorama'''
; '''[https://archive.org/details/mon-bwf-00001 MON_BWF_00001]'''
*Photo of the base of the Monas building

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-bwf-00002 MON_BWF_00002]'''
*Photo of Edhi Sunarso with his colleagues on the steps of the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-bwf-00003 MON_BWF_00003]'''

*Photo of artists from the Keluarga Arca sculptor team preparing one of the dioramas at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-bwf-00004 MON_BWF_00004]'''

*Photo of artists from the Keluarga Arca sculptor team in the process of coloring the statues for the diorama at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-bwf-00005 MON_BWF_00005]'''

*Photo of artists from the Keluarga Arca sculptor team in the process of coloring the statues for the diorama at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-bwf-00006 MON_BWF_00006]'''

*Photo of the artist preparing diorama room number 39 at the National Monument entitled Recognition of Sovereignty.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-bwf-00007 MON_BWF_00007]'''

*Photo of one of the artists preparing a scene in diorama number 14 at the National Monument entitled The Diponegoro War.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-bwf-00008 MON_BWF_00008]'''

*Photo of artists from the Keluarga Arca sculptor team in the process of coloring the statues for the diorama at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-bwf-00009 MON_BWF_00009]'''

*Photo of one of the scenes in the diorama arrangement process at the National Monument, possibly in diorama number 18 with the title Sisingamagaraja's Resistance.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-bwf-00010 MON_BWF_00010]'''

*Photo of one of the scenes in the diorama arrangement process at the National Monument, possibly in diorama number 18 with the title Sisingamagaraja's Resistance.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-bwf-00011 MON_BWF_00011]'''

*Photo of one of the scenes in the diorama arrangement process at the National Monument, possibly in diorama number 18 with the title Sisingamagaraja's Resistance.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-bwf-00012 MON_BWF_00012]'''

*Photo of one of the scenes in the process of arranging the diorama at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-bwf-00013 MON_BWF_00013]'''

*Photo of one of the scenes in the process of arranging diorama number 14 entitled Diponegoro War at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-bwf-00014 MON_BWF_00014]'''

*Photo of one of the scenes in the process of arranging diorama number 14 entitled Diponegoro War at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-bwf-00015 MON_BWF_00015]'''

*Photo of one of the scenes in the diorama arrangement process at the National Monument in diorama number 18 with the title Sisingamagaraja's Resistance.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-bwf-00016 MON_BWF_00016]'''

*Photo of one of the artists while arranging the statues in the diorama room for diorama scene number 39 at the National Monument with the title Recognition of Sovereignty

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-bwf-00017 MON_BWF_00017]'''

*Photo of an artist preparing a miniature building as one of the elements in diorama number 17 at the National Monument entitled The Aceh War

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-bwf-00018 MON_BWF_00018]'''

*Photo of an artist preparing a miniature building as one of the elements in diorama number 17 at the National Monument entitled The Aceh War

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-bwf-00019 MON_BWF_00019]'''

*Photo of artists from the Keluarga Arca sculptor team in the process of coloring the statues for the diorama at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-bwf-00020 MON_BWF_00020]'''

*Photo of artists from the Keluarga Arca sculptor team in the process of coloring the statues for the diorama at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-bwf-00021 MON_BWF_00021]'''

*Photo of one of the scenes in diorama number 20 at the National Monument entitled Forced Cultivation.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-bwf-00022 MON_BWF_00022]'''

*Photo of one of the scenes in diorama number 20 at the National Monument entitled Forced Cultivation.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-bwf-00023 MON_BWF_00023]'''

*Photo of one of the scenes in diorama number 20 at the National Monument entitled Forced Cultivation.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-bwf-00024 MON_BWF_00024]'''

*Photo of the artist painting the background of diorama number 6 at the National Monument entitled Palapa Oath.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-bwf-00025 MON_BWF_00025]'''

*Photo of the artist arranging the statues in diorama number 6 at the National Monument with the title Palapa Oath.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-bwf-00026 MON_BWF_00026]'''

*Photo of Edhi Sunarso sleeping and the other artists preparing statues for a diorama at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-bwf-00027 MON_BWF_00027]'''

*Photo of artists preparing statues to be installed in a diorama at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-bwf-00028 MON_BWF_00028]'''

*Photo of artists preparing statues to be installed in a diorama at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-bwf-00029 MON_BWF_00029]'''

*Photo of artists preparing statues to be installed in a diorama at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-bwf-00030 MON_BWF_00030]'''

*Photo of artists from the Keluarga Arca sculptor team in the process of coloring the statues for the diorama at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-bwf-00031 MON_BWF_00031]'''

*A photo of artists from the Keluarga Arca sculptor team in the process of coloring the statues for the diorama at the National Monument. The photo is shown behind the space prepared for diorama number 33 at the National Monument, titled "The Ratification of Pancasila, the Philosophical Foundation of the State and the 1945 Constitution."

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-bwf-00032 MON_BWF_00032]'''

*Photo of an artists from the Keluarga Arca sculptor team painting a background on a diorama

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-bwf-00033 MON_BWF_00033]'''

*Photo of artists from the Keluarga Arca sculptor team artist installing the contents of diorama number 46 at the National Monument with the title Three Demands of the People's Action.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-mon-kun-00001 MON_MON_KUN_00001]'''

*Photo of Kustiyah Edhi Sunarso standing in front of a diorama at the National Monument entitled Ancient Indonesian Society.entitled Ancient Indonesian Society.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-mon-kun-00002 MON_MON_KUN_00002]'''

*Photo of the artists in front of the diorama room which is currently being installed at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-mon-kun-00003 MON_MON_KUN_00003]'''

*Photo of an artist painting the background of one of the dioramas at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-mon-kun-00004 MON_MON_KUN_00004]'''

*Photo of an artist observing diorama number 1 at the National Monument entitled Ancient Indonesian Society.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-mon-kun-00005 MON_MON_KUN_00005]'''

*Photo of Edhi Sunarso and Kustiyah Edhi Sunarso with fellow artists in front of the diorama room which is currently being installed at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-mon-kun-00006 MON_MON_KUN_00006]'''

*Photo of the artist working on installing a statue for diorama number 30 at the National Monument entitled Romusha.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-mon-mer-00001 MON_MON_MER_00001]'''

*Photo of artists from the Keluarga Arca sculptor team preparing statues to be installed in a diorama

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-mon-mer-00002 MON_MON_MER_00002]'''

*Photo of artists from the Keluarga Arca sculptor team preparing statues to be installed in a diorama

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-mon-mer-00003 MON_MON_MER_00003]'''

*Photo of an artist from the Keluarga Arca sculptor team preparing a diorama space

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-mon-mer-00004 MON_MON_MER_00004]'''

*Photo of artists from the Keluarga Arca sculptor team preparing statues to be installed in one of the diorama rooms

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-mon-mer-00005 MON_MON_MER_00005]'''

*Photo of an artist from the Keluarga Arca sculptor team preparing one of the diorama rooms at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/pro-mon-jak-00001 PRO_MON_JAK_00001]'''

*Photo of peoples reviewing one of the dioramas at the National Monument with the title Romusha.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/pro-mon-jak-00002 PRO_MON_JAK_00002]'''

*Photo of the artists of Keluarga Arca Sculptor team during the installation process of diorama number 45 at the National Monument with the title Pancasila Sanctity Day.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/pro-mon-jak-00003 PRO_MON_JAK_00003]'''

*Photo of Edhi Sunarso during the installation process of diorama number 45 at the National Monument with the title Pancasila Sanctity Day.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/pro-mon-jak-00004 PRO_MON_JAK_00004]'''

*Photo of artists from the Keluarga Arca sculptor team installing a statue for one of the dioramas at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/pro-mon-jak-00005 PRO_MON_JAK_00005]'''

*Photo of the artist working on installing a statue for diorama number 30 at the National Monument entitled Romusha.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/pro-mon-jak-00006 PRO_MON_JAK_00006]'''

*Photo of artists from the Keluarga Arca sculptor team in the process of installing diorama number 45 at the National Monument with the title Pancasila Sanctity Day.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/pro-mon-jak-00007 PRO_MON_JAK_00007]'''

*Photo of Kustiyah Edhi Sunarso in front of the artists from Keluarga Arca Sculptor team, in the process of installing diorama number 45 at the National Monument with the title Pancasila Sanctity Day.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/pro-mon-jak-00008 PRO_MON_JAK_00008]'''

*A photograph of an artist from Keluarga Arca Sculptor team coloring the background of one of the dioramas at the National Monument, possibly diorama number 1, titled Ancient Indonesian Society.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/pro-mon-jak-00009 PRO_MON_JAK_00009]'''

*Photo of the artists in front of one of the dioramas at the National Monument

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/pro-mon-jak-00010 PRO_MON_JAK_00010]'''

*Photo of Edhi Sunarso with his colleagues in front of diorama number 20 at the National Monument with the title Romusha.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/pro-mon-jak-00011 PRO_MON_JAK_00011]'''

*Photo of Edhi Sunarso with local people during a visit to an area in Central Indonesia.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

; '''[https://archive.org/details/pro-mon-jak-00012 PRO_MON_JAK_00012]'''

*Photo of Edhi Sunarso and Kustiyah Edhi Sunarso playing with their son

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/pro-mon-jak-00013 PRO_MON_JAK_00013]'''

*Photo of Kustiyah Edhi Sunarso and her fellow artist in front of diorama number 1 entitled Ancient Indonesian Society which is located at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/pro-mon-jak-00014 PRO_MON_JAK_00014]'''

*Photo of the artist from Keluarga Arca Sculptor team providing color for the background of diorama number 1 entitled Ancient Indonesian Society which is located at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/pro-mon-jak-00015 PRO_MON_JAK_00015]'''

*Photo of an artist from Keluarga Arca Sculptor team working on a relief

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/pro-mon-jak-00016 PRO_MON_JAK_00016]'''

*Photo of an artist from Keluarga Arca Sculptor team creating a sculpture for a diorama.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/pro-mon-jak-00017 PRO_MON_JAK_00017]'''
*Photo of Edhi Sunarso and Kustiyah Edhi Sunarso in front of the National Monument, in Jakarta

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/pro-mon-jak-00018 PRO_MON_JAK_00018]'''
*Photo of fellow artists from Keluarga Arca Sculptor team in front of the National Monument. in Jakarta

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/pro-mon-jak-00019 PRO_MON_JAK_00019]'''
*Photo of artists from Keluarga Arca Sculptor team in the process of installing diorama number 45 at the National Monument with the title Pancasila Sanctity Day.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/pro-mon-jak-00020 PRO_MON_JAK_00020]'''
*Photo of the artist from Keluarga Arca Sculptor team on one side of the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/pro-mon-jak-00021 PRO_MON_JAK_00021]'''
*Photo of artists from the Keluarga Arca sculptor team in the process of installing one of the dioramas at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

; '''Pembuatan Diorama'''
; '''[https://archive.org/details/pro-mon-jog-00001 PRO_MON_JOG_00001]'''

*Photo of clay statues at the Keluarga Arca sculpture studio, Yogyakarta, for diorama number 6 entitled The Palapa Oath at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/pro-mon-jog-00002 PRO_MON_JOG_00002]'''

*Photo of the process of creating one of the dioramas at the National Monument, carried out by an artist at the Keluarga Arca sculpture studio in Yogyakarta.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/pro-mon-jog-00003_202602 PRO_MON_JOG_00003]'''

*Photo of clay statues at the Keluarga Arca sculpture studio, Yogyakarta, which were prepared to fill diorama number 18 at the National Monument with the title Sisingamangaraja's Resistance.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/pro-mon-jog-00004 PRO_MON_JOG_00004]'''

*Photo of a group of statues in the Keluarga Arca sculpture studio being prepared to fill one of the dioramas at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/pro-mon-jog-00005 PRO_MON_JOG_00005]'''

*Photo of clay statues at the Keluarga Arca sculpture studio, Yogyakarta, which were prepared to fill diorama number 18 at the National Monument with the title Sisingamangaraja's Resistance.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/pro-mon-jog-00006 PRO_MON_JOG_00006]'''

*Photo of clay statues at the Keluarga Arca sculpture studio, Yogyakarta, which were prepared for diorama number 33 at the National Monument entitled Ratification of Pancasila as the Philosophical Foundation of the State and the 1945 Constitution.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/pro-mon-jog-00007 PRO_MON_JOG_00007]'''

*Photo of artists at the Keluarga Arca sculpture studio, Yogyakarta, working on statues for the dioramas at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/pro-mon-jog-00008 PRO_MON_JOG_00008]'''

*Photo of clay statues at the Keluarga Arca sculpture studio, Yogyakarta, which were prepared for diorama number 33 at the National Monument entitled Ratification of Pancasila as the Philosophical Foundation of the State and the 1945 Constitution.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/pro-mon-jog-00009 PRO_MON_JOG_00009]'''

*Photo of artists at the Keluarga Arca sculpture studio, Yogyakarta, working on statues for the dioramas at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/pro-mon-jog-00010 PRO_MON_JOG_00010]'''

*Photo of clay statues at the Keluarga Arca sculpture studio, Yogyakarta, for diorama number 6 entitled The Palapa Oath at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/pro-mon-jog-00011 PRO_MON_JOG_00011]'''

*Photo of artists at the Keluarga Arca sculpture studio, Yogyakarta, working on statues for the dioramas at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/pro-mon-jog-00012 PRO_MON_JOG_00012]'''

*Photo of clay statues at the Keluarga Arca sculpture studio, Yogyakarta, which were prepared to fill diorama number 18 at the National Monument with the title Sisingamangaraja's Resistance.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/pro-mon-jog-00013 PRO_MON_JOG_00013]'''

*Photo of clay statues at the Keluarga Arca sculpture studio, Yogyakarta, for diorama number 6 entitled The Palapa Oath at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/pro-mon-jog-00014 PRO_MON_JOG_00014]'''

*Photo of artists at the Keluarga Arca sculpture studio, Yogyakarta, working on statues for the dioramas at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/pro-mon-jog-00015 PRO_MON_JOG_00015]'''

*Photo of clay statues at the Keluarga Arca sculpture studio, Yogyakarta, for diorama number 6 entitled The Palapa Oath at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/pro-mon-jog-00016 PRO_MON_JOG_00016]'''

*Photo of clay statues at the Keluarga Arca sculpture studio, Yogyakarta, which were prepared to fill diorama number 29 at the National Monument with the title Youth Pledge.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/pro-mon-jog-00017 PRO_MON_JOG_00017]'''

*Photo of clay statues at the Keluarga Arca sculpture studio, Yogyakarta, which were prepared to fill diorama number 18 at the National Monument with the title Sisingamangaraja's Resistance.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/pro-mon-jog-00018 PRO_MON_JOG_00018]'''

*Photo of one of the statues for diorama number 18 at the National Monument with the title Sisingamangaraja's Resistance.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/pro-mon-jog-00019 PRO_MON_JOG_00019]'''

*Photo of a group of statues in the Keluarga Arca sculpture studio, Yogyakarta,, which are being prepared to fill the diorama at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/pro-mon-jog-00020 PRO_MON_JOG_00020]'''

*Photo of clay statues at the Keluarga Arca sculpture studio, Yogyakarta, which were prepared to fill diorama number 29 at the National Monument with the title Youth Pledge.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/pro-mon-jog-00021 PRO_MON_JOG_00021]'''

*Photo of artists at the Keluarga Arca sculpture studio, Yogyakarta, working on statues for the dioramas at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/pro-mon-jog-00022 PRO_MON_JOG_00022]'''

*Photo of one of the statues for diorama number 18 at the National Monument with the title Sisingamangaraja's Resistance.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/pro-mon-jog-00023 PRO_MON_JOG_00023]'''

*Photo of artists at the Keluarga Arca sculpture studio, Yogyakarta, working on statues for the diorama at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/pro-mon-jog-00024 PRO_MON_JOG_00024]'''

*Photo of artists at the Keluarga Arca sculpture studio, Yogyakarta, working on statues for the diorama at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/pro-mon-jog-00025 PRO_MON_JOG_00025]'''

*Photo of artists at the Keluarga Arca sculpture studio, Yogyakarta, working on statues for the diorama at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/pro-mon-jog-00026 PRO_MON_JOG_00026]'''

*Photo of clay statues at the Keluarga Arca sculpture studio, Yogyakarta, for diorama number 6 entitled The Palapa Oath at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/pro-mon-jog-00027 PRO_MON_JOG_00027]'''

*Photo of artists at the Keluarga Arca sculpture studio, Yogyakarta, working on statues for the diorama at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/pro-mon-jog-00028 PRO_MON_JOG_00028]'''

*Photo of artists at the Keluarga Arca sculpture studio, Yogyakarta, working on statues for the diorama at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/pro-mon-jog-00029_20260208 PRO_MON_JOG_00029]'''

*Photo of clay statues at the Keluarga Arca sculpture studio, Yogyakarta, which were prepared for diorama number 33 at the National Monument entitled Ratification of Pancasila as the Philosophical Foundation of the State and the 1945 Constitution.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/pro-mon-jog-00030 PRO_MON_JOG_00030]'''

*Photo of artists at the Keluarga Arca sculpture studio, Yogyakarta, working on statues for the diorama at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/pro-mon-jog-00031 PRO_MON_JOG_00031]'''

*Photo of clay statues at the Keluarga Arca sculpture studio, Yogyakarta, which were prepared for diorama number 33 at the National Monument entitled Ratification of Pancasila as the Philosophical Foundation of the State and the 1945 Constitution.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/scan-27_202602 Scan 27]'''

*Photo of one of the artists in front of diorama number 1 at the National Monument entitled Ancient Indonesian Society.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

; '''Kliping'''
; '''[https://archive.org/details/image-0_202602 Tabloid Selecta No. 796]'''
*The article “Edhi Sunarso, Creator of Major Statues in Jakarta” in Tabloid Selecta No. 796 summarizes Edhi Sunarso’s journey as an important Indonesian sculptor, starting from his role in creating major monuments such as the Welcome Monument, the West Irian Liberation Monument, and the Dirgantara Monument, his role as Head of the ASRI Sculpture Department, his international achievements in London and India, as well as an explanation of the technical process of making bronze statues and dioramas, to his personal life story full of struggles since childhood, his involvement in the war of independence, his experience of being arrested and tortured by the Dutch, the process of searching for his identity and family, and his determination to pursue art education in Yogyakarta which ultimately led him to become a great artist with works that are recognized and collected nationally and internationally.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

; '''Patung 4 Sisi (tidak jadi dibuat)'''
; '''Amplop Patung Banteng'''
; '''[https://archive.org/details/img-002_202602 IMG_002]'''

*Above: Photo of Edhi Sunarso and artists from the Keluarga Arca group working on one of the 4-sided statue models for the National Monument. Below Left: Front view of one of the 4-sided statue models for the National Monument. Below Right: Side view of one of the 4-sided statue models for the National Monument. These three photographs document the process of creating the four-sided statues for the National Monument, which President Soekarno requested from Edhi Sunarso and the Keluarga Arca group, but which ultimately were not completed. This collection of three photographs is titled Monas Study Package 1 (Collective).

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/img-003_202602 IMG_003]'''

*Three photographs of a model of one of the 4-sided statues for the National Monument, taken from various angles, with the stamp of the Keluarga Arca Sculpture Team on the sheet where the photographs are attached. These three photographs document the process of creating the 4-sided statue for Monas, which President Sukarno requested from Edhi Sunarso and the Keluarga Arca group, but which ultimately was not completed.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/img-004_202602 IMG_004]'''

*Four photographs of a model of one of the 4-sided statues for the National Monument, taken from various angles. These four photographs document the process of creating the four-sided statue for Monas, a project requested by President Sukarno from Edhi Sunarso and the Keluarga Arca Group, but ultimately abandoned. This collection of four photographs is titled Monas Model Study III (Collective).

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/img-005_202602 IMG_005]'''

*Three photographs of a model of one of the 4-sided statues for the National Monument, taken from various angles. These three photographs document the process of creating the four-sided statue for Monas, which President Sukarno commissioned from Edhi Sunarso and the Keluarga Arca group, but which ultimately was not completed.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/img-006_202602 IMG_006]'''

*A collection of photos of statues of people holding anchors from various angles

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/img-007_202602 IMG_007]'''

*A collection of two photographs of a model of an elephant statue created by Edhi Sunarso and the Keluarga Arca group for the Musi River Monument. President Sukarno's signature is on the sheet of paper where the photographs are attached.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/img-008_202602 IMG_008]'''

*A collection of two photographs of a model of an elephant statue created by Edhi Sunarso and the Keluarga Arca group for the Musi River Monument. President Sukarno's signature is on the sheet of paper where the photographs are attached.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/img-009_202602 IMG_009]'''

*Three photographs depict the creation of the statue for the Musi River Monument, created by Edhi Sunarso and the Keluarga Arca group. This collection of three photographs is titled Musi River Monument (Collective).

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/img-011_202602 IMG_011]'''

*Above: Photo of Edhi Sunarso and the Keluarga Arca group with the statue being constructed. Bottom-left: Photo of a model of the statue created by Edhi Sunarso and the Keluarga Arca group. Bottom-right: Photo of a group of people sitting in a room.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/img-012_202602 IMG_012]'''

*Above: A photo of two artists sitting on the steps of the Monas building, with a bull statue behind them. Middle: A photo of a group of people dressed smartly, as if welcoming an important guest. Below: A photo of one of the artists from the Keluarga Arca group.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/img-013 IMG_013]'''

*Above: Photo of a bull statue in one corner of Monas. Below: Photo of a group of people in a room.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

; '''MONAS - Patung 4 Sisi'''
; '''[https://archive.org/details/mon-pat-4-si-00001 MON_PAT_4SI_00001]'''

*A photo of one of the clay statue models at the Keluarga Arca sculpture studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was requested by President Soekarno to Edhi Sunarso and the Keluarga Arca group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-pat-4-si-00002 MON_PAT_4SI_00002]'''

*A photo of one of the clay statue models at the Keluarga Arca sculpture studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was requested by President Soekarno to Edhi Sunarso and the Keluarga Arca group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-pat-4-si-00003 MON_PAT_4SI_00003]'''

*A photo of one of the clay statue models at the Keluarga Arca sculpture studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was requested by President Soekarno to Edhi Sunarso and the Keluarga Arca group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-pat-4-si-00004 MON_PAT_4SI_00004]'''

*A photo of one of the clay statue models at the Keluarga Arca sculpture studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was requested by President Soekarno to Edhi Sunarso and the Keluarga Arca group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-pat-4-si-00005 MON_PAT_4SI_00005]'''

*A photo of one of the clay statue models at the Keluarga Arca sculpture studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was requested by President Soekarno to Edhi Sunarso and the Keluarga Arca group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-pat-4-si-00006 MON_PAT_4SI_00006]'''

*A photo of one of the clay statue models at the Keluarga Arca sculpture studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was requested by President Soekarno to Edhi Sunarso and the Keluarga Arca group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-pat-4-si-00007 MON_PAT_4SI_00007]'''

*A photo of one of the clay statue models at the Keluarga Arca sculpture studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was requested by President Soekarno to Edhi Sunarso and the Keluarga Arca group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-pat-4-si-00008 MON_PAT_4SI_00008]'''

*A photo of one of the clay statue models at the Keluarga Arca sculpture studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was requested by President Soekarno to Edhi Sunarso and the Keluarga Arca group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-pat-4-si-00009 MON_PAT_4SI_00009]'''

*A photo of one of the clay statue models at the Keluarga Arca sculpture studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was requested by President Soekarno to Edhi Sunarso and the Keluarga Arca group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-pat-4-si-00010 MON_PAT_4SI_00010]'''

*A photo of one of the clay statue models at the Keluarga Arca sculpture studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was requested by President Soekarno to Edhi Sunarso and the Keluarga Arca group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-pat-4-si-00011 MON_PAT_4SI_00011]'''

*A photo of one of the clay statue models at the Keluarga Arca sculpture studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was requested by President Soekarno to Edhi Sunarso and the Keluarga Arca group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-pat-4-si-00012 MON_PAT_4SI_00012]'''

*Photo of a clay sculpture of a woman's face.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-pat-4-si-00013 MON_PAT_4SI_00013]'''

*A photo of one of the clay statue models at the Keluarga Arca sculpture studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was requested by President Soekarno to Edhi Sunarso and the Keluarga Arca group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-pat-4-si-00014 MON_PAT_4SI_00014]'''

*A photo of one of the clay statue models at the Keluarga Arca sculpture studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was requested by President Soekarno to Edhi Sunarso and the Keluarga Arca group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-pat-4-si-00015 MON_PAT_4SI_00015]'''

*A photo of one of the clay statue models at the Keluarga Arca sculpture studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was requested by President Soekarno to Edhi Sunarso and the Keluarga Arca group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-pat-4-si-00016 MON_PAT_4SI_00016]'''

*A photo of one of the clay statue models at the Keluarga Arca sculpture studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was requested by President Soekarno to Edhi Sunarso and the Keluarga Arca group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-pat-4-si-00017 MON_PAT_4SI_00017]'''

*A photo of one of the clay statue models at the Keluarga Arca sculpture studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was requested by President Soekarno to Edhi Sunarso and the Keluarga Arca group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-pat-4-si-00018 MON_PAT_4SI_00018]'''

*A photo of one of the clay statue models at the Keluarga Arca sculpture studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was requested by President Soekarno to Edhi Sunarso and the Keluarga Arca group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-pat-4-si-00019 MON_PAT_4SI_00019]'''

*A photo of one of the clay statue models at the Keluarga Arca sculpture studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was requested by President Soekarno to Edhi Sunarso and the Keluarga Arca group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-pat-4-si-00020 MON_PAT_4SI_00020]'''

*A photo of one of the clay statue models at the Keluarga Arca sculpture studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was requested by President Soekarno to Edhi Sunarso and the Keluarga Arca group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-pat-4-si-00021 MON_PAT_4SI_00021]'''

*A photo of one of the clay statue models at the Keluarga Arca sculpture studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was requested by President Soekarno to Edhi Sunarso and the Keluarga Arca group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-pat-4-si-00022 MON_PAT_4SI_00022]'''

*A photo of one of the clay statue models at the Keluarga Arca sculpture studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was requested by President Soekarno to Edhi Sunarso and the Keluarga Arca group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-pat-4-si-00023_202602 MON_PAT_4SI_00023]'''

*A photo of one of the clay statue models at the Keluarga Arca sculpture studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was requested by President Soekarno to Edhi Sunarso and the Keluarga Arca group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-pat-4-si-00024 MON_PAT_4SI_00024]'''

*Photo of Edhi Sunarso making a clay statue with a woman as his model.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-pat-4-si-00025 MON_PAT_4SI_00025]'''

*A photo of one of the clay statue models at the Keluarga Arca sculpture studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was requested by President Soekarno to Edhi Sunarso and the Keluarga Arca group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-pat-4-si-00026 MON_PAT_4SI_00026]'''

*A photo of one of the clay statue models at the Keluarga Arca sculpture studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was requested by President Soekarno to Edhi Sunarso and the Keluarga Arca group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-pat-4-si-00027 MON_PAT_4SI_00027]'''

*A photo of one of the clay statue models at the Keluarga Arca sculpture studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was requested by President Soekarno to Edhi Sunarso and the Keluarga Arca group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-pat-4-si-00028 MON_PAT_4SI_00028]'''

*Photos of the statue and relief models made by Edhi Sunarso and the Keluarga Arca group.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-pat-4-si-00029 MON_PAT_4SI_00029]'''

*Photos of the statue and relief models made by Edhi Sunarso and the Keluarga Arca group.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-pat-4-si-00030 MON_PAT_4SI_00030]'''

*A photo of one of the clay statue models at the Keluarga Arca sculpture studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was requested by President Soekarno to Edhi Sunarso and the Keluarga Arca group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-pat-4-si-00031 MON_PAT_4SI_00031]'''

*Photo of one of the artists from the Family Arca group arranging a model consisting of a warrior statue and relief.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-pat-4-si-00032 MON_PAT_4SI_00032]'''

*Photo of Edhi Sunarso and artists from the Keluarga Arca group with models of warrior statues and reliefs they made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-pat-4-si-00033 MON_PAT_4SI_00033]'''

*A photo of one of the clay statue models at the Keluarga Arca sculpture studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was requested by President Soekarno to Edhi Sunarso and the Keluarga Arca group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-pat-4-si-00034 MON_PAT_4SI_00034]'''

*Photo of one of the fighter statue models made by Edhi Sunarso and the Keluarga Arca group

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-pat-4-si-00035 MON_PAT_4SI_00035]'''

*Photo of a model of three warriors in bronze, made by Edhi Sunarso and the Keluarga Arca group.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-pat-4-si-00036 MON_PAT_4SI_00036]'''

*Photo of one of the statue models made by Edhi Sunarso and the Keluarga Arca group, made of clay.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-pat-4-si-00037 MON_PAT_4SI_00037]'''

*Photo of one of the models of the warrior statues made by Edhi Sunarso and the Keluarga Arca group, made of clay.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-pat-4-si-00038 MON_PAT_4SI_00038]'''

*Photo of Edhi Sunarso making a statue at the Keluarga Arca studio.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-pat-4-si-00039 MON_PAT_4SI_00039]'''

*A photo of one of the clay statue models at the Keluarga Arca sculpture studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was requested by President Soekarno to Edhi Sunarso and the Keluarga Arca group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-pat-4-si-00040 MON_PAT_4SI_00040]'''

*A photo of one of the clay statue models at the Keluarga Arca sculpture studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was requested by President Soekarno to Edhi Sunarso and the Keluarga Arca group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-pat-4-si-00041 MON_PAT_4SI_00041]'''

*A photo of one of the clay statue models at the Keluarga Arca sculpture studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was requested by President Soekarno to Edhi Sunarso and the Keluarga Arca group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-pat-4-si-00042 MON_PAT_4SI_00042]'''

*A photo of one of the clay statue models at the Keluarga Arca sculpture studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was requested by President Soekarno to Edhi Sunarso and the Keluarga Arca group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-pat-4-si-00043 MON_PAT_4SI_00043]'''

*A photo of one of the clay statue models at the Keluarga Arca sculpture studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was requested by President Soekarno to Edhi Sunarso and the Keluarga Arca group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-pat-4-si-00044 MON_PAT_4SI_00044]'''

*A photo of one of the clay statue models at the Keluarga Arca sculpture studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was requested by President Soekarno to Edhi Sunarso and the Keluarga Arca group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-pat-4-si-00045 MON_PAT_4SI_00045]'''

*A photo of one of the clay statue models at the Keluarga Arca sculpture studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was requested by President Soekarno to Edhi Sunarso and the Keluarga Arca group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-pat-4-si-00046 MON_PAT_4SI_00046]'''

*A photo of one of the clay statue models at the Keluarga Arca sculpture studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was requested by President Soekarno to Edhi Sunarso and the Keluarga Arca group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-pat-4-si-00047 MON_PAT_4SI_00047]'''

*A photo of one of the clay statue models at the Keluarga Arca sculpture studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was requested by President Soekarno to Edhi Sunarso and the Keluarga Arca group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-pat-4-si-00048 MON_PAT_4SI_00048]'''

*A photo of one of the clay statue models at the Keluarga Arca sculpture studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was requested by President Soekarno to Edhi Sunarso and the Keluarga Arca group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-pat-4-si-00049 MON_PAT_4SI_00049]'''

*A photo of one of the clay statue models at the Keluarga Arca sculpture studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was requested by President Soekarno to Edhi Sunarso and the Keluarga Arca group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-pat-4-si-00050 MON_PAT_4SI_00050]'''

*A photo of one of the clay statue models at the Keluarga Arca sculpture studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was requested by President Soekarno to Edhi Sunarso and the Keluarga Arca group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-pat-4-si-00051 MON_PAT_4SI_00051]'''

*A photo of one of the clay statue models at the Keluarga Arca sculpture studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was requested by President Soekarno to Edhi Sunarso and the Keluarga Arca group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

; '''Studi Patung Banteng Monas'''
; '''[https://archive.org/details/20260210_20260210_1346 Studi Patung Banteng Monas____]'''

*Three documentary photos of a clay bull statue model from various angles made by Edhi Sunarso and the Keluarga Arca group.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/20260210_20260210_1346 Studi Patung Banteng Monas___]'''

*Three documentary photographs of a clay bull statue model created by Edhi Sunarso and the Keluarga Arca group. It bears President Soekarno's signature on 7th January 1966, confirming the model's approval.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/a-1_20260210 Studi Patung Banteng Monas A1]'''

*Three documentary photos of a clay bull statue model made by Edhi Sunarso and the Keluarga Arca group, entitled First Study.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/a-2_20260210 Studi Patung Banteng Monas A2]'''

*Documentation photo of a clay bull statue model, part of the documentation entitled First Study, made by Edhi Sunarso and the Keluarga Arca group.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/b_20260210 Studi Patung Banteng Monas B]'''

*Three documentary photos of a clay bull statue model made by Edhi Sunarso and the Keluarga Arca group entitled Second Study.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/c-1_20260210 Studi Patung Banteng Monas C1]'''

*Documentation photo of a clay bull statue model made by Edhi Sunarso and the Keluarga Arca group entitled Third Study.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/c-2_20260210 Studi Patung Banteng Monas C2]'''

*Documentation photo of a clay bull statue model, part of the documentation entitled Third Study, made by Edhi Sunarso and the Keluarga Arca group

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/d_20260210 Studi Patung Banteng Monas D]'''

*Three documentary photos of a clay bull statue model made by Edhi Sunarso and the Keluarga Arca group entitled Forth Study.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/e_20260210 Studi Patung Banteng Monas E]'''

*Two documentary photos of a clay bull statue model made by Edhi Sunarso and the Keluarga Arca group entitled Fifth Study.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/f-acc-bk Studi Patung Banteng Monas F - ACC BK]'''

*Three documentary photographs of a clay bull statue model created by Edhi Sunarso and the Keluarga Arca group, entitled Sixth Study. It bears President Soekarno's signature on 7th January 1966, signifying the model's approval.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/g-acc-bk Studi Patung Banteng Monas G - ACC BK]'''

*Three documentary photographs of a clay bull model created by Edhi Sunarso and the Keluarga Arca group, entitled Seventh Study. It bears President Soekarno's signature on 7th January 1966, signifying the model's approval.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/h-1_20260210 Studi Patung Banteng Monas H1]'''

*Documentation photo of a clay bull statue model made by Edhi Sunarso and the Keluarga Arca group entitled Eghth Study.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/h-2_20260210 Studi Patung Banteng Monas H2]'''

*Documentation photo of a clay bull statue model, part of the documentation entitled Eighth Study made by Edhi Sunarso and the Keluarga Arca group.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/h-3_20260210 Studi Patung Banteng Monas H3]'''

*Documentation photo of a clay bull statue model, part of the documentation entitled Eighth Study made by Edhi Sunarso and the keluarga Arca group.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/i_20260210 Studi Patung Banteng Monas I]'''

*Three documentary photos of a clay bull statue model made by Edhi Sunarso and the Keluarga Arca group entitled Ninth Study.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/j_20260210 Studi Patung Banteng Monas J]'''

*Two documentary photographs of a clay bull statue model created by Edhi Sunarso and the Keluarga Arca group, entitled Tenth Study. It bears President Soekarno's signature on 7th January 1966, signifying the model's approval.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/l_20260210 Studi Patung Banteng Monas L]'''

*Three documentary photos of a clay bull statue model made by Edhi Sunarso and the Keluarga Arca group entitled Twelfth Study.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/m_20260210 Studi Patung Banteng Monas M]'''

*Three documentary photos of a clay bull statue model made by Edhi Sunarso and the Keluarga Arca group entitled Fourteenth Study.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

; '''Penerbitan seputar Monas'''
; '''[https://archive.org/details/katalog-museum-sejarah-nasional-1977 Katalog Museum Sejarah Nasional, 1977]'''
*The National History Museum Catalogue (1978) documents the presentation of dioramas of Indonesian history chronologically, from prehistoric times to the struggle to maintain independence, with explanations of events, important figures, and the visual concept of the diorama as a medium for historical education.

; '''[https://archive.org/details/keagungan-perjuangan-bangsa-indonesia-1996 Keagungan Perjuangan Bangsa Indonesia, 1996]'''
*The book entitled "National Monument: Monument to the Greatness of the Indonesian Nation's Struggle" (1996) is a reference work that documents the history and philosophical meaning of the National Monument (Monas) as an eternal symbol of the Proclamation of Indonesian Independence on 17th August 1945. The contents of this book include the history of its establishment, the aims and objectives of its construction, as well as the technical details of its construction implementation, which were divided into three main stages from 1961 to 1975. In addition, this book describes the physical parts of Monas, such as the History Museum Room, the Independence Room, and the Flame of Independence.

; '''[https://archive.org/details/rencana-penyempuranaan-diorama-museum-sejarah-di-tugu-nasional Rencana Penyempuranaan Diorama Museum Sejarah di Tugu Nasional, 2007]'''
*The book of plans for improving the diorama of the history museum at the National Monument (MONAS) which is based on the decision of the Minister of State Secretary number 6 of 2007 concerning the formation of a committee for improving the diorama of the national history museum at the National Monument, which will be implemented by the Indonesian Historians Society, the Faculty of Cultural Sciences, University of Indonesia, Architects, and previous Diorama Designers. The diorama improvement plan comes from the results of a study by the diorama improvement team with considerations from the side of historical philosophy, historical facts, technical and aesthetic aspects.

; '''[https://archive.org/details/tugu-nasional-laporan-pembangunan-1978_202602 Tugu Nasional - Laporan Pembangunan, 1978]'''
*The National Monument Book: Construction Report (1978) is an official report that documents in detail the planning, construction process, and completion of the National Monument (Monas) as a monument commemorating the Proclamation of Independence on 17th August 1945, including the background to the idea of establishing Monas, the symbolic architectural concept that represents the spirit of independence and the personality of the nation, the stages of construction from the beginning to completion, the involvement of various parties and experts, the use of technology and building materials, to the filling of Monas spaces such as the National History Museum and the top of the monument. This book was produced under the direction of the Deputy Governor/Regional Head of DKI Jakarta for Development, Ir. Prayogo, compiled by the DKI Jakarta Office of Building Design and Conservation led by Ir. W. Pragantha as Head of Office with Soedarmadji and J. H. Damais as advisers, with text written by Architect Soedarsono, Ir. Imron Sugiono, and Drs. Wahjudiono, documentation prepared by the Office of Building Design and Conservation as the implementing authority for the National Monument, graphic design by Didit Chris, Purnomo M., and Guruh Sulawat, and printed by P.T. Jayakarta Agung Offset.

; '''Relief dan Benteng Monas'''
; '''[https://archive.org/details/mon-relief-00001 MON_RELIEF_00001]'''

*Documentation photo of an artist working on a relief at the National Monument complex in Jakarta.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-relief-00002 MON_RELIEF_00002]'''

*Documentation photo of one of the reliefs in the National Monument complex in Jakarta.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-relief-00003 MON_RELIEF_00003]'''

*Documentation photo of one of the reliefs in the National Monument complex in Jakarta.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-relief-00004 MON_RELIEF_00004]'''

*Documentation photo of one of the reliefs in the National Monument complex in Jakarta.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-relief-00005 MON_RELIEF_00005]'''

*Documentation photo of one of the reliefs in the National Monument complex in Jakarta.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-relief-00006 MON_RELIEF_00006]'''

*Documentation photo of one of the reliefs in the National Monument complex in Jakarta.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-relief-00007 MON_RELIEF_00007]'''

*Documentation photo of an artist working on a relief at the National Monument building complex in Jakarta.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-relief-00008 MON_RELIEF_00008]'''

*Documentation photo from Edhi Sunarso at the National Monument complex in Jakarta

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-relief-00009 MON_RELIEF_00009]'''

*Documentation photo of one of the reliefs in the National Monument complex in Jakarta

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-relief-00010 MON_RELIEF_00010]'''

*Documentation photo of an artist working on a relief at the National Monument complex in Jakarta.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-relief-00011 MON_RELIEF_00011]'''

*Documentation photo of one of the reliefs in the National Monument complex in Jakarta

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-relief-00012 MON_RELIEF_00012]'''

*Documentation photo of one of the reliefs in the National Monument complex in Jakarta

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-relief-00013 MON_RELIEF_00013]'''

*Documentation photo of one of the reliefs in the National Monument complex in Jakarta

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-relief-00014 MON_RELIEF_00014]'''

*Documentation photos of the artists taking a break.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-relief-00015 MON_RELIEF_00015]'''

*Documentation photo of one of the reliefs in the National Monument complex in Jakarta

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-relief-00016 MON_RELIEF_00016]'''

*Documentation photo of one of the reliefs in the National Monument complex in Jakarta

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-relief-00017 MON_RELIEF_00017]'''

*Documentation photo of one of the reliefs in the National Monument complex in Jakarta

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-relief-00018 MON_RELIEF_00018]'''

*Documentation photo of an artist working on a relief at the National Monument complex in Jakarta.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-relief-00019 MON_RELIEF_00019]'''

*Documentation photo of Edhi Sunarso and his group resting.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-relief-00020 MON_RELIEF_00020]'''

*Documentation photo of Edhi Sunarso supervising an artist working on one of the reliefs at the National Monument complex in Jakarta.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-relief-00021 MON_RELIEF_00021]'''

*Documentation photo of one of the reliefs in the National Monument complex in Jakarta

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-relief-00022 MON_RELIEF_00022]'''

*Documentation photo of an artist working on a relief at the National Monument complex in Jakarta.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-relief-00023 MON_RELIEF_00023]'''

*Documentation photo of an artist working on a relief

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-relief-00024 MON_RELIEF_00024]'''

*Documentation photo of Edhi Sunarso and his group resting.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-relief-00025 MON_RELIEF_00025]'''

*A documentary photograph of one of the reliefs at the National Monument complex in Jakarta. W.R. Soepratman is seen on the relief.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-relief-00026 MON_RELIEF_00026]'''

*Documentation photo of the artist in front of a building

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/editxml/mon-relief-00027 MON_RELIEF_00027]'''

*Documentation photo of an artist working on a relief

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-relief-00028 MON_RELIEF_00028]'''

*Documentation photo of one of the reliefs in the National Monument complex in Jakarta

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-relief-00029 MON_RELIEF_00029]'''

*Documentation photo of one of the reliefs

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-relief-00030 MON_RELIEF_00030]'''

*Documentation photo of one of the reliefs

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-relief-00031 MON_RELIEF_00031]'''

*A documentary photograph of one of the reliefs in the National Monument complex in Jakarta. The relief depicts Ki Hadjar Dewantoro, Dr. Tjipto Mangunkusumo, and Douwes Dekker.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-relief-00032 MON_RELIEF_00032]'''

*A documentary photo of one of the reliefs in the National Monument complex in Jakarta. One of the figures depicted is Muhammad Hatta.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-relief-00033 MON_RELIEF_00033]'''

*Documentation photo of one of the reliefs in the National Monument complex in Jakarta

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-relief-00034 MON_RELIEF_00034]'''

*Documentation photo of one of the reliefs in the National Monument complex in Jakarta

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-relief-00035 MON_RELIEF_00035]'''

*Documentation photo of one of the reliefs in the National Monument complex in Jakarta

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-relief-00036 MON_RELIEF_00036]'''

*Documentation photo of an artist working on a relief for the National Monument complex in Jakarta.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-relief-00037 MON_RELIEF_00037]'''

*Documentation photo of an artist working on a relief for the National Monument complex in Jakarta.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-relief-00038 MON_RELIEF_00038]'''

*Documentation photo of an artist working on a relief for the National Monument complex in Jakarta.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-relief-00039 MON_RELIEF_00039]'''

*Documentation photo of an artist working on a relief for the National Monument complex in Jakarta.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-relief-00040 MON_RELIEF_00040]'''

*A documentary photograph of one of the reliefs at the National Monument complex in Jakarta. W.R. Soepratman is seen on the relief.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-relief-00041 MON_RELIEF_00041]'''

*A documentary photo of an artist working on a relief for the National Monument complex in Jakarta. The figure of Ir. Soekarno is visible on the relief.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-relief-00042 MON_RELIEF_00042]'''

*Documentation photo of one of the reliefs in the National Monument complex in Jakarta

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-relief-00043 MON_RELIEF_00043]'''

*Documentation photo of one of the reliefs

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-relief-00044 MON_RELIEF_00044]'''

*Documentation photo of an artist working on a relief at the National Monument complex in Jakarta.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-relief-00045 MON_RELIEF_00045]'''

*Documentation photo of one of the reliefs in the National Monument complex in Jakarta

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-relief-00046 MON_RELIEF_00046]'''

*Documentation photo of one of the reliefs in the National Monument complex in Jakarta

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-relief-00047 MON_RELIEF_00047]'''

*Documentation photo of one of the reliefs in the National Monument complex in Jakarta

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-relief-00048 MON_RELIEF_00048]'''

*Documentation photo of one of the reliefs in the National Monument complex in Jakarta

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-relief-00049 MON_RELIEF_00049]'''

*Documentation photo of one of the reliefs in the National Monument complex in Jakarta

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-relief-00050 MON_RELIEF_00050]'''

*Documentation photo of one of the reliefs in the National Monument complex in Jakarta

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-relief-00051 MON_RELIEF_00051]'''

*Documentation photo of an artist working on a relief at the National Monument complex in Jakarta.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-relief-00052 MON_RELIEF_00052]'''

*Documentation photo of Edhi Sunarso supervising the relief-making work at the National Monument complex in Jakarta.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-relief-00053 MON_RELIEF_00053]'''

*Documentation photo of one of the reliefs in the National Monument complex in Jakarta

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-relief-00054 MON_RELIEF_00054]'''

*A documentary photo of one of the reliefs in the National Monument complex in Jakarta. The relief depicts Ir. Soekarno and Mohammad Hatta.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-relief-00055 MON_RELIEF_00055]'''

*Documentation photo of a group of officials who will inspect the project at the National Monument complex in Jakarta.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-relief-00056 MON_RELIEF_00056]'''

*Documentation photo of one of the reliefs in the National Monument complex in Jakarta

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-relief-00057 MON_RELIEF_00057]'''

*Documentation photo of one of the reliefs in the National Monument complex in Jakarta

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-relief-00058 MON_RELIEF_00058]'''

*Documentation photo of one of the reliefs in the National Monument complex in Jakarta

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

; '''Riset diorama'''
; '''[https://archive.org/details/adegan-pepera-irian-barat Adegan Pepera Irian Barat]'''

*A collection of documentary photographs from the PEPERA (Determination of the People's Opinion) incident in several locations in West Irian in 1969, to determine whether West Irian would join the Republic of Indonesia or become independent. These photographs were used for research into dioramas depicting scenes from the PEPERA in West Irian.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

; '''[https://archive.org/details/adegan-tanam-paksa Adegan Tanam Paksa]'''

*A collection of sketches and documentary photographs were used for research into dioramas depicting scenes from the forced cultivation of plants.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

; '''Amplop Potret'''
; '''[https://archive.org/details/amp-pot-01 AMP_POT_01]'''

*Above : Photo documentation of a group of people standing in front of the Hollandia building in Jayapura. The photo was used for diorama research. Below : Photo documentation of a group of people standing in front of a building.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/amp-pot-02 AMP_POT_02]'''

*Left : Photo of K.H. Ahmad Dahlan, founder of Muhammadiyah. Right : Photo of K.H. Mas Mansur, one of Muhammadiyah figures.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/amp-pot-03 AMP_POT_03]'''

*Above : Photo of a soldiers of the Republic of Indonesia. Below : Photo documentation of the ceremony in front of the Hollandia building, in Jayapura, which was used for diorama research

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/amp-pot-04 AMP_POT_04]'''

*Left: One of Indonesia's judicial figures, possibly a photo of Kusumah Atmaja. Right: A sketch of Tuanku Imam Bonjol.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/amp-pot-05 AMP_POT_05]'''

*Left: Photo of an Indonesian figure. Right: Photo of K.H. Abdul Wahid Hasjim.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/amp-pot-06 AMP_POT_06]'''

*Left: Photo of Mohammad Yamin. Right: Photo of Wage Rudolf Soepratman.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/amp-pot-07 AMP_POT_07]'''

*Left: Photo of Djuanda Kartawidjaja. Right: Photo of an Indonesian figure

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/amp-pot-08 AMP_POT_08]'''

*Left: Photo of an Indonesian figure. Right: Photo of Ernest Douwes Dekker, also known as Danudirja Setiabudi.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/amp-pot-09 AMP_POT_09]'''

*Left: Photo of Abdul Muis. Right: Photo of Sutan Syahrir.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/amp-pot-10 AMP_POT_10]'''

*Left: Painting by Sam Ratulangi. Right: Photo by Pierre Tendean.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/amp-pot-11 AMP_POT_11]'''

*Photo of an Indonesian figures.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/amp-pot-12 AMP_POT_12]'''

*Left: Photo of an Indonesian figure. Right: Photo of Ki Hadjar Dewantara.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/amp-pot-13 AMP_POT_13]'''

*Left: Photo of Supeno. Right: Photo of Ferdinand Lumban Tobing.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/amp-pot-14 AMP_POT_14]'''

*Left: Photo of an Indonesian figure. Right: Photo of Prof. Dr. Raden Soepomo.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/amp-pot-15 AMP_POT_15]'''

*Documentation photo from Left: H.O.S. Cokroaminoto Right: Cipto Mangunkusumo.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/amp-pot-16 AMP_POT_16]'''

*Left: Photo of Raden Mas Soerjopranoto. Right: Painting by H. Samanhudi

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/amp-pot-17 AMP_POT_17]'''

*Left: Photo of Albertus Soegijapranata. Right: Photo of Haji Agus Salim

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/amp-pot-18 AMP_POT_18]'''

*Documentation photo of Indonesian figures being welcomed by Swiss Guard troops.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/amp-pot-19 AMP_POT_19]'''

*Documentation photo shows a group of children in traditional clothing playing foos balll.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

; '''Amplop Sketsa Diorama Monas'''
; '''[https://archive.org/details/ske-dio-mon-01 SKE_DIO_MON_01]'''

*Photo of a sketch for one of the diorama scenes at the National Monument (Monas), titled "Youth Pledge."

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/ske-dio-mon-02 SKE_DIO_MON_02]'''

*Photo of a sketch for one of the diorama scenes at the Monas, titled "Youth Pledge."

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/ske-dio-mon-03 SKE_DIO_MON_03]'''

*Photo of a sketch for one of the diorama scenes at the Monas, titled "The Aceh War."

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/ske-dio-mon-04 SKE_DIO_MON_04]'''

*Photo of a sketch for one of the diorama scenes at the Monas, titled "The Battle of Surabaya."

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/ske-dio-mon-05 SKE_DIO_MON_05]'''

*Photo of a sketch for one of the diorama scenes at the Monas, titled "Indonesian Association"

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/ske-dio-mon-06 SKE_DIO_MON_06]'''

*Photo of a sketch for one of the diorama scenes at the Monas, titled "The Palapa Oath."

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/ske-dio-mon-07 SKE_DIO_MON_07]'''

*Photo of a sketch for one of the diorama scenes at the Monas, titled "National Awakening."

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/ske-dio-mon-08 SKE_DIO_MON_08]'''

*Photo of a sketch for one of the diorama scenes at the Monas, titled "The Struggle to Return to the Unitary State."

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/ske-dio-mon-09 SKE_DIO_MON_09]'''

*Photo of a sketch for one of the diorama scenes at the Monas, titled "The Battle of Jagaraga."

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/ske-dio-mon-10 SKE_DIO_MON_10]'''

*Photo of a sketch for one of the diorama scenes at the National Monument (Monas), titled "The Majapahit War Fleet."

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/ske-dio-mon-11 SKE_DIO_MON_11]'''

*Photo of a sketch for one of the diorama scenes at the Monas, titled "Recognition of Sovereignty."

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/ske-dio-mon-12 SKE_DIO_MON_12]'''

*Photo of a sketch for one of the diorama scenes at the Monas, titled "The Liberation of Irian."

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/ske-dio-mon-13 SKE_DIO_MON_13]'''

*Photo of a sketch for one of the diorama scenes at the Monas, titled "The Resistance of Sisingamangaraja."

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/ske-dio-mon-14 SKE_DIO_MON_14]'''

*Photo of a sketch for one of the diorama scenes at the Monas, titled "Indonesia Becomes a Member of the United Nations."

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/ske-dio-mon-15 SKE_DIO_MON_15]'''

*Photo of a sketch for one of the diorama scenes at the Monas, titled "The Diponegoro War."

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

; '''[https://archive.org/details/dari-buku-gambar Dari Buku Gambar]'''

*A collection of documentary photographs from a sketchbook were used as research material for dioramas depicting the Bugis Incident, the Battle of Bogor, the Battle of Tjibadak, the Three Regions Incident, the Five-Day Battle of Palembang, the Expedition to Maluku, and the Seaborne Operation from Banyuwangi to Bali.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

; '''[https://archive.org/details/draaiboek-monas-879pgs-2 Draaiboek Monas - 879pgs 2]'''

*A guideline for creating a diorama at Monas, entitled 1. TRIKORA AND/OR THE RETURN OF WEST IRIAN (The Return of West Irian to the Territory of the Republic of Indonesia). 2. GANEFO (The Opening Ceremony of Ganefo on October 10, 1963). This guide provides details for the diorama scenes, such as miniature figures, building elements, and paintings on the left and right walls of the diorama. The script also includes historical research, key events that formed the background to the events depicted in the diorama, and sources used for the historical research.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

; '''Gambar-gambar perjuangan indonesia'''
; '''[https://archive.org/details/alb-gam-per-idn-01 ALB_GAM_PER_IDN01]'''

*Documentation photo of the Indonesian flag flying on the North Field of the Yogyakarta Palace.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/alb-gam-per-idn-02 ALB_GAM_PER_IDN02]'''

*Documentation photo of the fighters marching in ceremonial formation.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/alb-gam-per-idn-03 ALB_GAM_PER_IDN03]'''

*Documentation photo of President Soekarno giving a salute.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/alb-gam-per-idn-04 ALB_GAM_PER_IDN04]'''

*Documentation photo of a line of fighters welcoming a group of state officials in the northern square of the Yogyakarta palace.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/alb-gam-per-idn-05 ALB_GAM_PER_IDN05]'''

*Documentation photo of a ceremony in the northern square of the Yogyakarta palace.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/alb-gam-per-idn-06 ALB_GAM_PER_IDN06]'''

*Documentation photo of a ceremony in the northern square of the Yogyakarta palace.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/alb-gam-per-idn-07 ALB_GAM_PER_IDN07]'''

*Documentation photo of President Soekarno, Vice President Mohammad Hatta, General Soedirman, and Sri Sultan Hamengku Buwono IX with a group of state officials at an event on the podium of the northern square of the Yogyakarta palace.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/alb-gam-per-idn-08 ALB_GAM_PER_IDN08]'''

*Documentation photo of a fighter, possibly Raden Said Soekanto Tjokrodiatmodjo, as the Chief of the National Police, reading a speech

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/alb-gam-per-idn-09 ALB_GAM_PER_IDN09]'''

*Documentation photo of General Soedirman, Vice President Mohammad Hatta, President Soekarno, and National Police Chief Raden Said Soekanto Tjokrodiatmodjo, together with a group of state officials.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/alb-gam-per-idn-10 ALB_GAM_PER_IDN10]'''

*Documentation photo of President Soekarno reading a speech, also showing General Soedirman, Vice President Mohammad Hatta, and National Police Chief Raden Said Soekanto Tjokrodiatmodjo, along with a group of state officials.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/alb-gam-per-idn-11 ALB_GAM_PER_IDN11]'''

*Documentation photo of President Soekarno, Vice President Mohammad Hatta, and National Police Chief Raden Said Soekanto Tjokrodiatmodjo, together with a group of state officials.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/alb-gam-per-idn-12 ALB_GAM_PER_IDN12]'''

*Documentary photo of a woman being trained to shoot with a rifle.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/alb-gam-per-idn-13 ALB_GAM_PER_IDN13]'''

*Documentation photo of President Soekarno giving a speech in front of the ceremony participants in the north square of the Yogyakarta palace

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/alb-gam-per-idn-14 ALB_GAM_PER_IDN14]'''

*Documentation photo of Vice President Mohammad Hatta giving a speech, also seen in the photo are President Soekarno, National Police Chief Raden Said Soekanto Tjokrodiatmodjo, and a group of state officials.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/alb-gam-per-idn-15 ALB_GAM_PER_IDN15]'''

*Documentation photo of a line of soldiers in the north square of the Yogyakarta Palace

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/alb-gam-per-idn-16 ALB_GAM_PER_IDN16]'''

*Documentation photo of a line of soldiers in the north square of the Yogyakarta Palace

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/alb-gam-per-idn-17 ALB_GAM_PER_IDN17]'''

*Documentation photo of a line of soldiers in the north square of the Yogyakarta Palace

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/alb-gam-per-idn-18 ALB_GAM_PER_IDN18]'''

*Documentation photo of a line of soldiers in the north square of the Yogyakarta Palace

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/alb-gam-per-idn-19 ALB_GAM_PER_IDN19]'''

*Documentation photo of a line of soldiers with a respectful attitude in the north square of the Yogyakarta Palace

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/alb-gam-per-idn-20 ALB_GAM_PER_IDN20]'''

*Documentation photo of a line of soldiers in the north square of the Yogyakarta Palace

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/alb-gam-per-idn-21 ALB_GAM_PER_IDN21]'''

*Documentation photo of a line of soldiers in the north square of the Yogyakarta Palace

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/alb-gam-per-idn-22 ALB_GAM_PER_IDN22]'''

*Documentation photo of Vice President Mohammad Hatta giving a speech in the north square of the Yogyakarta Palace.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/alb-gam-per-idn-23_202602 ALB_GAM_PER_IDN23]'''

*Documentation photo of the line of soldiers in the north square of the Yogyakarta Palace, also seen are people watching the ceremony.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/alb-gam-per-idn-24 ALB_GAM_PER_IDN24]'''

*Documentation photo of a line of soldiers in the north square of the Yogyakarta Palace

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/alb-gam-per-idn-25 ALB_GAM_PER_IDN25]'''

*Documentation photo of President Soekarno, Vice President Mohammad Hatta, and National Police Chief Raden Said Soekanto Tjokrodiatmodjo, inspecting the ranks of soldiers in the northern square of the Yogyakarta Palace.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/alb-gam-per-idn-26 ALB_GAM_PER_IDN26]'''

*Documentation photo of President Soekarno, Vice President Mohammad Hatta, and National Police Chief Raden Said Soekanto Tjokrodiatmodjo, inspecting the ranks of soldiers in the northern square of the Yogyakarta Palace.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/alb-gam-per-idn-27 ALB_GAM_PER_IDN27]'''

*Documentation photo of President Soekarno, Vice President Mohammad Hatta, and National Police Chief Raden Said Soekanto Tjokrodiatmodjo, inspecting the ranks of soldiers in the northern square of the Yogyakarta Palace.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/alb-gam-per-idn-28 ALB_GAM_PER_IDN28]'''

*Documentation photo of President Soekarno, Vice President Mohammad Hatta, and National Police Chief Raden Said Soekanto Tjokrodiatmodjo, inspecting the ranks of soldiers in the northern square of the Yogyakarta Palace.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/alb-gam-per-idn-29 ALB_GAM_PER_IDN29]'''

*Documentation photo of President Soekarno, Vice President Mohammad Hatta, and National Police Chief Raden Said Soekanto Tjokrodiatmodjo, inspecting the ranks of soldiers in the northern square of the Yogyakarta Palace.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/alb-gam-per-idn-30 ALB_GAM_PER_IDN30]'''

*Documentation photo of President Soekarno, Vice President Mohammad Hatta, and National Police Chief Raden Said Soekanto Tjokrodiatmodjo, inspecting the ranks of soldiers in the northern square of the Yogyakarta Palace.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/alb-gam-per-idn-31 ALB_GAM_PER_IDN31]'''

*Documentation photo of President Soekarno inspecting the ranks of soldiers in the northern square of the Yogyakarta Palace.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/alb-gam-per-idn-32 ALB_GAM_PER_IDN32]'''

*Photo of a group of soldiers from the National Police Agency

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/alb-gam-per-idn-33 ALB_GAM_PER_IDN33]'''

*Documentation photo of Vice President Mohammad Hatta, and National Police Chief Raden Said Soekanto Tjokrodiatmodjo, inspecting the ranks of soldiers in the northern square of the Yogyakarta Palace.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/alb-gam-per-idn-34 ALB_GAM_PER_IDN34]'''

*Documentation photo of the marching band from the Indonesian National Police at a ceremony.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/alb-gam-per-idn-35 ALB_GAM_PER_IDN35]'''

*Documentation photo of President Soekarno tidying up the attributes of one of the soldier on the north field of the Yogyakarta Palace.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/alb-gam-per-idn-36 ALB_GAM_PER_IDN36]'''

*Documentation photo of President Soekarno, Vice President Mohammad Hatta, and National Police Chief Raden Said Soekanto Tjokrodiatmodjo, inspecting the ranks of soldiers in the northern square of the Yogyakarta Palace.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/alb-gam-per-idn-37 ALB_GAM_PER_IDN37]'''

*Documentation photo of President Soekarno giving his respects, seen next to him is Vice President Mohammad Hatta.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/alb-gam-per-idn-38 ALB_GAM_PER_IDN38]'''

*Documentary photo of a line of soldiers saluting.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/alb-gam-per-idn-39 ALB_GAM_PER_IDN39]'''

*Documentation photo of soldiers carrying weapons.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/alb-gam-per-idn-40 ALB_GAM_PER_IDN40]'''

*Documentation photo of a line of soldiers in the north square of the Yogyakarta palace

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/alb-gam-per-idn-41 ALB_GAM_PER_IDN41]'''

*Documentation photo of a line of soldiers in the north square of the Yogyakarta palace

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/alb-gam-per-idn-42 ALB_GAM_PER_IDN42]'''

*Documentation photo of a line of soldiers in the north square of the Yogyakarta palace

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/alb-gam-per-idn-43 ALB_GAM_PER_IDN43]'''

*Documentation photo of a line of soldiers in the north square of the Yogyakarta palace

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/alb-gam-per-idn-44 ALB_GAM_PER_IDN44]'''

*Documentation photo of a line of soldiers in the north square of the Yogyakarta palace

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/alb-gam-per-idn-45 ALB_GAM_PER_IDN45]'''

*Documentation photo of a line of soldiers in the north square of the Yogyakarta palace

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/alb-gam-per-idn-46 ALB_GAM_PER_IDN46]'''

*Documentation photo of Soeharto's swearing-in when he became president of Indonesia

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/alb-gam-per-idn-47 ALB_GAM_PER_IDN47]'''

*Documentation photo of a line of soldiers in the north square of the Yogyakarta palace

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/alb-gam-per-idn-48 ALB_GAM_PER_IDN48]'''

*Documentation photo of a line of soldiers in the north square of the Yogyakarta palace

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/alb-gam-per-idn-49 ALB_GAM_PER_IDN49]'''

*Documentation photo of a line of soldiers in the north square of the Yogyakarta palace

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/alb-gam-per-idn-50 ALB_GAM_PER_IDN50]'''

*Documentation photo of a line of soldiers in the north square of the Yogyakarta palace

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/alb-gam-per-idn-51 ALB_GAM_PER_IDN51]'''

*Documentation photo of a line of soldiers in the north square of the Yogyakarta Palace, giving a salute

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/alb-gam-per-idn-52 ALB_GAM_PER_IDN52]'''

*Documentation photo of soldiers carrying weapons, in the north square of the Yogyakarta Palace

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/alb-gam-per-idn-53 ALB_GAM_PER_IDN53]'''

*Documentation photo of a line of soldiers in the north square of the Yogyakarta palace

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/alb-gam-per-idn-54 ALB_GAM_PER_IDN54]'''

*Documentation photo of a line of soldiers in the north square of the Yogyakarta Palace, giving a salute

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/alb-gam-per-idn-55 ALB_GAM_PER_IDN55]'''

*Documentation photo of a line of soldiers in the north square of the Yogyakarta palace

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/alb-gam-per-idn-56 ALB_GAM_PER_IDN56]'''

*Documentation photo of a line of soldiers in the north square of the Yogyakarta palace

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/alb-gam-per-idn-57 ALB_GAM_PER_IDN57]'''

*Documentation photo of a line of soldiers in the north square of the Yogyakarta palace

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/alb-gam-per-idn-58 ALB_GAM_PER_IDN58]'''

*Documentation photo of a line of soldiers in the north square of the Yogyakarta palace

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/alb-gam-per-idn-59 ALB_GAM_PER_IDN59]'''

*Documentation photo of a dog among a line of soldiers.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/alb-gam-per-idn-60 ALB_GAM_PER_IDN60]'''

*Documentation photo of a line of soldiers in the north square of the Yogyakarta palace

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/alb-gam-per-idn-61 ALB_GAM_PER_IDN61]'''

*Documentation photo of the demonstration of skills from the Kedoe Police Mobile Brigade unit, in the north square of the Yogyakarta palace

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/alb-gam-per-idn-62 ALB_GAM_PER_IDN62]'''

*Documentation photo of the demonstration of skills from the Kedoe Police Mobile Brigade unit, in the north square of the Yogyakarta palace

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/alb-gam-per-idn-63 ALB_GAM_PER_IDN63]'''

*Documentation photo of a soldiers' meeting

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/alb-gam-per-idn-64 ALB_GAM_PER_IDN64]'''

*Documentation photo of a military meeting, showing National Police Chief Raden Said Soekanto Tjokrodiatmodjo standing, and Vice President Mohammad Hatta sitting next to him.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/alb-gam-per-idn-65 ALB_GAM_PER_IDN65]'''

*Documentation photo of soldiers carrying weapons, in the north square of the Yogyakarta palace

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/alb-gam-per-idn-66 ALB_GAM_PER_IDN66]'''

*Documentation photo of soldiers carrying weapons, in the north square of the Yogyakarta palace

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/alb-gam-per-idn-67 ALB_GAM_PER_IDN67]'''

*Documentation photo of a line of soldiers from behind, in the northern square of the Yogyakarta Palace.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/alb-gam-per-idn-68 ALB_GAM_PER_IDN68]'''

*Documentation photo of a line of soldiers in the north square of the Yogyakarta palace

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

; '''[https://archive.org/details/img-029_202602 IMG_029]'''

*Above: Documentation photo of the clay miniatures used for the Singamangaraja Resistance diorama at Monas. Below: Documentation photo of the clay miniatures used for one of the dioramas at Monas.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

; '''Peristiwa Tanjung Morawa 16 Maret 1953'''
; '''[https://archive.org/details/map-ris-tjg-mor-00001 MAP_RIS_TJG_MOR_00001]'''

*Documentation photo of land belonging to the Department of Agriculture, Tanjung Morawa District, Deli Serdang Regency, North Sumatra.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/map-ris-tjg-mor-00002 MAP_RIS_TJG_MOR_00002]'''

*Documentation photo of a heavy machine.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/map-ris-tjg-mor-00003 MAP_RIS_TJG_MOR_00003]'''

*Documentation photo of a community group.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

==Museum Satriamandala, Jakarta==
Lorem ipsum dolor sit amet, consectetur adipiscing elit. Nunc porttitor mauris metus, vitae venenatis lacus gravida sit amet. Suspendisse cursus lectus eu leo varius, at auctor nibh imperdiet. Nunc consectetur metus eu venenatis commodo.

===[https://archive.org/details/sik-corps-al Album Beberapa Sikap Corps Marinir AL (Jakarta, 22-8-1978)]===

*This photo presents a systematic documentation of standard military drill and parade positions, both armed and unarmed, shown from multiple perspectives (front, rear, right, and left), including formations such as the perfect armed stance, armed salute, armed rest, normal rest unarmed, parade armed rest/guard stance, perfect armed shoulder stance, perfect unarmed stance, and parade rest unarmed, serving as a structured visual reference to ensure accuracy of posture, alignment, and formal disciplinary standards.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

===Album Diorama Proklamasi Museum Eka Ekstrim Kanan Satria Mandala #1===
Quisque ut ex convallis, congue urna egestas, ornare eros. Etiam feugiat nunc eu suscipit sagittis. Maecenas ullamcorper lacus nisi, in viverra urna pharetra et. Morbi accumsan auctor egestas. Quisque velit lectus, finibus a mauris et, dapibus auctor sapien.

===Album Diorama Proklamasi Museum Eka Ekstrim Kanan Satria Mandala #2===
Pellentesque suscipit, nibh nec luctus molestie, dui nunc gravida dolor, non condimentum elit ligula et turpis.

===[https://archive.org/details/gar-mat-mak-00000 Album Foto Perjuangan Indonesia]===

*Documentation of the activities of the X Garuda Mataram Brigade in Makassar under the leadership of Lieutenant Colonel Suharto in military operations to overcome the Makassar Uprising, also known as the Andi Aziz rebellion, in Makassar, South Sulawesi, 1950

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

===[https://archive.org/details/alb-rpkad Album RPKAD]===

*A collection of photo documentation of a series of technical instructions regarding the RPKAD soldiers' marching regulations, which include various basic positions such as perfect stance, normal rest, to armed rest parade in guard position, which are systematically documented from the front, rear, and left and right side perspectives, for diorama research purposes.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

===Buku Panduan Museum Satriamandala===
; '''[https://archive.org/details/central-museum-of-the-armed-forces-satria-mandala Central Museum Of The Armed Forces SATRIA MANDALA]'''

*An operational guidebook for visitors to the ABRI Satriamandala Central Museum in English, which includes information on visiting hours, descriptions of the main exhibition spaces in the First and Second Buildings, supporting facilities, floor plans, location maps, and descriptions of the reliefs.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/museum-satria-mandala-buku-panduan Museum Satria Mandala - Buku Panduan]'''

*An operational guidebook for visitors to the ABRI Satriamandala Central Museum in Indonesian, which includes information on visiting hours, descriptions of the main exhibition spaces in the First and Second Buildings, supporting facilities, floor plans, location maps, and descriptions of reliefs.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

===Dokumen dan Surat===
; '''[https://archive.org/details/surat-perintah-kerja-museum-pusat-abri Surat Perintah Kerja Museum Pusat ABRI, 1973]'''

*The Work Order Letter with letter number PRINT/1110/PUSJARAH/VIII/73 issued on 25th August 1973 in Jakarta is an official instruction from the ABRI (Armed Forces of the Republic of Indonesia) History Center to artist Edhi Sunarso to carry out the construction of the ABRI Central Museum phase III. Based on a series of Decrees of the Minister of Defense/Commander of the Armed Forces regarding the formation of the project committee and budget allocation for 1973/1974, this order includes the construction of 24 diorama dome units along with supporting installations (frames, windows, and glass) with a total work value of Rp11,947,000. The document was signed by Colonel Inf. Soepardijo, as Deputy Head of the ABRI History Center and stamped

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/surat-perintah-kerja-diorama-museum-pusat-abri Surat Perintah Kerja Diorama Museum Pusat ABRI, 1974]'''

*The Work Order Letter with the letter number SPRIN/161/PUSJARAH/XII/74 issued in Jakarta on 19th December 1974, was an official instruction from the ABRI History Center to a team of artists led by Edhi Sunarso (along with Saptoto, Ratmoyo, Heri Wibowo, and Ramelan). Based on the legal basis for the formation of the ABRI Central Museum Project Committee, this team was assigned to conduct field research on historical objects in the regions of Java, Bali, Sumatra, and Sulawesi. This research aimed to ensure historical accuracy in filling the dioramas at the ABRI Satriamandala Museum. The document was signed by Colonel Inf. Soepardijo, as Deputy Head of the ABRI History Center and stamped

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/19750107-surat-perintah-kerja-diorama-museum-pusat-abri Surat Perintah Kerja Diorama Museum Pusat ABRI, 1975]'''

*This Work Order with letter number PRIN/02/PUSJARAH/I/73 issued on January 7, 1975 in Jakarta was an official instruction from the ABRI History Center to an artist, Edhi Sunarso, assigned to produce 29 dioramas, including one large-scale diorama measuring 3x3 meters, with a total contract value of Rp52,000,000. The document was signed by Colonel Inf. Soepardijo, as Deputy Head of the ABRI History Center and stamped

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/19750823-surat-perintah-kerja-diorama-museum-pusat-abri Surat Perintah Kerja Diorama Museum Pusat ABRI, 1975]'''

*The Work Order with letter number SPRIN/167/PUSJARAH/VIII/75 issued on 23rd August 1975 in Jakarta is an official instruction from the ABRI History Center to Edhi Sunarso (diorama artist) and Ratmoyo (member of the museum contents team). Based on the legal basis for the construction of the ABRI Central Museum Phase III, the team was assigned to carry out in-depth historical research on the Red and White Incident in Manado, as well as the Andi Azis Rebellion and Westerling's brutality in South Sulawesi. The document was signed by Colonel Inf. Soepardijo, as Deputy Head of the ABRI History Center and stamped

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/19750922-kwitansi-museum-pusat-sejarah-abri Kwitansi Museum Pusat Sejarah ABRI, 1975]'''

*Proof of receipt of money by Edhi Sunarso from the ABRI (Indonesian Armed Forces) History Center Museum Development Project, "Satria Mandala" Jakarta, for the fifth installment payment of diorama filling costs in accordance with contract agreement number 08/PUSJARAH/I/75, amounting to Rp.7,800,000 (seven million eight hundred thousand rupiah). The proof of receipt was made on 22nd September 1975

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/19751002-berita-acara-pemeriksaan-diorama-museum-pusat-abri Berita Acara Pemeriksaan Diorama Museum Pusat ABRI, 1975]'''

*The Minutes of Inspection of the Diorama Making Work for the ABRI Central Museum, letter number BA/1307/PUSJARAH/IX/1975, records the results of the official verification conducted on 30th September 1975, on the completion of 29 dioramas for the ABRI Central Museum Satriamandala by artist Edhi Sunarso. The inspection team consisting of Colonel Inf. Soepardjijo, Drs. Sukardi SHH, and Sri Suko stated that all work had been completed correctly in accordance with the provisions of the agreement letter dated 3rd January 1975. Based on the inspection results, the contractor was entitled to receive the fifth installment payment of 15% of the contract value (Rp.7,800,000,-), with the obligation to maintain and improve for three months until 22nd December 1975. This document was signed by Colonel Inf. Soepardijo, Drs. Sukardi SHH, and Sri Suko in Jakarta on 2nd October 1975.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/19751002-berita-acara-penyerahan-pertama-diorama-museum-pusat-abri Berita Acara Penyerahan Pertama Diorama Museum Pusat ABRI, 1975]'''

*The Minutes of First Handover of ABRI Central Museum Dioramas with letter number. BA/308/PUSJARAH/X/1975 issued on 2nd October 1975 regulates the first handover of the results of the diorama filling work of the ABRI Satriamandala Central Museum. In this document, the 2nd Party (Edhi Sunarso) officially handed over 29 diorama units to the 1st Party (ABRI History Center) in accordance with the terms of the contract dated 3rd January 1975. This handover was declared in good condition by Colonel Inf. Soepardijo with the clause that the responsibility for improvement and maintenance remains with the 2nd Party during the three-month warranty period until 22nd December 1975. This administrative validation became the basis for the payment of the fifth installment of 15% of the total contract value (Rp.7,800,000,-). This document was signed by Edhi Sunarso, as the 2nd Party (Contractor/Executor) and Colonel Inf. Soepardijo as the 1st Party (Deputy Head of the ABRI History Center), and stamped

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/19751002-kwitansi-diorama-museum-abri Kwitansi Diorama Museum ABRI, 1975]'''

*This document is proof of an official financial transaction for the fifth installment of the diorama project for the ABRI Satriamandala Museum. In the payment receipt, Marine Major (A) Drs. A. Kusaeri, as Treasurer of the Wisma Yaso Project, transferred Rp7,800,000 (seven million eight hundred thousand rupiah) to artist Edhi Sunarso, the contractor. This document was signed by Marine Major (A) Drs. A. Kusaeri and Edhi Sunarso on October 2, 1975.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/19751200-berita-acara-penyerahan-kedua-diorama-museum-pusat-abri Berita Acara Penyerahan Kedua Diorama Museum Pusat ABRI, 1975]'''

*Minutes of the Second Handover of the Filling of the ABRI Central Museum Diorama signed by Drs. Nugroho Notosusanto, with the rank of Brigadier General of the Indonesian National Army, who serves as the Head of the ABRI History Center as the Head of the ABRI Museum Project, hereinafter referred to as the First Party, and Edhi Sunarso as the contractor of the ABRI Museum diorama, hereinafter referred to as the Second Party. In the minutes it is explained that the second party has been able to be paid the sixth (final) wholesale price of 5% of the total wholesale price or Rp.2,600,000 (two million six hundred thousand rupiah). The minutes were made in Jakarta, and signed by Drs. Nugroho Notosusanto and Edhi Sunarso in December 1975

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/19760624-kwitansi-sewa-bus Kwitansi Sewa Bus, 1976]'''

*Proof of receipt of money by Johnny from ASRI (Indonesian Fine Arts Academy) Yogyakarta for payment of bus rental for 5 days from 24th June 1976 to 28th June 1976 to Jakarta, amounting to Rp. 200,000 (two hundred thousand rupiah). The proof of receipt of money was made in Yogyakarta on 24th June 1976, affixed with a stamp and signed by Johnny.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

===EKA===

===Eka Ekstrem Kanan Satya Mandala_(dari meja)===

===Laporan Diorama Museum ABRI===

===MAP BIRU_Museum Satria Mandala===

===Map Hijau EKA #2===

===MAP HIJAU_Angkatan Udara RI===

===Pembuatan Diorama "Eka-Ekstrimkanan" Satria Mandala Jakarta Tahun 1976===

===Potret Jendral-Jendral===

===Proses revisi===
; '''[https://archive.org/details/19750522-pakaian-dinas-upacara-abri Pakaian Dinas Upacara ABRI]'''

*This document serves as an official guideline or regulation for the use of uniforms (attributes) of the Indonesian Armed Forces Ceremonial Service Uniform I (PDU-I) which displays illustrations of official ceremonial uniforms for the four branches, namely the Indonesian Army (AD), the Indonesian Navy (AL), the Indonesian Air Force (AU), and the Indonesian National Police (POLRI), then the Indonesian Armed Forces Ceremonial Service Uniform II (PDU-II) which displays illustrations of other versions of the ceremonial uniforms used in the military and police environment of the Republic of Indonesia during that period.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

; '''[https://archive.org/details/19780731-surat-perintah-kerja-museum-abri-satria-manda Surat Perintah Kerja_Museum ABRI Satria Mandala]'''

*Work Order Letter with letter number SPK/105/PUSJARAH/III/78 issued by the Department of Defense and Security in Jakarta on 31st July 1978 to Edhi Sunarso, to carry out the work of making ABRI uniform mannequins, to be installed at the ABRI Satriamandala Museum. The letter also explains the number of mannequins complete with their bases, the uniform period, the wholesale price, and the deadline for the work. This letter was signed by Brigadier General TNI Drs. Nugroho Notosusanto, as Head of the ABRI History Center, and stamped

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

===[https://archive.org/details/ris-ser-tni-al Riset seragam TNI AL]===

*Photo documentation of Indonesian uniforms from the era of the Maritime Homeland Defense Forces (PETA Laut, 1946) to standardization in 1975. The scope includes various categories of service clothing (Daily, Ceremonial, and Servant) as well as special uniforms for the Navy Women's Corps and Military Police. This information includes technical details of materials (drill, gabardine, tetoron), colors (white, gray, Navy green), and specifications for the front and back of the clothing pieces stored at the Indonesian Navy National Armed Forces Museum, Morokrembangan, Surabaya. contains 34 photos (only 26 found, ed. Hyphen —)

===[https://archive.org/details/sejarah-singkat-hakekat-museum-sejarah-dan-perpustakaan Sejarah Singkat, Hakekat Museum, Sejarah, dan Perpustakaan, 1978]===

*This book details the history of the founding of the Indonesian Air Force Central Museum "Dirgantara Mandala", which began with the idea of the AURI leadership in 1960 to immortalize the historical events of the air force, until its inauguration in Jakarta in 1969 and its relocation to Yogyakarta in 1978 due to the historical value of the city as the birthplace of the Indonesian Air Force.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

Sketches, stitches, and negotiations: Data catalogue

2026-03-02T09:10:03Z

Wikihyphen:

<div style="float:right; margin-left:1.5em;">__TOC__</div>

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==Museum Sejarah Nasional (National History Museum)==
Located in the basement of Monumen Nasional (National Monument), Jakarta, popularly known as Monas. Colloquially, the museum is dubbed as "Museum Monas".

===Dokumen dan Surat===
; '''[https://archive.org/details/19651228-surat-idzin-djalan-menemui-pjm-soekarno Surat Idzin Djalan - Menemui PJM Soekarno]'''
*Travel Permit with letter number 023/Djl./I.J./12/65 issued by the Yogyakarta Palace Household for Edhi Sunarso, A.S.R.I. (Indonesian Academy of Fine Arts) Lecturer in Yogjakarta, with address at A.S.R.I. Gampingan Yogyakarta, to meet with His Majesty the President in Jakarta, by train, on 29th December 1965 until it is completed, with one person accompanying him. The Travel Permit was issued in Yogyakarta, on 28th December 1965, at 12.00 West Indonesian Time, signed by Alip Parintono, as Supervisor of the Yogyakarta Palace Household, and stamped.

; '''[https://archive.org/details/19660108-surat-keterangan-monas-auri-musi Surat Keterangan Monas, AURI, Musi]'''
*Statement letter with letter number 7/Ktr./U.P./66.-, which explains that Edhi Sunarso, with a job as a Lecturer at the Indonesian Academy of Fine Arts R.I. (Republic of Indonesia)/Head of the Keluarga Arca Sculptor Team in Yogjakarta, received an assignment from His Majesty the President, as the executor/coordinator of the A.U.R.I. (Indonesian Air Force) Monument Statue project, Musi Bridge Decoration Statue, Hotel Decoration, National Monument, and others. The letter was issued in Jakarta, on 8th January, 1966, and signed by Djamin, as Presidential Secretary-Head of the Presidential Cabinet, and stamped.

; '''[https://archive.org/details/19660114-susunan-personalia-patung-banteng-monas Susunan Personalia Patung Banteng Monas]'''
*The composition of the personnel of the Jakarta National Museum Bull Statue Implementation Team, consisting of Soedarsono as the National Monument Executive Director, Edhi Sunarso and I. Gardono as the Personnel in Charge of the Implementation, Drs. Soepardjo and A. Singgih as the Implementation Staff, the Keluarga Arca Sculptor Team as the Planning Team, and Sarpomo, Soewardi, Boediani, Mon Moedjiman, Herjana Iskandar, Askabul, and Harri Djauharuddin as the Core Team of Sculptors. The composition of the personnel was signed by Edhi Sunarso as the sculptor on 14th January 1966 in Jakarta.

; '''[https://archive.org/details/19660707-surat-keterangan-monas Surat Keterangan MONAS]'''
*This certificate was issued by the National Monument Implementation Command in Jakarta on July 7, 1966, providing official identification and details of the work of Edhi Sunarso, aged 33, who was assigned as an artist in the National Monument (Monas) Project at Merdeka Square, Jakarta, and lived in the National Monument Project Housing in Medan Merdeka. This document serves as an official assignment letter authorizing the holder to carry out daily duties in the National Monument Project area and serves as official identification when dealing with military or police authorities, who are requested to contact the Security Division of the National Monument Implementation Command. The certificate is valid for a period of one month from the date of issuance and is signed by Kunto Sudarsono, Lieutenant Colonel of the Military Police Corps (CPM), service number 12687, in his capacity as Deputy Commander and Special Assistant for Security Affairs of the National Monument Implementation Command.

; '''[https://archive.org/details/surat-dinas-project-monas-1 Surat Dinas Project Monas_1]'''
*A statement letter issued by the State Secretariat of the Presidential Cabinet stating that Edhi Sunarso, a sculptor/lecturer at the Indonesian Fine Arts Academy (A.S.R.I.) in Yogyakarta, was assigned by His Majesty the President to carry out the following projects: 1. The Air Force Monument Statue. 2. Decoration of the Musi River Bridge Project. 3. Coordinator of Special Projects Ordered by the His Majesty the President. The letter was drawn up in Jakarta on 29th January 1965, signed by Djamin, the Presidential Secretary/Head of the Presidential Cabinet, and stamped.

; '''[https://archive.org/details/surat-dinas-project-monas-2 Surat Dinas Project Monas_2]'''
*Official duty order issued by the Indonesian Fine Arts Academy of Yogyakarta for Edy Sunarso (another name from Edhi Sunarso), who serving as a Lecturer at the Indonesian Fine Arts Academy, with a basic salary of Rp.1,764, located in Yogyakarta, with the destination being Jakarta, for official purposes to accompany the Director of A.S.R.I. (Indonesian Fine Arts Academy) to the National Monument Project, which departed on 11th February 1966, until it is completed. The official duty order was made in Yogyakarta on 10th February 1966 signed by Alibasjah as Director of the Indonesian Fine Arts Academy and Edhi Sunarso as the letter holder.

===Foto===
; '''Foto diorama MONAS oleh Ary "Jimged" Sendy'''
; '''[https://archive.org/details/01-masyarakat-indonesia-purba-3000-2000-sm-img-9473 MASYARAKAT INDONESIA PURBA, 3000-2000 SM]'''
*DIORAMA 1: MASYARAKAT INDONESIA PURBA (3.000 - 2.000 SM)
::Nenek moyang Bangsa Indonesia (Paleo-Mongoloid) pada Zaman Megalithikum sudah hidup dalam masyarakat teratur. Mereka sudah mempunyai tempat tinggal tetap, sebagian sudah jadi pelaut dan sebagian lagi hidup sebagai petani. Selain pakaian dari kulit kayu sudah dikenal juga pakaian dari tenunan. Hasil budaya Megalithikum yang terpenting diantaranya adalah alat-alat serpih (flakes, pebbles dan bones), menhir (tiang batu), dolmen (meja batu), sarcophagus, kubur batu (peti mayat batu), punden berundak-undak (bangunan pemujaan) dan arca. Benda-benda peninggalan budaya Megalithikum it tersebar di seluruh Indonesia, tetapi yang terpenting terdapat di Pasemah (daerah pegunungan yang terletak antara wilayah Palembang dan Bengkulu) dan Besuki (Pulau Jawa). Diorama in menggambarkan kehidupan nenek moyang bangsa Indonesia.

*DIORAMA 1: THE PREHISTORIC INDONESIAN SOCIETY (3.000 - 2.000 BC)
::The Indonesian forefathers (Paleo-Mongoloid) in the Neolithic age had already a sort of ordered society. They had permanent homes making a living as fisher-men or farmers. They knew clothing either woven besides clothing made from the bark of trees. The most important instruments of the Neolithi-cum culture are flakes, pebbles and bones, stone coffin, little houses of worship and even statues. These remains are scattered over the whole of Indonesia, but the most important things are found at the Pasemah plain (between Palembang and Bengkulu) and at Besuki (East Java). The diorama shows the life-style of Indonesian prehistoric society.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

; '''[https://archive.org/details/02-bandar-sriwijaya-abad-viii-xiii-img-9469https://archive.org/details/02-bandar-sriwijaya-abad-viii-xiii-img-9469, BANDAR SRIWIJAYA, ABAD VIII-XIII]'''
*DIORAMA 2: BANDAR SRIWIJAYA (ABAD KE 8 - 13)
::Bandar Sriwijaya terletak di persimpangan tiga jalur pelayaran antara Indonesia, Cina dan India. Posisi ini sangat menguntungkan bagi Kerajaan Sriwijaya, sehingga dengan sendirinya memegang peranan penting pula dalam perjalanan perdagangan selama berabad-abad. Kapal-kapal dari negeri Cina yang membawa pendeta-pendeta Budha banyak berlabuh dan sering menetap untuk waktu yang lama. Bandar tersebut akhirnya menjadi pusat perdagangan dan budaya pada waktu itu. Letak Bandar Sriwijaya berada di muara sungai di daerah pertemuan sungai Kampar Kanan dan Kampar Kiri kira-kira 2.5 derajat sebelah Utara Palembang. Diorama ini menggambarkan kegiatan perdagangan di Bandar Sriwijaya.

*DIORAMA 2: THE PORT OF SRIWIJAYA (8TH - 13TH CENTURY)
::The Port of Sriwijaya was very favorably located for the Kingdom as it used to be the crossroad of the prominent trade routes among Indonesia - China - India and brought many windfalls to the Sriwijaya dynasty. Automatically it had a prominent part and influenced the international trade. Strange and foreign vessels fre-quented the Port, moreover, many Buddhist priests from China stopped over, so that finally it became the center of trade and culture. The Port of Sriwijaya is located in mouth of the river Kampar Kanan and Kampar Kiri, about 2,5 degree of the northern of Palembang, South Sumatra. The diorama shows the atmosphere of trading ac-tivities among the merchants.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

; '''[https://archive.org/details/03-candi-borobudur-824-img-9480 CANDI BOROBUDUR (824)]'''
*DIORAMA 3: CANDI BOROBUDUR (824)
::Candi Borobudur didirikan pada sekitar tahun 824 M oleh Raja Samaratungga dari keluarga Sailendra. Bangunan candi berbentuk pyramid dan mencerminkan alam semesta. Bangunan ini dibuat dari batu sumbangan para menganut agama Budha dan dibangun dengan cara gotong-royong. Dalam pembangunan Candi Borobudur, hampir dua ratus ribu kaki kubik batu dipergunakan, lebih dari empat puluh ribu kaki kubik masuk dalam tingkat-tingkat terbuat dari batu. Pada candi ini terdapat 505 buah patung Budha dan 1.555 Stupa ukuran besar dan kecil yang melengkapi monumen Budha yang megah ini. Dari pendirian bangunan ini terbukti bahwa kemampuan bangsa Indonesia di bidang teknik dan organisasi sudah baik. Diorama ini menggambarkan tahap akhir pembangunan Candi Borobudur.

*DIORAMA 3: THE BOROBUDUR TEMPLE (824)
::Candi Borobudur was founded by King Samaratungga of the Cailendra dynasty in the year 824 and is a reflection of the universe. It was built by means of contributions from the Buddhist population and mu-tual cooperation of the people. The construction of the Candi has indicated that time the nation had already achieved a high technical knowledge and organization. Candi Borobudur is regarded to be one of the wonders of the world. On the temple founded 505 Buddhist statues and 1.555 large and little "Stupa" which completed the great Buddhist monument. On the temple construction was proved the ability of the Indonesian people in technical and organization. The diorama shows the last stage of the construction

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

; '''[https://archive.org/details/04-bendungan-waringin-sapta-abad-xi-img-9482 BENDUNGAN WARINGIN SAPTA ABAD XI]'''
*DIORAMA 4: BENDUNGAN WARINGIN SAPTA (ABAD KE 11)
::Setelah Raja Airlangga memperoleh wilayah yang menjadi haknya, kemudian ia berusaha memakmurkan rakyatnya. Sungai Brantas yang sering meluap dan selalu menimbulkan kerusakan-kerusakan pada tanah-tanah persawahan dibendung dengan mendirikan tanggul di Waringin Sapta. Untuk menjaga supaya tanggul tidak rusak, Raja Airlangga menunjuk rakjat setempat untuk memeliharanya, dan sebagai imbalan daerah tersebut dibebaskan dari kewajibannya membayar pajak. Akibatnya, rakyat makmur, pelayaran di Sungai Brantas bertambah ramai dan Pelabuhan Hujung Galuh menjadi pusat perdagangan antar pulau. Diorama ini menggambarkan ketika sungai Brantas sedang dibendung dekat Kelagen dan diawasi oleh Raja Airlangga.

*DIORAMA 4: WARINGIN SAPTA DAM (11TH CENTURY)
::After King Airlangga obtained his right domain, he endeavored to promote the prosperity and welfare of his people. The Brantas River which frequently over-flowed its bank caused much damage to large areas of the people's rice fields, was dammed up by rearing dike in order to control the flood and provide irrigation. To guard the dike against harm and damage, he ordered the local people to maintain it, and as a compensation he decreed them free from taxes and as a result the people prospered, the trip increased in Brantas river, and Hujung Galuh became the center of inter island trading. The diorama shows the Brantas River being dammed up near the village of Kelagen and King Airlangga supervising.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

; '''[https://archive.org/details/05-candi-jawi-perpaduan-sivaisme-dan-buddhisme-1292-img-9488 CANDI JAWI PERPADUAN SIVAISME DAN BUDDHISME, 1292]'''
*DIORAMA 5: CANDI JAWI PERPADUAN SIVAISME-BUDHISME (1292)
::Candi Jawi terletak di Gunung Welirang, sebelah barat daya Pandakan di tepi jalan ke Prigen dan didirikan untuk makam Raja Kertanegara, raja terakhir kerajaan Singasari yang meninggal pada tahun 1292. Dibagian atas candi terdapat arca Budha Aksobhya sedangkan di bagian bawah caridi terdapat arca Siva-Mahadewa. Dari bangunan ini dapat diketahui bahwa pada jaman Singasari dan Majapahit terjadi perpaduan Sivaisme-Budhisme. Diorama ini menggambarkan ketika pemimpin agama Budha serta pengikut-pengikutnya sedang mengadakan upacara keagamaan di Candi Jawi

*DIORAMA 5: JAWI TEMPLE, A BLEND OF SIVAISM-BUDDHISM (1292)
::Candi Jawi is located at Gunung Welirang. South-west of Pandaan along side the road to Prigen, East Java and founded as the grave of King Kartanegara, the last King of the Singasari Dynasty, who died in 1292. It features Buddha statue at its upper part and statue of Siva-Mahadewa at its lower part. From the Candi can be deducted that at time a merging of Sivaism and Buddhism occurred in the era of Singosari and Majapahit dynasties. The diorama shows a Buddhist priest and monks conducting a religious ceremony at Candi Jawi.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

; '''[https://archive.org/details/06-sumpah-palapa-1331-img-9490 SUMPAH PALAPA 1331]'''
*DIORAMA 6: SUMPAH PALAPA (1331)
::Dalam rangka membela integrasi Negara Majapahit, Gajah Mada seorang Patih dari Kerajaan Majapahit yang terkenal, bersumpah tidak akan makan Palapa sebelum Nusantara dapat dipersatukan di bawah mahkota Majapahit. Peristiwa ini dikenal dengan nama Sumpah Palapa. Sumpah itu dilakukan di Panangkilan, suatu tempat yang terletak di sebelah selatan alun-alun Majapahit. Pada saat itu banyak rekan-rekan Gajah Mada yang menertawakan dan mencemoohkannya. Namun Gajah Mada tejap teguh pada pendiriannya dan akhirnya berhasil menepati janji itu. Diorama ini menggambarkan Patih Gajah Mada dengan menggenggam sebilah keris mengucapkan Sumpah Palapa di hadapan prajurit-prajurit kerajaan Majapahit.

*DIORAMA 6: THE PLEDGE OF PALAPA (1331)
::In his effort to maintain the integration of Nusantara, Gajah Mada, the famous Vice-regent of the Majapahit Kingdom, pledged not to eat Palapa (rice with side dishes) before Nusantara (the Indonesian Archipelago) has been united under the reign of Majapahit. The pledge took place at Penangkilan, a certain place south of the Alun-alun of Majapahit. Many of his contemporaries laughed and ridiculed him. Gajah Mada. however, held firmly and eventually fulfilled his promise. The diorama shows Gajah Mada being pledged in front of the Gajah Mada troops.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

; '''[https://archive.org/details/07-armada-perang-majapahit-abad-ke-14-img-9500 ARMADA PERANG MAJAPAHIT ABAD KE-14]'''
*DIORAMA 7: ARMADA PERANG MAJAPAHIT (ABAD KE 14)

::Setelah Gajah Mada meninggal, timbul kesulitan dalam pemerintahan Raja Hayam Wuruk. Pemerintah yang baru berusaha mengekalkan keutuhan negara. Maka tindakan-tindakan ditujukan kepada kemakmuran rakyat dan keamanan daerah-daerah mendapat prioritas utama. Upaya tersebut dilakukan dengan memperkuat armada Majapahit dengan tujuan untuk menjaga keutuhan Nusantara dan mengatasi tindakan pengacauan yang dilakukan oleh Cina. Diorama ini menggambarkan armada Majapahit sedang menghadang kapal-kapal Cina di perairan Nusantara.

*DIORAMA 7: THE FLEET OF MAJAPAHIT (14TH CENTURY)
::After the death of the prominent figure Gajah Mada. disturbances arose under the reign of King Hayam Wuruk. The new sovereign strove to enforce the unity of Majapahit Kingdom. So, efforts for the people's pros-perity and the defence of all territory were given high priority. This was proved by strengthening the Majapahit's fleet with the aim to safeguard Nusantara's unity and resist attempts to create disorders by Chinese fleet, among other things. The diorama shows the Majapahit's fleet succeeds in driving away the Chinese fleet.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

; '''[https://archive.org/details/08-utusan-china-ke-majapahit-1405-img-9503 UTUSAN CHINA KE MAJAPAHIT 1405]'''
*DIORAMA 8: UTUSAN CINA KE MAJAPАНІТ (1405)
::Semasa pemerintahan raja Wikrama-wardhana, hubungan persahabatan dengan negara-negara tetangga berlangsung baik. Hal ini terbukti dengan kedatangan Cheng Ho, utusan kerajaan Kaisar Cina ke Majapahit sebagai pengakuan kedaulatan Kerajaan oleh Cina. Diorama ini menggambarkan Cheng Ho sedang membawa hadiah dari Kaisar Cina sedang menghadap raja Wikramawardhana.

*DIORAMA 8: THE CHINESE ENVOY TO MAJAPAHIT (1405)
::In the reign of king Wikramawardhana friendly relations with neighboring states and kingdoms were main-tained in good order. This was confirmed with the com-ing of Cheng Ho, the Emperor of China delegation visiting Majapahit as recognition of the Kingdom's sover-eignty by China. The diorama shows Cheng Ho with presents from the Emperor of China makes a formal appearance before King Wikramawardhana.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

; '''[https://archive.org/details/09-peranan-pesantren-dalam-penyatuan-bangsa-abad-ke-14-img-9507 PERANAN PESANTREN DALAM PENYATUAN BANGSA, ABAD KE-14]'''
*DIORAMA 9: PESANTREN SEBAGAI PEMERSATU BANGSA INDONESIA (ABAD KE 14)
::Salah satu cara untuk menyebarkan Agama Islam di Indonesia adalah melalui pendidikan di pesantren atau pondok yang diselenggarakan oleh guru-guru agama, kyai-kyai atau ulama. Pesantren merupakan lembaga penting dalam penyebaran agama Islam. Di tempat ini dilakukan pembinaan calon-calon guru agama, kyai-kyai atau ulama. Setelah keluar dari pesantren itu mereka akan kembali ke daerah asal masing-masing. Pesantren-pesantren beserta kyai-kyai mempunyai peranan yang penting dalam proses pengembangan pendidikan masyarakat. Semakin terkenal kyai yang mengajar itu semakin terkenal pesantrennya dan pengaruhnya akan mencapai radius yang lebih jauh lagi. Dengan cara ini integrasi nasional berdasarkan Islam meliputi wilayah yang makin lama makin luas. Diorama ini menggambarkan suasana pengajaran di Pondok Pesantren yang dipimpin oleh Sunan Giri di Jawa Timur.

*DIORAMA 9: MOSLEM BOARDING SCHOOLS IN UNITING THE NATION (14TH CENTURY)
::One of the methods of spreading the Islam in Indonesia is education conducted in the Pesantren (Moslem Boarding Schools) by religious teachers, scholars or kiaies. Pesantrens are significant institution in the spreading of Islam. After graduation, the students return to their homestead or villages. At their homestead they become prominent religious figures and establish their own Pesantrens. The Pesantren and Muslim religious leaders rep-resent an important element in the propagation of Is-lam and the spread of education. The more well-known the kiaies the more well-known his Pesantren and his influence will be widespread. This way the longer the wider the area of integration based on Islam. The diorama shows the atmosphere of Islamic teaching at a pesantren led by Sunan Giri in East Java

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

; '''[https://archive.org/details/10-pertempuran-pembentukan-jayakarta-22-juni-1527-img-9511 PERTEMPURAN PEMBENTUKAN JAYAKARTA, 22 JUNI 1527]'''
*DIORAMA 10: PERTEMPURAN SUNDA KELAPA (1527)
::Dalam usaha menyerang Malaka yang diduduki Portugis, Sultan Trenggono dari Demak tidak melakukannya secara langsung melainkan dengan jalan mengisolasi daerahnya dari pengaruh Portugis, terutama daerah-daerah yang pendukungnya belum masuk Islam. Setelah diketahui bahwa Portugis berhubungan dengan Raja Samian yang saat itu menguasai Pelabuhan Sunda Kelapa, Sultan Trenggono segera memerintahkan menantunya, yakni Pangeran Fatahillah, untuk segera menduduki Banten, Sunda Kelapa dan Cirebon. Pada tahun 1522 Penguasa daerah Sunda Kelapa. Raja Samian, mengadakan perjanjian dengan wakil Portugis. Henrique Leme, yang memberikan izin mendirikan benteng bagi Portugis. Ekspedisi Demak yang dipimpin Fatahillah pada tahun 1527 berhasil menduduki Banten, Sunda Kelapa dan Cirebon. Untuk menagih janji Raja Samian, pada tahun 1527 Portugis mengirim ekspedisi terdiri dari 6 buah kapal yang dipimpin oleh Francisco de Sa. Ternyata Portugis tidak lagi berhadapan dengan kerajaan Hindu melainkan dengan kerajaan Islam. Setelah tuntutan mereka ditolak oleh Fatahillah mereka mencoba mendaratkan tentaranya. Usaha tersebut dilawan oleh Fatahillah sehingga terjadilah pertempuran yang berlangsung di Teluk Sunda Kelapa. Armada Portugis akhirnya berhasil dipukul mundur. Peristiwa ini diabadikan dengan mengganti nama Sunda Kelapa menjadi Jayakarta. Diorama ini menggambarkan pertempuran yang berlangsung di Teluk Sunda Kelapa pada tanggal 22 Juni 1527.

*DIORAMA 10: THE BATTLE OF SUNDA KELAPA (1527)
::In the effort to attack Malacca which was ruled by the Portuguese, Sultan Trenggono of Demak did not carry it out directly but he isolated his area from the influence of the Portuguese, especially the area whose inhabitants were not converted yet to Islam. When he realized that the Portuguese was in contact with King Samian, the authority of Sunda Kelapa, Sultan Trenggono immediately ordered his son-in-law to occupy Banten. Sunda Kelapa and Cirebon. In 1522, King Samian signed an agreement with the Portuguese, represented by Henrique Leme which gave the Portuguese the right to build a fortress for his trade interest in Sunda Kelapa. Early in 1522 Demak expedition led by Fatahillah succeeded in occupying Banten, Sunda Kelapa and Cirebon. To press his claim further on King Samian, on 1527, the Portuguese sent an expedition of six ships led by Francisco de Sa. But evidently they did not oppose, a Hindu kingdom anymore, but an Islamic monarch. When their demand were rejected by Fatahillah, they tried to embark with force and so began the siege of the Bay of Sunda Kelapa. The Portuguese was then successfully by Fatahillah's troops. This event is immortalized by changing the name of Sunda Kelapa to Jayakarta (Glorious City). The diorama shows the battle of Sunda Kelapa on A June 22, 1527 when the Prince Fatahillah and his troops defeated the Portuguese fleet off Sunda Kelapa Bay

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.
; '''[https://archive.org/details/11-armada-perang-bugis-abad-ke-15-img-9515 ARMADA PERANG BUGIS, ABAD KE-15]'''
*DIORAMA 11: ARMADA DAGANG BUGIS (ABAD KE 15)
::Pelayaran orang Makasar dan Bugis dengan pinisi mulai abad ke 15 atau sebelumnya sudah meliputi hampir seluruh perairan Nusantara. Cerita tentang pengembaraan Sawerigading bisa memberi petunjuk tentang luasnya daerah-daerah yang dikunjungi. Gambaran lebih jelas baru diperoleh dari catatan pada masa sesudahnya. Misalnya dalam tulisan tentang hukum laut Amanna Gappa dan juga dari peta laut Bugis. Dari bukti-bukti ini kita melihat bahwa pelayaran mereka sampai ke Aceh. Kedah, Kamboja. ke Timur sampai ke Kei dan Teluk Ternate dan ke Utara sampai ke pulau-pulau Filipina (Sulu) dan Kalimantan Utara (Berau). Selanjutnya, menurut kisah Daeng Saro dari kampung Bontoranu, pelayaran penangkap-penangkap teripang dari Sulawesi Selatan sampai ke Marege, yaitu nama penduduk asli Australia dalam bahasa Bugis dan Makasar mengambil rute Ujung Pandang, Selayar, Wetar, Kisar. Leti dan Moa, selajutnya ke arah Tenggara ke pelabuhan Darwin. Diorama ini menggambarkan pelayaran armada dagang Bugis.

*DIORAMA 11: THE BUGINESE MERCANTILE FLEET (15TH CENTURY)
::The voyages of the Makassarese and Buginese using pinisi (Bugis traditional cargo boat) in the 15th cen-tury and before reached almost all the outskirts of the Indonesian archipelago and beyond. The story of Sawerigading adventures showed how wide was their visitation area. The figure became cleaner when the new evidence was obtained from the sea law Amanna Gappa and the Buginese nautical chart. From these evidences we could see that their voy-ages reached Aceh, Kedah, Cambodia, and east to Kei islands and Ternate Bay, and north to the Philippines archipelago (Sulu) and northern Kalimantan (Borneo). Furthermore, according to Daeng Saro story of the Bontoranu village, the voyages of fishermen from South Sulawesi to Marega took the route Ujung Pandang, Selayar, Wetar, Kisar, Leti and Moa, and then to south-east heading for Darwin sea port. The diorama shows a number of the Buginese mercantile fleet being ready to sail away.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.
; '''[https://archive.org/details/12-perang-makassar-1654-1668-img-9517 PERANG MAKASSAR, 1654-1668]'''
*DIORAMA 12: PERANG MAKASAR (1654 - 1668)
::Saingan V.O.C. dalam perdagangan abad ke 17 adalah Makasar. Sultan Makasar, Hasanuddin, membuka pelabuhannya untuk negara asing yang mau berhubungan dagang dengan Makasar. Melihat perkembangan Makasar dan sikap Sultan yang menjalankan politik bebas dalam perdagangan itu. Kompeni kemudian menggunakan politik pecah belah dan kuasai dengan menunggangi Aru Palaka. Sultan Hasanuddin terpaksa menerima perjanjian Bonggaya yang ditandatangani tanggal 18 November 1667. Dalam perjanjian ini V.O.C. diberi hak untuk membuat benteng di Makasar yang akhirnya mengurangi ruang gerat bagi pelaut Makasar. Diorama ini mnggambarkan Sultan Hasanuddin memimpin pertempuran mempertahankan benteng Sombaopu dari serbuan Belanda pada tnggal 8-9 Agustus 1668.

*DIORAMA 12: MAKASSAR WAR (1654-1668)
::The V.O.C. trading competitor on 17th century was Makassar. Sultan Hasanuddin of Makassar adopted a policy of free trade with all nations, he opened his Port for foreign traders who desired to trade with Makassar. Observing the growth and development of Sultan's policy, the V.O.C. (the Dutch East Indies Com-pany that held a monopoly in Indonesia 1602-1799) decided to use its 'the divide and rule' policy by using Aru Palaka. Sultan Hasanuddin was forced to accept the Bonggaya treaty which was signed on 18 Novem-ber 1667. The V.O.C. was given the right to build a fortress in Makassar and afterwards was able to decrease the space of activities of the Makassar fleet. The diorama shows Sultan Hasanuddin personally leads the fight defending Sombaopu fortress against the Dutch attack on 8-9 August 1668.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

; '''[https://archive.org/details/13-perlawanan-pattimura-1817-img-9519 PERLAWANAN PATTIMURA, 1817]'''
*DIORAMA 13: PERLAWANAN PATTIMURA (1817)
::Berdasarkan Konvensi London tahun 1814, Belanda berkuasa kembali di Indonesia serta mengulangi menjalankan monopolinya di mana segala sesuatu yang bersifat eksploitasi dilaksanakan kembali. Rakyat Maluku dipimpin oleh Pattimura dan dibantu oleh Christina Martha Tiahahu menolak politik monopoli tersebut kemudian memberontak terhadap Belanda. Diorama ini menggambarkan serbuan rakyat Maluku di bawah pimpinan Pattimura pada tanggal 15 Mei 1817 berhasil merebut benteng Duurstede di Pulau Saparua di mana hampir seluruh tentara Belanda di dalam benteng ini terbunuh.

*DIORAMA 13: PATTIMURA UPRISING (1817)
::Based on the London Convention in 1814, the Dutch Government reclaimed their sovereignty in Indonesia and re-established their policy of monopoly in trade by reinforcing their method o f exploitation. The people of the Mollucas led by Pattimura and assisted by Christina Martha Tiahahu rejected the monopoly policy and then revolted against the Dutch. The diorama shows Pattimura and his troops succeeding i n capturing the Dutch fortress Duurstede. The uprising broke out on May 15th, 1817, on Saparua island whereby most of the Dutch soldiers were killed in the fortress.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.
; '''[https://archive.org/details/14-perang-diponegoro-1825-1830-img-9521 PERANG DIPONEGORO, 1825-1830]'''
*DIORAMA 14: PERANG DIPONEGORO (1825 - 1830)
::Perang yang dicetuskan pada tahun 1825 oleh Pangeran Diponegoro merupakan suatu perlawanan rakyat semesta. Perang selama 5 tahun itu (1825-1830) berlangsung secara terus menerus sehingga Belanda menderita kerugian sebanyak 15.000 tentara dan biaya sekitar 20 juta gulden. Diponegoro beserta para pembantunya seperti Mangkubumi. Kyai Modjo, Sentot Prawirodiredjo dan pahlawan-pahlawan lainnya hingga tahun 1828 menguasai medan perang. Untuk mengakhiri perang. jerideral de Kock menggunakan siasat benteng stelsel dengan tujuan mempersempit daerah operasi Diponegoro dan mendesaknya ke daerah selatan. namun tidak berhasil. Dengan perangkap berkedok perundingan, akhirnya Diponegoro pada tanggal 28 Maret 1830 ditangkap di Magelang. Diponegoro meninggal dunia dalam benteng Belanda Ujung Pandang di Makasar pada tanggal 8 Januari 1855. Diorama ini menggambarkan pertempuran di tepi sungai Bogowonto di mana Diponegoro berhasil mengalahkan pasukan Kavaleri Belanda.

*DIORAMA 14: THE DIPONEGORO WAR (1825-1830)
::The war ignited in 1825 by Prince Diponegoro constituted a total war involving the whole population. That five-year war in Central Java went on continuously caused the Dutch lost 15,000 soldiers and 20 million guilders. In 1825 Diponegoro and his assistants such as Mangkubumi, Kyai Mojo, Sentot Prawirodirjo and other heroes dominated the battle field. In his effort to win the war, General de Kock applied the benteng stelsel (Fortress System) with the aim to decrease Prince Diponegoro's operational areas and drive him south-ward, but without success. Pretending that they were willing to negotiate, the Dutch lured the Prince into cap-tivity on 28 March 1830 in Magelang. Prince Diponegoro died on 8 January 1855 in the Dutch fortress in Ujung Pandang. The diorama shows the battle near the Bogowonto River where Prince Diponegoro and his troops defeated the Dutch troops.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.
; '''[https://archive.org/details/15-perang-imam-bonjol-1821-1837-img-9524 PERANG IMAM BONJOL, 1821-1837]'''

*DIORAMA 15: PERANG IMAM BONJOL (1821 - 1837)
::Perang yang berlangsung dari tahun 1821 - 1837 itu dapat dibagi dalam 3 tahap. Tahap pertama, perang antara kaum adat dengan kaum agama. Hal ini terjadi setelah kembalinya 3 orang ulama dari tanah suci. Mereka melihat keadaan kehidupan di tanah airnya jauh dari pada kesesuaian dengan ajaran-ajaran Islam. Oleh karena itu, mereka bermaksud hendak mengadakan pembaruan-pembaruan, tetapi ditentang oleh kaum adat. Pemimpin kaum ulama yang menjadi terkenal dalam perang ini ialah Tuanku Imam Bonjol. Tahap kedua: Kaum adat dibantu Belanda melawan kaum ulama. Pertempuran-pertempuran yang terjadi antara tahun 1821 1825 di Sulit Air, Para Palam dan Sawah Tengah. Tahap ketiga: Setelah Perang Diponegoro berakhir, perlawanan terhadap Belanda dilakukan oleh kaum ulama bersama kaum adat. Barulah dengan kekuatan militer yang besar pada tahun 1837 Belanda berhasil merebut Bonjol, daerah pertahanan terakhir Tuanku Imam Bonjol. Diorama ini menggambarkan tatkala Tuanku Imam Bonjol memimpin perlawanan terhadap Belanda.

*DIORAMA 15: THE IMAM BONJOL WAR (1821 - 1837)
::The war which took place in 1821 - 1837 could be divided into three phases. The first phase: the war between the traditionalists against the religious group from Mecca. They were observing the backward way of life a far cry from the Islamic teachings. They tried to bring upon innovations which the traditionalists rejected. A leading prominent figure who became famous in this war was Tuanku Imam Bonjol. The second phase: After the Dutch government decided to take side with the traditionalists against the religious group. The battle broke out in Sulit Air, Para Palam and Sawah Tengah in 1821-1825. The third phase: After the Diponegoro war ended, both opponents came together and opened the resis-tance struggle against the Dutch. Eventually with large military force in 1837, the Dutch was able to seize Bonjol, the last resistance stronghold of Tuanku Imam Bonjol. The diorama shows Tuanku Imam Bonjol who per-sonally leads the fighting against the Dutch

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.
; '''[https://archive.org/details/20-tanam-paksa-1830-1870-img-9548 PERANG BANJAR, 1859-1905]'''
*DIORAMA 16: PERANG BANJAR (1859-1905)
::Sudah sejak beberapa waktu Belanda memperoleh hak ikut campur tangan mengatur penggantian Sultan Banjar. Pada tahun 1824 timbul persoalan penggantian Sultan dimana Belanda memaksakan kehendaknya untuk menempatkan calon pilihannya. Hal ini ditentang oleh Sultan dan rakyatnya. Putra Mahkota yang ditunjuk oleh Sultan yaitu Prabu Anom ditawan oleh Belanda di Banjarmasin. Calon lainnya, Pangeran Hidayatullah, juga ditawan oleh Belanda dan dibawa ke Jawa. Inilah yang menyebabkan Pangeran Antasari dan rakyat Banjar mengangkat senjata melawan Belanda pada tahun 1859. Pada tanggal 9 -10 Mei 1859 Pangeran Antasari melakukan pengepungan dan penyerangan terhadap tambang batu bara Belanda di Pengaron. Diorama ini menggambarkan rakyat Banjar dipimpin oleh Pangeran Suropati menyerang kapal Belanda di Lontartur, sungai Kapuas.

*DIORAMA 16: THE BANJAR WAR (1859-1905)
::From some period of time, the Dutch government created a right to have a say in choosing the crown suc-cessor of the Sultan of Banjarmasin and eventually in 1824 arose the matter to replace the Crown Prince in which the Dutch forced their decision to place their nominee. This was opposed by the Sultan and his people. The Crown Prince of the Sultan's choice, Prabu Anom, was captured by the Dutch in Banjarmasin. An-other successor, Prince Hidayatullah, was also captured and exiled to Java. This caused Prince Antasari and his people opposed the Dutch intervention in the adminis-tration affairs of the Sultanate of Banjar in South of Kalimantan in 1859. On 9-10 May 1859 Prince Antasari and the Banjar people encircled and attacked the Dutch coal mine in Pengaron. The diorama shows the people of Banjar led by Prince Suropati attack the Dutch sailing vessel in Lontartur, Kapuas river.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.
; '''[https://archive.org/details/17-perang-aceh-1873-1904-img-9532 PERANG ACEH, 1873-1904]'''

*DIORAMA 17: PERANG ACЕН (1873 - 1904)
::Pada tahun 1871 Belanda dan Inggris mengadakan perubahan Traktat London sebagai rangkaian dari Konvensi London tahun 1814. Pembaruan terakhir bernama Traktat Sumatra yang memberikan kepada Belanda kekuasaan atas Sumatra. Perjanjian ini membuka jalan kepada Belanda untuk menduduki Aceh. Perang Aceh pecah akibat konflik yang semakin meruncing ketika pada tahun 1873 Belanda menuntut agar Aceh menghentikan hubungannya dengan negara-negara lain ditolak. Belanda segera mengirimkan ekspedisi militer ke Aceh, tetapi merekadikalahkan, bahkan panglimanya JHR Kohler tewas dalam pertempuran tanggal 13-14 April 1973 di depan Masjid Agung Baiturrahim. Diorama ini menggambarkan pertempuran sengit di halaman Masjid Agung Baiturrahim ketika JHR Kohler menjadi korban penembak jitu Aceh.

*DIORAMA 17: THE ACEH WAR (1873 - 1904)
::In 1871 the Dutch and the British amended the London Treaty as an attachment to the London Con-vention 1814. The last renewal was the Sumatra Treaty which gave the Dutch sovereignty over Sumatra. This treaty opened the way for the Dutch to occupy Aceh. The Aceh war broke out as a result of mounting conflicts when in 1873 the Dutch demanded the de-crease of Aceh's relation with foreign countries but it was rejected by the Aceh authority. The Dutch immediately sent in a military expedi-tion to Aceh, but they were defeated, more over the army commander JHR Kohler was killed in a battle near the grand Mosque Baiturrahim. The diorama shows the fierce fighting on 13 April 1973 around the Baiturrahim grand Mosque when JHR Kohler was hit by Acehnese sniper.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.
; '''[https://archive.org/details/18-perlawanan-sisimangaraja-1877-1907-img-9536 PERLAWANAN SISIMANGARAJA, 1877-1907]'''

*DIORAMA 18: PERLAWANAN SI SINGAMANGARAJA (1877 - 1907)
::Dengan dalih bahwa zending sering diganggu oleh pasukan Si Singamangaraja, Belanda mendapatkan kesempatan melakukan ekspedisi ke Tanah Batak, Tapanuli. Bentrokan pertama dengan Belanda terjadi pada tanggal 15 Februari 1878, setelah terlebih dahulu Si Singamangaraja memberi peringatan kepada pasukan Belanda supaya meninggalkan Tapanuli. Perlawanan terhadap kolonialis Belanda ternyata mendapat bantuan dari rakyat Aceh dan Minangkabau. Penyerangan besar-besaran terhadap markas Belanda dengan bantuan rakyat kedua daerah tersebut dilakukan pada tahun 1887. Perjuangan Si Singamangaraja berlangsung hingga awal abad ke dua puluh. Si Singamangaraja gugur dalam pertempuran di Pearaja Diri pada tanggal 17 Juni 1907. Diorama ini menggambarkan pertempuran di Tanggabatu dekat kota Balige pada tahun 1884 ketika Si Singamangaraja berhasil memukul mundur pasukan Belanda.

*DIORAMA 18: SI SINGAMANGARAJA REVOLT (1877 - 1907)
::With the excuse that the missionaries were frequently assaulted by Si Singamangaraja, the Dutch government seized at the opportunity to expand their territory to land of Batak People, Tapanuli. The first con-tact took place on February 15, 1878, after Si Singamangaraja reminded the Dutch to leave Tapanuli. The resistance movement against the Dutch was aided by the people of Aceh and Minangkabau. The large scale offensive to the Dutch headquarter with the assistance of both neighboring people took place in 1887. Si Singamangaraja's struggle went on until the beginning of the twentieth century. He was killed in a battle in Pearaja Diri on June 15, 1907. The diorama shows the battle at Tanggabatu near Balige in 1884 where Si Singamangaraja repulsed the Dutch troops.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.
; '''[https://archive.org/details/19-pertempuran-jagaraga-1848-1849-img-9544 PERTEMPURAN JAGARAGA, 1848-1849]'''

*DIORAMA 19: PERTEMPURAN JAGARAGA (1848-1849)
::Pada tahun 1841 Belanda memaksakan penghapusan peraturan tawan karang yang diakui sebagai lembaga hukum adat di Bali. Menurut peraturan tawan-karang semua muatan kapal yang kandas menjadi milik raja dan penduduk pantai, sedang penumpangnya dijadikan budak. Beberapa kerajaan di Bali menerima peraturan Belanda itu, kecuali Buleleng dan Karangasem. Dua kali Buleleng mengenakan tawan-karang terhadap kapal-kapal Belanda yang terdampar di daerahnya. Belanda menuntut agar muatan dan isi kapal itu dikembalikan, tetapi ditolak oleh Raja Buleleng sehingga perang tidak dapat dihindarkan lagi. Meskipun dalam serangan Belanda tahun 1846 Buleleng dan Karangasem dapat diduduki namun semangat juang rakyat tetap berkobar dan mereka menyiapkan pertahanan di jagaraga. Diorama ini menggambarkan pertempuran yang terjadi di muka Pura Dalem Jagaraga yang berakhir dengan gugurnya seisi Pura.

*DIORAMA 19: THE BATTLE OF JAGARAGA (1848-1849)
::In 1841 the Dutch government tried to enforce the abolition of the Balinese customary law of Tawan Karang. According to the rule of Tawan Karang, the people and his King had the right to appropriate the goods of stranded ships and to enslave all passengers and crew alike. Several Kingdoms in Bali accepted this rule, except the Kingdoms of Buleleng and Karangasem. Twice the King of Buleleng applied the customary law to the Dutch stranded ship in his domain. The Dutch demanded the return of all merchandises and personnels but this was rejected by King of Buleleng caused the war could not be avoided. Although in the Dutch attack in 1846 Buleleng and Karangasem was occupied, the fighting spirit of the people was constantly exuberant and they developed a stronghold in Jagaraga. The diorama shows the tremendous battle in front of the Pura Dalem of Jagaraga, which ends with the fall of all Pura's occupants.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.
; '''[https://archive.org/details/20-tanam-paksa-1830-1870-img-9548 TANAM PAKSA, 1830-1870]'''

*DIORAMA 20: TANAM PAKSA (CULTUUR STELSEL) (1830-1870)
::Perang Diponegoro yang berlangsung selama lima tahun (1825-1830) mengakibatkan krisis keuangan bagi kerajaan Belanda. Tetapi di daerah kerajaan Mataram, Belanda berhasil menduduki wilayah seluas 3000 km persegi yang terdiri dari tanah yang subur. Untuk mengatasi keadaan krisis itu muncul gagasan Gubernur Jenderal Van Den Bosch untuk menjadikan tanah Jawa sebagai perkebunan yang besar atas dasar perjanjian antara pemerintah Hindia Belanda dan petani. Pemerintah Belanda akan menjadi pedagang dan tuan kebun, Tanaman yang akan ditanam di Jawa haruslah tanaman yang sangat laku di pasar Eropa, seperti nila, gula, teh, lada, kopi dan kayumanis. Gagasan Van Den Bosch disetujui oleh Raja Belanda dan realisasi di Jawa dimulai tahun 1830. Dalam kenyataannya tidak terdapat kontrak antara pemerintah kolonial dengan rakyat petani, melainkan hubungan paksa. Sejak inilah dimulai periode eksploitasi tenaga rakyat secara besar-besaran. Bagi rakyat yang tidak memiliki tanah diharuskan bekerja pada perkebunan nila (indigo) seperti yang terjadi di Jawa Barat. Mereka tidak diperkenankan pulang dari tempat bekerja yang letaknya puluhan kilometer dari kampung halamannya. Mereka yang dianggap malas dikenai hukuman cambuk dan siksaan lainnya. Tanam paksa ini memberikan keuntungan luar biasa bagi pemerintah Belanda, sedangkan bagi rakyat Indo-nesia mengakibatkan penderitaan yang sangat berat. Rakyat kelaparan karena mereka tidak berkesempatan menggarap sawah dan ladangnya. Diorama ini menggambarkan penderitaan rakyat In-donesia yang dipaksa untuk bekerja keras di daerah perkebunan disertai dengan siksaan fisik.

*DIORAMA 20: THE FORCED CULTURE SYSTEM (1830-1870)
::The Diponegoro War which had lasted for a term of five years (1825-1830) caused a financial crisis for the Dutch Crown. But in Mataram Kingdom area, the Dutch succeeded in controlling a 3000 km square land comprising of fertile soil. To overcome this crisis Governor General Van Den Bosch conceived the idea of making the land of Java into a big plantation on the basis of an agreement between the Dutch Indies government and the farmers. The Dutch Indies government would be the trader as well as land-lord. The plants which would be cultivated in Java ought to produce commodities being much in demand in Europe, such as indigo, sugar, tea, pepper and cinnamon. Bosch's idea was approved by the King of Netherlands and its implementation was started in 1830 in Java. In fact the work contract had never been made between the colonial government and the farmers, rather it was a forced relation. So began the extortion and the oppression of the people. Those who did not own land were forced to work in the indigo plantation for free as was known in West Java. They were forbidden to go home as they worked tens kilometers away from home. Those who were thought lazy were imposed whipping punishment and other physical torture. This system was indeed very profitable for the Dutch, on the contrary it was a misery for the Javanese people. The farmers died of starvation as they had no time at all to cultivate their own land. The diorama shows how cruelly the people are forced to work under physical torture and other punishment.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.
; '''[https://archive.org/details/21-peranan-gereja-protestan-dalam-penyatuan-bangsa-1930-img-9552 PERANAN GEREJA PROTESTAN DALAM PENYATUAN BANGSA, 1930]'''

*DIORAMA 21: KEGIATAN GEREJA PROTESTAN DALAM PROSES PENYATUAN BANGSA (Abad ke 20)
::Gereja Protestan dengan zendingnya giat mengadakan propaganda terutama di daerah-daerah yang masih terbelakang. Selain bergerak dalam bidang keagamaan, gereja Protestan giat bergerak dalam bidang pendidikan sehingga secara langsung telah membantu menyatukan bangsa Indonesia dari berbagai suku yang sedang mengalami proses penyatuan. Selain di beberapa daerah dan kota-kota di Jawa. pusat-pusat agama Kristen terutama terdapat di Ambon. Minahasa dan Tapanuli. Pada tahun 1930 berdiri Perserikatan Kaum Christen (PKC) dan Partai Kaum Masehi Indonesia, keduanya merupakan bagian dari gerakan nasional untuk Indonesia merdeka. Diorama ini menggambarkan kegiatan umat Kristen Protestan dalam bidang sosial, pendidikan dan keagamaan.

*DIORAMA 21: THE ACTIVITIES OF THE PROTESTANT CHURCH IN UNITING THE NATION (20TH CENTURY)
::The activities of the Protestant church in the field of propagation of the Protestant faith were of great sig-nificance, especially in backward areas. Apart from that, the Protestant church were active in the educational field so that it directly gave contribution in process of unification of several ethnics groups in Indonesia. Besides several regions and cities in Java, Protes-tant centers are mostly found in Ambon, Minahasa and Tapanuli. In 1930 Perserikatan Kaum Christen (Christian Association) and Partai Masehi Indonesia (Indonesian Christian Party) were set up, both were part of the national movement for the independence of Indonesia. The diorama shows the activities of the Protestant in the social and educational fields and religious affairs.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.
; '''[https://archive.org/details/22-ra-kartini-1879-1904-img-9554 RA KARTINI, 1879-1904]'''

*DIORAMA 22: PERJUANGAN KARTINI (1879-1904)
::Gerakan mengejar kemajuan pada akhir abad ke 19 terbukti dari kebutuhan akan pendidikan dan pengajaran yang semakin besar Tetapi pandangan umum masih dihinggapi konservatisme yang kuat bagi anak perempuan. Lahir di Jepara pada tanggal 21 April 1879 Kartını berjuang untuk memperoleh persamaan hak bagi kaum wanita dan melepaskan diri darı kungkungan dan prasangka tradisi dan adat. Kumpulan surat-surat yang dikirimkan kepada sahabat-sahabatnya di mana dia mengungkapkan buah pikiran dan cita-citanya telah diterbitkan dalam sebuah buku yang menarik berjudul Habis Gelap Terbitlah Terang (aslinya Door Duisternis tot Licht). Diorama ini menggambarkan Kartini menyelenggarakan sekolah untuk pendidikan anak-anak perempuan

*DIORAMA 22: THE STRUGGLE OF KARTINI (1879-1904)
::The movement to achieve progress at the end of the 19th century was confirmed by the increasing de mands for education and studies, but the public opinion was still under great influence of the prevailing tradi tion, especially for women. Born in Jepara on 21 April1879, Kartini fought for equal rights for the Indonesian women and her libera-tion from the shackles and prejudice of the customary law and tradition. A collection of her letters to friends in which she express her thoughts and opinion were subsequently published as an interesting book entitled Letters of A Javanese Princess (onginally Door Duisternis tot Licht). The diorama shows Kartini personally conducting a class of girls students.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.
; '''[https://archive.org/details/23-kebangkitan-nasional-20-mei-1908-img-9556 KEBANGKITAN NASIONAL, 20 MEI 1908]'''

*DIORAMA 23: KEBANGKITAN NASIONAL (20 MEI 1908)
::Menjelang akhir abad ke 19 masyarakat Indonesia masih terbelakang baik di bidang politik, ekonomi, maupun sosial budaya termasuk pendidikan. Keadaan ini adalah akibat langsung dari politik kolonial Belanda yang tidak menghendaki rakyat Indonesia menjadi cerdas, karena hal itu akan membahayakan kedudukannya. Tetapi kemudian kaum kolonialis terpaksa juga memberikan pendidikan modern kepada pemuda-pemuda Indonesia, pertama untuk memenuhi kebutuhannya akan tenaga-tenaga terdidik di perusahaan-perusahaannya dan kedua untuk meningkatkan potensi masyarakat Indonesia sebagai pasar bagi industrinya. Sebagai hasil dari pendidikan itu timbul suatu generasi pemuda Indonesia yang terkena gagasan-gagasan nasionalisme dan modernisasi yang menyebar dani Eropa. Pemuda-pemuda itulah yang kemudian mengorganisir pergerakan Nasional sebagai perwujudan dan Kebangkitan Nasional rakyat Indonesia. Yang dianggap manifestasi pertama dan Kebangkitan Nasional tu adalah pembentukan organisasi modern yang pertama oleh orang Indonesia, yakni Budi Utomo. Budi Utomo dibentuk atas prakarsa beberapa mahasiswa Sekolah Dokter Jawa (School Tot Opleiding Van Indische Artsen STOVIA), seperti Sutomo, Gunawan Mangunkusumo, dan lain-lain dengan Dokter Wahidin Sudirohusodo sebagai penasehatnya. Kemudian lahirlah organisasi lain seperti Sarikat Is-lam, Indische Party, Muhammadiyah, dan lain-lain yang dalam perkembangan selanjutnya bertujuan Indonesia Merdeka. Diorama ini menggambarkan suasana Kongres Budi Utomo Pertama yang diadakan di Yogyakarta.

*DIORAMA 23: The National Resurgence (20 May 1908)
::By the end of 19th century, Indonesian people were still backward politically, economically and socio-cultural including education. This was a direct result of the Dutch colonialism policy that did not want to see Indonesia become smart and intelligent as these would endanger their position. Finally, however, the colonialist had to give modern education to Indonesian youth to meet the needs for educated people at their enterprises and secondly to increase Indonesia's potentials for their market. As a result of the modern education, a younger generation of people were born who had nationalism and modernization ideals that came from Europe. Those young people who then organized the National Move-ment as the realizations of the Indonesian people's national resurgence. The first manifestation of the national resurgence was the establishment of the first modern organization by the Indonesian, Budi Utomo. Budi Utomo was established by students of native Medical College (STOVIA: School Tot Opleiding Van Indische Artsen) such as Sutomo, Gunawan Mangunkusumo etc. and Dr. Wahidin Sudirohusodo as the adviser. Afterward other organizations were established such as Sarikat Islam (Islamic Association), Indische Party (Indies Party), Muhammadiyah (an important Islamic modernist organization), and others which in their fur-ther development wanted an Independent Indonesia. This diorama shows the first congress of Budi Utomo (High Endeavor) held in Yogyakarta.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.
; '''[https://archive.org/details/24-taman-siswa-3-juli-1922-img-9558 TAMAN SISWA, 3 JULI 1922]'''

*DIORAMA 24: TAMAN SISWA (3 JULI 1922)
::Politik pendidikan pada jaman penjajahan tidak dapat dipisahkan dari kepentingan kolonial. Sebagai suatu reaksi politik, pada tanggal 3 Juli 1922 Ki Hajar Dewantara mendinkan perguruan Taman Siswa di Yogyakarta. Perkembangan perguruan ini sangat pesat sehingga pemerintah merasa khawatir. Pada tahun 1922 pemerintah mengeluarkan Ordonansi Sekolah Liar hingga praktis sekolah-sekolah swasta kehilangan identitasnya. Protes timbul dari berbagai pihak, sehingga ordonansi tersebut dicabut kembali. Semangat nasionalisme sangat menjiwai kehidupan Perguruan Taman Siswa. Pada tahun 1935 berlangsung Kongres Pendidikan Nasional yang pertama dengan tujuan hendak menggalang persatuan nasional dan mencari perumusan tentang pendidikan dan pengajaran yang bersifat nasional. Diorama ini menggambarkan Ki Hajar Dewantara yang pada tahun 1921 mendirikan organisasi nasionalis kebudayaan Indonesia yang sangat penting menyambut orang tua murid di perguruan Taman Siswa

*DIORAMA 24: TAMAN SISWA (3 JULY 1922)
::The educational policy under colonial regime was inseparable from its interest. As a political reaction, on 3 July 1922 Ki Hajar Dewantara set up Taman Siswa Institution in Yogyakarta. This institution expanded rap-idly caused apprehension among the Dutch authorities In 1932 the Dutch government issued an ordinance on regulating the activities of non governmental schools. known as ordinance of illegal school. Practically it made private school lost its identity. Protest sprang up from everywhere caused the revocation of the ordinance. The spint of nationalisms inspired the existence of Taman Siswa. In 1935 the first National Education Congress took place which had the insistence on giving national unity a firm platform and setting the platform for national education and teaching. The diorama shows Ki Hajar Dewantara who in 1921 founded the very important Indonesian cultural nationalist organization Taman Siswa welcoming the students parents at Taman Siswa.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.
; '''[https://archive.org/details/25-muhammadiyah-18-november-1912-img-9572 MUHAMMADIYAH, 18 NOVEMBER 1912]'''

*DIORAMA 25: MUHAMMADIYAH (18 NOVEMBER 1912)
::Keadaan masyarakat Islam Indonesia pada abad sembilan belas dan permulaan abad dua puluh sangat menyedihkan. KH. Ahmad Dahlan tampil ke depan dengan mendirikan Muhammadiyah pada tanggal 18 November 1912 di Yogyakarta dengan tujuan untuk mengembalikan kemurnian ajaran Islam dan memperbaiki kesejahteraan masyarakat. Di dalam kegiatannya Muhammadiyah mendinkan sekolah, rumah yatim piatu, rumah-rumah sakit, pelatihan bag juru dakwah, dan organisasi kepanduan. Saat ini organisasi tersebut merupakan salah satu lembaga Islam terbesar di Indonesia. Diorama menggambarkan salah satu kegiatan kepanduan Hizbul Wathan disaksikan oleh K.H. Ahmad Dahlan

*DIORAMA 25: MUHAMMADIYAH (18 NOVEMBER 1912)
::In the nineteenth century and the beginning of the twentieth century the situation of the community of Islam in Indonesia was very saddening indeed. K.H. Ahmad Dahlan came forward by setting up Muhammadiyah on 18 November 1912 in Yogyakarta. The objective of Muhammadiyah was to rejuvenate the teaching of Islam and improve the people's welfare. In its activities. Muhammadiyah established a large number of schools, orphanages, hospitals, a training course for missionaries, and scout club. Today the organization is still one of the largest Muslim bodies in the country. The diorama shows one of the activities of the Hizbul Wathan Scout Club, witnessed by K.H. Ahmad Dahlan.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.
; '''[https://archive.org/details/26-perhimpunan-indonesia-1922-img-9575 PERHIMPUNAN INDONESIA, 1922]'''

*DIORAMA 26: PERHIMPUNAN INDONESIA (1925)
::Perjuangan mencapai Indonesia Merdeka di luar negeri dipelopori oleh mahasiswa-mahasiswa Indonesia yang belajar di Negeri Belanda. Pada tahun 1908 berdiri Indische Vereeniging (Perhimpunan Hindia) yang pada mulanya bersifat sosial degan tujuan sebagai forum tempat bertemu orang-orang termasuk para pelajar yang merantau ke negeri Belanda. Pada tanggal 19 Februari 1922 perhimpunan ini mengadakan pertemuan di Den Haag dan salah satu keputusan penting yang diambil dalam pertemuan tersebut adalah penggantian nama dari Indische Vereeniging menjadi Indonesisch Vereeniging. Kemudian pada tanggal 8 Februari 1925 nama tersebut berganti menjadi Perhimpunan Indonesia. Mereka menuntut agar pemerintah Hindia Belanda bertanggung. jawab kepada rakyat Indonesia dan bukan kepada pemerintah Belanda. Akhirnya mereka menuntut kemerdekaan Indonesia yang berdasarkan kepada kekuatan din sendiri. Dibandingkan dengan rekan-rekan mereka di Indonesia, mereka lebih banyak memperoleh kebebasan bergerak. Pada bulan Februan 1927 Perhimpunan Indonesia berjuang di forum internasional dengan mengambil bagian dalam Kongres Menentang Imperialisme dan Penindasan Kolonial yang diadakan oleh Liga Anti Imperialisme dan Bagi Kemerdekaan Nasional di Brussels. Selanjutnya, propagada Perhimpunan Indonesia, semakin berani dan tajam sehingga pemerintah Belanda mengadakan penangkapan terhadap pimpinannya, yaitu Mohammad Hatta, Abdul Majid Joyohadiningrat, Ali Sastroamidjojo dan Nasir Pamuncak dengan tuduhan menjadi anggota perkumpulan terlarang, terlibat dalam pemberontakan dan menghasut untuk menentang kerajaan Belanda. Tetapi, pengadilan membebaskan mereka dari semua tuduhan. Diorama ini menggambarkan suasana pertemuan perhimpunan Indonesia yang dipimpin oleh Mohammad Hatta.

*DIORAMA 26: THE INDONESIAN ASSOCIATION (1925)
::The struggle for national independence abroad was spearheaded by the Indonesian students in the Netherlands. In 1908 The Indische Vereeniging (Indies Association) was established which at first had a societal function as a meeting forum for the people included the Indonesian students who went overseas in the Netherlan's. On February 1922. the association held a meeting in The Hague and an important decision taken at this meeting was a change of the name from Indische Vereeniging to Indonesische Vereeniging. Then, on 8 February 1925 the later name was changed into the new name Perhimpunan Indonesia (Indonesian Association). They demanded that the Netherlands Indies government to be responsible to the people of Indonesia not to the Dutch government. Finally they demanded the independence of Indonesia on the basis of their own power. In comparison with their colleagues in Indonesia, they had more freedom of action. In February 1927 the Indonesian Association brought their struggle to the international forum by taking part in the Congress of Anti Colonialism and Colonial Oppression held by the League Against Imperialism and for National Inde-pendence in Brussels. Furthermore, the propaganda of Perhimpunan Indonesia became brave and sharp that its leaders Mohammad Hatta, Ali Sastroamidjojo. Nasir Pamuncak and Abdul Majid Joyohadiningrat were arrested on charges: being a member of prohibited organization, being involved in a rebellion, and instigating opposition to the Dutch crown. But then they were acquitted of all charges. The diorama shows Mohammad Hatta chairing the meeting of the association.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.
; '''[https://archive.org/details/27-the-stovia-1898-1926-img-9577 THE STOVIA, 1898-1926]'''

*DIORAMA 27: STOVIA SEBAGAI TEMPAT PERSEMAIAN PERGERAKAN PEMUDA INDONESIA (1926)
::Kemiskinan bangsa Indonesia dalam arti lahir dan batin yang juga dirasakan oleh beberapa orang terpelajar, telah menggerakkan hati mereka untuk mempertinggi derajat bangsa Usaha dr. Wahidin Sudirohusodo mendirikan dana belajar tidak berjalan sebagaimana yang diharapkan. Namun cita-cita luhur yang terkandung di dalamnya telah menggugah semangat pelajar-pelajar STOVIA (School Tot Opleiding Van Indische Artsen -Sekolah Dokter Bumi Putera) di Jakarta. Pada hari bersejarah tanggal 8 Mei 1908 mereka mendirikan perserikatan bernama Budi Utomo. Kenyataannya, para lulusan dan mahasiswa STOVIA memainkan peranan penting dalam pertumbuhan gerakan nasional Indonesia modern. Diorama ini menggambarkan pertemuan yang diadakan oleh pelajar-pelajar STOVIA di gedung STOVIA yang lebih dikenal sekarang sebagai gedung Museum Kebangkitan Nasional, Jakarta. Pertemuan pertemuan semacam ini sering kali dilakukan yang merupakan kegiatan para pelajar STOVIA untuk membebaskan negerinya dari penjajahan dan keterbelakangan.

*DIORAMA 27: STOVIA AS THE PLACE FOR SEEDBED OF INDONESIA'S YOUTH MOVEMENT(1926)
::The poverty of body and mind of the little men in Indonesia which strongly felt by several educated men arose their anxiety to bring enlightenment. Dr. Wahidin Sudirohusodo's effort to establish study fund did not meet the expectations, but his aspiration had awaken the STOVIA (School Tot Opleiding Van Indische Artsen) student's sprint. On the historical day, May 8, 1908 they founded Budi Utomo (High Endeavour). It was al ready known that the graduates and students of the STOVIA (a medical training college) played an impor ant role in the genesis of the modern Indonesian nationalist movement. The diorama shows the meeting of STOVIA held in STOVIA building which is known as The Museum of National Resurrection, Jakarta. Such meetings were held frequently as their activities to liberate their country from colonialism and backwardness.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.
; '''[https://archive.org/details/28-digul-1926-1927-img-9580 DIGUL, 1926-1927]'''

*DIORAMA 28: DIGUL (1927)
::Pada tahun 1926 di Pulau Jawa timbul pemberontakan melawan pemerintahkolonial Pemberontakan ini merupakan puncak dari gerakan tani yang mula-mula pecah di Banten kemudian menjalar ke Jawa Barat dan Jawa Tengah. Pada Januari 1927 pecah pula pemberontakan serupa di Sumatra Barat, akan tetapi dapat ditumpas dengan kejam. 13.000 orang ditangkap, diantaranya 4.500 dijatuhi hukuman dan 1.300 dibuang ke Tanah Merah, Digul Atas, Irian Jaya. Kemudian Digul Atas menjadi tempat pengasingan bagi tokoh-tokoh pergerakan nasional. Sebagai tawanan, di samping harus mencukupi kebutuhannya sendiri, mereka harus tahan melawan hawa panas dan penyakit malaria yang ganas. Diantara semua penderitaan itu yang sangat berat adalah penderitaan tekanan jiwa, sehingga di tempat pengasingan ini tercapailah puncak, penderitaan lahir dan batin. Hingga kini Digul Atas menjadi lambang pengorbanan pemimpin-pemimpin nasional kita dari generasi sebelum Perang Dunia II. Diorama ini menggambarkan sebagian tokoh-tokoh pergerakan nasional di tempat pengasingan Digul Atas. antara lain Mohammad Hatta dan Sutan Syahrir.

*DIORAMA 28: DIGUL (1927)
::In the year 1926, a rebellion rose in Java against the colonial government. This rebellion was the culmination of the farmers' movement in Banten, West Java that spread through Central Java. In January 1927, in West Sumatra the same uprising broke out. Within short time both up risings were cruelly suppressed. 13.000 men were ar rested among which 4.500 were imprisoned and 1.300 exiled to Tanah Merah, Upper Digul in West Irian. Afterwards the swampy forest of Digul, in West Irian served as a home for Indonesian nationalists exiled by the Dutch colonial regime. As prisoners besides having to sustain themselves they had to stand the heat and over bearing malaria, but uppermost and culminating point of body and mental suffering. Up to the present time Digul is the symbol of sacrifice for national leaders of the generation before the second World War. The diorama shows a number of prominent figures in the national movement organizations being in exile in Upper Digul, Inan, among others. Mohammad Hatta and Sutan Syahrir.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.
; '''[https://archive.org/details/29-sumpah-pemuda-28-oktober-1928-img-9582 SUMPAH PEMUDA, 28 OKTOBER 1928]'''

*DIORAMA 29: SUMPAH PEMUDA (28 OCTOBER 1928)
::Dalam lingkungan pergerakan nasional Indonesia para pemuda telah melahirkan berbagai ragam organisasi pemuda, seperti Jong Ambon, Jong Bataks, Jong Celebes, Jong Islamiten Bond, jong Java and Jong Sumatranen Bond. Organisasi-organisasi ini pada umumnya bersifat kedaerahan dan masing-masing tidak mempunyai hubungan dengan yang lain. Lama-kelamaan iklim persatuan Indonesia mempengaruhi meseka pula dan terasa dorongan untuk membina suatu pergerakan pemuda Indonesia yang berjiwa nasional kesatuan. Usaha ke arah itu dilakukan dalam serangkaian kongres pemuda. Pada Kongres Pemuda kedua tanggal 28 Oktober 1928 di Jakarta dicetuskan Sumpah Pemuda 1. Kami putra dan putri Indonesia mengaku berbangsa yang satu. Bangsa Indonesia.2. Kami putra dan putri Indonesia mengaku bertanah air yang satu. Tumpah Darah Indonesia.3. Kami putra dan putri Indonesia menjunjung bahasa persatuan, Bahasa Indonesia. Diorama ini menggambarkan suasana Kongres Pemuda Kedua pada tanggal 28 Oktober 1928 di Jakarta.

*DIORAMA 29: THE YOUTH PLEDGE (28 OCTOBER 1928)
::In the circle of national movement the Indonesian youth gave birth to heterogeneous youth organizations. such as: Jong Ambon, Jong Bataks, Jong Celebes, Jong Islamiten Bond, Jong Java and Jong Sumatranen Bond. Most of these organizations had the nature of regional ism and each had no relation to others. Eventually the climate of Indonesia's unity had influenced each other and felt the willpower to found a unifying youth move-ment in the spirit of national unity. In a senes of youth congress they managed to make concrete efforts towards the youth unity. In the Second Youth Congress held on 28 October 1928 in Jakarta the youth proclaimed the Youth Pledge 1. We the Indonesia's youth admit to having one nation, Indonesia. 2. We the Indonesia's youth admit to having one motherland, Indonesia 3. We the Indonesia's youth have respect for unity language, Indonesian language.The diorama shows the atmosphere of the Second Youth Congress on 28 October 1928 in Jakarta.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.
; '''[https://archive.org/details/30-romusha-1942-1945-img-9585 ROMUSHA, 1942-1945]'''

*DIORAMA 30: ROMUSHA, 1942-1945
::Pada tanggal 8 Maret 1942, Panglima Tentera Hindia Belanda menyerah kepada Jenderal Hitoshi Imamura Panglima tentara ekspedisi Jepang di Kalijati. Jawa Barat. Dalam upaya memenangkan Perang Pasifik. Jepang mengerahkan seluruh tenaga dan kekayaan bumi Indonesia tanpa pembatasan apapun. Dengan meningkatya situasi perang. Jepang mengerahkan secara paksa orang Indonesia untuk dipekerjakan pada objek-objek vital dan bangunan-bangunan militer. Sebelum diangkut ke tempat-tempat yang dituju, mereka dibujuk dan diberi predikat muluk sebagai prajurit pekerja atau romusya. Dalam prakteknya mereka melaksanakan kerja-paksa dengan mengalami siksaan-siksaan tanpa diberi makan dan minum yang cukup menyebabkan puluhan ribu romusya Indonesia menemui ajalnya. Diorama ini menggambarkan bagaimana para romusya dalam keadaan kurus kering dan lemah lunglai dipaksa bekerja berat di bawah pengawasan tentara Jepang.

*DIORAMA 30: THE JAPANESE FORCED LABOUR, 1942-1945
::On 8 March 1942 the Commander of the Netherlands East Indies army General Ter Poorten surrendered to General Hitoshi Imamura, the japanese expedition army commander in Kalijati, West Java. In its effort to win the Pacific War, the Japanese occupational army exploited Indonesia's human and natural resources. Since the intensity of the Pacific War increased the Japanese army conscripted Indonesian workers to forced labour to vital Japanese military installations and buildings. Before leaving for the destination places they were urged and given pomposity predicate as militia workers or romushas. in actual practice, they were sent to do forced labour under torture without enough food and drink caused tens of thousand Indonesia's romushas met their end. The diorama shows how hard the weak and emaciated labours are forced to work under the Japanese army supervision.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.
; '''[https://archive.org/details/31-pemberontakan-tentara-peta-di-blitar-14-februari-1945-img-9586 PEMBERONTAKAN TENTARA PETA DI BLITAR, 14 FEBRUARI 1945]'''

*DIORAMA 31: PEMBERONTAKAN TENTARA PETA DI BLITAR (14 FEBRUARI 1945)
::Pada bulan Oktober 1943 Pemerintah Pendudukan Jepang mengeluarkan Osamu Seiroi No. 44/1943 tentang pembentukan pasukan sukarela untuk membela Tanah Jawa. Peraturan ini mendapat sambutan hangat dari kalangan masyarakat Indonesia, khususnya para pemuda yang benar-benar berhasrat untuk membela tanah air. Dengan berbondong-bondong mereka. mendaftarkan diri menjadi anggota Tentara Pembela Tanah Air (PETA). Tentara PETA dibagi atas daidan-daidan (batalyon) yang tidak ada hubungan organisatoris satu sama lainnya. Segenap Perwira. Bintara dan Tamtama Tentara PETA adalah orang Indonesia, akan tetapi mereka didampingi orang Jepang sebagai pelatih merangkap pengawas. Di Blitar terdapat pula suatu batalyon yang seperti batalyon-batalyon lainnya juga melaksanakan tugas membangun kubu-kubu pertahanan dengan memakai romusya sebagai tenaga kasar. Perasaan benci terhadap Jepang yang sudah timbul di kalangan mereka menjadi semakin mendalam setelah mengetahui keadaan keluarga mereka yang menderita sebagai akibat tindakan-tindakan Jepang ketika mereka bertugas bersama para romusya. Mereka tidak tahan menyaksikan bangsanya diperas tenaganya dan mati kelaparan. Ditambah dengan faktor aspirasi kemerdekaan, pelbagai faktor itu menyebabkan tekad bulat di kalangan mereka untuk memberontak. Dengan dipimpin oleh Suprijadi, Muradi and mendapat nasehat dari dr. Ismangil, mereka mengadakan serangkaian rapat-rapat persiapan. Dan pada tanggal 14 Pebruari 1945 pukul 03.30 dinihari mulailah pemberontakan. Mereka membunuh beberapa orang Jepang lalu mengingkir ke luar kota. Pemberontakan berhasil ditumpas oleh pihak Jepang. Suprijadi, pemimpin pemberontakan menghilang. Pemimpin-pemimpin lainnya seperti dr. Ismangil, Muradi, Sunanto, Halir dan kawan-kawannya tertangkap lalu dibawa di Jakarta pada tanggal 8 Maret 1945. Selanjutnya pada tanggal 14-16 Maret 1945 dihadapkan ke Mahkamah Militer. 6 orang dijatuhi hukuman mati, 3 orang dijatuhi hukuman seumur hidup. dan yang lainnya dijatuhi hukuman antara dua sampai limabelas tahun. Diorama ini menggambarkan serangan tentara PETA terhadap markas militer Jepang di Blitar pada tanggal 14 Februari 1945.

*DIORAMA 31: THE MUTINY OF JAPANESE TRAINED PETA ARMY IN BLITAR (14 FEBRUARY 1945)
::In October 1943, the Government of the Japanese occupational army issued the Osamu Seiro No.44/1943 on the forming of the volunteer troops to defend Java. This ordinance was received with enthu-siasm by youth movements, who were very eager to defend their country. In hordes they came to enlist as soldier of the PETA (The Defenders of The Mother land). PETA was divided into several Daidans (battalions) which had no organizational connections with each other. Every private, subaltern, officer and commanding officer was an Indonesian with Japanese as instructor who also held position as supervisor. In Blitar, East Java, there was also a daidan with the same formations and construction with romushas as the main labour force which had orders to set up fortifications. A hatred feeling that had already emerged among the PETA soldiers was growing more and more when they discovered their relatives who worked with them as romusha suffered from Japanese action Obviously they could not stand seeing the people were exploited and died of starvation. All of those factors and spir ited by their aspiration for national independence caused a great deal willpower to stage a mutiny. Led by Suprijadi and Muradi, after getting dr. Ismangil's advice, they held a series of preparation meetings. On 14 February 1945 at 03.00 am the revolt against Japa-nese broke out in Blitar. They killed a number of Japa-nese and then moved to a safe place out of the city. The revolt was annihilated by Japanese. Suprijadi, the leader disappeared. Other leaders such as dr. Ismangil, Muradi, Sunanto, Halir and their compan-ions were captured and then brought to Jakarta on 8 March 1945. In 14-16 March 1945 they were brought to military court. 6 were sentenced to death, 3 were sentenced for life, and the others got two to fifteen years. This diorama shows the PETA soldiers attack the Japanese army post on 14 February 1945 in Blitar.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.
; '''[https://archive.org/details/32-proklamasi-kemerdekaan-indonesia-17-agustus-1945-img-9593 PROKLAMASI KEMERDEKAAN INDONESIA, 17 AGUSTUS 1945]'''

*DIORAMA 32: PROKLAMASI (17 AGUSTUS 1945)
::Pada tanggal 17 Agustus 1945 dinihari teks Proklamasi: selesai dirumuskan oleh Ir. Soekarno. Drs. Mohammad Hatta dan Mr. Ahmad Subardjo. Beberapa jam kemudian, yaitu pada pukul 10.00 Proklamasi Kemerdekaan dibacakan oleh Ir. Soekarno yang didampingi oleh Drs. Mohammad Hatta bertempat di Jalan Pegangsaan Timur Nomor 56 Jakarta.Hadir pada saat pengucapan teks Proklamasi itu adalah: 1. Abikusno Tjokrosujoso, Sukardjo Wirja-pranoto. Sukardjo Kartohadikusumo, KHA Wahid Hasjim dan Dr. Radjiman Widiodiningrat. 2. Wakil Walikota, Suwirjo. 3. Ibu Fatmawati. 4. Ny. SK. Trimurti. 5. Para perwira PETA: Abdul Kadir, Latif Hendraningrat. dan dr. Soetjipto, Kemal Idris, Daan Jahja, Arifin Abdurrachman dan Singgih. 6. Barisan Pelopor: Dr. Muwardi dan Asmarahadi. 7. Barisan Pelopor Istimewa: Soediro, Soehoed Sastro Koesoemo, Djohar Nur dan Soepeno. 8. Pers: Soeroto, S.F. Mendoer dan Sjahruddin.Diorama ini menggambarkan peristiwa detik-detik Proklamasi Kemerdekaan Indonesia 17 Agustus 1945.

*DIORAMA 32: PROCLAMATION OF INDEPENDENCE (17 AUGUST 1945)
::Early at dawn on 17 August 1945, the text for Proclamation of Indonesian Independence was drafted by Soekamo, Mohammad Hatta and Ahmad Subardjo. A few hours later, at ten o'clock in the morning the Proclamation of Indonesia's Independence was read out by Soekarno in the company of Mohammad Hatta at Pegangsaan Timur 56 Jakarta. Present at the reading out the text of Proclamation were: 1. Abikusno Tjokrosujoso. Sukardjo Wirjopranoto. Sukardjo Kartohadikusumo, KHA Wahid Hasyim and dr. Radjiman Widiodiningrat. 2. Vice Mayor Suwirjo. 3. Ms. Fatmawati. 4. Ms. SK. Trimurti. 5. PETA officers: Abdul Kadir, Latif Hendraningrat. dr. Soetjipto, Kemal Idris. Daan Jahja, Arifin Abdurrachman and Singgih. 6. Pioneer Troops: Dr. Muwardi and Asmarahadi. 7. Special Pioneer Troops: Soediro, Soehoed Sastro Koesoemo, Djohar Nur and Soepeno. 8. Press: Soerato, S.F. Mendoer and Sjahruddin.The diorama shows the very moment of the Proclamation of Indonesia's Independence 17 August 1945.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

; '''[https://archive.org/details/33-pengesahan-pancasila-dan-undang-undang-dasar-1945-18-agustus-1945-img-9600 PENGESAHAN PANCASILA DAN UNDANG-UNDANG DASAR 1945, 18 AGUSTUS 1945]'''
*DIORAMA 33: PENGESAHAN PANCASILA SEBAGAI LANDASAN FALSAFAH NEGARA DAN U.U.D. 1945
::Sebelum kemerdekaan Indonesia diproklamasikan tanggal 17 Agustus 1945, Badan Penyelidik Usaha-usaha Persiapan Kemerdekaan Indonesia membahas berbagai konsep falsafah negara. Diantara konsep yang terpenting adalah konsep Mr. Muhammad Yamin yang diajukan tanggal 29 Mei 1945, konsep Ir. Soekamo yang diajukan tanggal I juni 1945, lengkap dengan namanya, yakni PANCASILA dan konsep Panitia Sembilan yang biasa disebut Piagam Jakarta disusun tanggal 22 Juni 1945. Dalam sidang PPPKI tanggal 10-16 Juli 1945. disusunlah konsep Undang-Undang Dasar negara Indonesia beserta mukadimahnya. Mukadimah itu ada dalam Piagam Jakarta yang mengandung pula dasar falsafah negara. Konsep tersebut, setelah diperbaiki, disahkan oleh sidang pertama Panitia Persiapan Kemerdekaan Indonesia tanggal 18 Agustus 1945 di Jakarta sebagai Undang-Undang Dasar Negara Republik Indonesia yang kemudian dikenal sebagai Undang-Undang Dasar 1945. Diorama ini menggambarkan suasana sidang Panitia Persiapan Kemerdekaan Indonesia yang berakhir dengan disahkannya Pancasila Landasan (Dasar) Falsafah Negara dan Undang-Undang Dasar 1945.

*DIORAMA 33: THE RATIFICATION OF PANCASILA AND THE 1945 CONSTITUTION
::Before the Independence of Indonesia was pro claimed, the Committee to Investigate Preparations for Indonesian Independence had studied several concepts for the state philosophy, particularly Mr. Muhammad Yamin's concept. Ir. Soekarno's concept, which outlined the Pancasila, the Five Principles. Concept of the Committee of Nine, known as the Jakarta Charter, which was drawn up on 22 June 1945. In July 10-16 1945 the Committee to Investigate Preparations for indonesian Independence composed the draft of the Constitution of the Republic of Indonesia along with its Preambule. The preambule to the Constitution was found in the Jakarta Charter which also contained the philosophy of the state. The concept, after revised, was legalized by the Indonesian Independence Preparatory Committee at its first meeting on 18 August 1945 in Jakarta as the Constitution of the Republic of Indonesia, known as the 1945 Constitution. The diorama shows the atmosphere of the meeting of the Indonesian Independence Preparatory Committee, which afterwards ratifies the Pancasila as the State Philosophy and the 1945 Constitution as the Constitution of the Republic of Indonesia.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

; '''[https://archive.org/details/34-hari-abri-5-oktober-1945-img-9603 HARI ABRI, 5 OKTOBER 1945]'''

*DIORAMA 34: HARI LAHIR ABRI (5 OKTOBER 1945)
::Dalam Sidang Panitia Persiapan Kemerdekaan Indonesia (PPKI) tanggal 22 Agustus 1945 ditetapkan pembentukan Badan Keamanan Rakyat (BKR) yang bertugas memelihara keamanan dan ketertiban umum di daerahnya masing-masing. Untuk memperkuat perasaan keamanan umum maka pada tanggal 5 Oktober 1945 dibentuk Tentara Keamanan Rakyat. Peristiwa ini diperingati sebagai Hari Angkatan Bersenjata Republik Indonesia. Diorama ini menggambarkan Jenderal Sudirman sedang memeriksa pasukan Tentara Nasional Indone sia yang pada waktu itu anggota-anggotanya masih belum memiliki peralatan lengkap.

*DIORAMA 34: ARMED FORCES DAY (5 OCTOBER 1945)
::At the meeting of the Indonesian Independence Preparatory Committee, on August 22, 1945, it was decided to set up the organization of the Badan Keamanan Rakyat (People's Security Body) with the task of maintaining the security in their territory. To strengthen public confidence and order, on 5 October 1945 the People's Security Army was formed. This event is subsequently commemorated as the Republic of Indonesia Armed Forces Day. The diorama shows General Sudirman inspecting Indonesian National Army troops the members of which, at that time, were not well equipped yet.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.
; '''[https://archive.org/details/35-pertempuran-surabaya-10-november-1945-img-9608 PERTEMPURAN SURABAYA, 10 NOVEMBER 1945]'''
*DIORAMA 35: PERTEMPURAN SURABAYA (10 NOPEMBER 1945)
::Pada bulan Oktober 1945 Tentara Sekutu (Inggris) mendarat di Surabaya untuk melaksnakan tugas melucuti pasukan-pasukan Jepang dan membebaskan orang-orang Sekutu yang ditawan oleh Jepang. Mereka berjanji tidak mencampuri urusan dalam negeri Republik Indonesia. Ternyata Sekutu tidak menepati janjinya, sehingga menimbulkan beberapa insiden yang kemudian meningkat menjadi pertempuran. Campur tangan Pemerintah Republik Indonesia untuk menciptakan keadaan yang tenang tidak berhasil. Dalam salah satu insiden, komandan Brigade Inggris Brigjen Mallaby tertembak mati. Panglima Sekutu untuk daerah Jawa Timur, Mayjen Mansergh, mengultimatum agar rakyat Surabaya termasuk para pejabatnya menyerahkan senjatanya masing-masing sebelum pukul 06.00 tanggal 10 Nopember 1945. Ultimatum itu tidak dihiraukan rakyat Surabaya, mereka sama sekali tidak mengakui wewenang pihak Sekutu (Inggris) untuk memerintah Surabaya. Mereka hanya tunduk dan taat kepada Republik Indonesia. Pada tanggal 10 Nopember 1945 Sekutu mengerahkan segala kekuatannya di darat, laut dan udara dalam usaha membinasakan pejuang-pejuang di Surabaya. Serangan tersebut disambut dengan tekad pantang mundur oleh para pejuang sehingga beribu mereka gugur sebagai pahlawan kusuma bangsa. Diorama ini menggambarkan Pertempuran Surabaya, 10 Nopember 1945 yang kemudian diperingati secara resmi sebagai Hari Pahlawan.

*DIORAMA 35: BATTLE OF SURABAYA (10 NOVEMBER 1945)
::In October 1945, the Allied Forces (British Troops) landed in Surabaya to disarm Japanese forces and to set free Allied prisoners of war arrested by Japanese. The Allied Forces promised not to interfere in the domestic affairs of the Republic of Indonesia. As a matter of fact, the Allied Forces did not keep their words and some minor incidents occurred which finally broke out in battle. The government of the Republic of Indonesia endeavored to mediate but was unsuccessful. In one of the incidents, the British Brigade Com-mander, Brigadier General Mallaby, was assassinated. Major General Mansergh, the Allied Commander in East Java, issued an ultimatum calling the Surabaya people, including their leaders to surrender all their firearms to the Allied Forces before 06.00 a.m. on November 10, 1945. The people of Surabaya ignored the ultimatum as they did not recognize the Allied (British) to govern them. They only adhered to the government of the Republic of Indonesia. On November 10, 1945 the Allied land, sea and air forces attacked the Surabaya freedom fighters. The attack was met with bravery by the freedom fighters and a great many of them died in the battle as national heroes. The diorama shows the Battle of Surabaya 10 November 1945 which is then officially comтето-rated as National Heroes Day.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.
; '''[https://archive.org/details/36-peranan-gereja-katolik-roma-dalam-proses-penyatuan-bangsa-img-9610 PERANAN GEREJA KATOLIK ROMA DALAM PROSES PENYATUAN BANGSA]'''
*DIORAMA 36: KEGIATAN GEREJA KATHOLIK ROMA DALAM PROSES PENYATUAN BANGSA (1947)
::Gereja Katholik-Roma melalui misinya mengumpulkan pemuda-pemuda dari berbagai suku dan daerah di bawah naungan agamanya Dengan demikian terbentuk suatu masyarakat Katholik-Roma yang di dalamnya bersemi pula semangat nasioalisme Indonesia. Mereka giat mendirikan rumah sakit dan sekolah. Terhadap cita Gita Indonesia Merdeka Perhimpunan Politik Katolik Indonesia ikut menandatangani petisi Soetardjo tahun 1936 yang menuntut kepada pemerintah kolonial untuk memberikan kemerdekaan kepada bangsa Indonesia Demikian pula dalam masa perang kemerdekaan 1945-1949 mereka bersatu dengan segenap lapisan dan golongan untuk mengusir penjajah dan memper tahankan kemerdekaan. Diorama ini menggambarkan suasana perayaan Natal yang diadakan di Semarang dan dihadiri oleh hampir segenap lapisan masyarakat

*DIORAMA 36: THE ACTIVITY OF THE CATHOLIC CHURCH IN UNITING THE NATION (1947)
::The role of the Roman Catholic Church in the propagation of the Christian faith and the promotion of educational activities by the Roman Catholic missionaries contributed significantly to the unification of the nation. Besides, they were very active in building hospitals and schools. Having the Independence of Indonesia as its ideal. the Political Association of the Indonesian Catholic jointly signed the Soetardjo Petition in 1936 demand-ing the colonial government to give independence to the people of Indonesia. During the war defending the independence 19456 1949, the Roman Catholic Church united with other social groups and strata firmly to drive out the colonizer and defend freedom and independence. The diorama shows the atmosphere of the celebration of Christmas in Semarang Central Java, in the year 1947

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.
; '''[https://archive.org/details/37-gerilya-mempertahankan-kemerdekaan-1945-1949-img-9616 GERILYA MEMPERTAHANKAN KEMERDEKAAN, 1945-1949]'''
*DIORAMA 37: GERILYA DALAM PERANG KEMERDEKAAN (1945-1949)
::Pada masa perang kemerdekaan Angkatan Bersenjata Republik Indonesia masih memiliki peralatan yang sederhana untuk melawan musuh yang memiliki perlengkapan modern Perang Dunia II Angkatan bersenjata kita menggunakan taktik geniya, menyerang secara mendadak lalu menghilang. Gerilya ini kemudian dilaksanakan sebagai Perang Rakyat Semesta Di daerah-daerah yang dikuasai musuh disusun kantong kantong gerilya untuk menegakkan kekuasaan Republik Indonesia. Sistim tersebut berkembang menjadi sistim Wehrkreise dengan menyusun daerah pertempuran dalam lingkaran lingkaran yang dapat melaksanakan pertahanan secara berdiri sendiri dengan integrasi segenap kekuatan politik, ekonomi sosial budaya dan militer. Diorama ini menggambarkan keberhasilan sejumlah kecil pasukan gerilya menghadang serta menghancurkan iring iringan pasukan Belanda di Ambarawa

*DIORAMA 37: GEURRILLA IN INDEPENDENCE WAR (1945-1949)
::With the aid of obsolete weapons, the Indonesian Armed Forces and the civilian population conducted a guerrilla warfare against the Allied Forces who were trying to reinstall the Dutch colonial regime. Our troops applied the guerrilla tactics which were then camed out as a total war involving the whole population. In the region occupied by the enemy, pockets of the guerrillas were formed to establish the authority of the Republic of Indonesia. This system was developed into the Wehrinese system with the forming of operational areas in self Sustaining penmeters with the thoroughly integrated forces in the economic social, political and military elements. The diorama shows the Indonesian Armed Forces succeeding in attacking the Dutch Military convoy in Ambarawa

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.
; '''[https://archive.org/details/38-jenderal-soedirman-1948-img-9617 JENDERAL SOEDIRMAN, 1948]'''

*DIORAMA 38: JENDERAL SUDIRMAN MEMIMPIN PERJUANGAN GERILYA (1948-1949)
::Pada tanggal 19 Desember 1948 Belanda melancarkan aksı militer kedua dengan menyerang Yogyakarta. Ibukota Republik Indonesia. Pemerintah menunjuk Syafruddin Prawiranegara membentuk Pemerintah Darurat di Bukittinggi untuk mengambil alih sementara fungsi Pemerintah Pusat. Pada waktu itu Panglima Besar Jenderal Sudirman memutuskan untuk memimpin sendiri perjuangan gerilya. Walaupun penyakit beliau bertambah parah. nyala semangat juang beliau untuk memimpin gerilya tidak pernah terpadamkan Beliau baru kembali ke Yogyakarta pada bulan Juli 1949 setelah pemulihan kembali Ibukota Republik Indonesia di Yogyakarta. Diorama ini menggambarkan Jenderal Sudirman. memberikan dorongan semangat kepada prajurit TNI bahwa dalam keadaan sulit sekalipun pemimpin mereka tetap setia untuk memimpin perjuangan gerilya mempertahankan kemerdekaan

*DIORAMA 38: GENERAL SUDIRMAN LED A GUERRILLA STRUGGLE (1948-1949)
::On 19 December 1948 the Dutch launched the second military action by attacking Yogyakarta, the capital city of the Republic of Indonesia The government authorized Syafruddin Prawiranegara in Bukittinggi to form an emergency government to take over temporarily the function of the central government. At that time it was already known that the Com mander in Chief of the army, General Sudirman, who was being very sick, had decided that he himself would lead the guerrilla struggle. Eventhough he was be coming very ill, he never gave up and his sprint to lead the guernila forces was not extinguishable. He returned to Yogyakarta in July 1949 only after the capital city of the Republic of Indonesia reinstated in Yogyakarta. The diorama shows that General Sudirman gives TNI soldiers a great moral support and strong conviction that in whatever severe situation, he shall keep his promise and lead the fight.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.
; '''[https://archive.org/details/39-pengakuan-kedaulatan-27-desember-1949-img-9620 PENGAKUAN KEDAULATAN, 27 DESEMBER 1949]'''

*DIORAMA 39: PENGAKUAN KEDAULATAN (27 DESEMBER 1949)
::Perjuangan gigih rakyat Indonesia melawan agresi militer kedua Belanda dan adanya desakan Dewan Keamanan PBB memaksa Pemerintah Belanda untuk kembali ke meja perundingan Perundingan tersebut diadakan di Jakarta yang menghasilkan perjanjian Roem Van Royen pada tanggal 13 Mei 1949. Isinya adalah pemulihan pemerintahan Republik Indonesia di Yogyakarta, persiapan untuk mengadakan suatu Konferensi Meja Bundar dan penarikan tentara Belanda dari Yogyakarta. Konferensi Meja Bundar dibuka pada tanggal 23 Agustus 1949 di Den Haag, berakhir 29 Oktober dan ketetapan terpentingnya adalah Kerajaan Belanda mengakui kedaulatan atas Indonesia pada Republik Indonesia Serikat. Upacara resmi pengakuan kedaulatan tersebut berlangsung tanggal 27 Desember 1949 di Amsterdam dan pada hari yang sama upacara serupa diadakan di Jakarta. Diorama ini menggambarkan pengibaran bendera Merah Putih di Istana Merdeka Jakarta, dipimpin oleh Sultan Hamengku Buwono pada upacara pengakuan kedaulatan Republik Indonesia Serikat tanggal 27 Desember 1949.

*DIORAMA 39: RECOGNITION OF SOVEREIGNTY (27 DECEMBER 1949)
::The unyielding struggle against the second Dutch military action and the pressure of the United Nations Security Council forced the Dutch to return to the conference table. The conference was held in Jakarta which resulted in the Roem-Van Royen agreement on 13 May 1949. It contains that the Republic of Indonesia should be reinstated in Yogyakarta, the Round Table Conference should be conducted: and the Dutch army should be withdrawn from Yogyakarta. The Round Table Conference was opened in The Hague on 23 August 1949. It concluded on 29 October and its important provision that the Kingdom of the Netherlands recognized sovereignty over Indonesia to the Republic of the United States of Indonesia. The formal ceremony transferring sovereignty over Indonesia was held in Amsterdam, on 27 December 1949 On the same day a similar ceremony took place in Jakarta. The diorama shows the red and white flag raises in the Merdeka Palace in Jakarta at the recognition sovereignty ceremony led by Sultan Hamengku Buwono on 27 December 1949

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.
; '''[https://archive.org/details/40-kembali-ke-negara-kesatuan-1950-img-9621 KEMBALI KE NEGARA KESATUAN, 1950]'''

*DIORAMA 40: KEMBALI KE NEGARA KESATUAN (1950)
::Pengakuan kedaulatan terhadap Republik Indonesia Serikat diberikan pada tanggal 27 Desember 1949 oleh Kerajaan Belanda. Bentuk negara Serikat bukan tujuan bangsa Indonesia melainkan terpaksa diterima sebagai hasil kompromi dengan Belanda. Rakyat di setiap daerah menuntut agar bentuk negara federal dihapuskan dan diberlakukan kembali bentuk negara kesatuan. Beberapa negara bagian secara spontan menyatakan bergabung dengan Republik Indonesia yang pada waktu itu merupakan bagian dan Republik Indonesia Serikat. Puncak dan perjuangan itu adalah perundingan antara RIS dengan negara bagian Republik Indonesia yang menghasilkan keputusan tentang penghapusan bentuk negara Serikat dan pembentukan lærmbali negara kesatuan Republik Indonesia pada tanggal 17 Agustus 1950. Diorama ini menggambarkan Soepomo berpidato di hadapan massa menandai kembali terbentuknya Negara Kesatuan Republik Indonesia

*DIORAMA 40: RETURN TO THE UNITARY STATE (1950)
::The recognition of the sovereignty over Indonesia to the Republic of the United States of Indonesia was given by the Kingdom of the Netherlands on 27 December 1949. The Federation States was not the main purpose of the Indonesian people but was forced upon them and was only tolerated as a result of compromise. The people in the regions had rejected to have the form of a federal states and they demanded the return to the Unitary State Consequently, several members of the United States of Indonesia spontaneously declared unification in the Republic of Indonesia. The struggle to return to the Unitary State reached its peak with the abolishment of the Federal States and the declaration of return to the Unitary State of the Republic of Indonesia on 17 August 1950 as the result of the Interstate Conference. The diorama shows Soepomo gives his speeches before the mass meeting signifying the return to the Unitary State of the Republic of Indonesia

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.
; '''[https://archive.org/details/41-indonesia-menjadi-anggota-pbb-28-sepetember-1950-img-9625 INDONESIA MENJADI ANGGOTA PBB, 28 SEPETEMBER 1950]'''

*DIORAMA 41: INDONESIA MENJADI ANGGOTA PERSERIKATAN BANGSA-BANGSA (28 SEPTEMBER 1950)
::Perserikatan Bangsa-Bangsa memainkan peranan penting dalam memelihara perdamaian dunia serta mengatasi perbedaan diantara negara-negara di dunia, dan membantu mempercepat proses dekolonisasi. PBB serta organisasi bawahannya membantu menyelesaikan sengketa Indonesia-Belanda, maka Indonesia cenderung menjadi anggota badan dunia tersebut. Pada tanggal 28 September 1950, dalam Sidang Umum PBB di Flushing Meadow, Lake Success, Indonesia dengan suara bulat resmi diterima menjadi anggota PBB. Diorama ini menggambarkan upacara pengibaran bendera Merah Putih di PBB, New York yang menandai masuknya Indonesia menjadi anggota PBB

*DIORAMA 41: THE UNITED NATION MEMBERSHIP (28 SEPTEMBER 1950)
::The United Nations Organization plays an important role in maintaining world peace and overcoming differences among nations. It also helps in accelerating the process of decolonization in the world. It was already known that the United Nations and its subordinate agencies had assisted in settling the dispute between Indonesia and the Dutch. Therefore, Indo-nesia felt the urgency to become member of the world body. On 28 September 1950 the United Nation Gen-eral Assembly held in Flushing, Lake Success unani-mously approved Indonesia as its sixtieth member. The diorama shows on 28 September 1950 the Red and White flag raises at the ceremony admitting the membership of Indonesia to the United Nations.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.
; '''[https://archive.org/details/42-konferensi-asia-afrika-18-24-april-1955-img-9627 KONFERENSI ASIA AFRIKA, 18-24 APRIL 1955]'''

*DIORAMA 42: KONPERENSI ASIA-AFRIKA (18 - 24 APRIL 1955)
::Sesudah berakhirnya Perang Dunia II muncul Blok Barat dan Blok Timur. Sejak saat itu dunia diliputi mendung ketidakpastian dan merasakan ketegangan karena kedua Blok tersebut terlibat perebutan pengaruh serta perlombaan persenjataan yang setiap saat dapat memicu perang nuklir. Menyadari akan bahaya ini rakyat Asia-Afrika yang berbeda-beda sistim politiknya mencari suatu persatuan untuk bersama-sama berusaha menyelamatkan dunia dari kehancuran nuklir dan membentuk dunia baru yang damai dan sejahtera bebas dari kolonialisme dan imperialisme. Melalui konperensi-konperensi di Kolombo tanggal 28 April 2 Mei 1954 dan di Bogor tanggal 28 - 31 Desember 1954 lima negara sponsor konperensi Asia-Afrika, Indonesia, India, Birma, Pakistan dan Srilanka menetapkan langkah-langkah yang lebih konkrit untuk konperensi Asia-Afrika. Konperensi Asia-Afrika yang kemudian dilaksanakan di Bandung tanggal 18-24 April 1955, dihadiri oleh 30 negara-negara Asia-Afrika dan menghasilkan suatu keputusan yang terkenal dengan nama "Dasasila Bandung". Diorama ini menggambarkan Presiden Republik Indonesia menyampaikan pidato pada upacara pembukaan Konperensi Asia-Afrika tanggal 18 April 1955 di Bandung.

*DIORAMA 42: AFRO-ASIAN CONFERENCE (18-24 APRIL 1955)
::After World War II emerged two opposing forces, the West and the East Block. Since then the world was wrapped in a mist of uncertainty and felt the strain, because the two blocks fought for the supremacy in influence and weaponry in a severe cold war, which at anytime threatened the start of a nuclear warfare. Aware of this danger the Asian and African nations which have several different political aspirations tried to wedge a way to unite efforts to save the world from the disaster of nuclear warfare, and form a new world, secure and peaceful free from colonialism and imperialism. Through the preliminary conferences on 28 April -2 May 1954 in Colombo and on 28-31 December 1954 in Bogor five nations that sponsored the Afro-Asian Conference, Indonesia, India, Myanmar, Pakistan and Srilangka set up a concrete platform to hold the conference. On 18 April 1955 in Bandung the Afro-Asian Conference was opened, attended by 30 delegates. It concluded on 24 April and its result was already known as the Declaration of Ten Principles of Bandung. The diorama shows President of the Republic of Indonesia gives his speeches at the opening ceremony of the conference on 18 April 1955 in Bandung.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.
; '''[https://archive.org/details/43-pemilihan-umum-pertama-1955-img-9629 PEMILIHAN UMUM PERTAMA, 1955]'''

*DIORAMA 43: PEMILIHAN UMUM PERTAΜΑ (1955)
::Sejak semula Pemerintah Republik Indonesia menyadari bahwa pemilihan umum harus dilaksanakan sebagai salah satu sarana demokrasi. Akan tetapi pada tahun-tahun pertama berdirinya. Republik Indonesia harus menghadapi musuh dari luar, sehingga pemilihan umum sulit dilaksanakan. Barulah sesudah tahun 1950 usaha untuk menyelenggarakan pemilihan umum digiatkan kembali dengan pembuatan Undang-Undang Pemilihan Umum. Keinginan untuk melaksanakan pemilihan umum dapat menstabilkan keadaan politik waktu itu dan pembangunan dapat dilaksanakan dengan sebaik-baiknya. Akhirnya semasa kabinet Burhanuddin Harahap. pemilihan umum dapat dilaksanakan, tanggal 29 September 1955 untuk wakil-wakil rakyat di Dewan Perwakilan Rakyat dan tanggal 15 Desember 1955 untuk wakil-wakil rakyat di Dewan Konstituante. Diorama ini menggambarkan peristiwa pemilihan umum pertama di Indonesia tahun 1955.

*DIORAMA 43: THE FIRST GENERAL ELECTION (1955)
::From the very beginning, the Government of the Republic of Indonesia has been aware that there had to be an election in order to implement the principle of democracy. But, since beginning of her existence the Republic of Indonesia had to face enemies from outside, so that it was very difficult to accomplish elections In 1950, efforts to accomplish a general election took a concrete form with the legislation of the law of general election. The desire to act was very great, with the hope that the result of the elections would stabilize the political situation, enabling the building up of the country with the most desirable effect. Finally, under the cabinet of Burhanuddin Harahap administration the election was carried out on 29 September 1955 and on 15 December 1955 respectively for the people's representatives in Legislative Assembly and Constituent Assembly. The diorama shows the atmosphere of the first general election in 1955.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.
; '''[https://archive.org/details/44-pembebasan-irian-jaya-1-mei-1963-img-9631 PEMBEBASAN IRIAN JAYA, 1 MEI 1963]'''

*DIORAMA 44: PEMBEBASAN IRIAN JAYA (Ι ΜΕΙ 1963)
::Dengan dasar pemikiran bahwa wilayah kekuasaan Republik Indonesia meliputi seluruh wilayah bekas jajahan Hindia Belanda, maka segala upaya pembebasan Irian Jaya terus dijalankan. Usaha-usaha pengembalian Irian Jaya yang masih dikuasai Belanda ke dalam wilayah kekuasaan Republik Indonesia melalui meja perundingan selalu gagal. Begitupun melalui sidang-sidang Majelis Umum Perserikatan Bangsa-Bangsa. Ketika Belanda bermaksud memberikan hak menentukan nasib sendiri pada rakyat Irian Jaya yang menjurus untuk melepaskan dari Republik Indonesia dan membentuk pemerintah boneka, Indonesia memutuskan untuk membebaskan Irian Jaya dengan kekuatan senjata. Dalam rapat umum tanggal 19 Desember 1961 di Yogyakarta, Presiden mengumumkan Tri Komando Rakyat (Trikora), yang meliputi: Gagalkan pembentukan negara Papua bikinan kolonialis Belanda, Kibarkan Sang Merah Putih di Irian Jaya, dan Bersiaplah untuk mobilisasi umum. Satuan tugas dengan nama Komando Mandala dibentuk yang dipimpin oleh Mayor Jenderal Soeharto, dan dengan demikian dimulailah operasi militer ke Irian Jaya. Dalam keadaan demikian pada tanggal 15 Agustus 1962 tercapai Persetujuan New York antara Indonesia-Belanda. Pada tanggal 1 Mei 1963 secara resmi Belanda melalui PBB menyerahkan kekuasaan atas Irian Jaya kepada Indonesia. Diorama ini menggambarkan Sudjarwo Tjondronegoro mewakili Indonesia pada upacara resmi penyerahan kedaulatan Irian kepada Republik Indonesia pada tanggal | Mei 1963 di Jayapura. Bendera Belanda diturunkan dan bendera Indonesia dinaikkan.

*DIORAMA 44: THE LIBERATION OF IRIAN JAYA (1 MAY 1963)
::Based on the conception that the Republic of Indonesia teritory of sovereignty consists of the entire former the Netherlands Indies Territory, the Republic kept on taking all necessary measures to liberate Irian. Effort to reclaim Irian back in the unity from the Dutch authority to Indonesia by means of negotiations as well as through the General Assembly of the United Nations Organization had never been successful, When the Dutch intended to give the Irian people the right of self determination which had the tendency to make it an independent state, Indonesia lost its patience which she had been trying to endeavour for 12 years and decided to take Irian by force. On 19 December 1961 at a mass meeting in Yogyakarta President declared The People's Three Commands: Foiling the establishment of the Papua State setting up by the Dutch, Raising the Red and White flag in Irian, and Getting ready for general mobilization. The special task force, known as Mandala Com-mand was set up led by Major General Soeharto and so began the military operations to Irian. Under such circumstances on 15 August 1962 Indonesia and the Dutch reached the New York agree-ment. On May 1963 the Dutch through the good offices of the United Nations officially transferred the sovereignty over Irian to the Republic of Indonesia. The diorama shows Soedjarwo Tjondronegoro, Indonesia's representative, at the ceremony transferring sovereignty over Irian to the Republic of Indonesia on May 1963 in Jayapura. The Dutch flag is lowered and the Indonesian flag raised.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.
; '''[https://archive.org/details/45-hari-kesaktian-pancasila-1-oktober-1965-img-9637 HARI KESAKTIAN PANCASILA, 1 OKTOBER 1965]'''

*DIORAMA 45: HARI KESAKTIAN PANCASILA (1 OKTOBER 1965)
::Pada masa pemerintahan Orde Lama, PKI meningkatkan serangannya terhadap kekuatan Pancasila. Karena menurunnya kesehatan Presiden Soekarno saat itu. PKI merasa adanya bahaya yang akan mengancam eksistensinya. Yang dianggap bahaya terbesar adalah pihak TNI-Angkatan Darat, karena Pemimpinnya bersikap waspada terhadap kegiatan PKI yang hendak menyelewengkan Pancasila. Untuk mendiskreditkan lawannya itu, PKI membuat fitnah terhadap Pimpinan TNI Angkatan Darat seolah-olah mereka membentuk Dewan Jenderal yang akan merebut kekuasaan negara. Dengan dalih mendahului coup Dewan Jenderal itu maka pada tanggal | Oktober 1965 PKI, dibantu oleh oknum-oknum ABRI, melancarkan Gerakan 30 September dan melakukan pembunuhan terhadap pimpinan TNI-Angkatan Darat di Lubang Buaya, Jakarta Timur. Tetapi rakyat yang berjiwa Pancasila sejati segera sadar bahwa gerakan itu bertujuan untuk melenyapkan Pancasila dan UUD 45. Dibawah pimpinan Mayor Jenderal Soeharto. Panglima Kostrad, usaha perebutan kekuasaan oleh Gerakan 30 September/PKI berhasil digagalkan dan gerakannya ditumpas dalam waktu singkat. Peristiwa ini merupakan kemenangan dari Pancasila yang telah benar-benar dihayati oleh seluruh rakyat. Diorama ini menggambarkan jenazah para Pahlawan Revolusi diangkat dari sumur di Lubang Buaya dipimpin langsung oleh Mayor Jenderal Soeharto.

*DIORAMA 45: PANCASILA SANCTITY DAY (1 OCTOBER 1965)
::During the Old Order regime, the Indonesian Communist Party increased its offensive against the forces of Pancasila. Because of the decline of Presi-dent Soekarno's health, who was its ally and protec-tor, the Indonesian Communist Party felt the danger that threatened its existence. The biggest danger they considered was the Indonesian Army (TNI-AD), because TNI-AD commander were very much alert of the Indonesian Communist Party activities that had the aim of diverting the Pancasila. To bring discredit to his opponent, they slandered the TNI-AD leaders accusing them of forming a Council of General with which to carry out a coup d'etat. With the excuse of intercepting the coup d'etat of the Council of Generals, on October 1, 1965, the In-donesian Communist Party with several officers from the Armed Forces, launched the 30 September Move-ment by killing the top leaders of the army in Lubang Buaya, East Jakarta. But the Indonesian people who are true Pancasialists were immediately aware that the Indonesian Communist Party movement was aimed at destroying the Pancasila state philosophy and the 1945 Constitution. Under the command of Major General Soeharto the effort for a coup d'etat by the Indonesian Commu-nist Party were thwarted, and the movement was destroyed within a very short time. This event proved of the invulnerability of the Pancasila as it is in the soul of the people. The diorama shows on 4 October 1965 the corpses of the Revolution Heroes are lifted from the well in Lubang Buaya led by Major General Soeharto.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.
; '''[https://archive.org/details/46-aksi-aksi-tri-tuntutan-rakyat-1966-img-9640 AKSI-AKSI TRI TUNTUTAN RAKYAT, 1966]'''

*DIORAMA 46: AKSI-AKSI TRI TUNTUTAN RAKYAT (1966)
::Semenjak gagalnya coup berdarah yang dilakukan oleh Partai Komunis Indonesia, pemerintahan Orde Lama menjadi goyah. Di samping itu krisis politik dan ekonomi semakin parah. Mahasiswa sebagai generasi muda yang tergabung dalam Kesatuan Aksi Mahasiswa Indonesia (KAMI) mengajukan Tri Tuntutan Rakyat (Tritura), meliputi 1. Bubarkan PKI 2. Bersihkan Kabinet dari unsur-unsur G-30-S/PKI 3. Turunkan harga-harga. Diorama ini menggambarkan suasana gelombang demonstrasi yang pada saat itu diadakan di area Taman Medan Merdeka Utara, Jakarta.

*DIORAMA 46: THE PEOPLE'S THREE DEMAND ACTION (1966)
::Since the failure of the bloody coup d'etat of the Indonesian Communist Party, the Old Order regime became unstable. Besides, political and economical crisis apparent. Throughout the country, universities and high schools students with the support of the Pancasila forces and the Armed Forces, demanded: 1 Banning the Indonesian Communist Party 2. Purging communist elements from the Dwikora Cabinet 3. Lowering prices of basic commodities.The diorama shows the demonstration to voice the people's Three Demands held in northern area of Medan Merdeka Square, Jakarta.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.
; '''[https://archive.org/details/47-surat-perintah-11-maret-1966-img-9645 SURAT PERINTAH 11 MARET 1966]'''

*DIORAMA 47: SURAT PERINTAH SEBELAS MARET (1966)
::Situasi negara Indonesia sesudah digagalkannya kudeta Gerakan 30 September/PKI merupakan masa kritis yang menggoncangkan sendi-sendi negara. Presiden Soekarno beserta pemerintahannya yang penuh dengan oknum-oknum Gerakan 30 September/PKI sama sekali kehilangan kepercayaan rakyat. Pada tanggal 11 Maret 1966 Presiden Soekarno mengeluarkan Surat Perintah kepada Jenderal Soeharto untuk memulihkan kewibawaan Pemerintah dengan jalan mengambil semua tindakan yang dianggap perlu. Jenderal Soeharto dengan cepat melaksanakan Surat Perintah | Maret 1966 itu dengan memenuhi dua diantara. Tri Tuntutan Rakyat, yakni membubarkan Partai Komunis Indonesia dan membersihkan kabinet dari menteri-menteri yang ada indikasi terlibat Gerakan 30 September/PKI atau memperlihatkan itikad kurang baik terhadap usaha-usaha pemulihan keamanan dan ketertiban. Dalam diorama ini digambarkan tiga Perwira Tinggi Angkatan Darat, yakni Mayjen Basuki Rahmat. Brigjen M. Jusuf dan Brigjen Amir Machmud sedang melaporkan Surat Perintah 11 Maret 1966 kepada Jenderal Soeharto, yang sedang berbaring karena sakit.

*DIORAMA 47:DIORAMA 47: THE WRITTEN ORDER OF MARCH ELEVENTH (1966)
::The time after the failure of the September 30 Movement/the Indonesian Communist Party, a new crisis emerged which shook the foundation of the country. On 11 March 1966 President Soekarno issued his mandate to General Soeharto in order to reinstate the Government authority and restore the national security by taking any necessary measures. General Soeharto immediately executed the or-der by fulfilling two of the People's Three Demands. i.e. Banning the Indonesian Communist Party, and purging the cabinet from the ministers who were involved in the September 30 Movement/ Indonesian Communist Party or those who hampered efforts to recovering security and order. The diorama shows General Soeharto as he was very sick - lying on bed receives, from left to right, army officers Brigadier General Amir Machmud, Major General Basuki Rachmat and Brigadier General M. Jusuf who have come to report the written order of March Eleventh.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.
; '''[https://archive.org/details/48-penentuan-pendapat-rakyat-irian-jaya-1969-img-9646 PENENTUAN PENDAPAT RAKYAT IRIAN JAYA, 1969]'''

*DIORAMA 48: PENENTUAN PENDAPAT RAKYAT IRIAN BARAT (1969)
::Salah satu isi persetujuan New York tanggal 15 Agustus 1962 mengenai penyerahan Irian Barat kepada Indonesia adalah bahwa pada tahun 1969 harus diadakan Penentuan Pendapat Rakyat (Pepera), apakah memilih Republik Indonesia atau tidak. Pelaksanaannya akan diawasi oleh Perserikatan Bangsa-Bangsa. Timbul masalah dalam pelaksanaannya, apakah setiap orang memberikan suara langsung sebagaimana usul wakil PBB, Duta Besar Bolivia Ortin Sede, atau perwakilan setiap kelompok melalui pemilihan secara bertingkat seperti usul Indonesia. Karena usul wakil PBB adalah amat sulit untuk dilaksanakan dalam kondisi seperti di Irian Barat, usul Indonesia yang diterima. Dengan disaksikan oleh wakil-wakil PBB, pers dalam dan luar negeri serta peninjau-peninjau dari beberapa kedutaan asing di Jakarta, dimulailah Pepera tersebut dari bulan April - Juni 1969, untuk pemilihan anggota Dewan Musyawarah Kabupaten (Regency Consultative Assemblies) di mana terpilih 1026 anggota mewakili 8 kabupaten, diantaranya 43 wanita. Keputusan Dewan Musyawarah Pepera dengan suara bulat memilih Irian Barat tetap merupakan bagian dari Negara Kesatuan Republik Indonesia. Padá tanggal 19 November 1969, PBB mensahkan hasil Pepera tersebut dengan 84 suara setuju, 6 menolak dan 30 suara abstain (terutama negara Afrika). Diorama ini menggambarkan suasana Sidang Musyawarah Penentuan Pendapat Rakyaat Irian Barat pada bulan Juli 1969.

*DIORAMA 48: REFERENDUM OF THE PEOPLE OF WEST IRIAN (1969)
::The contents of the agreement of New York on August 15, 1962, concerning the transfer of sovereignty of West Irian to Indonesia, said that in 1969, the people of Irian should be given the right of self-determination in order to choose whether they would consent to be a part of Indonesia or otherwise. The execution would be under supervision of the United Nations. Complication arose concerning the procedure of execution whether every voter would directly give his vote, as was suggested by the delegation of the United Nations, Bolivian Ambassador Ortin Sede, or repre-sentatives of each group and so voting in stages (Indonesia's proposal). Based on the geographical con-dition in Irian, finally Indonesia's proposal was accepted. From April to June 1969, the Indonesia's govern-ment held a United Nations' supervised referendum in West Irian, witnessed by United Nations representatives, local and foreign journalists and observers from several embassies in Jakarta in which 1026 delegates were elected representing 8 regencies, among them 43 were women. The result was a unanimous option for joining the Republic of Indonesia as an integral part of the Republic. On 19 November the United Nations approved the result of the referendum after taking of a vote, 84 in favor, 6 opposed and 30 abstain (mostly African States). The diorama shows the atmosphere of the People's Referendum Assembly in Irian in July 1969.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

; '''(The museum)'''
; '''[https://archive.org/details/img-9384_202601 IMG_9384]'''

*Interior of Museum Sejarah Nasional (National History Museum), located in the basement of Monas.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

; '''[https://archive.org/details/img-9391a IMG_9391a]'''

*Interior of Museum Sejarah Nasional (National History Museum), located in the basement of Monas.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

; '''[https://archive.org/details/img-9402_202601 IMG_9402]'''

*Interior of Museum Sejarah Nasional (National History Museum), located in the basement of Monas.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

; '''[https://archive.org/details/img-9415_202601 IMG_9415]'''

*Interior of Museum Sejarah Nasional (National History Museum), located in the basement of Monas.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

; '''[https://archive.org/details/img-9436_202601 IMG_9436]'''

*Interior of Museum Sejarah Nasional (National History Museum), located in the basement of Monas.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

; '''[https://archive.org/details/img-9439_202602 IMG_9439]'''

*Interior of Museum Sejarah Nasional (National History Museum), located in the basement of Monas.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

; '''[https://archive.org/details/img-9614_202601 IMG_9614]'''

*Interior of Museum Sejarah Nasional (National History Museum), located in the basement of Monas.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

; '''[https://archive.org/details/img-9384_202601 IMG_9384]'''

*Interior of Museum Sejarah Nasional (National History Museum), located in the basement of Monas.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

; '''[https://archive.org/details/img-9391a IMG_9391a]'''

*Interior of Museum Sejarah Nasional (National History Museum), located in the basement of Monas.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

; '''[https://archive.org/details/img-9402_202601 IMG_9402]'''

*Interior of Museum Sejarah Nasional (National History Museum), located in the basement of Monas.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

; '''[https://archive.org/details/img-9415_202601 IMG_9415]'''

*Interior of Museum Sejarah Nasional (National History Museum), located in the basement of Monas.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

; '''[https://archive.org/details/img-9436_202601 IMG_9436]'''

*Interior of Museum Sejarah Nasional (National History Museum), located in the basement of Monas.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

; '''[https://archive.org/details/img-9439_202602 IMG_9439]'''

*Interior of Museum Sejarah Nasional (National History Museum), located in the basement of Monas.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

; '''[https://archive.org/details/img-9614_202601 IMG_9614]'''

*Interior of Museum Sejarah Nasional (National History Museum), located in the basement of Monas.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

; '''Hasil Jadi'''
; '''[https://archive.org/details/mon-jam-00001 MON_JAM_00001]'''
*Photo of the installation of diorama number 29, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team at the National Monument, with the title Youth Pledge.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-jam-00002 MON_JAM_00002]'''
*Photo of the installation of diorama number 29, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team at the National Monument, with the title Youth Pledge.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-jam-00003 MON_JAM_00003]'''
*Photo of the installation of diorama number 29, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team at the National Monument, with the title Youth Pledge.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-jam-00004 MON_JAM_00004]'''
*Photo of the installation of diorama number 17, commissioned by Edhi Sunarso and the Keluarga Arca sculptor team at the National Monument, titled The Aceh War, shows a miniature building resembling the Baiturrahman Mosque in Aceh, which was later abandoned.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-jam-00005 MON_JAM_00005]'''
*Photo of the installation of diorama number 17, commissioned by Edhi Sunarso and the Keluarga Arca sculptor team at the National Monument, titled The Aceh War, shows a miniature building resembling the Baiturrahman Mosque in Aceh, which was later abandoned.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-jam-00006 MON_JAM_00006]'''
*Photo of the installation of diorama number 17, commissioned by Edhi Sunarso and the Keluarga Arca sculptor team at the National Monument, titled The Aceh War, shows a miniature building resembling the Baiturrahman Mosque in Aceh, which was later abandoned.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-jam-00007 MON_JAM_00007]'''
*Photo of the installation of diorama number 37, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team at the National Monument, with the title Guerrilla in the War of Independence.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-jam-00008 MON_JAM_00008]'''
*Photo of the installation of diorama number 37, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team at the National Monument, with the title Guerrilla in the War of Independence.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-jam-00009 MON_JAM_00009]'''
*Photo of the installation of diorama number 30, which was done by Edhi Sunarso and the Keluarga Arca sculptor team, at the National Monument, with the title Romusha.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-jam-00010 MON_JAM_00010]'''
*Photo of the installation of diorama number 33, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team at the National Monument, with the title Ratification of Pancasila as the Philosophical Foundation of the State and the 1945 Constitution.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-jam-00011 MON_JAM_00011]'''
*Photo of the installation of diorama number 33, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team at the National Monument, with the title Ratification of Pancasila as the Philosophical Foundation of the State and the 1945 Constitution.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-jam-00012 MON_JAM_00012]'''
*Photo of one of the artists in front of diorama number 33 with the title Ratification of Pancasila as the State Foundation and the 1945 Constitution, which was done by Edhi Sunarso and the Keluarga Arca sculptor team at the National Monument

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-jam-00013 MON_JAM_00013]'''
*Photo of the installation of diorama number 20, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team at the National Monument, with the title Cultivation Forced Planting.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-jam-00014 MON_JAM_00014]'''
*Photo of the installation of diorama number 20, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team at the National Monument, with the title Cultivation Forced Planting.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-jam-00015 MON_JAM_00015]'''
*Photo of the installation of diorama number 20, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team at the National Monument, with the title Cultivation Forced Planting.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-jam-00016 MON_JAM_00016]'''
*Photo of the installation of diorama number 20, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team at the National Monument, with the title Cultivation Forced Planting.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-jam-00017 MON_JAM_00017]'''
*Photo of the installation of diorama number 30, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team, at the National Monument, with the title Romusha.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-jam-00018 MON_JAM_00018]'''
*Photo of the installation of diorama number 23, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team, at the National Monument, with the title National Awakening.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-jam-00019 MON_JAM_00019]'''
*Photo of one of the Keluarga Arca artists in front of diorama number 6 entitled Palapa Oath, which was done by Edhi Sunarso and the Keluarga Arca sculptor team at the National Monument

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-jam-00020 MON_JAM_00020]'''
*Photo of an artist from the Keluarga Arca sculptor team working on installing diorama number 14 entitled The Diponegoro War, at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-jam-00021 MON_JAM_00021]'''
*Photo of the installation of diorama number 14, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team,at the National Monument, with the title Diponegoro War.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-jam-00022 MON_JAM_00022]'''
*Photo of artists from the Keluarga Arca sculptor team preparing statues for a diorama at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-mer-00001 MON_MER_00001]'''
*Photo of the installation of diorama number 2, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team at the National Monument, with the title Sriwijaya seaport.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-mer-00002 MON_MER_00002]'''
*Photo of the finished product from the installation of diorama number 3, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team at the National Monument, with the title Borobudur Temple Under Construction

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-mer-00003 MON_MER_00003]'''
*Photo of the installation of diorama number 7, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team, at the National Monument, with the title Majapahit War Fleet.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-mer-00004 MON_MER_00004]'''
*Photo of the installation of diorama number 44, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team, at the National Monument, with the title Liberation of West Irian.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-mer-00005 MON_MER_00005]'''
*Photo of the installation of diorama number 15, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team at the National Monument, with the title Imam Bonjol War

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-mer-00006 MON_MER_00006]'''
*Photo of the installation of diorama number 12, which was carried out by Edhi Sunarso and the keluarga Arca sculptor team,at the National Monument, with the title Makassar War.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-mer-00007 MON_MER_00007]'''
*Photo of the installation of diorama number 10, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team , at the National Monument, with the title The War for the Formation of Jayakarta.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-mer-00008 MON_MER_00008]'''
*Photo of the installation of diorama number 30, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team , at the National Monument, with the title Romusha.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-mer-00009 MON_MER_00009]'''
*Photo of the installation of diorama number 11, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team, at the National Monument, with the title Bugis Trading Fleet.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-mer-00010 MON_MER_00010]'''
*Photo of the installation of diorama number 8, which was done by Edhi Sunarso and the Keluarga Arca sculptor team, at the National Monument, with the title Chinese Envoy to Majapahit.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-mer-00011 MON_MER_00011]'''
*Photo of the installation of diorama number 9, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team, at the National Monument, with the title Pesantren as a Uniter of the Indonesian Nation.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-mer-00012 MON_MER_00012]'''
*Photo of the installation of diorama number 25, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team, at the National Monument, with the title Muhammadiyah.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-mer-00013 MON_MER_00013]'''
*Photo of the installation of diorama number 42, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team, at the National Monument, with the title Asia-Africa Conference.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-mer-00014 MON_MER_00014]'''
*Photo of the installation of diorama number 37, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team at the National Monument, with the title Guerrilla in the War of Independence.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-mer-00015 MON_MER_00015]'''
*Photo from one corner of the diorama room at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-mer-00016 MON_MER_00016]'''
*Photo of the installation of diorama number 38, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team, at the National Monument, with the title General Soedirman.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-mer-00017 MON_MER_00017]'''
*Photo of the installation of diorama number 5, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team at the National Monument, with the title Jawi Temple: A Combination of Shivaism and Buddhism

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-mer-00018 MON_MER_00018]'''
*Photo of the installation of diorama number 26, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team at the National Monument, with the title Indonesian Association.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-mer-00019 MON_MER_00019]'''
*Photo of the installation of diorama number 27, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team at the National Monument, with the title STOVIA

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-mer-00020 MON_MER_00020]'''
*Photo of the installation of diorama number 6, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team at the National Monument, with the title Palapa Oath.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-mer-00021 MON_MER_00021]'''
*Photo of the installation of diorama number 39, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team at the National Monument, with the title Recognition of Sovereignty.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-mer-00022 MON_MER_00022]'''
*Photo of the finished product from the installation of diorama number 4, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team at the National Monument, with the title Waringin Sapta Dam.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-mer-00023 MON_MER_00023]'''
*photo documentation of one of the dioramas

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-mer-00024 MON_MER_00024]'''
*Photo of the installation of diorama number 4, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team at the National Monument, with the title Diponegoro War.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-mer-00025 MON_MER_00025]'''
*Photo of the installation of diorama number 46, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team at the National Monument, with the title Three Demands of the People's Action

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-mer-00026 MON_MER_00026]'''
*Photo of the installation of diorama number 45, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team at the National Monument, with the title Pancasila Sanctity Day.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-mer-00027 MON_MER_00027]'''
*Photo of the installation of diorama number 45, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team at the National Monument, with the title Pancasila Sanctity Day.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-mer-00028 MON_MER_00028]'''
*Photo of the installation of diorama number 47, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team at the National Monument, with the title 11th March 1966 Order Letter

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-post-00001 MON_POST_00001]'''
*Photo of one of the artists from the Keluarga Arca sculptor team on one side of the National Monument building.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-post-00002 MON_POST_00002]'''
*Photo of artists from the Keluarga Arca sculptor team creating sculptures in the studio

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-post-00003 MON_POST_00003]'''
*Photo of the installation of diorama number 45, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team at the National Monument, with the title Pancasila Sanctity Day.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-post-00004 MON_POST_00004]'''
*Photo of the installation of diorama number 7, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team at the National Monument, with the title Majapahit War Fleet.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-post-00005 MON_POST_00005]'''
*Photo of the installation of diorama number 45, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team at the National Monument, with the title Pancasila Sanctity Day.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-post-00006 MON_POST_00006]'''
*Photo of the installation of diorama number 40, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team at the National Monument, with the title Returning to the Unitary State.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-post-00007 MON_POST_00007]'''
*Photo of the installation of diorama number 46, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team at the National Monument, with the title Three Demands of the People's Action

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-post-00008 MON_POST_00008]'''
*Photo of the installation of diorama number 7, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team at the National Monument, with the title Majapahit War Fleet.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

; '''Pemasangan Diorama'''
; '''[https://archive.org/details/mon-bwf-00001 MON_BWF_00001]'''
*Photo of the base of the Monas building

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-bwf-00002 MON_BWF_00002]'''
*Photo of Edhi Sunarso with his colleagues on the steps of the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-bwf-00003 MON_BWF_00003]'''

*Photo of artists from the Keluarga Arca sculptor team preparing one of the dioramas at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-bwf-00004 MON_BWF_00004]'''

*Photo of artists from the Keluarga Arca sculptor team in the process of coloring the statues for the diorama at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-bwf-00005 MON_BWF_00005]'''

*Photo of artists from the Keluarga Arca sculptor team in the process of coloring the statues for the diorama at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-bwf-00006 MON_BWF_00006]'''

*Photo of the artist preparing diorama room number 39 at the National Monument entitled Recognition of Sovereignty.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-bwf-00007 MON_BWF_00007]'''

*Photo of one of the artists preparing a scene in diorama number 14 at the National Monument entitled The Diponegoro War.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-bwf-00008 MON_BWF_00008]'''

*Photo of artists from the Keluarga Arca sculptor team in the process of coloring the statues for the diorama at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-bwf-00009 MON_BWF_00009]'''

*Photo of one of the scenes in the diorama arrangement process at the National Monument, possibly in diorama number 18 with the title Sisingamagaraja's Resistance.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-bwf-00010 MON_BWF_00010]'''

*Photo of one of the scenes in the diorama arrangement process at the National Monument, possibly in diorama number 18 with the title Sisingamagaraja's Resistance.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-bwf-00011 MON_BWF_00011]'''

*Photo of one of the scenes in the diorama arrangement process at the National Monument, possibly in diorama number 18 with the title Sisingamagaraja's Resistance.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-bwf-00012 MON_BWF_00012]'''

*Photo of one of the scenes in the process of arranging the diorama at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-bwf-00013 MON_BWF_00013]'''

*Photo of one of the scenes in the process of arranging diorama number 14 entitled Diponegoro War at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-bwf-00014 MON_BWF_00014]'''

*Photo of one of the scenes in the process of arranging diorama number 14 entitled Diponegoro War at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-bwf-00015 MON_BWF_00015]'''

*Photo of one of the scenes in the diorama arrangement process at the National Monument in diorama number 18 with the title Sisingamagaraja's Resistance.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-bwf-00016 MON_BWF_00016]'''

*Photo of one of the artists while arranging the statues in the diorama room for diorama scene number 39 at the National Monument with the title Recognition of Sovereignty

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-bwf-00017 MON_BWF_00017]'''

*Photo of an artist preparing a miniature building as one of the elements in diorama number 17 at the National Monument entitled The Aceh War

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-bwf-00018 MON_BWF_00018]'''

*Photo of an artist preparing a miniature building as one of the elements in diorama number 17 at the National Monument entitled The Aceh War

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-bwf-00019 MON_BWF_00019]'''

*Photo of artists from the Keluarga Arca sculptor team in the process of coloring the statues for the diorama at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-bwf-00020 MON_BWF_00020]'''

*Photo of artists from the Keluarga Arca sculptor team in the process of coloring the statues for the diorama at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-bwf-00021 MON_BWF_00021]'''

*Photo of one of the scenes in diorama number 20 at the National Monument entitled Forced Cultivation.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-bwf-00022 MON_BWF_00022]'''

*Photo of one of the scenes in diorama number 20 at the National Monument entitled Forced Cultivation.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-bwf-00023 MON_BWF_00023]'''

*Photo of one of the scenes in diorama number 20 at the National Monument entitled Forced Cultivation.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-bwf-00024 MON_BWF_00024]'''

*Photo of the artist painting the background of diorama number 6 at the National Monument entitled Palapa Oath.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-bwf-00025 MON_BWF_00025]'''

*Photo of the artist arranging the statues in diorama number 6 at the National Monument with the title Palapa Oath.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-bwf-00026 MON_BWF_00026]'''

*Photo of Edhi Sunarso sleeping and the other artists preparing statues for a diorama at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-bwf-00027 MON_BWF_00027]'''

*Photo of artists preparing statues to be installed in a diorama at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-bwf-00028 MON_BWF_00028]'''

*Photo of artists preparing statues to be installed in a diorama at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-bwf-00029 MON_BWF_00029]'''

*Photo of artists preparing statues to be installed in a diorama at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-bwf-00030 MON_BWF_00030]'''

*Photo of artists from the Keluarga Arca sculptor team in the process of coloring the statues for the diorama at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-bwf-00031 MON_BWF_00031]'''

*A photo of artists from the Keluarga Arca sculptor team in the process of coloring the statues for the diorama at the National Monument. The photo is shown behind the space prepared for diorama number 33 at the National Monument, titled "The Ratification of Pancasila, the Philosophical Foundation of the State and the 1945 Constitution."

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-bwf-00032 MON_BWF_00032]'''

*Photo of an artists from the Keluarga Arca sculptor team painting a background on a diorama

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-bwf-00033 MON_BWF_00033]'''

*Photo of artists from the Keluarga Arca sculptor team artist installing the contents of diorama number 46 at the National Monument with the title Three Demands of the People's Action.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-mon-kun-00001 MON_MON_KUN_00001]'''

*Photo of Kustiyah Edhi Sunarso standing in front of a diorama at the National Monument entitled Ancient Indonesian Society.entitled Ancient Indonesian Society.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-mon-kun-00002 MON_MON_KUN_00002]'''

*Photo of the artists in front of the diorama room which is currently being installed at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-mon-kun-00003 MON_MON_KUN_00003]'''

*Photo of an artist painting the background of one of the dioramas at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-mon-kun-00004 MON_MON_KUN_00004]'''

*Photo of an artist observing diorama number 1 at the National Monument entitled Ancient Indonesian Society.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-mon-kun-00005 MON_MON_KUN_00005]'''

*Photo of Edhi Sunarso and Kustiyah Edhi Sunarso with fellow artists in front of the diorama room which is currently being installed at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-mon-kun-00006 MON_MON_KUN_00006]'''

*Photo of the artist working on installing a statue for diorama number 30 at the National Monument entitled Romusha.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-mon-mer-00001 MON_MON_MER_00001]'''

*Photo of artists from the Keluarga Arca sculptor team preparing statues to be installed in a diorama

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-mon-mer-00002 MON_MON_MER_00002]'''

*Photo of artists from the Keluarga Arca sculptor team preparing statues to be installed in a diorama

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-mon-mer-00003 MON_MON_MER_00003]'''

*Photo of an artist from the Keluarga Arca sculptor team preparing a diorama space

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-mon-mer-00004 MON_MON_MER_00004]'''

*Photo of artists from the Keluarga Arca sculptor team preparing statues to be installed in one of the diorama rooms

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-mon-mer-00005 MON_MON_MER_00005]'''

*Photo of an artist from the Keluarga Arca sculptor team preparing one of the diorama rooms at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/pro-mon-jak-00001 PRO_MON_JAK_00001]'''

*Photo of peoples reviewing one of the dioramas at the National Monument with the title Romusha.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/pro-mon-jak-00002 PRO_MON_JAK_00002]'''

*Photo of the artists of Keluarga Arca Sculptor team during the installation process of diorama number 45 at the National Monument with the title Pancasila Sanctity Day.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/pro-mon-jak-00003 PRO_MON_JAK_00003]'''

*Photo of Edhi Sunarso during the installation process of diorama number 45 at the National Monument with the title Pancasila Sanctity Day.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/pro-mon-jak-00004 PRO_MON_JAK_00004]'''

*Photo of artists from the Keluarga Arca sculptor team installing a statue for one of the dioramas at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/pro-mon-jak-00005 PRO_MON_JAK_00005]'''

*Photo of the artist working on installing a statue for diorama number 30 at the National Monument entitled Romusha.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/pro-mon-jak-00006 PRO_MON_JAK_00006]'''

*Photo of artists from the Keluarga Arca sculptor team in the process of installing diorama number 45 at the National Monument with the title Pancasila Sanctity Day.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/pro-mon-jak-00007 PRO_MON_JAK_00007]'''

*Photo of Kustiyah Edhi Sunarso in front of the artists from Keluarga Arca Sculptor team, in the process of installing diorama number 45 at the National Monument with the title Pancasila Sanctity Day.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/pro-mon-jak-00008 PRO_MON_JAK_00008]'''

*A photograph of an artist from Keluarga Arca Sculptor team coloring the background of one of the dioramas at the National Monument, possibly diorama number 1, titled Ancient Indonesian Society.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/pro-mon-jak-00009 PRO_MON_JAK_00009]'''

*Photo of the artists in front of one of the dioramas at the National Monument

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/pro-mon-jak-00010 PRO_MON_JAK_00010]'''

*Photo of Edhi Sunarso with his colleagues in front of diorama number 20 at the National Monument with the title Romusha.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/pro-mon-jak-00011 PRO_MON_JAK_00011]'''

*Photo of Edhi Sunarso with local people during a visit to an area in Central Indonesia.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

; '''[https://archive.org/details/pro-mon-jak-00012 PRO_MON_JAK_00012]'''

*Photo of Edhi Sunarso and Kustiyah Edhi Sunarso playing with their son

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/pro-mon-jak-00013 PRO_MON_JAK_00013]'''

*Photo of Kustiyah Edhi Sunarso and her fellow artist in front of diorama number 1 entitled Ancient Indonesian Society which is located at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/pro-mon-jak-00014 PRO_MON_JAK_00014]'''

*Photo of the artist from Keluarga Arca Sculptor team providing color for the background of diorama number 1 entitled Ancient Indonesian Society which is located at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/pro-mon-jak-00015 PRO_MON_JAK_00015]'''

*Photo of an artist from Keluarga Arca Sculptor team working on a relief

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/pro-mon-jak-00016 PRO_MON_JAK_00016]'''

*Photo of an artist from Keluarga Arca Sculptor team creating a sculpture for a diorama.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/pro-mon-jak-00017 PRO_MON_JAK_00017]'''
*Photo of Edhi Sunarso and Kustiyah Edhi Sunarso in front of the National Monument, in Jakarta

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/pro-mon-jak-00018 PRO_MON_JAK_00018]'''
*Photo of fellow artists from Keluarga Arca Sculptor team in front of the National Monument. in Jakarta

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/pro-mon-jak-00019 PRO_MON_JAK_00019]'''
*Photo of artists from Keluarga Arca Sculptor team in the process of installing diorama number 45 at the National Monument with the title Pancasila Sanctity Day.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/pro-mon-jak-00020 PRO_MON_JAK_00020]'''
*Photo of the artist from Keluarga Arca Sculptor team on one side of the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/pro-mon-jak-00021 PRO_MON_JAK_00021]'''
*Photo of artists from the Keluarga Arca sculptor team in the process of installing one of the dioramas at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

; '''Pembuatan Diorama'''
; '''[https://archive.org/details/pro-mon-jog-00001 PRO_MON_JOG_00001]'''

*Photo of clay statues at the Keluarga Arca sculpture studio, Yogyakarta, for diorama number 6 entitled The Palapa Oath at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/pro-mon-jog-00002 PRO_MON_JOG_00002]'''

*Photo of the process of creating one of the dioramas at the National Monument, carried out by an artist at the Keluarga Arca sculpture studio in Yogyakarta.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/pro-mon-jog-00003_202602 PRO_MON_JOG_00003]'''

*Photo of clay statues at the Keluarga Arca sculpture studio, Yogyakarta, which were prepared to fill diorama number 18 at the National Monument with the title Sisingamangaraja's Resistance.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/pro-mon-jog-00004 PRO_MON_JOG_00004]'''

*Photo of a group of statues in the Keluarga Arca sculpture studio being prepared to fill one of the dioramas at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/pro-mon-jog-00005 PRO_MON_JOG_00005]'''

*Photo of clay statues at the Keluarga Arca sculpture studio, Yogyakarta, which were prepared to fill diorama number 18 at the National Monument with the title Sisingamangaraja's Resistance.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/pro-mon-jog-00006 PRO_MON_JOG_00006]'''

*Photo of clay statues at the Keluarga Arca sculpture studio, Yogyakarta, which were prepared for diorama number 33 at the National Monument entitled Ratification of Pancasila as the Philosophical Foundation of the State and the 1945 Constitution.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/pro-mon-jog-00007 PRO_MON_JOG_00007]'''

*Photo of artists at the Keluarga Arca sculpture studio, Yogyakarta, working on statues for the dioramas at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/pro-mon-jog-00008 PRO_MON_JOG_00008]'''

*Photo of clay statues at the Keluarga Arca sculpture studio, Yogyakarta, which were prepared for diorama number 33 at the National Monument entitled Ratification of Pancasila as the Philosophical Foundation of the State and the 1945 Constitution.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/pro-mon-jog-00009 PRO_MON_JOG_00009]'''

*Photo of artists at the Keluarga Arca sculpture studio, Yogyakarta, working on statues for the dioramas at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/pro-mon-jog-00010 PRO_MON_JOG_00010]'''

*Photo of clay statues at the Keluarga Arca sculpture studio, Yogyakarta, for diorama number 6 entitled The Palapa Oath at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/pro-mon-jog-00011 PRO_MON_JOG_00011]'''

*Photo of artists at the Keluarga Arca sculpture studio, Yogyakarta, working on statues for the dioramas at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/pro-mon-jog-00012 PRO_MON_JOG_00012]'''

*Photo of clay statues at the Keluarga Arca sculpture studio, Yogyakarta, which were prepared to fill diorama number 18 at the National Monument with the title Sisingamangaraja's Resistance.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/pro-mon-jog-00013 PRO_MON_JOG_00013]'''

*Photo of clay statues at the Keluarga Arca sculpture studio, Yogyakarta, for diorama number 6 entitled The Palapa Oath at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/pro-mon-jog-00014 PRO_MON_JOG_00014]'''

*Photo of artists at the Keluarga Arca sculpture studio, Yogyakarta, working on statues for the dioramas at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/pro-mon-jog-00015 PRO_MON_JOG_00015]'''

*Photo of clay statues at the Keluarga Arca sculpture studio, Yogyakarta, for diorama number 6 entitled The Palapa Oath at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/pro-mon-jog-00016 PRO_MON_JOG_00016]'''

*Photo of clay statues at the Keluarga Arca sculpture studio, Yogyakarta, which were prepared to fill diorama number 29 at the National Monument with the title Youth Pledge.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/pro-mon-jog-00017 PRO_MON_JOG_00017]'''

*Photo of clay statues at the Keluarga Arca sculpture studio, Yogyakarta, which were prepared to fill diorama number 18 at the National Monument with the title Sisingamangaraja's Resistance.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/pro-mon-jog-00018 PRO_MON_JOG_00018]'''

*Photo of one of the statues for diorama number 18 at the National Monument with the title Sisingamangaraja's Resistance.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/pro-mon-jog-00019 PRO_MON_JOG_00019]'''

*Photo of a group of statues in the Keluarga Arca sculpture studio, Yogyakarta,, which are being prepared to fill the diorama at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/pro-mon-jog-00020 PRO_MON_JOG_00020]'''

*Photo of clay statues at the Keluarga Arca sculpture studio, Yogyakarta, which were prepared to fill diorama number 29 at the National Monument with the title Youth Pledge.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/pro-mon-jog-00021 PRO_MON_JOG_00021]'''

*Photo of artists at the Keluarga Arca sculpture studio, Yogyakarta, working on statues for the dioramas at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/pro-mon-jog-00022 PRO_MON_JOG_00022]'''

*Photo of one of the statues for diorama number 18 at the National Monument with the title Sisingamangaraja's Resistance.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/pro-mon-jog-00023 PRO_MON_JOG_00023]'''

*Photo of artists at the Keluarga Arca sculpture studio, Yogyakarta, working on statues for the diorama at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/pro-mon-jog-00024 PRO_MON_JOG_00024]'''

*Photo of artists at the Keluarga Arca sculpture studio, Yogyakarta, working on statues for the diorama at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/pro-mon-jog-00025 PRO_MON_JOG_00025]'''

*Photo of artists at the Keluarga Arca sculpture studio, Yogyakarta, working on statues for the diorama at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/pro-mon-jog-00026 PRO_MON_JOG_00026]'''

*Photo of clay statues at the Keluarga Arca sculpture studio, Yogyakarta, for diorama number 6 entitled The Palapa Oath at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/pro-mon-jog-00027 PRO_MON_JOG_00027]'''

*Photo of artists at the Keluarga Arca sculpture studio, Yogyakarta, working on statues for the diorama at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/pro-mon-jog-00028 PRO_MON_JOG_00028]'''

*Photo of artists at the Keluarga Arca sculpture studio, Yogyakarta, working on statues for the diorama at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/pro-mon-jog-00029_20260208 PRO_MON_JOG_00029]'''

*Photo of clay statues at the Keluarga Arca sculpture studio, Yogyakarta, which were prepared for diorama number 33 at the National Monument entitled Ratification of Pancasila as the Philosophical Foundation of the State and the 1945 Constitution.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/pro-mon-jog-00030 PRO_MON_JOG_00030]'''

*Photo of artists at the Keluarga Arca sculpture studio, Yogyakarta, working on statues for the diorama at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/pro-mon-jog-00031 PRO_MON_JOG_00031]'''

*Photo of clay statues at the Keluarga Arca sculpture studio, Yogyakarta, which were prepared for diorama number 33 at the National Monument entitled Ratification of Pancasila as the Philosophical Foundation of the State and the 1945 Constitution.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/scan-27_202602 Scan 27]'''

*Photo of one of the artists in front of diorama number 1 at the National Monument entitled Ancient Indonesian Society.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

; '''Kliping'''
; '''[https://archive.org/details/image-0_202602 Tabloid Selecta No. 796]'''
*The article “Edhi Sunarso, Creator of Major Statues in Jakarta” in Tabloid Selecta No. 796 summarizes Edhi Sunarso’s journey as an important Indonesian sculptor, starting from his role in creating major monuments such as the Welcome Monument, the West Irian Liberation Monument, and the Dirgantara Monument, his role as Head of the ASRI Sculpture Department, his international achievements in London and India, as well as an explanation of the technical process of making bronze statues and dioramas, to his personal life story full of struggles since childhood, his involvement in the war of independence, his experience of being arrested and tortured by the Dutch, the process of searching for his identity and family, and his determination to pursue art education in Yogyakarta which ultimately led him to become a great artist with works that are recognized and collected nationally and internationally.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

; '''Patung 4 Sisi (tidak jadi dibuat)'''
; '''Amplop Patung Banteng'''
; '''[https://archive.org/details/img-002_202602 IMG_002]'''

*Above: Photo of Edhi Sunarso and artists from the Keluarga Arca group working on one of the 4-sided statue models for the National Monument. Below Left: Front view of one of the 4-sided statue models for the National Monument. Below Right: Side view of one of the 4-sided statue models for the National Monument. These three photographs document the process of creating the four-sided statues for the National Monument, which President Soekarno requested from Edhi Sunarso and the Keluarga Arca group, but which ultimately were not completed. This collection of three photographs is titled Monas Study Package 1 (Collective).

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/img-003_202602 IMG_003]'''

*Three photographs of a model of one of the 4-sided statues for the National Monument, taken from various angles, with the stamp of the Keluarga Arca Sculpture Team on the sheet where the photographs are attached. These three photographs document the process of creating the 4-sided statue for Monas, which President Sukarno requested from Edhi Sunarso and the Keluarga Arca group, but which ultimately was not completed.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/img-004_202602 IMG_004]'''

*Four photographs of a model of one of the 4-sided statues for the National Monument, taken from various angles. These four photographs document the process of creating the four-sided statue for Monas, a project requested by President Sukarno from Edhi Sunarso and the Keluarga Arca Group, but ultimately abandoned. This collection of four photographs is titled Monas Model Study III (Collective).

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/img-005_202602 IMG_005]'''

*Three photographs of a model of one of the 4-sided statues for the National Monument, taken from various angles. These three photographs document the process of creating the four-sided statue for Monas, which President Sukarno commissioned from Edhi Sunarso and the Keluarga Arca group, but which ultimately was not completed.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/img-006_202602 IMG_006]'''

*A collection of photos of statues of people holding anchors from various angles

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/img-007_202602 IMG_007]'''

*A collection of two photographs of a model of an elephant statue created by Edhi Sunarso and the Keluarga Arca group for the Musi River Monument. President Sukarno's signature is on the sheet of paper where the photographs are attached.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/img-008_202602 IMG_008]'''

*A collection of two photographs of a model of an elephant statue created by Edhi Sunarso and the Keluarga Arca group for the Musi River Monument. President Sukarno's signature is on the sheet of paper where the photographs are attached.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/img-009_202602 IMG_009]'''

*Three photographs depict the creation of the statue for the Musi River Monument, created by Edhi Sunarso and the Keluarga Arca group. This collection of three photographs is titled Musi River Monument (Collective).

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/img-011_202602 IMG_011]'''

*Above: Photo of Edhi Sunarso and the Keluarga Arca group with the statue being constructed. Bottom-left: Photo of a model of the statue created by Edhi Sunarso and the Keluarga Arca group. Bottom-right: Photo of a group of people sitting in a room.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/img-012_202602 IMG_012]'''

*Above: A photo of two artists sitting on the steps of the Monas building, with a bull statue behind them. Middle: A photo of a group of people dressed smartly, as if welcoming an important guest. Below: A photo of one of the artists from the Keluarga Arca group.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/img-013 IMG_013]'''

*Above: Photo of a bull statue in one corner of Monas. Below: Photo of a group of people in a room.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

; '''MONAS - Patung 4 Sisi'''
; '''[https://archive.org/details/mon-pat-4-si-00001 MON_PAT_4SI_00001]'''

*A photo of one of the clay statue models at the Keluarga Arca sculpture studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was requested by President Soekarno to Edhi Sunarso and the Keluarga Arca group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-pat-4-si-00002 MON_PAT_4SI_00002]'''

*A photo of one of the clay statue models at the Keluarga Arca sculpture studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was requested by President Soekarno to Edhi Sunarso and the Keluarga Arca group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-pat-4-si-00003 MON_PAT_4SI_00003]'''

*A photo of one of the clay statue models at the Keluarga Arca sculpture studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was requested by President Soekarno to Edhi Sunarso and the Keluarga Arca group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-pat-4-si-00004 MON_PAT_4SI_00004]'''

*A photo of one of the clay statue models at the Keluarga Arca sculpture studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was requested by President Soekarno to Edhi Sunarso and the Keluarga Arca group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-pat-4-si-00005 MON_PAT_4SI_00005]'''

*A photo of one of the clay statue models at the Keluarga Arca sculpture studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was requested by President Soekarno to Edhi Sunarso and the Keluarga Arca group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-pat-4-si-00006 MON_PAT_4SI_00006]'''

*A photo of one of the clay statue models at the Keluarga Arca sculpture studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was requested by President Soekarno to Edhi Sunarso and the Keluarga Arca group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-pat-4-si-00007 MON_PAT_4SI_00007]'''

*A photo of one of the clay statue models at the Keluarga Arca sculpture studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was requested by President Soekarno to Edhi Sunarso and the Keluarga Arca group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-pat-4-si-00008 MON_PAT_4SI_00008]'''

*A photo of one of the clay statue models at the Keluarga Arca sculpture studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was requested by President Soekarno to Edhi Sunarso and the Keluarga Arca group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-pat-4-si-00009 MON_PAT_4SI_00009]'''

*A photo of one of the clay statue models at the Keluarga Arca sculpture studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was requested by President Soekarno to Edhi Sunarso and the Keluarga Arca group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-pat-4-si-00010 MON_PAT_4SI_00010]'''

*A photo of one of the clay statue models at the Keluarga Arca sculpture studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was requested by President Soekarno to Edhi Sunarso and the Keluarga Arca group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-pat-4-si-00011 MON_PAT_4SI_00011]'''

*A photo of one of the clay statue models at the Keluarga Arca sculpture studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was requested by President Soekarno to Edhi Sunarso and the Keluarga Arca group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-pat-4-si-00012 MON_PAT_4SI_00012]'''

*Photo of a clay sculpture of a woman's face.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-pat-4-si-00013 MON_PAT_4SI_00013]'''

*A photo of one of the clay statue models at the Keluarga Arca sculpture studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was requested by President Soekarno to Edhi Sunarso and the Keluarga Arca group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-pat-4-si-00014 MON_PAT_4SI_00014]'''

*A photo of one of the clay statue models at the Keluarga Arca sculpture studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was requested by President Soekarno to Edhi Sunarso and the Keluarga Arca group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-pat-4-si-00015 MON_PAT_4SI_00015]'''

*A photo of one of the clay statue models at the Keluarga Arca sculpture studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was requested by President Soekarno to Edhi Sunarso and the Keluarga Arca group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-pat-4-si-00016 MON_PAT_4SI_00016]'''

*A photo of one of the clay statue models at the Keluarga Arca sculpture studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was requested by President Soekarno to Edhi Sunarso and the Keluarga Arca group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-pat-4-si-00017 MON_PAT_4SI_00017]'''

*A photo of one of the clay statue models at the Keluarga Arca sculpture studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was requested by President Soekarno to Edhi Sunarso and the Keluarga Arca group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-pat-4-si-00018 MON_PAT_4SI_00018]'''

*A photo of one of the clay statue models at the Keluarga Arca sculpture studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was requested by President Soekarno to Edhi Sunarso and the Keluarga Arca group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-pat-4-si-00019 MON_PAT_4SI_00019]'''

*A photo of one of the clay statue models at the Keluarga Arca sculpture studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was requested by President Soekarno to Edhi Sunarso and the Keluarga Arca group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-pat-4-si-00020 MON_PAT_4SI_00020]'''

*A photo of one of the clay statue models at the Keluarga Arca sculpture studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was requested by President Soekarno to Edhi Sunarso and the Keluarga Arca group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-pat-4-si-00021 MON_PAT_4SI_00021]'''

*A photo of one of the clay statue models at the Keluarga Arca sculpture studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was requested by President Soekarno to Edhi Sunarso and the Keluarga Arca group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-pat-4-si-00022 MON_PAT_4SI_00022]'''

*A photo of one of the clay statue models at the Keluarga Arca sculpture studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was requested by President Soekarno to Edhi Sunarso and the Keluarga Arca group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-pat-4-si-00023_202602 MON_PAT_4SI_00023]'''

*A photo of one of the clay statue models at the Keluarga Arca sculpture studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was requested by President Soekarno to Edhi Sunarso and the Keluarga Arca group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-pat-4-si-00024 MON_PAT_4SI_00024]'''

*Photo of Edhi Sunarso making a clay statue with a woman as his model.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-pat-4-si-00025 MON_PAT_4SI_00025]'''

*A photo of one of the clay statue models at the Keluarga Arca sculpture studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was requested by President Soekarno to Edhi Sunarso and the Keluarga Arca group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-pat-4-si-00026 MON_PAT_4SI_00026]'''

*A photo of one of the clay statue models at the Keluarga Arca sculpture studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was requested by President Soekarno to Edhi Sunarso and the Keluarga Arca group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-pat-4-si-00027 MON_PAT_4SI_00027]'''

*A photo of one of the clay statue models at the Keluarga Arca sculpture studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was requested by President Soekarno to Edhi Sunarso and the Keluarga Arca group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-pat-4-si-00028 MON_PAT_4SI_00028]'''

*Photos of the statue and relief models made by Edhi Sunarso and the Keluarga Arca group.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-pat-4-si-00029 MON_PAT_4SI_00029]'''

*Photos of the statue and relief models made by Edhi Sunarso and the Keluarga Arca group.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-pat-4-si-00030 MON_PAT_4SI_00030]'''

*A photo of one of the clay statue models at the Keluarga Arca sculpture studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was requested by President Soekarno to Edhi Sunarso and the Keluarga Arca group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-pat-4-si-00031 MON_PAT_4SI_00031]'''

*Photo of one of the artists from the Family Arca group arranging a model consisting of a warrior statue and relief.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-pat-4-si-00032 MON_PAT_4SI_00032]'''

*Photo of Edhi Sunarso and artists from the Keluarga Arca group with models of warrior statues and reliefs they made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-pat-4-si-00033 MON_PAT_4SI_00033]'''

*A photo of one of the clay statue models at the Keluarga Arca sculpture studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was requested by President Soekarno to Edhi Sunarso and the Keluarga Arca group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-pat-4-si-00034 MON_PAT_4SI_00034]'''

*Photo of one of the fighter statue models made by Edhi Sunarso and the Keluarga Arca group

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-pat-4-si-00035 MON_PAT_4SI_00035]'''

*Photo of a model of three warriors in bronze, made by Edhi Sunarso and the Keluarga Arca group.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-pat-4-si-00036 MON_PAT_4SI_00036]'''

*Photo of one of the statue models made by Edhi Sunarso and the Keluarga Arca group, made of clay.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-pat-4-si-00037 MON_PAT_4SI_00037]'''

*Photo of one of the models of the warrior statues made by Edhi Sunarso and the Keluarga Arca group, made of clay.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-pat-4-si-00038 MON_PAT_4SI_00038]'''

*Photo of Edhi Sunarso making a statue at the Keluarga Arca studio.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-pat-4-si-00039 MON_PAT_4SI_00039]'''

*A photo of one of the clay statue models at the Keluarga Arca sculpture studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was requested by President Soekarno to Edhi Sunarso and the Keluarga Arca group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-pat-4-si-00040 MON_PAT_4SI_00040]'''

*A photo of one of the clay statue models at the Keluarga Arca sculpture studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was requested by President Soekarno to Edhi Sunarso and the Keluarga Arca group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-pat-4-si-00041 MON_PAT_4SI_00041]'''

*A photo of one of the clay statue models at the Keluarga Arca sculpture studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was requested by President Soekarno to Edhi Sunarso and the Keluarga Arca group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-pat-4-si-00042 MON_PAT_4SI_00042]'''

*A photo of one of the clay statue models at the Keluarga Arca sculpture studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was requested by President Soekarno to Edhi Sunarso and the Keluarga Arca group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-pat-4-si-00043 MON_PAT_4SI_00043]'''

*A photo of one of the clay statue models at the Keluarga Arca sculpture studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was requested by President Soekarno to Edhi Sunarso and the Keluarga Arca group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-pat-4-si-00044 MON_PAT_4SI_00044]'''

*A photo of one of the clay statue models at the Keluarga Arca sculpture studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was requested by President Soekarno to Edhi Sunarso and the Keluarga Arca group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-pat-4-si-00045 MON_PAT_4SI_00045]'''

*A photo of one of the clay statue models at the Keluarga Arca sculpture studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was requested by President Soekarno to Edhi Sunarso and the Keluarga Arca group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-pat-4-si-00046 MON_PAT_4SI_00046]'''

*A photo of one of the clay statue models at the Keluarga Arca sculpture studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was requested by President Soekarno to Edhi Sunarso and the Keluarga Arca group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-pat-4-si-00047 MON_PAT_4SI_00047]'''

*A photo of one of the clay statue models at the Keluarga Arca sculpture studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was requested by President Soekarno to Edhi Sunarso and the Keluarga Arca group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-pat-4-si-00048 MON_PAT_4SI_00048]'''

*A photo of one of the clay statue models at the Keluarga Arca sculpture studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was requested by President Soekarno to Edhi Sunarso and the Keluarga Arca group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-pat-4-si-00049 MON_PAT_4SI_00049]'''

*A photo of one of the clay statue models at the Keluarga Arca sculpture studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was requested by President Soekarno to Edhi Sunarso and the Keluarga Arca group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-pat-4-si-00050 MON_PAT_4SI_00050]'''

*A photo of one of the clay statue models at the Keluarga Arca sculpture studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was requested by President Soekarno to Edhi Sunarso and the Keluarga Arca group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-pat-4-si-00051 MON_PAT_4SI_00051]'''

*A photo of one of the clay statue models at the Keluarga Arca sculpture studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was requested by President Soekarno to Edhi Sunarso and the Keluarga Arca group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

; '''Studi Patung Banteng Monas'''
; '''[https://archive.org/details/20260210_20260210_1346 Studi Patung Banteng Monas____]'''

*Three documentary photos of a clay bull statue model from various angles made by Edhi Sunarso and the Keluarga Arca group.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/20260210_20260210_1346 Studi Patung Banteng Monas___]'''

*Three documentary photographs of a clay bull statue model created by Edhi Sunarso and the Keluarga Arca group. It bears President Soekarno's signature on 7th January 1966, confirming the model's approval.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/a-1_20260210 Studi Patung Banteng Monas A1]'''

*Three documentary photos of a clay bull statue model made by Edhi Sunarso and the Keluarga Arca group, entitled First Study.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/a-2_20260210 Studi Patung Banteng Monas A2]'''

*Documentation photo of a clay bull statue model, part of the documentation entitled First Study, made by Edhi Sunarso and the Keluarga Arca group.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/b_20260210 Studi Patung Banteng Monas B]'''

*Three documentary photos of a clay bull statue model made by Edhi Sunarso and the Keluarga Arca group entitled Second Study.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/c-1_20260210 Studi Patung Banteng Monas C1]'''

*Documentation photo of a clay bull statue model made by Edhi Sunarso and the Keluarga Arca group entitled Third Study.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/c-2_20260210 Studi Patung Banteng Monas C2]'''

*Documentation photo of a clay bull statue model, part of the documentation entitled Third Study, made by Edhi Sunarso and the Keluarga Arca group

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/d_20260210 Studi Patung Banteng Monas D]'''

*Three documentary photos of a clay bull statue model made by Edhi Sunarso and the Keluarga Arca group entitled Forth Study.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/e_20260210 Studi Patung Banteng Monas E]'''

*Two documentary photos of a clay bull statue model made by Edhi Sunarso and the Keluarga Arca group entitled Fifth Study.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/f-acc-bk Studi Patung Banteng Monas F - ACC BK]'''

*Three documentary photographs of a clay bull statue model created by Edhi Sunarso and the Keluarga Arca group, entitled Sixth Study. It bears President Soekarno's signature on 7th January 1966, signifying the model's approval.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/g-acc-bk Studi Patung Banteng Monas G - ACC BK]'''

*Three documentary photographs of a clay bull model created by Edhi Sunarso and the Keluarga Arca group, entitled Seventh Study. It bears President Soekarno's signature on 7th January 1966, signifying the model's approval.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/h-1_20260210 Studi Patung Banteng Monas H1]'''

*Documentation photo of a clay bull statue model made by Edhi Sunarso and the Keluarga Arca group entitled Eghth Study.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/h-2_20260210 Studi Patung Banteng Monas H2]'''

*Documentation photo of a clay bull statue model, part of the documentation entitled Eighth Study made by Edhi Sunarso and the Keluarga Arca group.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/h-3_20260210 Studi Patung Banteng Monas H3]'''

*Documentation photo of a clay bull statue model, part of the documentation entitled Eighth Study made by Edhi Sunarso and the keluarga Arca group.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/i_20260210 Studi Patung Banteng Monas I]'''

*Three documentary photos of a clay bull statue model made by Edhi Sunarso and the Keluarga Arca group entitled Ninth Study.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/j_20260210 Studi Patung Banteng Monas J]'''

*Two documentary photographs of a clay bull statue model created by Edhi Sunarso and the Keluarga Arca group, entitled Tenth Study. It bears President Soekarno's signature on 7th January 1966, signifying the model's approval.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/l_20260210 Studi Patung Banteng Monas L]'''

*Three documentary photos of a clay bull statue model made by Edhi Sunarso and the Keluarga Arca group entitled Twelfth Study.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/m_20260210 Studi Patung Banteng Monas M]'''

*Three documentary photos of a clay bull statue model made by Edhi Sunarso and the Keluarga Arca group entitled Fourteenth Study.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

; '''Penerbitan seputar Monas'''
; '''[https://archive.org/details/katalog-museum-sejarah-nasional-1977 Katalog Museum Sejarah Nasional, 1977]'''
*The National History Museum Catalogue (1978) documents the presentation of dioramas of Indonesian history chronologically, from prehistoric times to the struggle to maintain independence, with explanations of events, important figures, and the visual concept of the diorama as a medium for historical education.

; '''[https://archive.org/details/keagungan-perjuangan-bangsa-indonesia-1996 Keagungan Perjuangan Bangsa Indonesia, 1996]'''
*The book entitled "National Monument: Monument to the Greatness of the Indonesian Nation's Struggle" (1996) is a reference work that documents the history and philosophical meaning of the National Monument (Monas) as an eternal symbol of the Proclamation of Indonesian Independence on 17th August 1945. The contents of this book include the history of its establishment, the aims and objectives of its construction, as well as the technical details of its construction implementation, which were divided into three main stages from 1961 to 1975. In addition, this book describes the physical parts of Monas, such as the History Museum Room, the Independence Room, and the Flame of Independence.

; '''[https://archive.org/details/rencana-penyempuranaan-diorama-museum-sejarah-di-tugu-nasional Rencana Penyempuranaan Diorama Museum Sejarah di Tugu Nasional, 2007]'''
*The book of plans for improving the diorama of the history museum at the National Monument (MONAS) which is based on the decision of the Minister of State Secretary number 6 of 2007 concerning the formation of a committee for improving the diorama of the national history museum at the National Monument, which will be implemented by the Indonesian Historians Society, the Faculty of Cultural Sciences, University of Indonesia, Architects, and previous Diorama Designers. The diorama improvement plan comes from the results of a study by the diorama improvement team with considerations from the side of historical philosophy, historical facts, technical and aesthetic aspects.

; '''[https://archive.org/details/tugu-nasional-laporan-pembangunan-1978_202602 Tugu Nasional - Laporan Pembangunan, 1978]'''
*The National Monument Book: Construction Report (1978) is an official report that documents in detail the planning, construction process, and completion of the National Monument (Monas) as a monument commemorating the Proclamation of Independence on 17th August 1945, including the background to the idea of establishing Monas, the symbolic architectural concept that represents the spirit of independence and the personality of the nation, the stages of construction from the beginning to completion, the involvement of various parties and experts, the use of technology and building materials, to the filling of Monas spaces such as the National History Museum and the top of the monument. This book was produced under the direction of the Deputy Governor/Regional Head of DKI Jakarta for Development, Ir. Prayogo, compiled by the DKI Jakarta Office of Building Design and Conservation led by Ir. W. Pragantha as Head of Office with Soedarmadji and J. H. Damais as advisers, with text written by Architect Soedarsono, Ir. Imron Sugiono, and Drs. Wahjudiono, documentation prepared by the Office of Building Design and Conservation as the implementing authority for the National Monument, graphic design by Didit Chris, Purnomo M., and Guruh Sulawat, and printed by P.T. Jayakarta Agung Offset.

; '''Relief dan Benteng Monas'''
; '''[https://archive.org/details/mon-relief-00001 MON_RELIEF_00001]'''

*Documentation photo of an artist working on a relief at the National Monument complex in Jakarta.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-relief-00002 MON_RELIEF_00002]'''

*Documentation photo of one of the reliefs in the National Monument complex in Jakarta.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-relief-00003 MON_RELIEF_00003]'''

*Documentation photo of one of the reliefs in the National Monument complex in Jakarta.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-relief-00004 MON_RELIEF_00004]'''

*Documentation photo of one of the reliefs in the National Monument complex in Jakarta.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-relief-00005 MON_RELIEF_00005]'''

*Documentation photo of one of the reliefs in the National Monument complex in Jakarta.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-relief-00006 MON_RELIEF_00006]'''

*Documentation photo of one of the reliefs in the National Monument complex in Jakarta.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-relief-00007 MON_RELIEF_00007]'''

*Documentation photo of an artist working on a relief at the National Monument building complex in Jakarta.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-relief-00008 MON_RELIEF_00008]'''

*Documentation photo from Edhi Sunarso at the National Monument complex in Jakarta

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-relief-00009 MON_RELIEF_00009]'''

*Documentation photo of one of the reliefs in the National Monument complex in Jakarta

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-relief-00010 MON_RELIEF_00010]'''

*Documentation photo of an artist working on a relief at the National Monument complex in Jakarta.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-relief-00011 MON_RELIEF_00011]'''

*Documentation photo of one of the reliefs in the National Monument complex in Jakarta

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-relief-00012 MON_RELIEF_00012]'''

*Documentation photo of one of the reliefs in the National Monument complex in Jakarta

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-relief-00013 MON_RELIEF_00013]'''

*Documentation photo of one of the reliefs in the National Monument complex in Jakarta

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-relief-00014 MON_RELIEF_00014]'''

*Documentation photos of the artists taking a break.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-relief-00015 MON_RELIEF_00015]'''

*Documentation photo of one of the reliefs in the National Monument complex in Jakarta

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-relief-00016 MON_RELIEF_00016]'''

*Documentation photo of one of the reliefs in the National Monument complex in Jakarta

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-relief-00017 MON_RELIEF_00017]'''

*Documentation photo of one of the reliefs in the National Monument complex in Jakarta

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-relief-00018 MON_RELIEF_00018]'''

*Documentation photo of an artist working on a relief at the National Monument complex in Jakarta.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-relief-00019 MON_RELIEF_00019]'''

*Documentation photo of Edhi Sunarso and his group resting.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-relief-00020 MON_RELIEF_00020]'''

*Documentation photo of Edhi Sunarso supervising an artist working on one of the reliefs at the National Monument complex in Jakarta.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-relief-00021 MON_RELIEF_00021]'''

*Documentation photo of one of the reliefs in the National Monument complex in Jakarta

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-relief-00022 MON_RELIEF_00022]'''

*Documentation photo of an artist working on a relief at the National Monument complex in Jakarta.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-relief-00023 MON_RELIEF_00023]'''

*Documentation photo of an artist working on a relief

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-relief-00024 MON_RELIEF_00024]'''

*Documentation photo of Edhi Sunarso and his group resting.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-relief-00025 MON_RELIEF_00025]'''

*A documentary photograph of one of the reliefs at the National Monument complex in Jakarta. W.R. Soepratman is seen on the relief.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-relief-00026 MON_RELIEF_00026]'''

*Documentation photo of the artist in front of a building

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/editxml/mon-relief-00027 MON_RELIEF_00027]'''

*Documentation photo of an artist working on a relief

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-relief-00028 MON_RELIEF_00028]'''

*Documentation photo of one of the reliefs in the National Monument complex in Jakarta

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-relief-00029 MON_RELIEF_00029]'''

*Documentation photo of one of the reliefs

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-relief-00030 MON_RELIEF_00030]'''

*Documentation photo of one of the reliefs

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-relief-00031 MON_RELIEF_00031]'''

*A documentary photograph of one of the reliefs in the National Monument complex in Jakarta. The relief depicts Ki Hadjar Dewantoro, Dr. Tjipto Mangunkusumo, and Douwes Dekker.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-relief-00032 MON_RELIEF_00032]'''

*A documentary photo of one of the reliefs in the National Monument complex in Jakarta. One of the figures depicted is Muhammad Hatta.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-relief-00033 MON_RELIEF_00033]'''

*Documentation photo of one of the reliefs in the National Monument complex in Jakarta

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-relief-00034 MON_RELIEF_00034]'''

*Documentation photo of one of the reliefs in the National Monument complex in Jakarta

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-relief-00035 MON_RELIEF_00035]'''

*Documentation photo of one of the reliefs in the National Monument complex in Jakarta

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-relief-00036 MON_RELIEF_00036]'''

*Documentation photo of an artist working on a relief for the National Monument complex in Jakarta.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-relief-00037 MON_RELIEF_00037]'''

*Documentation photo of an artist working on a relief for the National Monument complex in Jakarta.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-relief-00038 MON_RELIEF_00038]'''

*Documentation photo of an artist working on a relief for the National Monument complex in Jakarta.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-relief-00039 MON_RELIEF_00039]'''

*Documentation photo of an artist working on a relief for the National Monument complex in Jakarta.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-relief-00040 MON_RELIEF_00040]'''

*A documentary photograph of one of the reliefs at the National Monument complex in Jakarta. W.R. Soepratman is seen on the relief.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-relief-00041 MON_RELIEF_00041]'''

*A documentary photo of an artist working on a relief for the National Monument complex in Jakarta. The figure of Ir. Soekarno is visible on the relief.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-relief-00042 MON_RELIEF_00042]'''

*Documentation photo of one of the reliefs in the National Monument complex in Jakarta

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-relief-00043 MON_RELIEF_00043]'''

*Documentation photo of one of the reliefs

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-relief-00044 MON_RELIEF_00044]'''

*Documentation photo of an artist working on a relief at the National Monument complex in Jakarta.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-relief-00045 MON_RELIEF_00045]'''

*Documentation photo of one of the reliefs in the National Monument complex in Jakarta

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-relief-00046 MON_RELIEF_00046]'''

*Documentation photo of one of the reliefs in the National Monument complex in Jakarta

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-relief-00047 MON_RELIEF_00047]'''

*Documentation photo of one of the reliefs in the National Monument complex in Jakarta

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-relief-00048 MON_RELIEF_00048]'''

*Documentation photo of one of the reliefs in the National Monument complex in Jakarta

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-relief-00049 MON_RELIEF_00049]'''

*Documentation photo of one of the reliefs in the National Monument complex in Jakarta

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-relief-00050 MON_RELIEF_00050]'''

*Documentation photo of one of the reliefs in the National Monument complex in Jakarta

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-relief-00051 MON_RELIEF_00051]'''

*Documentation photo of an artist working on a relief at the National Monument complex in Jakarta.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-relief-00052 MON_RELIEF_00052]'''

*Documentation photo of Edhi Sunarso supervising the relief-making work at the National Monument complex in Jakarta.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-relief-00053 MON_RELIEF_00053]'''

*Documentation photo of one of the reliefs in the National Monument complex in Jakarta

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-relief-00054 MON_RELIEF_00054]'''

*A documentary photo of one of the reliefs in the National Monument complex in Jakarta. The relief depicts Ir. Soekarno and Mohammad Hatta.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-relief-00055 MON_RELIEF_00055]'''

*Documentation photo of a group of officials who will inspect the project at the National Monument complex in Jakarta.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-relief-00056 MON_RELIEF_00056]'''

*Documentation photo of one of the reliefs in the National Monument complex in Jakarta

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-relief-00057 MON_RELIEF_00057]'''

*Documentation photo of one of the reliefs in the National Monument complex in Jakarta

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/mon-relief-00058 MON_RELIEF_00058]'''

*Documentation photo of one of the reliefs in the National Monument complex in Jakarta

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

; '''Riset diorama'''
; '''[https://archive.org/details/adegan-pepera-irian-barat Adegan Pepera Irian Barat]'''

*A collection of documentary photographs from the PEPERA (Determination of the People's Opinion) incident in several locations in West Irian in 1969, to determine whether West Irian would join the Republic of Indonesia or become independent. These photographs were used for research into dioramas depicting scenes from the PEPERA in West Irian.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

; '''[https://archive.org/details/adegan-tanam-paksa Adegan Tanam Paksa]'''

*A collection of sketches and documentary photographs were used for research into dioramas depicting scenes from the forced cultivation of plants.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

; '''Amplop Potret'''
; '''[https://archive.org/details/amp-pot-01 AMP_POT_01]'''

*Above : Photo documentation of a group of people standing in front of the Hollandia building in Jayapura. The photo was used for diorama research. Below : Photo documentation of a group of people standing in front of a building.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/amp-pot-02 AMP_POT_02]'''

*Left : Photo of K.H. Ahmad Dahlan, founder of Muhammadiyah. Right : Photo of K.H. Mas Mansur, one of Muhammadiyah figures.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/amp-pot-03 AMP_POT_03]'''

*Above : Photo of a soldiers of the Republic of Indonesia. Below : Photo documentation of the ceremony in front of the Hollandia building, in Jayapura, which was used for diorama research

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/amp-pot-04 AMP_POT_04]'''

*Left: One of Indonesia's judicial figures, possibly a photo of Kusumah Atmaja. Right: A sketch of Tuanku Imam Bonjol.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/amp-pot-05 AMP_POT_05]'''

*Left: Photo of an Indonesian figure. Right: Photo of K.H. Abdul Wahid Hasjim.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/amp-pot-06 AMP_POT_06]'''

*Left: Photo of Mohammad Yamin. Right: Photo of Wage Rudolf Soepratman.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/amp-pot-07 AMP_POT_07]'''

*Left: Photo of Djuanda Kartawidjaja. Right: Photo of an Indonesian figure

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/amp-pot-08 AMP_POT_08]'''

*Left: Photo of an Indonesian figure. Right: Photo of Ernest Douwes Dekker, also known as Danudirja Setiabudi.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/amp-pot-09 AMP_POT_09]'''

*Left: Photo of Abdul Muis. Right: Photo of Sutan Syahrir.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/amp-pot-10 AMP_POT_10]'''

*Left: Painting by Sam Ratulangi. Right: Photo by Pierre Tendean.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/amp-pot-11 AMP_POT_11]'''

*Photo of an Indonesian figures.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/amp-pot-12 AMP_POT_12]'''

*Left: Photo of an Indonesian figure. Right: Photo of Ki Hadjar Dewantara.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/amp-pot-13 AMP_POT_13]'''

*Left: Photo of Supeno. Right: Photo of Ferdinand Lumban Tobing.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/amp-pot-14 AMP_POT_14]'''

*Left: Photo of an Indonesian figure. Right: Photo of Prof. Dr. Raden Soepomo.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/amp-pot-15 AMP_POT_15]'''

*Documentation photo from Left: H.O.S. Cokroaminoto Right: Cipto Mangunkusumo.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/amp-pot-16 AMP_POT_16]'''

*Left: Photo of Raden Mas Soerjopranoto. Right: Painting by H. Samanhudi

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/amp-pot-17 AMP_POT_17]'''

*Left: Photo of Albertus Soegijapranata. Right: Photo of Haji Agus Salim

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/amp-pot-18 AMP_POT_18]'''

*Documentation photo of Indonesian figures being welcomed by Swiss Guard troops.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/amp-pot-19 AMP_POT_19]'''

*Documentation photo shows a group of children in traditional clothing playing foos balll.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

; '''Amplop Sketsa Diorama Monas'''
; '''[https://archive.org/details/ske-dio-mon-01 SKE_DIO_MON_01]'''

*Photo of a sketch for one of the diorama scenes at the National Monument (Monas), titled "Youth Pledge."

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/ske-dio-mon-02 SKE_DIO_MON_02]'''

*Photo of a sketch for one of the diorama scenes at the Monas, titled "Youth Pledge."

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/ske-dio-mon-03 SKE_DIO_MON_03]'''

*Photo of a sketch for one of the diorama scenes at the Monas, titled "The Aceh War."

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/ske-dio-mon-04 SKE_DIO_MON_04]'''

*Photo of a sketch for one of the diorama scenes at the Monas, titled "The Battle of Surabaya."

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/ske-dio-mon-05 SKE_DIO_MON_05]'''

*Photo of a sketch for one of the diorama scenes at the Monas, titled "Indonesian Association"

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/ske-dio-mon-06 SKE_DIO_MON_06]'''

*Photo of a sketch for one of the diorama scenes at the Monas, titled "The Palapa Oath."

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/ske-dio-mon-07 SKE_DIO_MON_07]'''

*Photo of a sketch for one of the diorama scenes at the Monas, titled "National Awakening."

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/ske-dio-mon-08 SKE_DIO_MON_08]'''

*Photo of a sketch for one of the diorama scenes at the Monas, titled "The Struggle to Return to the Unitary State."

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/ske-dio-mon-09 SKE_DIO_MON_09]'''

*Photo of a sketch for one of the diorama scenes at the Monas, titled "The Battle of Jagaraga."

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/ske-dio-mon-10 SKE_DIO_MON_10]'''

*Photo of a sketch for one of the diorama scenes at the National Monument (Monas), titled "The Majapahit War Fleet."

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/ske-dio-mon-11 SKE_DIO_MON_11]'''

*Photo of a sketch for one of the diorama scenes at the Monas, titled "Recognition of Sovereignty."

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/ske-dio-mon-12 SKE_DIO_MON_12]'''

*Photo of a sketch for one of the diorama scenes at the Monas, titled "The Liberation of Irian."

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/ske-dio-mon-13 SKE_DIO_MON_13]'''

*Photo of a sketch for one of the diorama scenes at the Monas, titled "The Resistance of Sisingamangaraja."

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/ske-dio-mon-14 SKE_DIO_MON_14]'''

*Photo of a sketch for one of the diorama scenes at the Monas, titled "Indonesia Becomes a Member of the United Nations."

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/ske-dio-mon-15 SKE_DIO_MON_15]'''

*Photo of a sketch for one of the diorama scenes at the Monas, titled "The Diponegoro War."

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

; '''[https://archive.org/details/dari-buku-gambar Dari Buku Gambar]'''

*A collection of documentary photographs from a sketchbook were used as research material for dioramas depicting the Bugis Incident, the Battle of Bogor, the Battle of Tjibadak, the Three Regions Incident, the Five-Day Battle of Palembang, the Expedition to Maluku, and the Seaborne Operation from Banyuwangi to Bali.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

; '''[https://archive.org/details/draaiboek-monas-879pgs-2 Draaiboek Monas - 879pgs 2]'''

*A guideline for creating a diorama at Monas, entitled 1. TRIKORA AND/OR THE RETURN OF WEST IRIAN (The Return of West Irian to the Territory of the Republic of Indonesia). 2. GANEFO (The Opening Ceremony of Ganefo on October 10, 1963). This guide provides details for the diorama scenes, such as miniature figures, building elements, and paintings on the left and right walls of the diorama. The script also includes historical research, key events that formed the background to the events depicted in the diorama, and sources used for the historical research.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

; '''Gambar-gambar perjuangan indonesia'''
; '''[https://archive.org/details/alb-gam-per-idn-01 ALB_GAM_PER_IDN01]'''

*Documentation photo of the Indonesian flag flying on the North Field of the Yogyakarta Palace.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/alb-gam-per-idn-02 ALB_GAM_PER_IDN02]'''

*Documentation photo of the fighters marching in ceremonial formation.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/alb-gam-per-idn-03 ALB_GAM_PER_IDN03]'''

*Documentation photo of President Soekarno giving a salute.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/alb-gam-per-idn-04 ALB_GAM_PER_IDN04]'''

*Documentation photo of a line of fighters welcoming a group of state officials in the northern square of the Yogyakarta palace.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/alb-gam-per-idn-05 ALB_GAM_PER_IDN05]'''

*Documentation photo of a ceremony in the northern square of the Yogyakarta palace.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/alb-gam-per-idn-06 ALB_GAM_PER_IDN06]'''

*Documentation photo of a ceremony in the northern square of the Yogyakarta palace.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/alb-gam-per-idn-07 ALB_GAM_PER_IDN07]'''

*Documentation photo of President Soekarno, Vice President Mohammad Hatta, General Soedirman, and Sri Sultan Hamengku Buwono IX with a group of state officials at an event on the podium of the northern square of the Yogyakarta palace.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/alb-gam-per-idn-08 ALB_GAM_PER_IDN08]'''

*Documentation photo of a fighter, possibly Raden Said Soekanto Tjokrodiatmodjo, as the Chief of the National Police, reading a speech

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/alb-gam-per-idn-09 ALB_GAM_PER_IDN09]'''

*Documentation photo of General Soedirman, Vice President Mohammad Hatta, President Soekarno, and National Police Chief Raden Said Soekanto Tjokrodiatmodjo, together with a group of state officials.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/alb-gam-per-idn-10 ALB_GAM_PER_IDN10]'''

*Documentation photo of President Soekarno reading a speech, also showing General Soedirman, Vice President Mohammad Hatta, and National Police Chief Raden Said Soekanto Tjokrodiatmodjo, along with a group of state officials.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/alb-gam-per-idn-11 ALB_GAM_PER_IDN11]'''

*Documentation photo of President Soekarno, Vice President Mohammad Hatta, and National Police Chief Raden Said Soekanto Tjokrodiatmodjo, together with a group of state officials.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/alb-gam-per-idn-12 ALB_GAM_PER_IDN12]'''

*Documentary photo of a woman being trained to shoot with a rifle.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/alb-gam-per-idn-13 ALB_GAM_PER_IDN13]'''

*Documentation photo of President Soekarno giving a speech in front of the ceremony participants in the north square of the Yogyakarta palace

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/alb-gam-per-idn-14 ALB_GAM_PER_IDN14]'''

*Documentation photo of Vice President Mohammad Hatta giving a speech, also seen in the photo are President Soekarno, National Police Chief Raden Said Soekanto Tjokrodiatmodjo, and a group of state officials.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/alb-gam-per-idn-15 ALB_GAM_PER_IDN15]'''

*Documentation photo of a line of soldiers in the north square of the Yogyakarta Palace

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/alb-gam-per-idn-16 ALB_GAM_PER_IDN16]'''

*Documentation photo of a line of soldiers in the north square of the Yogyakarta Palace

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/alb-gam-per-idn-17 ALB_GAM_PER_IDN17]'''

*Documentation photo of a line of soldiers in the north square of the Yogyakarta Palace

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/alb-gam-per-idn-18 ALB_GAM_PER_IDN18]'''

*Documentation photo of a line of soldiers in the north square of the Yogyakarta Palace

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/alb-gam-per-idn-19 ALB_GAM_PER_IDN19]'''

*Documentation photo of a line of soldiers with a respectful attitude in the north square of the Yogyakarta Palace

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/alb-gam-per-idn-20 ALB_GAM_PER_IDN20]'''

*Documentation photo of a line of soldiers in the north square of the Yogyakarta Palace

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/alb-gam-per-idn-21 ALB_GAM_PER_IDN21]'''

*Documentation photo of a line of soldiers in the north square of the Yogyakarta Palace

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/alb-gam-per-idn-22 ALB_GAM_PER_IDN22]'''

*Documentation photo of Vice President Mohammad Hatta giving a speech in the north square of the Yogyakarta Palace.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/alb-gam-per-idn-23_202602 ALB_GAM_PER_IDN23]'''

*Documentation photo of the line of soldiers in the north square of the Yogyakarta Palace, also seen are people watching the ceremony.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/alb-gam-per-idn-24 ALB_GAM_PER_IDN24]'''

*Documentation photo of a line of soldiers in the north square of the Yogyakarta Palace

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/alb-gam-per-idn-25 ALB_GAM_PER_IDN25]'''

*Documentation photo of President Soekarno, Vice President Mohammad Hatta, and National Police Chief Raden Said Soekanto Tjokrodiatmodjo, inspecting the ranks of soldiers in the northern square of the Yogyakarta Palace.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/alb-gam-per-idn-26 ALB_GAM_PER_IDN26]'''

*Documentation photo of President Soekarno, Vice President Mohammad Hatta, and National Police Chief Raden Said Soekanto Tjokrodiatmodjo, inspecting the ranks of soldiers in the northern square of the Yogyakarta Palace.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/alb-gam-per-idn-27 ALB_GAM_PER_IDN27]'''

*Documentation photo of President Soekarno, Vice President Mohammad Hatta, and National Police Chief Raden Said Soekanto Tjokrodiatmodjo, inspecting the ranks of soldiers in the northern square of the Yogyakarta Palace.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/alb-gam-per-idn-28 ALB_GAM_PER_IDN28]'''

*Documentation photo of President Soekarno, Vice President Mohammad Hatta, and National Police Chief Raden Said Soekanto Tjokrodiatmodjo, inspecting the ranks of soldiers in the northern square of the Yogyakarta Palace.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/alb-gam-per-idn-29 ALB_GAM_PER_IDN29]'''

*Documentation photo of President Soekarno, Vice President Mohammad Hatta, and National Police Chief Raden Said Soekanto Tjokrodiatmodjo, inspecting the ranks of soldiers in the northern square of the Yogyakarta Palace.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/alb-gam-per-idn-30 ALB_GAM_PER_IDN30]'''

*Documentation photo of President Soekarno, Vice President Mohammad Hatta, and National Police Chief Raden Said Soekanto Tjokrodiatmodjo, inspecting the ranks of soldiers in the northern square of the Yogyakarta Palace.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/alb-gam-per-idn-31 ALB_GAM_PER_IDN31]'''

*Documentation photo of President Soekarno inspecting the ranks of soldiers in the northern square of the Yogyakarta Palace.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/alb-gam-per-idn-32 ALB_GAM_PER_IDN32]'''

*Photo of a group of soldiers from the National Police Agency

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/alb-gam-per-idn-33 ALB_GAM_PER_IDN33]'''

*Documentation photo of Vice President Mohammad Hatta, and National Police Chief Raden Said Soekanto Tjokrodiatmodjo, inspecting the ranks of soldiers in the northern square of the Yogyakarta Palace.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/alb-gam-per-idn-34 ALB_GAM_PER_IDN34]'''

*Documentation photo of the marching band from the Indonesian National Police at a ceremony.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/alb-gam-per-idn-35 ALB_GAM_PER_IDN35]'''

*Documentation photo of President Soekarno tidying up the attributes of one of the soldier on the north field of the Yogyakarta Palace.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/alb-gam-per-idn-36 ALB_GAM_PER_IDN36]'''

*Documentation photo of President Soekarno, Vice President Mohammad Hatta, and National Police Chief Raden Said Soekanto Tjokrodiatmodjo, inspecting the ranks of soldiers in the northern square of the Yogyakarta Palace.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/alb-gam-per-idn-37 ALB_GAM_PER_IDN37]'''

*Documentation photo of President Soekarno giving his respects, seen next to him is Vice President Mohammad Hatta.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/alb-gam-per-idn-38 ALB_GAM_PER_IDN38]'''

*Documentary photo of a line of soldiers saluting.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/alb-gam-per-idn-39 ALB_GAM_PER_IDN39]'''

*Documentation photo of soldiers carrying weapons.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/alb-gam-per-idn-40 ALB_GAM_PER_IDN40]'''

*Documentation photo of a line of soldiers in the north square of the Yogyakarta palace

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/alb-gam-per-idn-41 ALB_GAM_PER_IDN41]'''

*Documentation photo of a line of soldiers in the north square of the Yogyakarta palace

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/alb-gam-per-idn-42 ALB_GAM_PER_IDN42]'''

*Documentation photo of a line of soldiers in the north square of the Yogyakarta palace

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/alb-gam-per-idn-43 ALB_GAM_PER_IDN43]'''

*Documentation photo of a line of soldiers in the north square of the Yogyakarta palace

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/alb-gam-per-idn-44 ALB_GAM_PER_IDN44]'''

*Documentation photo of a line of soldiers in the north square of the Yogyakarta palace

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/alb-gam-per-idn-45 ALB_GAM_PER_IDN45]'''

*Documentation photo of a line of soldiers in the north square of the Yogyakarta palace

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/alb-gam-per-idn-46 ALB_GAM_PER_IDN46]'''

*Documentation photo of Soeharto's swearing-in when he became president of Indonesia

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/alb-gam-per-idn-47 ALB_GAM_PER_IDN47]'''

*Documentation photo of a line of soldiers in the north square of the Yogyakarta palace

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/alb-gam-per-idn-48 ALB_GAM_PER_IDN48]'''

*Documentation photo of a line of soldiers in the north square of the Yogyakarta palace

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/alb-gam-per-idn-49 ALB_GAM_PER_IDN49]'''

*Documentation photo of a line of soldiers in the north square of the Yogyakarta palace

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/alb-gam-per-idn-50 ALB_GAM_PER_IDN50]'''

*Documentation photo of a line of soldiers in the north square of the Yogyakarta palace

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/alb-gam-per-idn-51 ALB_GAM_PER_IDN51]'''

*Documentation photo of a line of soldiers in the north square of the Yogyakarta Palace, giving a salute

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/alb-gam-per-idn-52 ALB_GAM_PER_IDN52]'''

*Documentation photo of soldiers carrying weapons, in the north square of the Yogyakarta Palace

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/alb-gam-per-idn-53 ALB_GAM_PER_IDN53]'''

*Documentation photo of a line of soldiers in the north square of the Yogyakarta palace

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/alb-gam-per-idn-54 ALB_GAM_PER_IDN54]'''

*Documentation photo of a line of soldiers in the north square of the Yogyakarta Palace, giving a salute

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/alb-gam-per-idn-55 ALB_GAM_PER_IDN55]'''

*Documentation photo of a line of soldiers in the north square of the Yogyakarta palace

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/alb-gam-per-idn-56 ALB_GAM_PER_IDN56]'''

*Documentation photo of a line of soldiers in the north square of the Yogyakarta palace

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/alb-gam-per-idn-57 ALB_GAM_PER_IDN57]'''

*Documentation photo of a line of soldiers in the north square of the Yogyakarta palace

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/alb-gam-per-idn-58 ALB_GAM_PER_IDN58]'''

*Documentation photo of a line of soldiers in the north square of the Yogyakarta palace

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/alb-gam-per-idn-59 ALB_GAM_PER_IDN59]'''

*Documentation photo of a dog among a line of soldiers.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/alb-gam-per-idn-60 ALB_GAM_PER_IDN60]'''

*Documentation photo of a line of soldiers in the north square of the Yogyakarta palace

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/alb-gam-per-idn-61 ALB_GAM_PER_IDN61]'''

*Documentation photo of the demonstration of skills from the Kedoe Police Mobile Brigade unit, in the north square of the Yogyakarta palace

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/alb-gam-per-idn-62 ALB_GAM_PER_IDN62]'''

*Documentation photo of the demonstration of skills from the Kedoe Police Mobile Brigade unit, in the north square of the Yogyakarta palace

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/alb-gam-per-idn-63 ALB_GAM_PER_IDN63]'''

*Documentation photo of a soldiers' meeting

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/alb-gam-per-idn-64 ALB_GAM_PER_IDN64]'''

*Documentation photo of a military meeting, showing National Police Chief Raden Said Soekanto Tjokrodiatmodjo standing, and Vice President Mohammad Hatta sitting next to him.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/alb-gam-per-idn-65 ALB_GAM_PER_IDN65]'''

*Documentation photo of soldiers carrying weapons, in the north square of the Yogyakarta palace

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/alb-gam-per-idn-66 ALB_GAM_PER_IDN66]'''

*Documentation photo of soldiers carrying weapons, in the north square of the Yogyakarta palace

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/alb-gam-per-idn-67 ALB_GAM_PER_IDN67]'''

*Documentation photo of a line of soldiers from behind, in the northern square of the Yogyakarta Palace.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/alb-gam-per-idn-68 ALB_GAM_PER_IDN68]'''

*Documentation photo of a line of soldiers in the north square of the Yogyakarta palace

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

; '''[https://archive.org/details/img-029_202602 IMG_029]'''

*Above: Documentation photo of the clay miniatures used for the Singamangaraja Resistance diorama at Monas. Below: Documentation photo of the clay miniatures used for one of the dioramas at Monas.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

; '''Peristiwa Tanjung Morawa 16 Maret 1953'''
; '''[https://archive.org/details/map-ris-tjg-mor-00001 MAP_RIS_TJG_MOR_00001]'''

*Documentation photo of land belonging to the Department of Agriculture, Tanjung Morawa District, Deli Serdang Regency, North Sumatra.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/map-ris-tjg-mor-00002 MAP_RIS_TJG_MOR_00002]'''

*Documentation photo of a heavy machine.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/map-ris-tjg-mor-00003 MAP_RIS_TJG_MOR_00003]'''

*Documentation photo of a community group.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

==Museum Satriamandala, Jakarta==
Lorem ipsum dolor sit amet, consectetur adipiscing elit. Nunc porttitor mauris metus, vitae venenatis lacus gravida sit amet. Suspendisse cursus lectus eu leo varius, at auctor nibh imperdiet. Nunc consectetur metus eu venenatis commodo.

===[https://archive.org/details/sik-corps-al Album Beberapa Sikap Corps Marinir AL (Jakarta, 22-8-1978)]===

*This photo presents a systematic documentation of standard military drill and parade positions, both armed and unarmed, shown from multiple perspectives (front, rear, right, and left), including formations such as the perfect armed stance, armed salute, armed rest, normal rest unarmed, parade armed rest/guard stance, perfect armed shoulder stance, perfect unarmed stance, and parade rest unarmed, serving as a structured visual reference to ensure accuracy of posture, alignment, and formal disciplinary standards.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

===Album Diorama Proklamasi Museum Eka Ekstrim Kanan Satria Mandala #1===
Quisque ut ex convallis, congue urna egestas, ornare eros. Etiam feugiat nunc eu suscipit sagittis. Maecenas ullamcorper lacus nisi, in viverra urna pharetra et. Morbi accumsan auctor egestas. Quisque velit lectus, finibus a mauris et, dapibus auctor sapien.

===Album Diorama Proklamasi Museum Eka Ekstrim Kanan Satria Mandala #2===
Pellentesque suscipit, nibh nec luctus molestie, dui nunc gravida dolor, non condimentum elit ligula et turpis.

===[https://archive.org/details/gar-mat-mak-00000 Album Foto Perjuangan Indonesia]===

*Documentation of the activities of the X Garuda Mataram Brigade in Makassar under the leadership of Lieutenant Colonel Suharto in military operations to overcome the Makassar Uprising, also known as the Andi Aziz rebellion, in Makassar, South Sulawesi, 1950

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

===[https://archive.org/details/alb-rpkad Album RPKAD]===

*A collection of photo documentation of a series of technical instructions regarding the RPKAD soldiers' marching regulations, which include various basic positions such as perfect stance, normal rest, to armed rest parade in guard position, which are systematically documented from the front, rear, and left and right side perspectives, for diorama research purposes.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

===Buku Panduan Museum Satriamandala===
; '''[https://archive.org/details/central-museum-of-the-armed-forces-satria-mandala Central Museum Of The Armed Forces SATRIA MANDALA]'''

*An operational guidebook for visitors to the ABRI Satriamandala Central Museum in English, which includes information on visiting hours, descriptions of the main exhibition spaces in the First and Second Buildings, supporting facilities, floor plans, location maps, and descriptions of the reliefs.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/museum-satria-mandala-buku-panduan Museum Satria Mandala - Buku Panduan]'''

*An operational guidebook for visitors to the ABRI Satriamandala Central Museum in Indonesian, which includes information on visiting hours, descriptions of the main exhibition spaces in the First and Second Buildings, supporting facilities, floor plans, location maps, and descriptions of reliefs.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

===Dokumen dan Surat===
; '''[https://archive.org/details/surat-perintah-kerja-museum-pusat-abri Surat Perintah Kerja Museum Pusat ABRI, 1973]'''

*The Work Order Letter with letter number PRINT/1110/PUSJARAH/VIII/73 issued on 25th August 1973 in Jakarta is an official instruction from the ABRI (Armed Forces of the Republic of Indonesia) History Center to artist Edhi Sunarso to carry out the construction of the ABRI Central Museum phase III. Based on a series of Decrees of the Minister of Defense/Commander of the Armed Forces regarding the formation of the project committee and budget allocation for 1973/1974, this order includes the construction of 24 diorama dome units along with supporting installations (frames, windows, and glass) with a total work value of Rp11,947,000. The document was signed by Colonel Inf. Soepardijo, as Deputy Head of the ABRI History Center and stamped

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/surat-perintah-kerja-diorama-museum-pusat-abri Surat Perintah Kerja Diorama Museum Pusat ABRI, 1974]'''

*The Work Order Letter with the letter number SPRIN/161/PUSJARAH/XII/74 issued in Jakarta on 19th December 1974, was an official instruction from the ABRI History Center to a team of artists led by Edhi Sunarso (along with Saptoto, Ratmoyo, Heri Wibowo, and Ramelan). Based on the legal basis for the formation of the ABRI Central Museum Project Committee, this team was assigned to conduct field research on historical objects in the regions of Java, Bali, Sumatra, and Sulawesi. This research aimed to ensure historical accuracy in filling the dioramas at the ABRI Satriamandala Museum. The document was signed by Colonel Inf. Soepardijo, as Deputy Head of the ABRI History Center and stamped

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/19750107-surat-perintah-kerja-diorama-museum-pusat-abri Surat Perintah Kerja Diorama Museum Pusat ABRI, 1975]'''

*This Work Order with letter number PRIN/02/PUSJARAH/I/73 issued on January 7, 1975 in Jakarta was an official instruction from the ABRI History Center to an artist, Edhi Sunarso, assigned to produce 29 dioramas, including one large-scale diorama measuring 3x3 meters, with a total contract value of Rp52,000,000. The document was signed by Colonel Inf. Soepardijo, as Deputy Head of the ABRI History Center and stamped

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/19750823-surat-perintah-kerja-diorama-museum-pusat-abri Surat Perintah Kerja Diorama Museum Pusat ABRI, 1975]'''

*The Work Order with letter number SPRIN/167/PUSJARAH/VIII/75 issued on 23rd August 1975 in Jakarta is an official instruction from the ABRI History Center to Edhi Sunarso (diorama artist) and Ratmoyo (member of the museum contents team). Based on the legal basis for the construction of the ABRI Central Museum Phase III, the team was assigned to carry out in-depth historical research on the Red and White Incident in Manado, as well as the Andi Azis Rebellion and Westerling's brutality in South Sulawesi. The document was signed by Colonel Inf. Soepardijo, as Deputy Head of the ABRI History Center and stamped

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/19750922-kwitansi-museum-pusat-sejarah-abri Kwitansi Museum Pusat Sejarah ABRI, 1975]'''

*Proof of receipt of money by Edhi Sunarso from the ABRI (Indonesian Armed Forces) History Center Museum Development Project, "Satria Mandala" Jakarta, for the fifth installment payment of diorama filling costs in accordance with contract agreement number 08/PUSJARAH/I/75, amounting to Rp.7,800,000 (seven million eight hundred thousand rupiah). The proof of receipt was made on 22nd September 1975

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/19751002-berita-acara-pemeriksaan-diorama-museum-pusat-abri Berita Acara Pemeriksaan Diorama Museum Pusat ABRI, 1975]'''

*The Minutes of Inspection of the Diorama Making Work for the ABRI Central Museum, letter number BA/1307/PUSJARAH/IX/1975, records the results of the official verification conducted on 30th September 1975, on the completion of 29 dioramas for the ABRI Central Museum Satriamandala by artist Edhi Sunarso. The inspection team consisting of Colonel Inf. Soepardjijo, Drs. Sukardi SHH, and Sri Suko stated that all work had been completed correctly in accordance with the provisions of the agreement letter dated 3rd January 1975. Based on the inspection results, the contractor was entitled to receive the fifth installment payment of 15% of the contract value (Rp.7,800,000,-), with the obligation to maintain and improve for three months until 22nd December 1975. This document was signed by Colonel Inf. Soepardijo, Drs. Sukardi SHH, and Sri Suko in Jakarta on 2nd October 1975.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/19751002-berita-acara-penyerahan-pertama-diorama-museum-pusat-abri Berita Acara Penyerahan Pertama Diorama Museum Pusat ABRI, 1975]'''

*The Minutes of First Handover of ABRI Central Museum Dioramas with letter number. BA/308/PUSJARAH/X/1975 issued on 2nd October 1975 regulates the first handover of the results of the diorama filling work of the ABRI Satriamandala Central Museum. In this document, the 2nd Party (Edhi Sunarso) officially handed over 29 diorama units to the 1st Party (ABRI History Center) in accordance with the terms of the contract dated 3rd January 1975. This handover was declared in good condition by Colonel Inf. Soepardijo with the clause that the responsibility for improvement and maintenance remains with the 2nd Party during the three-month warranty period until 22nd December 1975. This administrative validation became the basis for the payment of the fifth installment of 15% of the total contract value (Rp.7,800,000,-). This document was signed by Edhi Sunarso, as the 2nd Party (Contractor/Executor) and Colonel Inf. Soepardijo as the 1st Party (Deputy Head of the ABRI History Center), and stamped

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/19751002-kwitansi-diorama-museum-abri Kwitansi Diorama Museum ABRI, 1975]'''

*This document is proof of an official financial transaction for the fifth installment of the diorama project for the ABRI Satriamandala Museum. In the payment receipt, Marine Major (A) Drs. A. Kusaeri, as Treasurer of the Wisma Yaso Project, transferred Rp7,800,000 (seven million eight hundred thousand rupiah) to artist Edhi Sunarso, the contractor. This document was signed by Marine Major (A) Drs. A. Kusaeri and Edhi Sunarso on October 2, 1975.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/19751200-berita-acara-penyerahan-kedua-diorama-museum-pusat-abri Berita Acara Penyerahan Kedua Diorama Museum Pusat ABRI, 1975]'''

*Minutes of the Second Handover of the Filling of the ABRI Central Museum Diorama signed by Drs. Nugroho Notosusanto, with the rank of Brigadier General of the Indonesian National Army, who serves as the Head of the ABRI History Center as the Head of the ABRI Museum Project, hereinafter referred to as the First Party, and Edhi Sunarso as the contractor of the ABRI Museum diorama, hereinafter referred to as the Second Party. In the minutes it is explained that the second party has been able to be paid the sixth (final) wholesale price of 5% of the total wholesale price or Rp.2,600,000 (two million six hundred thousand rupiah). The minutes were made in Jakarta, and signed by Drs. Nugroho Notosusanto and Edhi Sunarso in December 1975

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
; '''[https://archive.org/details/19760624-kwitansi-sewa-bus Kwitansi Sewa Bus, 1976]'''

*Proof of receipt of money by Johnny from ASRI (Indonesian Fine Arts Academy) Yogyakarta for payment of bus rental for 5 days from 24th June 1976 to 28th June 1976 to Jakarta, amounting to Rp. 200,000 (two hundred thousand rupiah). The proof of receipt of money was made in Yogyakarta on 24th June 1976, affixed with a stamp and signed by Johnny.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

===EKA===

===Eka Ekstrem Kanan Satya Mandala_(dari meja)===

===Laporan Diorama Museum ABRI===

===MAP BIRU_Museum Satria Mandala===

===Map Hijau EKA #2===

===MAP HIJAU_Angkatan Udara RI===

===Pembuatan Diorama "Eka-Ekstrimkanan" Satria Mandala Jakarta Tahun 1976===

===Potret Jendral-Jendral===

===Proses revisi===
; '''[https://archive.org/details/19750522-pakaian-dinas-upacara-abri Pakaian Dinas Upacara ABRI]'''

*This document serves as an official guideline or regulation for the use of uniforms (attributes) of the Indonesian Armed Forces Ceremonial Service Uniform I (PDU-I) which displays illustrations of official ceremonial uniforms for the four branches, namely the Indonesian Army (AD), the Indonesian Navy (AL), the Indonesian Air Force (AU), and the Indonesian National Police (POLRI), then the Indonesian Armed Forces Ceremonial Service Uniform II (PDU-II) which displays illustrations of other versions of the ceremonial uniforms used in the military and police environment of the Republic of Indonesia during that period.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

; '''[https://archive.org/details/19780731-surat-perintah-kerja-museum-abri-satria-manda Surat Perintah Kerja_Museum ABRI Satria Mandala]'''

*Work Order Letter with letter number SPK/105/PUSJARAH/III/78 issued by the Department of Defense and Security in Jakarta on 31st July 1978 to Edhi Sunarso, to carry out the work of making ABRI uniform mannequins, to be installed at the ABRI Satriamandala Museum. The letter also explains the number of mannequins complete with their bases, the uniform period, the wholesale price, and the deadline for the work. This letter was signed by Brigadier General TNI Drs. Nugroho Notosusanto, as Head of the ABRI History Center, and stamped

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

===[https://archive.org/details/ris-ser-tni-al Riset seragam TNI AL]===

*Photo documentation of Indonesian uniforms from the era of the Maritime Homeland Defense Forces (PETA Laut, 1946) to standardization in 1975. The scope includes various categories of service clothing (Daily, Ceremonial, and Servant) as well as special uniforms for the Navy Women's Corps and Military Police. This information includes technical details of materials (drill, gabardine, tetoron), colors (white, gray, Navy green), and specifications for the front and back of the clothing pieces stored at the Indonesian Navy National Armed Forces Museum, Morokrembangan, Surabaya. contains 34 photos (only 26 found, ed. Hyphen —)

===[https://archive.org/details/sejarah-singkat-hakekat-museum-sejarah-dan-perpustakaan Sejarah Singkat, Hakekat Museum, Sejarah, dan Perpustakaan, 1978]===

*This book details the history of the founding of the Indonesian Air Force Central Museum "Dirgantara Mandala", which began with the idea of the AURI leadership in 1960 to immortalize the historical events of the air force, until its inauguration in Jakarta in 1969 and its relocation to Yogyakarta in 1978 due to the historical value of the city as the birthplace of the Indonesian Air Force.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

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==Museum Sejarah Nasional (National History Museum)==
Located in the basement of Monumen Nasional (National Monument), Jakarta, popularly known as Monas. Colloquially, the museum is dubbed as "Museum Monas".

===Dokumen dan Surat===
====[https://archive.org/details/19651228-surat-idzin-djalan-menemui-pjm-soekarno Surat Idzin Djalan - Menemui PJM Soekarno]====
*Travel Permit with letter number 023/Djl./I.J./12/65 issued by the Yogyakarta Palace Household for Edhi Sunarso, A.S.R.I. (Indonesian Academy of Fine Arts) Lecturer in Yogjakarta, with address at A.S.R.I. Gampingan Yogyakarta, to meet with His Majesty the President in Jakarta, by train, on 29th December 1965 until it is completed, with one person accompanying him. The Travel Permit was issued in Yogyakarta, on 28th December 1965, at 12.00 West Indonesian Time, signed by Alip Parintono, as Supervisor of the Yogyakarta Palace Household, and stamped.

====[https://archive.org/details/19660108-surat-keterangan-monas-auri-musi Surat Keterangan Monas, AURI, Musi]====
*Statement letter with letter number 7/Ktr./U.P./66.-, which explains that Edhi Sunarso, with a job as a Lecturer at the Indonesian Academy of Fine Arts R.I. (Republic of Indonesia)/Head of the Keluarga Arca Sculptor Team in Yogjakarta, received an assignment from His Majesty the President, as the executor/coordinator of the A.U.R.I. (Indonesian Air Force) Monument Statue project, Musi Bridge Decoration Statue, Hotel Decoration, National Monument, and others. The letter was issued in Jakarta, on 8th January, 1966, and signed by Djamin, as Presidential Secretary-Head of the Presidential Cabinet, and stamped.

====[https://archive.org/details/19660114-susunan-personalia-patung-banteng-monas Susunan Personalia Patung Banteng Monas]====
*The composition of the personnel of the Jakarta National Museum Bull Statue Implementation Team, consisting of Soedarsono as the National Monument Executive Director, Edhi Sunarso and I. Gardono as the Personnel in Charge of the Implementation, Drs. Soepardjo and A. Singgih as the Implementation Staff, the Keluarga Arca Sculptor Team as the Planning Team, and Sarpomo, Soewardi, Boediani, Mon Moedjiman, Herjana Iskandar, Askabul, and Harri Djauharuddin as the Core Team of Sculptors. The composition of the personnel was signed by Edhi Sunarso as the sculptor on 14th January 1966 in Jakarta.

====[https://archive.org/details/19660707-surat-keterangan-monas Surat Keterangan MONAS]====
*This certificate was issued by the National Monument Implementation Command in Jakarta on July 7, 1966, providing official identification and details of the work of Edhi Sunarso, aged 33, who was assigned as an artist in the National Monument (Monas) Project at Merdeka Square, Jakarta, and lived in the National Monument Project Housing in Medan Merdeka. This document serves as an official assignment letter authorizing the holder to carry out daily duties in the National Monument Project area and serves as official identification when dealing with military or police authorities, who are requested to contact the Security Division of the National Monument Implementation Command. The certificate is valid for a period of one month from the date of issuance and is signed by Kunto Sudarsono, Lieutenant Colonel of the Military Police Corps (CPM), service number 12687, in his capacity as Deputy Commander and Special Assistant for Security Affairs of the National Monument Implementation Command.

====[https://archive.org/details/surat-dinas-project-monas-1 Surat Dinas Project Monas_1]====
*A statement letter issued by the State Secretariat of the Presidential Cabinet stating that Edhi Sunarso, a sculptor/lecturer at the Indonesian Fine Arts Academy (A.S.R.I.) in Yogyakarta, was assigned by His Majesty the President to carry out the following projects: 1. The Air Force Monument Statue. 2. Decoration of the Musi River Bridge Project. 3. Coordinator of Special Projects Ordered by the His Majesty the President. The letter was drawn up in Jakarta on 29th January 1965, signed by Djamin, the Presidential Secretary/Head of the Presidential Cabinet, and stamped.

====[https://archive.org/details/surat-dinas-project-monas-2 Surat Dinas Project Monas_2]====
*Official duty order issued by the Indonesian Fine Arts Academy of Yogyakarta for Edy Sunarso (another name from Edhi Sunarso), who serving as a Lecturer at the Indonesian Fine Arts Academy, with a basic salary of Rp.1,764, located in Yogyakarta, with the destination being Jakarta, for official purposes to accompany the Director of A.S.R.I. (Indonesian Fine Arts Academy) to the National Monument Project, which departed on 11th February 1966, until it is completed. The official duty order was made in Yogyakarta on 10th February 1966 signed by Alibasjah as Director of the Indonesian Fine Arts Academy and Edhi Sunarso as the letter holder.

===Foto===
====Foto diorama MONAS oleh Ary "Jimged" Sendy====
=====[https://archive.org/details/01-masyarakat-indonesia-purba-3000-2000-sm-img-9473 MASYARAKAT INDONESIA PURBA, 3000-2000 SM]=====
*DIORAMA 1: MASYARAKAT INDONESIA PURBA (3.000 - 2.000 SM)
::Nenek moyang Bangsa Indonesia (Paleo-Mongoloid) pada Zaman Megalithikum sudah hidup dalam masyarakat teratur. Mereka sudah mempunyai tempat tinggal tetap, sebagian sudah jadi pelaut dan sebagian lagi hidup sebagai petani. Selain pakaian dari kulit kayu sudah dikenal juga pakaian dari tenunan. Hasil budaya Megalithikum yang terpenting diantaranya adalah alat-alat serpih (flakes, pebbles dan bones), menhir (tiang batu), dolmen (meja batu), sarcophagus, kubur batu (peti mayat batu), punden berundak-undak (bangunan pemujaan) dan arca. Benda-benda peninggalan budaya Megalithikum it tersebar di seluruh Indonesia, tetapi yang terpenting terdapat di Pasemah (daerah pegunungan yang terletak antara wilayah Palembang dan Bengkulu) dan Besuki (Pulau Jawa). Diorama in menggambarkan kehidupan nenek moyang bangsa Indonesia.

*DIORAMA 1: THE PREHISTORIC INDONESIAN SOCIETY (3.000 - 2.000 BC)
::The Indonesian forefathers (Paleo-Mongoloid) in the Neolithic age had already a sort of ordered society. They had permanent homes making a living as fisher-men or farmers. They knew clothing either woven besides clothing made from the bark of trees. The most important instruments of the Neolithi-cum culture are flakes, pebbles and bones, stone coffin, little houses of worship and even statues. These remains are scattered over the whole of Indonesia, but the most important things are found at the Pasemah plain (between Palembang and Bengkulu) and at Besuki (East Java). The diorama shows the life-style of Indonesian prehistoric society.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

=====[https://archive.org/details/02-bandar-sriwijaya-abad-viii-xiii-img-9469https://archive.org/details/02-bandar-sriwijaya-abad-viii-xiii-img-9469, BANDAR SRIWIJAYA, ABAD VIII-XIII]=====
*DIORAMA 2: BANDAR SRIWIJAYA (ABAD KE 8 - 13)
::Bandar Sriwijaya terletak di persimpangan tiga jalur pelayaran antara Indonesia, Cina dan India. Posisi ini sangat menguntungkan bagi Kerajaan Sriwijaya, sehingga dengan sendirinya memegang peranan penting pula dalam perjalanan perdagangan selama berabad-abad. Kapal-kapal dari negeri Cina yang membawa pendeta-pendeta Budha banyak berlabuh dan sering menetap untuk waktu yang lama. Bandar tersebut akhirnya menjadi pusat perdagangan dan budaya pada waktu itu. Letak Bandar Sriwijaya berada di muara sungai di daerah pertemuan sungai Kampar Kanan dan Kampar Kiri kira-kira 2.5 derajat sebelah Utara Palembang. Diorama ini menggambarkan kegiatan perdagangan di Bandar Sriwijaya.

*DIORAMA 2: THE PORT OF SRIWIJAYA (8TH - 13TH CENTURY)
::The Port of Sriwijaya was very favorably located for the Kingdom as it used to be the crossroad of the prominent trade routes among Indonesia - China - India and brought many windfalls to the Sriwijaya dynasty. Automatically it had a prominent part and influenced the international trade. Strange and foreign vessels fre-quented the Port, moreover, many Buddhist priests from China stopped over, so that finally it became the center of trade and culture. The Port of Sriwijaya is located in mouth of the river Kampar Kanan and Kampar Kiri, about 2,5 degree of the northern of Palembang, South Sumatra. The diorama shows the atmosphere of trading ac-tivities among the merchants.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

=====[https://archive.org/details/03-candi-borobudur-824-img-9480 CANDI BOROBUDUR (824)]=====
*DIORAMA 3: CANDI BOROBUDUR (824)
::Candi Borobudur didirikan pada sekitar tahun 824 M oleh Raja Samaratungga dari keluarga Sailendra. Bangunan candi berbentuk pyramid dan mencerminkan alam semesta. Bangunan ini dibuat dari batu sumbangan para menganut agama Budha dan dibangun dengan cara gotong-royong. Dalam pembangunan Candi Borobudur, hampir dua ratus ribu kaki kubik batu dipergunakan, lebih dari empat puluh ribu kaki kubik masuk dalam tingkat-tingkat terbuat dari batu. Pada candi ini terdapat 505 buah patung Budha dan 1.555 Stupa ukuran besar dan kecil yang melengkapi monumen Budha yang megah ini. Dari pendirian bangunan ini terbukti bahwa kemampuan bangsa Indonesia di bidang teknik dan organisasi sudah baik. Diorama ini menggambarkan tahap akhir pembangunan Candi Borobudur.

*DIORAMA 3: THE BOROBUDUR TEMPLE (824)
::Candi Borobudur was founded by King Samaratungga of the Cailendra dynasty in the year 824 and is a reflection of the universe. It was built by means of contributions from the Buddhist population and mu-tual cooperation of the people. The construction of the Candi has indicated that time the nation had already achieved a high technical knowledge and organization. Candi Borobudur is regarded to be one of the wonders of the world. On the temple founded 505 Buddhist statues and 1.555 large and little "Stupa" which completed the great Buddhist monument. On the temple construction was proved the ability of the Indonesian people in technical and organization. The diorama shows the last stage of the construction

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

=====[https://archive.org/details/04-bendungan-waringin-sapta-abad-xi-img-9482 BENDUNGAN WARINGIN SAPTA ABAD XI]=====
*DIORAMA 4: BENDUNGAN WARINGIN SAPTA (ABAD KE 11)
::Setelah Raja Airlangga memperoleh wilayah yang menjadi haknya, kemudian ia berusaha memakmurkan rakyatnya. Sungai Brantas yang sering meluap dan selalu menimbulkan kerusakan-kerusakan pada tanah-tanah persawahan dibendung dengan mendirikan tanggul di Waringin Sapta. Untuk menjaga supaya tanggul tidak rusak, Raja Airlangga menunjuk rakjat setempat untuk memeliharanya, dan sebagai imbalan daerah tersebut dibebaskan dari kewajibannya membayar pajak. Akibatnya, rakyat makmur, pelayaran di Sungai Brantas bertambah ramai dan Pelabuhan Hujung Galuh menjadi pusat perdagangan antar pulau. Diorama ini menggambarkan ketika sungai Brantas sedang dibendung dekat Kelagen dan diawasi oleh Raja Airlangga.

*DIORAMA 4: WARINGIN SAPTA DAM (11TH CENTURY)
::After King Airlangga obtained his right domain, he endeavored to promote the prosperity and welfare of his people. The Brantas River which frequently over-flowed its bank caused much damage to large areas of the people's rice fields, was dammed up by rearing dike in order to control the flood and provide irrigation. To guard the dike against harm and damage, he ordered the local people to maintain it, and as a compensation he decreed them free from taxes and as a result the people prospered, the trip increased in Brantas river, and Hujung Galuh became the center of inter island trading. The diorama shows the Brantas River being dammed up near the village of Kelagen and King Airlangga supervising.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

=====[https://archive.org/details/05-candi-jawi-perpaduan-sivaisme-dan-buddhisme-1292-img-9488 CANDI JAWI PERPADUAN SIVAISME DAN BUDDHISME, 1292]=====
*DIORAMA 5: CANDI JAWI PERPADUAN SIVAISME-BUDHISME (1292)
::Candi Jawi terletak di Gunung Welirang, sebelah barat daya Pandakan di tepi jalan ke Prigen dan didirikan untuk makam Raja Kertanegara, raja terakhir kerajaan Singasari yang meninggal pada tahun 1292. Dibagian atas candi terdapat arca Budha Aksobhya sedangkan di bagian bawah caridi terdapat arca Siva-Mahadewa. Dari bangunan ini dapat diketahui bahwa pada jaman Singasari dan Majapahit terjadi perpaduan Sivaisme-Budhisme. Diorama ini menggambarkan ketika pemimpin agama Budha serta pengikut-pengikutnya sedang mengadakan upacara keagamaan di Candi Jawi

*DIORAMA 5: JAWI TEMPLE, A BLEND OF SIVAISM-BUDDHISM (1292)
::Candi Jawi is located at Gunung Welirang. South-west of Pandaan along side the road to Prigen, East Java and founded as the grave of King Kartanegara, the last King of the Singasari Dynasty, who died in 1292. It features Buddha statue at its upper part and statue of Siva-Mahadewa at its lower part. From the Candi can be deducted that at time a merging of Sivaism and Buddhism occurred in the era of Singosari and Majapahit dynasties. The diorama shows a Buddhist priest and monks conducting a religious ceremony at Candi Jawi.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

=====[https://archive.org/details/06-sumpah-palapa-1331-img-9490 SUMPAH PALAPA 1331]=====
*DIORAMA 6: SUMPAH PALAPA (1331)
::Dalam rangka membela integrasi Negara Majapahit, Gajah Mada seorang Patih dari Kerajaan Majapahit yang terkenal, bersumpah tidak akan makan Palapa sebelum Nusantara dapat dipersatukan di bawah mahkota Majapahit. Peristiwa ini dikenal dengan nama Sumpah Palapa. Sumpah itu dilakukan di Panangkilan, suatu tempat yang terletak di sebelah selatan alun-alun Majapahit. Pada saat itu banyak rekan-rekan Gajah Mada yang menertawakan dan mencemoohkannya. Namun Gajah Mada tejap teguh pada pendiriannya dan akhirnya berhasil menepati janji itu. Diorama ini menggambarkan Patih Gajah Mada dengan menggenggam sebilah keris mengucapkan Sumpah Palapa di hadapan prajurit-prajurit kerajaan Majapahit.

*DIORAMA 6: THE PLEDGE OF PALAPA (1331)
::In his effort to maintain the integration of Nusantara, Gajah Mada, the famous Vice-regent of the Majapahit Kingdom, pledged not to eat Palapa (rice with side dishes) before Nusantara (the Indonesian Archipelago) has been united under the reign of Majapahit. The pledge took place at Penangkilan, a certain place south of the Alun-alun of Majapahit. Many of his contemporaries laughed and ridiculed him. Gajah Mada. however, held firmly and eventually fulfilled his promise. The diorama shows Gajah Mada being pledged in front of the Gajah Mada troops.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

=====[https://archive.org/details/07-armada-perang-majapahit-abad-ke-14-img-9500 ARMADA PERANG MAJAPAHIT ABAD KE-14]=====
*DIORAMA 7: ARMADA PERANG MAJAPAHIT (ABAD KE 14)

::Setelah Gajah Mada meninggal, timbul kesulitan dalam pemerintahan Raja Hayam Wuruk. Pemerintah yang baru berusaha mengekalkan keutuhan negara. Maka tindakan-tindakan ditujukan kepada kemakmuran rakyat dan keamanan daerah-daerah mendapat prioritas utama. Upaya tersebut dilakukan dengan memperkuat armada Majapahit dengan tujuan untuk menjaga keutuhan Nusantara dan mengatasi tindakan pengacauan yang dilakukan oleh Cina. Diorama ini menggambarkan armada Majapahit sedang menghadang kapal-kapal Cina di perairan Nusantara.

*DIORAMA 7: THE FLEET OF MAJAPAHIT (14TH CENTURY)
::After the death of the prominent figure Gajah Mada. disturbances arose under the reign of King Hayam Wuruk. The new sovereign strove to enforce the unity of Majapahit Kingdom. So, efforts for the people's pros-perity and the defence of all territory were given high priority. This was proved by strengthening the Majapahit's fleet with the aim to safeguard Nusantara's unity and resist attempts to create disorders by Chinese fleet, among other things. The diorama shows the Majapahit's fleet succeeds in driving away the Chinese fleet.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

=====[https://archive.org/details/08-utusan-china-ke-majapahit-1405-img-9503 UTUSAN CHINA KE MAJAPAHIT 1405]=====
*DIORAMA 8: UTUSAN CINA KE MAJAPАНІТ (1405)
::Semasa pemerintahan raja Wikrama-wardhana, hubungan persahabatan dengan negara-negara tetangga berlangsung baik. Hal ini terbukti dengan kedatangan Cheng Ho, utusan kerajaan Kaisar Cina ke Majapahit sebagai pengakuan kedaulatan Kerajaan oleh Cina. Diorama ini menggambarkan Cheng Ho sedang membawa hadiah dari Kaisar Cina sedang menghadap raja Wikramawardhana.

*DIORAMA 8: THE CHINESE ENVOY TO MAJAPAHIT (1405)
::In the reign of king Wikramawardhana friendly relations with neighboring states and kingdoms were main-tained in good order. This was confirmed with the com-ing of Cheng Ho, the Emperor of China delegation visiting Majapahit as recognition of the Kingdom's sover-eignty by China. The diorama shows Cheng Ho with presents from the Emperor of China makes a formal appearance before King Wikramawardhana.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

=====[https://archive.org/details/09-peranan-pesantren-dalam-penyatuan-bangsa-abad-ke-14-img-9507 PERANAN PESANTREN DALAM PENYATUAN BANGSA, ABAD KE-14]=====
*DIORAMA 9: PESANTREN SEBAGAI PEMERSATU BANGSA INDONESIA (ABAD KE 14)
::Salah satu cara untuk menyebarkan Agama Islam di Indonesia adalah melalui pendidikan di pesantren atau pondok yang diselenggarakan oleh guru-guru agama, kyai-kyai atau ulama. Pesantren merupakan lembaga penting dalam penyebaran agama Islam. Di tempat ini dilakukan pembinaan calon-calon guru agama, kyai-kyai atau ulama. Setelah keluar dari pesantren itu mereka akan kembali ke daerah asal masing-masing. Pesantren-pesantren beserta kyai-kyai mempunyai peranan yang penting dalam proses pengembangan pendidikan masyarakat. Semakin terkenal kyai yang mengajar itu semakin terkenal pesantrennya dan pengaruhnya akan mencapai radius yang lebih jauh lagi. Dengan cara ini integrasi nasional berdasarkan Islam meliputi wilayah yang makin lama makin luas. Diorama ini menggambarkan suasana pengajaran di Pondok Pesantren yang dipimpin oleh Sunan Giri di Jawa Timur.

*DIORAMA 9: MOSLEM BOARDING SCHOOLS IN UNITING THE NATION (14TH CENTURY)
::One of the methods of spreading the Islam in Indonesia is education conducted in the Pesantren (Moslem Boarding Schools) by religious teachers, scholars or kiaies. Pesantrens are significant institution in the spreading of Islam. After graduation, the students return to their homestead or villages. At their homestead they become prominent religious figures and establish their own Pesantrens. The Pesantren and Muslim religious leaders rep-resent an important element in the propagation of Is-lam and the spread of education. The more well-known the kiaies the more well-known his Pesantren and his influence will be widespread. This way the longer the wider the area of integration based on Islam. The diorama shows the atmosphere of Islamic teaching at a pesantren led by Sunan Giri in East Java

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

=====[https://archive.org/details/10-pertempuran-pembentukan-jayakarta-22-juni-1527-img-9511 PERTEMPURAN PEMBENTUKAN JAYAKARTA, 22 JUNI 1527]=====
*DIORAMA 10: PERTEMPURAN SUNDA KELAPA (1527)
::Dalam usaha menyerang Malaka yang diduduki Portugis, Sultan Trenggono dari Demak tidak melakukannya secara langsung melainkan dengan jalan mengisolasi daerahnya dari pengaruh Portugis, terutama daerah-daerah yang pendukungnya belum masuk Islam. Setelah diketahui bahwa Portugis berhubungan dengan Raja Samian yang saat itu menguasai Pelabuhan Sunda Kelapa, Sultan Trenggono segera memerintahkan menantunya, yakni Pangeran Fatahillah, untuk segera menduduki Banten, Sunda Kelapa dan Cirebon. Pada tahun 1522 Penguasa daerah Sunda Kelapa. Raja Samian, mengadakan perjanjian dengan wakil Portugis. Henrique Leme, yang memberikan izin mendirikan benteng bagi Portugis. Ekspedisi Demak yang dipimpin Fatahillah pada tahun 1527 berhasil menduduki Banten, Sunda Kelapa dan Cirebon. Untuk menagih janji Raja Samian, pada tahun 1527 Portugis mengirim ekspedisi terdiri dari 6 buah kapal yang dipimpin oleh Francisco de Sa. Ternyata Portugis tidak lagi berhadapan dengan kerajaan Hindu melainkan dengan kerajaan Islam. Setelah tuntutan mereka ditolak oleh Fatahillah mereka mencoba mendaratkan tentaranya. Usaha tersebut dilawan oleh Fatahillah sehingga terjadilah pertempuran yang berlangsung di Teluk Sunda Kelapa. Armada Portugis akhirnya berhasil dipukul mundur. Peristiwa ini diabadikan dengan mengganti nama Sunda Kelapa menjadi Jayakarta. Diorama ini menggambarkan pertempuran yang berlangsung di Teluk Sunda Kelapa pada tanggal 22 Juni 1527.

*DIORAMA 10: THE BATTLE OF SUNDA KELAPA (1527)
::In the effort to attack Malacca which was ruled by the Portuguese, Sultan Trenggono of Demak did not carry it out directly but he isolated his area from the influence of the Portuguese, especially the area whose inhabitants were not converted yet to Islam. When he realized that the Portuguese was in contact with King Samian, the authority of Sunda Kelapa, Sultan Trenggono immediately ordered his son-in-law to occupy Banten. Sunda Kelapa and Cirebon. In 1522, King Samian signed an agreement with the Portuguese, represented by Henrique Leme which gave the Portuguese the right to build a fortress for his trade interest in Sunda Kelapa. Early in 1522 Demak expedition led by Fatahillah succeeded in occupying Banten, Sunda Kelapa and Cirebon. To press his claim further on King Samian, on 1527, the Portuguese sent an expedition of six ships led by Francisco de Sa. But evidently they did not oppose, a Hindu kingdom anymore, but an Islamic monarch. When their demand were rejected by Fatahillah, they tried to embark with force and so began the siege of the Bay of Sunda Kelapa. The Portuguese was then successfully by Fatahillah's troops. This event is immortalized by changing the name of Sunda Kelapa to Jayakarta (Glorious City). The diorama shows the battle of Sunda Kelapa on A June 22, 1527 when the Prince Fatahillah and his troops defeated the Portuguese fleet off Sunda Kelapa Bay

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.
=====[https://archive.org/details/11-armada-perang-bugis-abad-ke-15-img-9515 ARMADA PERANG BUGIS, ABAD KE-15]=====
*DIORAMA 11: ARMADA DAGANG BUGIS (ABAD KE 15)
::Pelayaran orang Makasar dan Bugis dengan pinisi mulai abad ke 15 atau sebelumnya sudah meliputi hampir seluruh perairan Nusantara. Cerita tentang pengembaraan Sawerigading bisa memberi petunjuk tentang luasnya daerah-daerah yang dikunjungi. Gambaran lebih jelas baru diperoleh dari catatan pada masa sesudahnya. Misalnya dalam tulisan tentang hukum laut Amanna Gappa dan juga dari peta laut Bugis. Dari bukti-bukti ini kita melihat bahwa pelayaran mereka sampai ke Aceh. Kedah, Kamboja. ke Timur sampai ke Kei dan Teluk Ternate dan ke Utara sampai ke pulau-pulau Filipina (Sulu) dan Kalimantan Utara (Berau). Selanjutnya, menurut kisah Daeng Saro dari kampung Bontoranu, pelayaran penangkap-penangkap teripang dari Sulawesi Selatan sampai ke Marege, yaitu nama penduduk asli Australia dalam bahasa Bugis dan Makasar mengambil rute Ujung Pandang, Selayar, Wetar, Kisar. Leti dan Moa, selajutnya ke arah Tenggara ke pelabuhan Darwin. Diorama ini menggambarkan pelayaran armada dagang Bugis.

*DIORAMA 11: THE BUGINESE MERCANTILE FLEET (15TH CENTURY)
::The voyages of the Makassarese and Buginese using pinisi (Bugis traditional cargo boat) in the 15th cen-tury and before reached almost all the outskirts of the Indonesian archipelago and beyond. The story of Sawerigading adventures showed how wide was their visitation area. The figure became cleaner when the new evidence was obtained from the sea law Amanna Gappa and the Buginese nautical chart. From these evidences we could see that their voy-ages reached Aceh, Kedah, Cambodia, and east to Kei islands and Ternate Bay, and north to the Philippines archipelago (Sulu) and northern Kalimantan (Borneo). Furthermore, according to Daeng Saro story of the Bontoranu village, the voyages of fishermen from South Sulawesi to Marega took the route Ujung Pandang, Selayar, Wetar, Kisar, Leti and Moa, and then to south-east heading for Darwin sea port. The diorama shows a number of the Buginese mercantile fleet being ready to sail away.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.
=====[https://archive.org/details/12-perang-makassar-1654-1668-img-9517 PERANG MAKASSAR, 1654-1668]=====
*DIORAMA 12: PERANG MAKASAR (1654 - 1668)
::Saingan V.O.C. dalam perdagangan abad ke 17 adalah Makasar. Sultan Makasar, Hasanuddin, membuka pelabuhannya untuk negara asing yang mau berhubungan dagang dengan Makasar. Melihat perkembangan Makasar dan sikap Sultan yang menjalankan politik bebas dalam perdagangan itu. Kompeni kemudian menggunakan politik pecah belah dan kuasai dengan menunggangi Aru Palaka. Sultan Hasanuddin terpaksa menerima perjanjian Bonggaya yang ditandatangani tanggal 18 November 1667. Dalam perjanjian ini V.O.C. diberi hak untuk membuat benteng di Makasar yang akhirnya mengurangi ruang gerat bagi pelaut Makasar. Diorama ini mnggambarkan Sultan Hasanuddin memimpin pertempuran mempertahankan benteng Sombaopu dari serbuan Belanda pada tnggal 8-9 Agustus 1668.

*DIORAMA 12: MAKASSAR WAR (1654-1668)
::The V.O.C. trading competitor on 17th century was Makassar. Sultan Hasanuddin of Makassar adopted a policy of free trade with all nations, he opened his Port for foreign traders who desired to trade with Makassar. Observing the growth and development of Sultan's policy, the V.O.C. (the Dutch East Indies Com-pany that held a monopoly in Indonesia 1602-1799) decided to use its 'the divide and rule' policy by using Aru Palaka. Sultan Hasanuddin was forced to accept the Bonggaya treaty which was signed on 18 Novem-ber 1667. The V.O.C. was given the right to build a fortress in Makassar and afterwards was able to decrease the space of activities of the Makassar fleet. The diorama shows Sultan Hasanuddin personally leads the fight defending Sombaopu fortress against the Dutch attack on 8-9 August 1668.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

=====[https://archive.org/details/13-perlawanan-pattimura-1817-img-9519 PERLAWANAN PATTIMURA, 1817]=====
*DIORAMA 13: PERLAWANAN PATTIMURA (1817)
::Berdasarkan Konvensi London tahun 1814, Belanda berkuasa kembali di Indonesia serta mengulangi menjalankan monopolinya di mana segala sesuatu yang bersifat eksploitasi dilaksanakan kembali. Rakyat Maluku dipimpin oleh Pattimura dan dibantu oleh Christina Martha Tiahahu menolak politik monopoli tersebut kemudian memberontak terhadap Belanda. Diorama ini menggambarkan serbuan rakyat Maluku di bawah pimpinan Pattimura pada tanggal 15 Mei 1817 berhasil merebut benteng Duurstede di Pulau Saparua di mana hampir seluruh tentara Belanda di dalam benteng ini terbunuh.

*DIORAMA 13: PATTIMURA UPRISING (1817)
::Based on the London Convention in 1814, the Dutch Government reclaimed their sovereignty in Indonesia and re-established their policy of monopoly in trade by reinforcing their method o f exploitation. The people of the Mollucas led by Pattimura and assisted by Christina Martha Tiahahu rejected the monopoly policy and then revolted against the Dutch. The diorama shows Pattimura and his troops succeeding i n capturing the Dutch fortress Duurstede. The uprising broke out on May 15th, 1817, on Saparua island whereby most of the Dutch soldiers were killed in the fortress.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.
=====[https://archive.org/details/14-perang-diponegoro-1825-1830-img-9521 PERANG DIPONEGORO, 1825-1830]=====
*DIORAMA 14: PERANG DIPONEGORO (1825 - 1830)
::Perang yang dicetuskan pada tahun 1825 oleh Pangeran Diponegoro merupakan suatu perlawanan rakyat semesta. Perang selama 5 tahun itu (1825-1830) berlangsung secara terus menerus sehingga Belanda menderita kerugian sebanyak 15.000 tentara dan biaya sekitar 20 juta gulden. Diponegoro beserta para pembantunya seperti Mangkubumi. Kyai Modjo, Sentot Prawirodiredjo dan pahlawan-pahlawan lainnya hingga tahun 1828 menguasai medan perang. Untuk mengakhiri perang. jerideral de Kock menggunakan siasat benteng stelsel dengan tujuan mempersempit daerah operasi Diponegoro dan mendesaknya ke daerah selatan. namun tidak berhasil. Dengan perangkap berkedok perundingan, akhirnya Diponegoro pada tanggal 28 Maret 1830 ditangkap di Magelang. Diponegoro meninggal dunia dalam benteng Belanda Ujung Pandang di Makasar pada tanggal 8 Januari 1855. Diorama ini menggambarkan pertempuran di tepi sungai Bogowonto di mana Diponegoro berhasil mengalahkan pasukan Kavaleri Belanda.

*DIORAMA 14: THE DIPONEGORO WAR (1825-1830)
::The war ignited in 1825 by Prince Diponegoro constituted a total war involving the whole population. That five-year war in Central Java went on continuously caused the Dutch lost 15,000 soldiers and 20 million guilders. In 1825 Diponegoro and his assistants such as Mangkubumi, Kyai Mojo, Sentot Prawirodirjo and other heroes dominated the battle field. In his effort to win the war, General de Kock applied the benteng stelsel (Fortress System) with the aim to decrease Prince Diponegoro's operational areas and drive him south-ward, but without success. Pretending that they were willing to negotiate, the Dutch lured the Prince into cap-tivity on 28 March 1830 in Magelang. Prince Diponegoro died on 8 January 1855 in the Dutch fortress in Ujung Pandang. The diorama shows the battle near the Bogowonto River where Prince Diponegoro and his troops defeated the Dutch troops.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.
=====[https://archive.org/details/15-perang-imam-bonjol-1821-1837-img-9524 PERANG IMAM BONJOL, 1821-1837]=====

*DIORAMA 15: PERANG IMAM BONJOL (1821 - 1837)
::Perang yang berlangsung dari tahun 1821 - 1837 itu dapat dibagi dalam 3 tahap. Tahap pertama, perang antara kaum adat dengan kaum agama. Hal ini terjadi setelah kembalinya 3 orang ulama dari tanah suci. Mereka melihat keadaan kehidupan di tanah airnya jauh dari pada kesesuaian dengan ajaran-ajaran Islam. Oleh karena itu, mereka bermaksud hendak mengadakan pembaruan-pembaruan, tetapi ditentang oleh kaum adat. Pemimpin kaum ulama yang menjadi terkenal dalam perang ini ialah Tuanku Imam Bonjol. Tahap kedua: Kaum adat dibantu Belanda melawan kaum ulama. Pertempuran-pertempuran yang terjadi antara tahun 1821 1825 di Sulit Air, Para Palam dan Sawah Tengah. Tahap ketiga: Setelah Perang Diponegoro berakhir, perlawanan terhadap Belanda dilakukan oleh kaum ulama bersama kaum adat. Barulah dengan kekuatan militer yang besar pada tahun 1837 Belanda berhasil merebut Bonjol, daerah pertahanan terakhir Tuanku Imam Bonjol. Diorama ini menggambarkan tatkala Tuanku Imam Bonjol memimpin perlawanan terhadap Belanda.

*DIORAMA 15: THE IMAM BONJOL WAR (1821 - 1837)
::The war which took place in 1821 - 1837 could be divided into three phases. The first phase: the war between the traditionalists against the religious group from Mecca. They were observing the backward way of life a far cry from the Islamic teachings. They tried to bring upon innovations which the traditionalists rejected. A leading prominent figure who became famous in this war was Tuanku Imam Bonjol. The second phase: After the Dutch government decided to take side with the traditionalists against the religious group. The battle broke out in Sulit Air, Para Palam and Sawah Tengah in 1821-1825. The third phase: After the Diponegoro war ended, both opponents came together and opened the resis-tance struggle against the Dutch. Eventually with large military force in 1837, the Dutch was able to seize Bonjol, the last resistance stronghold of Tuanku Imam Bonjol. The diorama shows Tuanku Imam Bonjol who per-sonally leads the fighting against the Dutch

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.
=====[https://archive.org/details/20-tanam-paksa-1830-1870-img-9548 PERANG BANJAR, 1859-1905]=====
*DIORAMA 16: PERANG BANJAR (1859-1905)
::Sudah sejak beberapa waktu Belanda memperoleh hak ikut campur tangan mengatur penggantian Sultan Banjar. Pada tahun 1824 timbul persoalan penggantian Sultan dimana Belanda memaksakan kehendaknya untuk menempatkan calon pilihannya. Hal ini ditentang oleh Sultan dan rakyatnya. Putra Mahkota yang ditunjuk oleh Sultan yaitu Prabu Anom ditawan oleh Belanda di Banjarmasin. Calon lainnya, Pangeran Hidayatullah, juga ditawan oleh Belanda dan dibawa ke Jawa. Inilah yang menyebabkan Pangeran Antasari dan rakyat Banjar mengangkat senjata melawan Belanda pada tahun 1859. Pada tanggal 9 -10 Mei 1859 Pangeran Antasari melakukan pengepungan dan penyerangan terhadap tambang batu bara Belanda di Pengaron. Diorama ini menggambarkan rakyat Banjar dipimpin oleh Pangeran Suropati menyerang kapal Belanda di Lontartur, sungai Kapuas.

*DIORAMA 16: THE BANJAR WAR (1859-1905)
::From some period of time, the Dutch government created a right to have a say in choosing the crown suc-cessor of the Sultan of Banjarmasin and eventually in 1824 arose the matter to replace the Crown Prince in which the Dutch forced their decision to place their nominee. This was opposed by the Sultan and his people. The Crown Prince of the Sultan's choice, Prabu Anom, was captured by the Dutch in Banjarmasin. An-other successor, Prince Hidayatullah, was also captured and exiled to Java. This caused Prince Antasari and his people opposed the Dutch intervention in the adminis-tration affairs of the Sultanate of Banjar in South of Kalimantan in 1859. On 9-10 May 1859 Prince Antasari and the Banjar people encircled and attacked the Dutch coal mine in Pengaron. The diorama shows the people of Banjar led by Prince Suropati attack the Dutch sailing vessel in Lontartur, Kapuas river.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.
=====[https://archive.org/details/17-perang-aceh-1873-1904-img-9532 PERANG ACEH, 1873-1904]=====

*DIORAMA 17: PERANG ACЕН (1873 - 1904)
::Pada tahun 1871 Belanda dan Inggris mengadakan perubahan Traktat London sebagai rangkaian dari Konvensi London tahun 1814. Pembaruan terakhir bernama Traktat Sumatra yang memberikan kepada Belanda kekuasaan atas Sumatra. Perjanjian ini membuka jalan kepada Belanda untuk menduduki Aceh. Perang Aceh pecah akibat konflik yang semakin meruncing ketika pada tahun 1873 Belanda menuntut agar Aceh menghentikan hubungannya dengan negara-negara lain ditolak. Belanda segera mengirimkan ekspedisi militer ke Aceh, tetapi merekadikalahkan, bahkan panglimanya JHR Kohler tewas dalam pertempuran tanggal 13-14 April 1973 di depan Masjid Agung Baiturrahim. Diorama ini menggambarkan pertempuran sengit di halaman Masjid Agung Baiturrahim ketika JHR Kohler menjadi korban penembak jitu Aceh.

*DIORAMA 17: THE ACEH WAR (1873 - 1904)
::In 1871 the Dutch and the British amended the London Treaty as an attachment to the London Con-vention 1814. The last renewal was the Sumatra Treaty which gave the Dutch sovereignty over Sumatra. This treaty opened the way for the Dutch to occupy Aceh. The Aceh war broke out as a result of mounting conflicts when in 1873 the Dutch demanded the de-crease of Aceh's relation with foreign countries but it was rejected by the Aceh authority. The Dutch immediately sent in a military expedi-tion to Aceh, but they were defeated, more over the army commander JHR Kohler was killed in a battle near the grand Mosque Baiturrahim. The diorama shows the fierce fighting on 13 April 1973 around the Baiturrahim grand Mosque when JHR Kohler was hit by Acehnese sniper.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.
=====[https://archive.org/details/18-perlawanan-sisimangaraja-1877-1907-img-9536 PERLAWANAN SISIMANGARAJA, 1877-1907]=====

*DIORAMA 18: PERLAWANAN SI SINGAMANGARAJA (1877 - 1907)
::Dengan dalih bahwa zending sering diganggu oleh pasukan Si Singamangaraja, Belanda mendapatkan kesempatan melakukan ekspedisi ke Tanah Batak, Tapanuli. Bentrokan pertama dengan Belanda terjadi pada tanggal 15 Februari 1878, setelah terlebih dahulu Si Singamangaraja memberi peringatan kepada pasukan Belanda supaya meninggalkan Tapanuli. Perlawanan terhadap kolonialis Belanda ternyata mendapat bantuan dari rakyat Aceh dan Minangkabau. Penyerangan besar-besaran terhadap markas Belanda dengan bantuan rakyat kedua daerah tersebut dilakukan pada tahun 1887. Perjuangan Si Singamangaraja berlangsung hingga awal abad ke dua puluh. Si Singamangaraja gugur dalam pertempuran di Pearaja Diri pada tanggal 17 Juni 1907. Diorama ini menggambarkan pertempuran di Tanggabatu dekat kota Balige pada tahun 1884 ketika Si Singamangaraja berhasil memukul mundur pasukan Belanda.

*DIORAMA 18: SI SINGAMANGARAJA REVOLT (1877 - 1907)
::With the excuse that the missionaries were frequently assaulted by Si Singamangaraja, the Dutch government seized at the opportunity to expand their territory to land of Batak People, Tapanuli. The first con-tact took place on February 15, 1878, after Si Singamangaraja reminded the Dutch to leave Tapanuli. The resistance movement against the Dutch was aided by the people of Aceh and Minangkabau. The large scale offensive to the Dutch headquarter with the assistance of both neighboring people took place in 1887. Si Singamangaraja's struggle went on until the beginning of the twentieth century. He was killed in a battle in Pearaja Diri on June 15, 1907. The diorama shows the battle at Tanggabatu near Balige in 1884 where Si Singamangaraja repulsed the Dutch troops.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.
=====[https://archive.org/details/19-pertempuran-jagaraga-1848-1849-img-9544 PERTEMPURAN JAGARAGA, 1848-1849]=====

*DIORAMA 19: PERTEMPURAN JAGARAGA (1848-1849)
::Pada tahun 1841 Belanda memaksakan penghapusan peraturan tawan karang yang diakui sebagai lembaga hukum adat di Bali. Menurut peraturan tawan-karang semua muatan kapal yang kandas menjadi milik raja dan penduduk pantai, sedang penumpangnya dijadikan budak. Beberapa kerajaan di Bali menerima peraturan Belanda itu, kecuali Buleleng dan Karangasem. Dua kali Buleleng mengenakan tawan-karang terhadap kapal-kapal Belanda yang terdampar di daerahnya. Belanda menuntut agar muatan dan isi kapal itu dikembalikan, tetapi ditolak oleh Raja Buleleng sehingga perang tidak dapat dihindarkan lagi. Meskipun dalam serangan Belanda tahun 1846 Buleleng dan Karangasem dapat diduduki namun semangat juang rakyat tetap berkobar dan mereka menyiapkan pertahanan di jagaraga. Diorama ini menggambarkan pertempuran yang terjadi di muka Pura Dalem Jagaraga yang berakhir dengan gugurnya seisi Pura.

*DIORAMA 19: THE BATTLE OF JAGARAGA (1848-1849)
::In 1841 the Dutch government tried to enforce the abolition of the Balinese customary law of Tawan Karang. According to the rule of Tawan Karang, the people and his King had the right to appropriate the goods of stranded ships and to enslave all passengers and crew alike. Several Kingdoms in Bali accepted this rule, except the Kingdoms of Buleleng and Karangasem. Twice the King of Buleleng applied the customary law to the Dutch stranded ship in his domain. The Dutch demanded the return of all merchandises and personnels but this was rejected by King of Buleleng caused the war could not be avoided. Although in the Dutch attack in 1846 Buleleng and Karangasem was occupied, the fighting spirit of the people was constantly exuberant and they developed a stronghold in Jagaraga. The diorama shows the tremendous battle in front of the Pura Dalem of Jagaraga, which ends with the fall of all Pura's occupants.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.
=====[https://archive.org/details/20-tanam-paksa-1830-1870-img-9548 TANAM PAKSA, 1830-1870]=====

*DIORAMA 20: TANAM PAKSA (CULTUUR STELSEL) (1830-1870)
::Perang Diponegoro yang berlangsung selama lima tahun (1825-1830) mengakibatkan krisis keuangan bagi kerajaan Belanda. Tetapi di daerah kerajaan Mataram, Belanda berhasil menduduki wilayah seluas 3000 km persegi yang terdiri dari tanah yang subur. Untuk mengatasi keadaan krisis itu muncul gagasan Gubernur Jenderal Van Den Bosch untuk menjadikan tanah Jawa sebagai perkebunan yang besar atas dasar perjanjian antara pemerintah Hindia Belanda dan petani. Pemerintah Belanda akan menjadi pedagang dan tuan kebun, Tanaman yang akan ditanam di Jawa haruslah tanaman yang sangat laku di pasar Eropa, seperti nila, gula, teh, lada, kopi dan kayumanis. Gagasan Van Den Bosch disetujui oleh Raja Belanda dan realisasi di Jawa dimulai tahun 1830. Dalam kenyataannya tidak terdapat kontrak antara pemerintah kolonial dengan rakyat petani, melainkan hubungan paksa. Sejak inilah dimulai periode eksploitasi tenaga rakyat secara besar-besaran. Bagi rakyat yang tidak memiliki tanah diharuskan bekerja pada perkebunan nila (indigo) seperti yang terjadi di Jawa Barat. Mereka tidak diperkenankan pulang dari tempat bekerja yang letaknya puluhan kilometer dari kampung halamannya. Mereka yang dianggap malas dikenai hukuman cambuk dan siksaan lainnya. Tanam paksa ini memberikan keuntungan luar biasa bagi pemerintah Belanda, sedangkan bagi rakyat Indo-nesia mengakibatkan penderitaan yang sangat berat. Rakyat kelaparan karena mereka tidak berkesempatan menggarap sawah dan ladangnya. Diorama ini menggambarkan penderitaan rakyat In-donesia yang dipaksa untuk bekerja keras di daerah perkebunan disertai dengan siksaan fisik.

*DIORAMA 20: THE FORCED CULTURE SYSTEM (1830-1870)
::The Diponegoro War which had lasted for a term of five years (1825-1830) caused a financial crisis for the Dutch Crown. But in Mataram Kingdom area, the Dutch succeeded in controlling a 3000 km square land comprising of fertile soil. To overcome this crisis Governor General Van Den Bosch conceived the idea of making the land of Java into a big plantation on the basis of an agreement between the Dutch Indies government and the farmers. The Dutch Indies government would be the trader as well as land-lord. The plants which would be cultivated in Java ought to produce commodities being much in demand in Europe, such as indigo, sugar, tea, pepper and cinnamon. Bosch's idea was approved by the King of Netherlands and its implementation was started in 1830 in Java. In fact the work contract had never been made between the colonial government and the farmers, rather it was a forced relation. So began the extortion and the oppression of the people. Those who did not own land were forced to work in the indigo plantation for free as was known in West Java. They were forbidden to go home as they worked tens kilometers away from home. Those who were thought lazy were imposed whipping punishment and other physical torture. This system was indeed very profitable for the Dutch, on the contrary it was a misery for the Javanese people. The farmers died of starvation as they had no time at all to cultivate their own land. The diorama shows how cruelly the people are forced to work under physical torture and other punishment.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.
=====[https://archive.org/details/21-peranan-gereja-protestan-dalam-penyatuan-bangsa-1930-img-9552 PERANAN GEREJA PROTESTAN DALAM PENYATUAN BANGSA, 1930]=====

*DIORAMA 21: KEGIATAN GEREJA PROTESTAN DALAM PROSES PENYATUAN BANGSA (Abad ke 20)
::Gereja Protestan dengan zendingnya giat mengadakan propaganda terutama di daerah-daerah yang masih terbelakang. Selain bergerak dalam bidang keagamaan, gereja Protestan giat bergerak dalam bidang pendidikan sehingga secara langsung telah membantu menyatukan bangsa Indonesia dari berbagai suku yang sedang mengalami proses penyatuan. Selain di beberapa daerah dan kota-kota di Jawa. pusat-pusat agama Kristen terutama terdapat di Ambon. Minahasa dan Tapanuli. Pada tahun 1930 berdiri Perserikatan Kaum Christen (PKC) dan Partai Kaum Masehi Indonesia, keduanya merupakan bagian dari gerakan nasional untuk Indonesia merdeka. Diorama ini menggambarkan kegiatan umat Kristen Protestan dalam bidang sosial, pendidikan dan keagamaan.

*DIORAMA 21: THE ACTIVITIES OF THE PROTESTANT CHURCH IN UNITING THE NATION (20TH CENTURY)
::The activities of the Protestant church in the field of propagation of the Protestant faith were of great sig-nificance, especially in backward areas. Apart from that, the Protestant church were active in the educational field so that it directly gave contribution in process of unification of several ethnics groups in Indonesia. Besides several regions and cities in Java, Protes-tant centers are mostly found in Ambon, Minahasa and Tapanuli. In 1930 Perserikatan Kaum Christen (Christian Association) and Partai Masehi Indonesia (Indonesian Christian Party) were set up, both were part of the national movement for the independence of Indonesia. The diorama shows the activities of the Protestant in the social and educational fields and religious affairs.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.
=====[https://archive.org/details/22-ra-kartini-1879-1904-img-9554 RA KARTINI, 1879-1904]=====

*DIORAMA 22: PERJUANGAN KARTINI (1879-1904)
::Gerakan mengejar kemajuan pada akhir abad ke 19 terbukti dari kebutuhan akan pendidikan dan pengajaran yang semakin besar Tetapi pandangan umum masih dihinggapi konservatisme yang kuat bagi anak perempuan. Lahir di Jepara pada tanggal 21 April 1879 Kartını berjuang untuk memperoleh persamaan hak bagi kaum wanita dan melepaskan diri darı kungkungan dan prasangka tradisi dan adat. Kumpulan surat-surat yang dikirimkan kepada sahabat-sahabatnya di mana dia mengungkapkan buah pikiran dan cita-citanya telah diterbitkan dalam sebuah buku yang menarik berjudul Habis Gelap Terbitlah Terang (aslinya Door Duisternis tot Licht). Diorama ini menggambarkan Kartini menyelenggarakan sekolah untuk pendidikan anak-anak perempuan

*DIORAMA 22: THE STRUGGLE OF KARTINI (1879-1904)
::The movement to achieve progress at the end of the 19th century was confirmed by the increasing de mands for education and studies, but the public opinion was still under great influence of the prevailing tradi tion, especially for women. Born in Jepara on 21 April1879, Kartini fought for equal rights for the Indonesian women and her libera-tion from the shackles and prejudice of the customary law and tradition. A collection of her letters to friends in which she express her thoughts and opinion were subsequently published as an interesting book entitled Letters of A Javanese Princess (onginally Door Duisternis tot Licht). The diorama shows Kartini personally conducting a class of girls students.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.
=====[https://archive.org/details/23-kebangkitan-nasional-20-mei-1908-img-9556 KEBANGKITAN NASIONAL, 20 MEI 1908]=====

*DIORAMA 23: KEBANGKITAN NASIONAL (20 MEI 1908)
::Menjelang akhir abad ke 19 masyarakat Indonesia masih terbelakang baik di bidang politik, ekonomi, maupun sosial budaya termasuk pendidikan. Keadaan ini adalah akibat langsung dari politik kolonial Belanda yang tidak menghendaki rakyat Indonesia menjadi cerdas, karena hal itu akan membahayakan kedudukannya. Tetapi kemudian kaum kolonialis terpaksa juga memberikan pendidikan modern kepada pemuda-pemuda Indonesia, pertama untuk memenuhi kebutuhannya akan tenaga-tenaga terdidik di perusahaan-perusahaannya dan kedua untuk meningkatkan potensi masyarakat Indonesia sebagai pasar bagi industrinya. Sebagai hasil dari pendidikan itu timbul suatu generasi pemuda Indonesia yang terkena gagasan-gagasan nasionalisme dan modernisasi yang menyebar dani Eropa. Pemuda-pemuda itulah yang kemudian mengorganisir pergerakan Nasional sebagai perwujudan dan Kebangkitan Nasional rakyat Indonesia. Yang dianggap manifestasi pertama dan Kebangkitan Nasional tu adalah pembentukan organisasi modern yang pertama oleh orang Indonesia, yakni Budi Utomo. Budi Utomo dibentuk atas prakarsa beberapa mahasiswa Sekolah Dokter Jawa (School Tot Opleiding Van Indische Artsen STOVIA), seperti Sutomo, Gunawan Mangunkusumo, dan lain-lain dengan Dokter Wahidin Sudirohusodo sebagai penasehatnya. Kemudian lahirlah organisasi lain seperti Sarikat Is-lam, Indische Party, Muhammadiyah, dan lain-lain yang dalam perkembangan selanjutnya bertujuan Indonesia Merdeka. Diorama ini menggambarkan suasana Kongres Budi Utomo Pertama yang diadakan di Yogyakarta.

*DIORAMA 23: The National Resurgence (20 May 1908)
::By the end of 19th century, Indonesian people were still backward politically, economically and socio-cultural including education. This was a direct result of the Dutch colonialism policy that did not want to see Indonesia become smart and intelligent as these would endanger their position. Finally, however, the colonialist had to give modern education to Indonesian youth to meet the needs for educated people at their enterprises and secondly to increase Indonesia's potentials for their market. As a result of the modern education, a younger generation of people were born who had nationalism and modernization ideals that came from Europe. Those young people who then organized the National Move-ment as the realizations of the Indonesian people's national resurgence. The first manifestation of the national resurgence was the establishment of the first modern organization by the Indonesian, Budi Utomo. Budi Utomo was established by students of native Medical College (STOVIA: School Tot Opleiding Van Indische Artsen) such as Sutomo, Gunawan Mangunkusumo etc. and Dr. Wahidin Sudirohusodo as the adviser. Afterward other organizations were established such as Sarikat Islam (Islamic Association), Indische Party (Indies Party), Muhammadiyah (an important Islamic modernist organization), and others which in their fur-ther development wanted an Independent Indonesia. This diorama shows the first congress of Budi Utomo (High Endeavor) held in Yogyakarta.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.
=====[https://archive.org/details/24-taman-siswa-3-juli-1922-img-9558 TAMAN SISWA, 3 JULI 1922]=====

*DIORAMA 24: TAMAN SISWA (3 JULI 1922)
::Politik pendidikan pada jaman penjajahan tidak dapat dipisahkan dari kepentingan kolonial. Sebagai suatu reaksi politik, pada tanggal 3 Juli 1922 Ki Hajar Dewantara mendinkan perguruan Taman Siswa di Yogyakarta. Perkembangan perguruan ini sangat pesat sehingga pemerintah merasa khawatir. Pada tahun 1922 pemerintah mengeluarkan Ordonansi Sekolah Liar hingga praktis sekolah-sekolah swasta kehilangan identitasnya. Protes timbul dari berbagai pihak, sehingga ordonansi tersebut dicabut kembali. Semangat nasionalisme sangat menjiwai kehidupan Perguruan Taman Siswa. Pada tahun 1935 berlangsung Kongres Pendidikan Nasional yang pertama dengan tujuan hendak menggalang persatuan nasional dan mencari perumusan tentang pendidikan dan pengajaran yang bersifat nasional. Diorama ini menggambarkan Ki Hajar Dewantara yang pada tahun 1921 mendirikan organisasi nasionalis kebudayaan Indonesia yang sangat penting menyambut orang tua murid di perguruan Taman Siswa

*DIORAMA 24: TAMAN SISWA (3 JULY 1922)
::The educational policy under colonial regime was inseparable from its interest. As a political reaction, on 3 July 1922 Ki Hajar Dewantara set up Taman Siswa Institution in Yogyakarta. This institution expanded rap-idly caused apprehension among the Dutch authorities In 1932 the Dutch government issued an ordinance on regulating the activities of non governmental schools. known as ordinance of illegal school. Practically it made private school lost its identity. Protest sprang up from everywhere caused the revocation of the ordinance. The spint of nationalisms inspired the existence of Taman Siswa. In 1935 the first National Education Congress took place which had the insistence on giving national unity a firm platform and setting the platform for national education and teaching. The diorama shows Ki Hajar Dewantara who in 1921 founded the very important Indonesian cultural nationalist organization Taman Siswa welcoming the students parents at Taman Siswa.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.
=====[https://archive.org/details/25-muhammadiyah-18-november-1912-img-9572 MUHAMMADIYAH, 18 NOVEMBER 1912]=====

*DIORAMA 25: MUHAMMADIYAH (18 NOVEMBER 1912)
::Keadaan masyarakat Islam Indonesia pada abad sembilan belas dan permulaan abad dua puluh sangat menyedihkan. KH. Ahmad Dahlan tampil ke depan dengan mendirikan Muhammadiyah pada tanggal 18 November 1912 di Yogyakarta dengan tujuan untuk mengembalikan kemurnian ajaran Islam dan memperbaiki kesejahteraan masyarakat. Di dalam kegiatannya Muhammadiyah mendinkan sekolah, rumah yatim piatu, rumah-rumah sakit, pelatihan bag juru dakwah, dan organisasi kepanduan. Saat ini organisasi tersebut merupakan salah satu lembaga Islam terbesar di Indonesia. Diorama menggambarkan salah satu kegiatan kepanduan Hizbul Wathan disaksikan oleh K.H. Ahmad Dahlan

*DIORAMA 25: MUHAMMADIYAH (18 NOVEMBER 1912)
::In the nineteenth century and the beginning of the twentieth century the situation of the community of Islam in Indonesia was very saddening indeed. K.H. Ahmad Dahlan came forward by setting up Muhammadiyah on 18 November 1912 in Yogyakarta. The objective of Muhammadiyah was to rejuvenate the teaching of Islam and improve the people's welfare. In its activities. Muhammadiyah established a large number of schools, orphanages, hospitals, a training course for missionaries, and scout club. Today the organization is still one of the largest Muslim bodies in the country. The diorama shows one of the activities of the Hizbul Wathan Scout Club, witnessed by K.H. Ahmad Dahlan.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.
=====[https://archive.org/details/26-perhimpunan-indonesia-1922-img-9575 PERHIMPUNAN INDONESIA, 1922]=====

*DIORAMA 26: PERHIMPUNAN INDONESIA (1925)
::Perjuangan mencapai Indonesia Merdeka di luar negeri dipelopori oleh mahasiswa-mahasiswa Indonesia yang belajar di Negeri Belanda. Pada tahun 1908 berdiri Indische Vereeniging (Perhimpunan Hindia) yang pada mulanya bersifat sosial degan tujuan sebagai forum tempat bertemu orang-orang termasuk para pelajar yang merantau ke negeri Belanda. Pada tanggal 19 Februari 1922 perhimpunan ini mengadakan pertemuan di Den Haag dan salah satu keputusan penting yang diambil dalam pertemuan tersebut adalah penggantian nama dari Indische Vereeniging menjadi Indonesisch Vereeniging. Kemudian pada tanggal 8 Februari 1925 nama tersebut berganti menjadi Perhimpunan Indonesia. Mereka menuntut agar pemerintah Hindia Belanda bertanggung. jawab kepada rakyat Indonesia dan bukan kepada pemerintah Belanda. Akhirnya mereka menuntut kemerdekaan Indonesia yang berdasarkan kepada kekuatan din sendiri. Dibandingkan dengan rekan-rekan mereka di Indonesia, mereka lebih banyak memperoleh kebebasan bergerak. Pada bulan Februan 1927 Perhimpunan Indonesia berjuang di forum internasional dengan mengambil bagian dalam Kongres Menentang Imperialisme dan Penindasan Kolonial yang diadakan oleh Liga Anti Imperialisme dan Bagi Kemerdekaan Nasional di Brussels. Selanjutnya, propagada Perhimpunan Indonesia, semakin berani dan tajam sehingga pemerintah Belanda mengadakan penangkapan terhadap pimpinannya, yaitu Mohammad Hatta, Abdul Majid Joyohadiningrat, Ali Sastroamidjojo dan Nasir Pamuncak dengan tuduhan menjadi anggota perkumpulan terlarang, terlibat dalam pemberontakan dan menghasut untuk menentang kerajaan Belanda. Tetapi, pengadilan membebaskan mereka dari semua tuduhan. Diorama ini menggambarkan suasana pertemuan perhimpunan Indonesia yang dipimpin oleh Mohammad Hatta.

*DIORAMA 26: THE INDONESIAN ASSOCIATION (1925)
::The struggle for national independence abroad was spearheaded by the Indonesian students in the Netherlands. In 1908 The Indische Vereeniging (Indies Association) was established which at first had a societal function as a meeting forum for the people included the Indonesian students who went overseas in the Netherlan's. On February 1922. the association held a meeting in The Hague and an important decision taken at this meeting was a change of the name from Indische Vereeniging to Indonesische Vereeniging. Then, on 8 February 1925 the later name was changed into the new name Perhimpunan Indonesia (Indonesian Association). They demanded that the Netherlands Indies government to be responsible to the people of Indonesia not to the Dutch government. Finally they demanded the independence of Indonesia on the basis of their own power. In comparison with their colleagues in Indonesia, they had more freedom of action. In February 1927 the Indonesian Association brought their struggle to the international forum by taking part in the Congress of Anti Colonialism and Colonial Oppression held by the League Against Imperialism and for National Inde-pendence in Brussels. Furthermore, the propaganda of Perhimpunan Indonesia became brave and sharp that its leaders Mohammad Hatta, Ali Sastroamidjojo. Nasir Pamuncak and Abdul Majid Joyohadiningrat were arrested on charges: being a member of prohibited organization, being involved in a rebellion, and instigating opposition to the Dutch crown. But then they were acquitted of all charges. The diorama shows Mohammad Hatta chairing the meeting of the association.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.
=====[https://archive.org/details/27-the-stovia-1898-1926-img-9577 THE STOVIA, 1898-1926]=====

*DIORAMA 27: STOVIA SEBAGAI TEMPAT PERSEMAIAN PERGERAKAN PEMUDA INDONESIA (1926)
::Kemiskinan bangsa Indonesia dalam arti lahir dan batin yang juga dirasakan oleh beberapa orang terpelajar, telah menggerakkan hati mereka untuk mempertinggi derajat bangsa Usaha dr. Wahidin Sudirohusodo mendirikan dana belajar tidak berjalan sebagaimana yang diharapkan. Namun cita-cita luhur yang terkandung di dalamnya telah menggugah semangat pelajar-pelajar STOVIA (School Tot Opleiding Van Indische Artsen -Sekolah Dokter Bumi Putera) di Jakarta. Pada hari bersejarah tanggal 8 Mei 1908 mereka mendirikan perserikatan bernama Budi Utomo. Kenyataannya, para lulusan dan mahasiswa STOVIA memainkan peranan penting dalam pertumbuhan gerakan nasional Indonesia modern. Diorama ini menggambarkan pertemuan yang diadakan oleh pelajar-pelajar STOVIA di gedung STOVIA yang lebih dikenal sekarang sebagai gedung Museum Kebangkitan Nasional, Jakarta. Pertemuan pertemuan semacam ini sering kali dilakukan yang merupakan kegiatan para pelajar STOVIA untuk membebaskan negerinya dari penjajahan dan keterbelakangan.

*DIORAMA 27: STOVIA AS THE PLACE FOR SEEDBED OF INDONESIA'S YOUTH MOVEMENT(1926)
::The poverty of body and mind of the little men in Indonesia which strongly felt by several educated men arose their anxiety to bring enlightenment. Dr. Wahidin Sudirohusodo's effort to establish study fund did not meet the expectations, but his aspiration had awaken the STOVIA (School Tot Opleiding Van Indische Artsen) student's sprint. On the historical day, May 8, 1908 they founded Budi Utomo (High Endeavour). It was al ready known that the graduates and students of the STOVIA (a medical training college) played an impor ant role in the genesis of the modern Indonesian nationalist movement. The diorama shows the meeting of STOVIA held in STOVIA building which is known as The Museum of National Resurrection, Jakarta. Such meetings were held frequently as their activities to liberate their country from colonialism and backwardness.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.
=====[https://archive.org/details/28-digul-1926-1927-img-9580 DIGUL, 1926-1927]=====

*DIORAMA 28: DIGUL (1927)
::Pada tahun 1926 di Pulau Jawa timbul pemberontakan melawan pemerintahkolonial Pemberontakan ini merupakan puncak dari gerakan tani yang mula-mula pecah di Banten kemudian menjalar ke Jawa Barat dan Jawa Tengah. Pada Januari 1927 pecah pula pemberontakan serupa di Sumatra Barat, akan tetapi dapat ditumpas dengan kejam. 13.000 orang ditangkap, diantaranya 4.500 dijatuhi hukuman dan 1.300 dibuang ke Tanah Merah, Digul Atas, Irian Jaya. Kemudian Digul Atas menjadi tempat pengasingan bagi tokoh-tokoh pergerakan nasional. Sebagai tawanan, di samping harus mencukupi kebutuhannya sendiri, mereka harus tahan melawan hawa panas dan penyakit malaria yang ganas. Diantara semua penderitaan itu yang sangat berat adalah penderitaan tekanan jiwa, sehingga di tempat pengasingan ini tercapailah puncak, penderitaan lahir dan batin. Hingga kini Digul Atas menjadi lambang pengorbanan pemimpin-pemimpin nasional kita dari generasi sebelum Perang Dunia II. Diorama ini menggambarkan sebagian tokoh-tokoh pergerakan nasional di tempat pengasingan Digul Atas. antara lain Mohammad Hatta dan Sutan Syahrir.

*DIORAMA 28: DIGUL (1927)
::In the year 1926, a rebellion rose in Java against the colonial government. This rebellion was the culmination of the farmers' movement in Banten, West Java that spread through Central Java. In January 1927, in West Sumatra the same uprising broke out. Within short time both up risings were cruelly suppressed. 13.000 men were ar rested among which 4.500 were imprisoned and 1.300 exiled to Tanah Merah, Upper Digul in West Irian. Afterwards the swampy forest of Digul, in West Irian served as a home for Indonesian nationalists exiled by the Dutch colonial regime. As prisoners besides having to sustain themselves they had to stand the heat and over bearing malaria, but uppermost and culminating point of body and mental suffering. Up to the present time Digul is the symbol of sacrifice for national leaders of the generation before the second World War. The diorama shows a number of prominent figures in the national movement organizations being in exile in Upper Digul, Inan, among others. Mohammad Hatta and Sutan Syahrir.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.
=====[https://archive.org/details/29-sumpah-pemuda-28-oktober-1928-img-9582 SUMPAH PEMUDA, 28 OKTOBER 1928]=====

*DIORAMA 29: SUMPAH PEMUDA (28 OCTOBER 1928)
::Dalam lingkungan pergerakan nasional Indonesia para pemuda telah melahirkan berbagai ragam organisasi pemuda, seperti Jong Ambon, Jong Bataks, Jong Celebes, Jong Islamiten Bond, jong Java and Jong Sumatranen Bond. Organisasi-organisasi ini pada umumnya bersifat kedaerahan dan masing-masing tidak mempunyai hubungan dengan yang lain. Lama-kelamaan iklim persatuan Indonesia mempengaruhi meseka pula dan terasa dorongan untuk membina suatu pergerakan pemuda Indonesia yang berjiwa nasional kesatuan. Usaha ke arah itu dilakukan dalam serangkaian kongres pemuda. Pada Kongres Pemuda kedua tanggal 28 Oktober 1928 di Jakarta dicetuskan Sumpah Pemuda 1. Kami putra dan putri Indonesia mengaku berbangsa yang satu. Bangsa Indonesia.2. Kami putra dan putri Indonesia mengaku bertanah air yang satu. Tumpah Darah Indonesia.3. Kami putra dan putri Indonesia menjunjung bahasa persatuan, Bahasa Indonesia. Diorama ini menggambarkan suasana Kongres Pemuda Kedua pada tanggal 28 Oktober 1928 di Jakarta.

*DIORAMA 29: THE YOUTH PLEDGE (28 OCTOBER 1928)
::In the circle of national movement the Indonesian youth gave birth to heterogeneous youth organizations. such as: Jong Ambon, Jong Bataks, Jong Celebes, Jong Islamiten Bond, Jong Java and Jong Sumatranen Bond. Most of these organizations had the nature of regional ism and each had no relation to others. Eventually the climate of Indonesia's unity had influenced each other and felt the willpower to found a unifying youth move-ment in the spirit of national unity. In a senes of youth congress they managed to make concrete efforts towards the youth unity. In the Second Youth Congress held on 28 October 1928 in Jakarta the youth proclaimed the Youth Pledge 1. We the Indonesia's youth admit to having one nation, Indonesia. 2. We the Indonesia's youth admit to having one motherland, Indonesia 3. We the Indonesia's youth have respect for unity language, Indonesian language.The diorama shows the atmosphere of the Second Youth Congress on 28 October 1928 in Jakarta.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.
=====[https://archive.org/details/30-romusha-1942-1945-img-9585 ROMUSHA, 1942-1945]=====

*DIORAMA 30: ROMUSHA, 1942-1945
::Pada tanggal 8 Maret 1942, Panglima Tentera Hindia Belanda menyerah kepada Jenderal Hitoshi Imamura Panglima tentara ekspedisi Jepang di Kalijati. Jawa Barat. Dalam upaya memenangkan Perang Pasifik. Jepang mengerahkan seluruh tenaga dan kekayaan bumi Indonesia tanpa pembatasan apapun. Dengan meningkatya situasi perang. Jepang mengerahkan secara paksa orang Indonesia untuk dipekerjakan pada objek-objek vital dan bangunan-bangunan militer. Sebelum diangkut ke tempat-tempat yang dituju, mereka dibujuk dan diberi predikat muluk sebagai prajurit pekerja atau romusya. Dalam prakteknya mereka melaksanakan kerja-paksa dengan mengalami siksaan-siksaan tanpa diberi makan dan minum yang cukup menyebabkan puluhan ribu romusya Indonesia menemui ajalnya. Diorama ini menggambarkan bagaimana para romusya dalam keadaan kurus kering dan lemah lunglai dipaksa bekerja berat di bawah pengawasan tentara Jepang.

*DIORAMA 30: THE JAPANESE FORCED LABOUR, 1942-1945
::On 8 March 1942 the Commander of the Netherlands East Indies army General Ter Poorten surrendered to General Hitoshi Imamura, the japanese expedition army commander in Kalijati, West Java. In its effort to win the Pacific War, the Japanese occupational army exploited Indonesia's human and natural resources. Since the intensity of the Pacific War increased the Japanese army conscripted Indonesian workers to forced labour to vital Japanese military installations and buildings. Before leaving for the destination places they were urged and given pomposity predicate as militia workers or romushas. in actual practice, they were sent to do forced labour under torture without enough food and drink caused tens of thousand Indonesia's romushas met their end. The diorama shows how hard the weak and emaciated labours are forced to work under the Japanese army supervision.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.
=====[https://archive.org/details/31-pemberontakan-tentara-peta-di-blitar-14-februari-1945-img-9586 PEMBERONTAKAN TENTARA PETA DI BLITAR, 14 FEBRUARI 1945]=====

*DIORAMA 31: PEMBERONTAKAN TENTARA PETA DI BLITAR (14 FEBRUARI 1945)
::Pada bulan Oktober 1943 Pemerintah Pendudukan Jepang mengeluarkan Osamu Seiroi No. 44/1943 tentang pembentukan pasukan sukarela untuk membela Tanah Jawa. Peraturan ini mendapat sambutan hangat dari kalangan masyarakat Indonesia, khususnya para pemuda yang benar-benar berhasrat untuk membela tanah air. Dengan berbondong-bondong mereka. mendaftarkan diri menjadi anggota Tentara Pembela Tanah Air (PETA). Tentara PETA dibagi atas daidan-daidan (batalyon) yang tidak ada hubungan organisatoris satu sama lainnya. Segenap Perwira. Bintara dan Tamtama Tentara PETA adalah orang Indonesia, akan tetapi mereka didampingi orang Jepang sebagai pelatih merangkap pengawas. Di Blitar terdapat pula suatu batalyon yang seperti batalyon-batalyon lainnya juga melaksanakan tugas membangun kubu-kubu pertahanan dengan memakai romusya sebagai tenaga kasar. Perasaan benci terhadap Jepang yang sudah timbul di kalangan mereka menjadi semakin mendalam setelah mengetahui keadaan keluarga mereka yang menderita sebagai akibat tindakan-tindakan Jepang ketika mereka bertugas bersama para romusya. Mereka tidak tahan menyaksikan bangsanya diperas tenaganya dan mati kelaparan. Ditambah dengan faktor aspirasi kemerdekaan, pelbagai faktor itu menyebabkan tekad bulat di kalangan mereka untuk memberontak. Dengan dipimpin oleh Suprijadi, Muradi and mendapat nasehat dari dr. Ismangil, mereka mengadakan serangkaian rapat-rapat persiapan. Dan pada tanggal 14 Pebruari 1945 pukul 03.30 dinihari mulailah pemberontakan. Mereka membunuh beberapa orang Jepang lalu mengingkir ke luar kota. Pemberontakan berhasil ditumpas oleh pihak Jepang. Suprijadi, pemimpin pemberontakan menghilang. Pemimpin-pemimpin lainnya seperti dr. Ismangil, Muradi, Sunanto, Halir dan kawan-kawannya tertangkap lalu dibawa di Jakarta pada tanggal 8 Maret 1945. Selanjutnya pada tanggal 14-16 Maret 1945 dihadapkan ke Mahkamah Militer. 6 orang dijatuhi hukuman mati, 3 orang dijatuhi hukuman seumur hidup. dan yang lainnya dijatuhi hukuman antara dua sampai limabelas tahun. Diorama ini menggambarkan serangan tentara PETA terhadap markas militer Jepang di Blitar pada tanggal 14 Februari 1945.

*DIORAMA 31: THE MUTINY OF JAPANESE TRAINED PETA ARMY IN BLITAR (14 FEBRUARY 1945)
::In October 1943, the Government of the Japanese occupational army issued the Osamu Seiro No.44/1943 on the forming of the volunteer troops to defend Java. This ordinance was received with enthu-siasm by youth movements, who were very eager to defend their country. In hordes they came to enlist as soldier of the PETA (The Defenders of The Mother land). PETA was divided into several Daidans (battalions) which had no organizational connections with each other. Every private, subaltern, officer and commanding officer was an Indonesian with Japanese as instructor who also held position as supervisor. In Blitar, East Java, there was also a daidan with the same formations and construction with romushas as the main labour force which had orders to set up fortifications. A hatred feeling that had already emerged among the PETA soldiers was growing more and more when they discovered their relatives who worked with them as romusha suffered from Japanese action Obviously they could not stand seeing the people were exploited and died of starvation. All of those factors and spir ited by their aspiration for national independence caused a great deal willpower to stage a mutiny. Led by Suprijadi and Muradi, after getting dr. Ismangil's advice, they held a series of preparation meetings. On 14 February 1945 at 03.00 am the revolt against Japa-nese broke out in Blitar. They killed a number of Japa-nese and then moved to a safe place out of the city. The revolt was annihilated by Japanese. Suprijadi, the leader disappeared. Other leaders such as dr. Ismangil, Muradi, Sunanto, Halir and their compan-ions were captured and then brought to Jakarta on 8 March 1945. In 14-16 March 1945 they were brought to military court. 6 were sentenced to death, 3 were sentenced for life, and the others got two to fifteen years. This diorama shows the PETA soldiers attack the Japanese army post on 14 February 1945 in Blitar.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.
=====[https://archive.org/details/32-proklamasi-kemerdekaan-indonesia-17-agustus-1945-img-9593 PROKLAMASI KEMERDEKAAN INDONESIA, 17 AGUSTUS 1945]=====

*DIORAMA 32: PROKLAMASI (17 AGUSTUS 1945)
::Pada tanggal 17 Agustus 1945 dinihari teks Proklamasi: selesai dirumuskan oleh Ir. Soekarno. Drs. Mohammad Hatta dan Mr. Ahmad Subardjo. Beberapa jam kemudian, yaitu pada pukul 10.00 Proklamasi Kemerdekaan dibacakan oleh Ir. Soekarno yang didampingi oleh Drs. Mohammad Hatta bertempat di Jalan Pegangsaan Timur Nomor 56 Jakarta.Hadir pada saat pengucapan teks Proklamasi itu adalah: 1. Abikusno Tjokrosujoso, Sukardjo Wirja-pranoto. Sukardjo Kartohadikusumo, KHA Wahid Hasjim dan Dr. Radjiman Widiodiningrat. 2. Wakil Walikota, Suwirjo. 3. Ibu Fatmawati. 4. Ny. SK. Trimurti. 5. Para perwira PETA: Abdul Kadir, Latif Hendraningrat. dan dr. Soetjipto, Kemal Idris, Daan Jahja, Arifin Abdurrachman dan Singgih. 6. Barisan Pelopor: Dr. Muwardi dan Asmarahadi. 7. Barisan Pelopor Istimewa: Soediro, Soehoed Sastro Koesoemo, Djohar Nur dan Soepeno. 8. Pers: Soeroto, S.F. Mendoer dan Sjahruddin.Diorama ini menggambarkan peristiwa detik-detik Proklamasi Kemerdekaan Indonesia 17 Agustus 1945.

*DIORAMA 32: PROCLAMATION OF INDEPENDENCE (17 AUGUST 1945)
::Early at dawn on 17 August 1945, the text for Proclamation of Indonesian Independence was drafted by Soekamo, Mohammad Hatta and Ahmad Subardjo. A few hours later, at ten o'clock in the morning the Proclamation of Indonesia's Independence was read out by Soekarno in the company of Mohammad Hatta at Pegangsaan Timur 56 Jakarta. Present at the reading out the text of Proclamation were: 1. Abikusno Tjokrosujoso. Sukardjo Wirjopranoto. Sukardjo Kartohadikusumo, KHA Wahid Hasyim and dr. Radjiman Widiodiningrat. 2. Vice Mayor Suwirjo. 3. Ms. Fatmawati. 4. Ms. SK. Trimurti. 5. PETA officers: Abdul Kadir, Latif Hendraningrat. dr. Soetjipto, Kemal Idris. Daan Jahja, Arifin Abdurrachman and Singgih. 6. Pioneer Troops: Dr. Muwardi and Asmarahadi. 7. Special Pioneer Troops: Soediro, Soehoed Sastro Koesoemo, Djohar Nur and Soepeno. 8. Press: Soerato, S.F. Mendoer and Sjahruddin.The diorama shows the very moment of the Proclamation of Indonesia's Independence 17 August 1945.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

=====[https://archive.org/details/33-pengesahan-pancasila-dan-undang-undang-dasar-1945-18-agustus-1945-img-9600 PENGESAHAN PANCASILA DAN UNDANG-UNDANG DASAR 1945, 18 AGUSTUS 1945]=====
*DIORAMA 33: PENGESAHAN PANCASILA SEBAGAI LANDASAN FALSAFAH NEGARA DAN U.U.D. 1945
::Sebelum kemerdekaan Indonesia diproklamasikan tanggal 17 Agustus 1945, Badan Penyelidik Usaha-usaha Persiapan Kemerdekaan Indonesia membahas berbagai konsep falsafah negara. Diantara konsep yang terpenting adalah konsep Mr. Muhammad Yamin yang diajukan tanggal 29 Mei 1945, konsep Ir. Soekamo yang diajukan tanggal I juni 1945, lengkap dengan namanya, yakni PANCASILA dan konsep Panitia Sembilan yang biasa disebut Piagam Jakarta disusun tanggal 22 Juni 1945. Dalam sidang PPPKI tanggal 10-16 Juli 1945. disusunlah konsep Undang-Undang Dasar negara Indonesia beserta mukadimahnya. Mukadimah itu ada dalam Piagam Jakarta yang mengandung pula dasar falsafah negara. Konsep tersebut, setelah diperbaiki, disahkan oleh sidang pertama Panitia Persiapan Kemerdekaan Indonesia tanggal 18 Agustus 1945 di Jakarta sebagai Undang-Undang Dasar Negara Republik Indonesia yang kemudian dikenal sebagai Undang-Undang Dasar 1945. Diorama ini menggambarkan suasana sidang Panitia Persiapan Kemerdekaan Indonesia yang berakhir dengan disahkannya Pancasila Landasan (Dasar) Falsafah Negara dan Undang-Undang Dasar 1945.

*DIORAMA 33: THE RATIFICATION OF PANCASILA AND THE 1945 CONSTITUTION
::Before the Independence of Indonesia was pro claimed, the Committee to Investigate Preparations for Indonesian Independence had studied several concepts for the state philosophy, particularly Mr. Muhammad Yamin's concept. Ir. Soekarno's concept, which outlined the Pancasila, the Five Principles. Concept of the Committee of Nine, known as the Jakarta Charter, which was drawn up on 22 June 1945. In July 10-16 1945 the Committee to Investigate Preparations for indonesian Independence composed the draft of the Constitution of the Republic of Indonesia along with its Preambule. The preambule to the Constitution was found in the Jakarta Charter which also contained the philosophy of the state. The concept, after revised, was legalized by the Indonesian Independence Preparatory Committee at its first meeting on 18 August 1945 in Jakarta as the Constitution of the Republic of Indonesia, known as the 1945 Constitution. The diorama shows the atmosphere of the meeting of the Indonesian Independence Preparatory Committee, which afterwards ratifies the Pancasila as the State Philosophy and the 1945 Constitution as the Constitution of the Republic of Indonesia.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

=====[https://archive.org/details/34-hari-abri-5-oktober-1945-img-9603 HARI ABRI, 5 OKTOBER 1945]=====

*DIORAMA 34: HARI LAHIR ABRI (5 OKTOBER 1945)
::Dalam Sidang Panitia Persiapan Kemerdekaan Indonesia (PPKI) tanggal 22 Agustus 1945 ditetapkan pembentukan Badan Keamanan Rakyat (BKR) yang bertugas memelihara keamanan dan ketertiban umum di daerahnya masing-masing. Untuk memperkuat perasaan keamanan umum maka pada tanggal 5 Oktober 1945 dibentuk Tentara Keamanan Rakyat. Peristiwa ini diperingati sebagai Hari Angkatan Bersenjata Republik Indonesia. Diorama ini menggambarkan Jenderal Sudirman sedang memeriksa pasukan Tentara Nasional Indone sia yang pada waktu itu anggota-anggotanya masih belum memiliki peralatan lengkap.

*DIORAMA 34: ARMED FORCES DAY (5 OCTOBER 1945)
::At the meeting of the Indonesian Independence Preparatory Committee, on August 22, 1945, it was decided to set up the organization of the Badan Keamanan Rakyat (People's Security Body) with the task of maintaining the security in their territory. To strengthen public confidence and order, on 5 October 1945 the People's Security Army was formed. This event is subsequently commemorated as the Republic of Indonesia Armed Forces Day. The diorama shows General Sudirman inspecting Indonesian National Army troops the members of which, at that time, were not well equipped yet.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.
=====[https://archive.org/details/35-pertempuran-surabaya-10-november-1945-img-9608 PERTEMPURAN SURABAYA, 10 NOVEMBER 1945]=====
*DIORAMA 35: PERTEMPURAN SURABAYA (10 NOPEMBER 1945)
::Pada bulan Oktober 1945 Tentara Sekutu (Inggris) mendarat di Surabaya untuk melaksnakan tugas melucuti pasukan-pasukan Jepang dan membebaskan orang-orang Sekutu yang ditawan oleh Jepang. Mereka berjanji tidak mencampuri urusan dalam negeri Republik Indonesia. Ternyata Sekutu tidak menepati janjinya, sehingga menimbulkan beberapa insiden yang kemudian meningkat menjadi pertempuran. Campur tangan Pemerintah Republik Indonesia untuk menciptakan keadaan yang tenang tidak berhasil. Dalam salah satu insiden, komandan Brigade Inggris Brigjen Mallaby tertembak mati. Panglima Sekutu untuk daerah Jawa Timur, Mayjen Mansergh, mengultimatum agar rakyat Surabaya termasuk para pejabatnya menyerahkan senjatanya masing-masing sebelum pukul 06.00 tanggal 10 Nopember 1945. Ultimatum itu tidak dihiraukan rakyat Surabaya, mereka sama sekali tidak mengakui wewenang pihak Sekutu (Inggris) untuk memerintah Surabaya. Mereka hanya tunduk dan taat kepada Republik Indonesia. Pada tanggal 10 Nopember 1945 Sekutu mengerahkan segala kekuatannya di darat, laut dan udara dalam usaha membinasakan pejuang-pejuang di Surabaya. Serangan tersebut disambut dengan tekad pantang mundur oleh para pejuang sehingga beribu mereka gugur sebagai pahlawan kusuma bangsa. Diorama ini menggambarkan Pertempuran Surabaya, 10 Nopember 1945 yang kemudian diperingati secara resmi sebagai Hari Pahlawan.

*DIORAMA 35: BATTLE OF SURABAYA (10 NOVEMBER 1945)
::In October 1945, the Allied Forces (British Troops) landed in Surabaya to disarm Japanese forces and to set free Allied prisoners of war arrested by Japanese. The Allied Forces promised not to interfere in the domestic affairs of the Republic of Indonesia. As a matter of fact, the Allied Forces did not keep their words and some minor incidents occurred which finally broke out in battle. The government of the Republic of Indonesia endeavored to mediate but was unsuccessful. In one of the incidents, the British Brigade Com-mander, Brigadier General Mallaby, was assassinated. Major General Mansergh, the Allied Commander in East Java, issued an ultimatum calling the Surabaya people, including their leaders to surrender all their firearms to the Allied Forces before 06.00 a.m. on November 10, 1945. The people of Surabaya ignored the ultimatum as they did not recognize the Allied (British) to govern them. They only adhered to the government of the Republic of Indonesia. On November 10, 1945 the Allied land, sea and air forces attacked the Surabaya freedom fighters. The attack was met with bravery by the freedom fighters and a great many of them died in the battle as national heroes. The diorama shows the Battle of Surabaya 10 November 1945 which is then officially comтето-rated as National Heroes Day.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.
=====[https://archive.org/details/36-peranan-gereja-katolik-roma-dalam-proses-penyatuan-bangsa-img-9610 PERANAN GEREJA KATOLIK ROMA DALAM PROSES PENYATUAN BANGSA]=====
*DIORAMA 36: KEGIATAN GEREJA KATHOLIK ROMA DALAM PROSES PENYATUAN BANGSA (1947)
::Gereja Katholik-Roma melalui misinya mengumpulkan pemuda-pemuda dari berbagai suku dan daerah di bawah naungan agamanya Dengan demikian terbentuk suatu masyarakat Katholik-Roma yang di dalamnya bersemi pula semangat nasioalisme Indonesia. Mereka giat mendirikan rumah sakit dan sekolah. Terhadap cita Gita Indonesia Merdeka Perhimpunan Politik Katolik Indonesia ikut menandatangani petisi Soetardjo tahun 1936 yang menuntut kepada pemerintah kolonial untuk memberikan kemerdekaan kepada bangsa Indonesia Demikian pula dalam masa perang kemerdekaan 1945-1949 mereka bersatu dengan segenap lapisan dan golongan untuk mengusir penjajah dan memper tahankan kemerdekaan. Diorama ini menggambarkan suasana perayaan Natal yang diadakan di Semarang dan dihadiri oleh hampir segenap lapisan masyarakat

*DIORAMA 36: THE ACTIVITY OF THE CATHOLIC CHURCH IN UNITING THE NATION (1947)
::The role of the Roman Catholic Church in the propagation of the Christian faith and the promotion of educational activities by the Roman Catholic missionaries contributed significantly to the unification of the nation. Besides, they were very active in building hospitals and schools. Having the Independence of Indonesia as its ideal. the Political Association of the Indonesian Catholic jointly signed the Soetardjo Petition in 1936 demand-ing the colonial government to give independence to the people of Indonesia. During the war defending the independence 19456 1949, the Roman Catholic Church united with other social groups and strata firmly to drive out the colonizer and defend freedom and independence. The diorama shows the atmosphere of the celebration of Christmas in Semarang Central Java, in the year 1947

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.
=====[https://archive.org/details/37-gerilya-mempertahankan-kemerdekaan-1945-1949-img-9616 GERILYA MEMPERTAHANKAN KEMERDEKAAN, 1945-1949]=====
*DIORAMA 37: GERILYA DALAM PERANG KEMERDEKAAN (1945-1949)
::Pada masa perang kemerdekaan Angkatan Bersenjata Republik Indonesia masih memiliki peralatan yang sederhana untuk melawan musuh yang memiliki perlengkapan modern Perang Dunia II Angkatan bersenjata kita menggunakan taktik geniya, menyerang secara mendadak lalu menghilang. Gerilya ini kemudian dilaksanakan sebagai Perang Rakyat Semesta Di daerah-daerah yang dikuasai musuh disusun kantong kantong gerilya untuk menegakkan kekuasaan Republik Indonesia. Sistim tersebut berkembang menjadi sistim Wehrkreise dengan menyusun daerah pertempuran dalam lingkaran lingkaran yang dapat melaksanakan pertahanan secara berdiri sendiri dengan integrasi segenap kekuatan politik, ekonomi sosial budaya dan militer. Diorama ini menggambarkan keberhasilan sejumlah kecil pasukan gerilya menghadang serta menghancurkan iring iringan pasukan Belanda di Ambarawa

*DIORAMA 37: GEURRILLA IN INDEPENDENCE WAR (1945-1949)
::With the aid of obsolete weapons, the Indonesian Armed Forces and the civilian population conducted a guerrilla warfare against the Allied Forces who were trying to reinstall the Dutch colonial regime. Our troops applied the guerrilla tactics which were then camed out as a total war involving the whole population. In the region occupied by the enemy, pockets of the guerrillas were formed to establish the authority of the Republic of Indonesia. This system was developed into the Wehrinese system with the forming of operational areas in self Sustaining penmeters with the thoroughly integrated forces in the economic social, political and military elements. The diorama shows the Indonesian Armed Forces succeeding in attacking the Dutch Military convoy in Ambarawa

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.
=====[https://archive.org/details/38-jenderal-soedirman-1948-img-9617 JENDERAL SOEDIRMAN, 1948]=====

*DIORAMA 38: JENDERAL SUDIRMAN MEMIMPIN PERJUANGAN GERILYA (1948-1949)
::Pada tanggal 19 Desember 1948 Belanda melancarkan aksı militer kedua dengan menyerang Yogyakarta. Ibukota Republik Indonesia. Pemerintah menunjuk Syafruddin Prawiranegara membentuk Pemerintah Darurat di Bukittinggi untuk mengambil alih sementara fungsi Pemerintah Pusat. Pada waktu itu Panglima Besar Jenderal Sudirman memutuskan untuk memimpin sendiri perjuangan gerilya. Walaupun penyakit beliau bertambah parah. nyala semangat juang beliau untuk memimpin gerilya tidak pernah terpadamkan Beliau baru kembali ke Yogyakarta pada bulan Juli 1949 setelah pemulihan kembali Ibukota Republik Indonesia di Yogyakarta. Diorama ini menggambarkan Jenderal Sudirman. memberikan dorongan semangat kepada prajurit TNI bahwa dalam keadaan sulit sekalipun pemimpin mereka tetap setia untuk memimpin perjuangan gerilya mempertahankan kemerdekaan

*DIORAMA 38: GENERAL SUDIRMAN LED A GUERRILLA STRUGGLE (1948-1949)
::On 19 December 1948 the Dutch launched the second military action by attacking Yogyakarta, the capital city of the Republic of Indonesia The government authorized Syafruddin Prawiranegara in Bukittinggi to form an emergency government to take over temporarily the function of the central government. At that time it was already known that the Com mander in Chief of the army, General Sudirman, who was being very sick, had decided that he himself would lead the guerrilla struggle. Eventhough he was be coming very ill, he never gave up and his sprint to lead the guernila forces was not extinguishable. He returned to Yogyakarta in July 1949 only after the capital city of the Republic of Indonesia reinstated in Yogyakarta. The diorama shows that General Sudirman gives TNI soldiers a great moral support and strong conviction that in whatever severe situation, he shall keep his promise and lead the fight.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.
=====[https://archive.org/details/39-pengakuan-kedaulatan-27-desember-1949-img-9620 PENGAKUAN KEDAULATAN, 27 DESEMBER 1949]=====

*DIORAMA 39: PENGAKUAN KEDAULATAN (27 DESEMBER 1949)
::Perjuangan gigih rakyat Indonesia melawan agresi militer kedua Belanda dan adanya desakan Dewan Keamanan PBB memaksa Pemerintah Belanda untuk kembali ke meja perundingan Perundingan tersebut diadakan di Jakarta yang menghasilkan perjanjian Roem Van Royen pada tanggal 13 Mei 1949. Isinya adalah pemulihan pemerintahan Republik Indonesia di Yogyakarta, persiapan untuk mengadakan suatu Konferensi Meja Bundar dan penarikan tentara Belanda dari Yogyakarta. Konferensi Meja Bundar dibuka pada tanggal 23 Agustus 1949 di Den Haag, berakhir 29 Oktober dan ketetapan terpentingnya adalah Kerajaan Belanda mengakui kedaulatan atas Indonesia pada Republik Indonesia Serikat. Upacara resmi pengakuan kedaulatan tersebut berlangsung tanggal 27 Desember 1949 di Amsterdam dan pada hari yang sama upacara serupa diadakan di Jakarta. Diorama ini menggambarkan pengibaran bendera Merah Putih di Istana Merdeka Jakarta, dipimpin oleh Sultan Hamengku Buwono pada upacara pengakuan kedaulatan Republik Indonesia Serikat tanggal 27 Desember 1949.

*DIORAMA 39: RECOGNITION OF SOVEREIGNTY (27 DECEMBER 1949)
::The unyielding struggle against the second Dutch military action and the pressure of the United Nations Security Council forced the Dutch to return to the conference table. The conference was held in Jakarta which resulted in the Roem-Van Royen agreement on 13 May 1949. It contains that the Republic of Indonesia should be reinstated in Yogyakarta, the Round Table Conference should be conducted: and the Dutch army should be withdrawn from Yogyakarta. The Round Table Conference was opened in The Hague on 23 August 1949. It concluded on 29 October and its important provision that the Kingdom of the Netherlands recognized sovereignty over Indonesia to the Republic of the United States of Indonesia. The formal ceremony transferring sovereignty over Indonesia was held in Amsterdam, on 27 December 1949 On the same day a similar ceremony took place in Jakarta. The diorama shows the red and white flag raises in the Merdeka Palace in Jakarta at the recognition sovereignty ceremony led by Sultan Hamengku Buwono on 27 December 1949

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.
=====[https://archive.org/details/40-kembali-ke-negara-kesatuan-1950-img-9621 KEMBALI KE NEGARA KESATUAN, 1950]=====

*DIORAMA 40: KEMBALI KE NEGARA KESATUAN (1950)
::Pengakuan kedaulatan terhadap Republik Indonesia Serikat diberikan pada tanggal 27 Desember 1949 oleh Kerajaan Belanda. Bentuk negara Serikat bukan tujuan bangsa Indonesia melainkan terpaksa diterima sebagai hasil kompromi dengan Belanda. Rakyat di setiap daerah menuntut agar bentuk negara federal dihapuskan dan diberlakukan kembali bentuk negara kesatuan. Beberapa negara bagian secara spontan menyatakan bergabung dengan Republik Indonesia yang pada waktu itu merupakan bagian dan Republik Indonesia Serikat. Puncak dan perjuangan itu adalah perundingan antara RIS dengan negara bagian Republik Indonesia yang menghasilkan keputusan tentang penghapusan bentuk negara Serikat dan pembentukan lærmbali negara kesatuan Republik Indonesia pada tanggal 17 Agustus 1950. Diorama ini menggambarkan Soepomo berpidato di hadapan massa menandai kembali terbentuknya Negara Kesatuan Republik Indonesia

*DIORAMA 40: RETURN TO THE UNITARY STATE (1950)
::The recognition of the sovereignty over Indonesia to the Republic of the United States of Indonesia was given by the Kingdom of the Netherlands on 27 December 1949. The Federation States was not the main purpose of the Indonesian people but was forced upon them and was only tolerated as a result of compromise. The people in the regions had rejected to have the form of a federal states and they demanded the return to the Unitary State Consequently, several members of the United States of Indonesia spontaneously declared unification in the Republic of Indonesia. The struggle to return to the Unitary State reached its peak with the abolishment of the Federal States and the declaration of return to the Unitary State of the Republic of Indonesia on 17 August 1950 as the result of the Interstate Conference. The diorama shows Soepomo gives his speeches before the mass meeting signifying the return to the Unitary State of the Republic of Indonesia

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.
=====[https://archive.org/details/41-indonesia-menjadi-anggota-pbb-28-sepetember-1950-img-9625 INDONESIA MENJADI ANGGOTA PBB, 28 SEPETEMBER 1950]=====

*DIORAMA 41: INDONESIA MENJADI ANGGOTA PERSERIKATAN BANGSA-BANGSA (28 SEPTEMBER 1950)
::Perserikatan Bangsa-Bangsa memainkan peranan penting dalam memelihara perdamaian dunia serta mengatasi perbedaan diantara negara-negara di dunia, dan membantu mempercepat proses dekolonisasi. PBB serta organisasi bawahannya membantu menyelesaikan sengketa Indonesia-Belanda, maka Indonesia cenderung menjadi anggota badan dunia tersebut. Pada tanggal 28 September 1950, dalam Sidang Umum PBB di Flushing Meadow, Lake Success, Indonesia dengan suara bulat resmi diterima menjadi anggota PBB. Diorama ini menggambarkan upacara pengibaran bendera Merah Putih di PBB, New York yang menandai masuknya Indonesia menjadi anggota PBB

*DIORAMA 41: THE UNITED NATION MEMBERSHIP (28 SEPTEMBER 1950)
::The United Nations Organization plays an important role in maintaining world peace and overcoming differences among nations. It also helps in accelerating the process of decolonization in the world. It was already known that the United Nations and its subordinate agencies had assisted in settling the dispute between Indonesia and the Dutch. Therefore, Indo-nesia felt the urgency to become member of the world body. On 28 September 1950 the United Nation Gen-eral Assembly held in Flushing, Lake Success unani-mously approved Indonesia as its sixtieth member. The diorama shows on 28 September 1950 the Red and White flag raises at the ceremony admitting the membership of Indonesia to the United Nations.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.
=====[https://archive.org/details/42-konferensi-asia-afrika-18-24-april-1955-img-9627 KONFERENSI ASIA AFRIKA, 18-24 APRIL 1955]=====

*DIORAMA 42: KONPERENSI ASIA-AFRIKA (18 - 24 APRIL 1955)
::Sesudah berakhirnya Perang Dunia II muncul Blok Barat dan Blok Timur. Sejak saat itu dunia diliputi mendung ketidakpastian dan merasakan ketegangan karena kedua Blok tersebut terlibat perebutan pengaruh serta perlombaan persenjataan yang setiap saat dapat memicu perang nuklir. Menyadari akan bahaya ini rakyat Asia-Afrika yang berbeda-beda sistim politiknya mencari suatu persatuan untuk bersama-sama berusaha menyelamatkan dunia dari kehancuran nuklir dan membentuk dunia baru yang damai dan sejahtera bebas dari kolonialisme dan imperialisme. Melalui konperensi-konperensi di Kolombo tanggal 28 April 2 Mei 1954 dan di Bogor tanggal 28 - 31 Desember 1954 lima negara sponsor konperensi Asia-Afrika, Indonesia, India, Birma, Pakistan dan Srilanka menetapkan langkah-langkah yang lebih konkrit untuk konperensi Asia-Afrika. Konperensi Asia-Afrika yang kemudian dilaksanakan di Bandung tanggal 18-24 April 1955, dihadiri oleh 30 negara-negara Asia-Afrika dan menghasilkan suatu keputusan yang terkenal dengan nama "Dasasila Bandung". Diorama ini menggambarkan Presiden Republik Indonesia menyampaikan pidato pada upacara pembukaan Konperensi Asia-Afrika tanggal 18 April 1955 di Bandung.

*DIORAMA 42: AFRO-ASIAN CONFERENCE (18-24 APRIL 1955)
::After World War II emerged two opposing forces, the West and the East Block. Since then the world was wrapped in a mist of uncertainty and felt the strain, because the two blocks fought for the supremacy in influence and weaponry in a severe cold war, which at anytime threatened the start of a nuclear warfare. Aware of this danger the Asian and African nations which have several different political aspirations tried to wedge a way to unite efforts to save the world from the disaster of nuclear warfare, and form a new world, secure and peaceful free from colonialism and imperialism. Through the preliminary conferences on 28 April -2 May 1954 in Colombo and on 28-31 December 1954 in Bogor five nations that sponsored the Afro-Asian Conference, Indonesia, India, Myanmar, Pakistan and Srilangka set up a concrete platform to hold the conference. On 18 April 1955 in Bandung the Afro-Asian Conference was opened, attended by 30 delegates. It concluded on 24 April and its result was already known as the Declaration of Ten Principles of Bandung. The diorama shows President of the Republic of Indonesia gives his speeches at the opening ceremony of the conference on 18 April 1955 in Bandung.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.
=====[https://archive.org/details/43-pemilihan-umum-pertama-1955-img-9629 PEMILIHAN UMUM PERTAMA, 1955]=====

*DIORAMA 43: PEMILIHAN UMUM PERTAΜΑ (1955)
::Sejak semula Pemerintah Republik Indonesia menyadari bahwa pemilihan umum harus dilaksanakan sebagai salah satu sarana demokrasi. Akan tetapi pada tahun-tahun pertama berdirinya. Republik Indonesia harus menghadapi musuh dari luar, sehingga pemilihan umum sulit dilaksanakan. Barulah sesudah tahun 1950 usaha untuk menyelenggarakan pemilihan umum digiatkan kembali dengan pembuatan Undang-Undang Pemilihan Umum. Keinginan untuk melaksanakan pemilihan umum dapat menstabilkan keadaan politik waktu itu dan pembangunan dapat dilaksanakan dengan sebaik-baiknya. Akhirnya semasa kabinet Burhanuddin Harahap. pemilihan umum dapat dilaksanakan, tanggal 29 September 1955 untuk wakil-wakil rakyat di Dewan Perwakilan Rakyat dan tanggal 15 Desember 1955 untuk wakil-wakil rakyat di Dewan Konstituante. Diorama ini menggambarkan peristiwa pemilihan umum pertama di Indonesia tahun 1955.

*DIORAMA 43: THE FIRST GENERAL ELECTION (1955)
::From the very beginning, the Government of the Republic of Indonesia has been aware that there had to be an election in order to implement the principle of democracy. But, since beginning of her existence the Republic of Indonesia had to face enemies from outside, so that it was very difficult to accomplish elections In 1950, efforts to accomplish a general election took a concrete form with the legislation of the law of general election. The desire to act was very great, with the hope that the result of the elections would stabilize the political situation, enabling the building up of the country with the most desirable effect. Finally, under the cabinet of Burhanuddin Harahap administration the election was carried out on 29 September 1955 and on 15 December 1955 respectively for the people's representatives in Legislative Assembly and Constituent Assembly. The diorama shows the atmosphere of the first general election in 1955.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.
=====[https://archive.org/details/44-pembebasan-irian-jaya-1-mei-1963-img-9631 PEMBEBASAN IRIAN JAYA, 1 MEI 1963]=====

*DIORAMA 44: PEMBEBASAN IRIAN JAYA (Ι ΜΕΙ 1963)
::Dengan dasar pemikiran bahwa wilayah kekuasaan Republik Indonesia meliputi seluruh wilayah bekas jajahan Hindia Belanda, maka segala upaya pembebasan Irian Jaya terus dijalankan. Usaha-usaha pengembalian Irian Jaya yang masih dikuasai Belanda ke dalam wilayah kekuasaan Republik Indonesia melalui meja perundingan selalu gagal. Begitupun melalui sidang-sidang Majelis Umum Perserikatan Bangsa-Bangsa. Ketika Belanda bermaksud memberikan hak menentukan nasib sendiri pada rakyat Irian Jaya yang menjurus untuk melepaskan dari Republik Indonesia dan membentuk pemerintah boneka, Indonesia memutuskan untuk membebaskan Irian Jaya dengan kekuatan senjata. Dalam rapat umum tanggal 19 Desember 1961 di Yogyakarta, Presiden mengumumkan Tri Komando Rakyat (Trikora), yang meliputi: Gagalkan pembentukan negara Papua bikinan kolonialis Belanda, Kibarkan Sang Merah Putih di Irian Jaya, dan Bersiaplah untuk mobilisasi umum. Satuan tugas dengan nama Komando Mandala dibentuk yang dipimpin oleh Mayor Jenderal Soeharto, dan dengan demikian dimulailah operasi militer ke Irian Jaya. Dalam keadaan demikian pada tanggal 15 Agustus 1962 tercapai Persetujuan New York antara Indonesia-Belanda. Pada tanggal 1 Mei 1963 secara resmi Belanda melalui PBB menyerahkan kekuasaan atas Irian Jaya kepada Indonesia. Diorama ini menggambarkan Sudjarwo Tjondronegoro mewakili Indonesia pada upacara resmi penyerahan kedaulatan Irian kepada Republik Indonesia pada tanggal | Mei 1963 di Jayapura. Bendera Belanda diturunkan dan bendera Indonesia dinaikkan.

*DIORAMA 44: THE LIBERATION OF IRIAN JAYA (1 MAY 1963)
::Based on the conception that the Republic of Indonesia teritory of sovereignty consists of the entire former the Netherlands Indies Territory, the Republic kept on taking all necessary measures to liberate Irian. Effort to reclaim Irian back in the unity from the Dutch authority to Indonesia by means of negotiations as well as through the General Assembly of the United Nations Organization had never been successful, When the Dutch intended to give the Irian people the right of self determination which had the tendency to make it an independent state, Indonesia lost its patience which she had been trying to endeavour for 12 years and decided to take Irian by force. On 19 December 1961 at a mass meeting in Yogyakarta President declared The People's Three Commands: Foiling the establishment of the Papua State setting up by the Dutch, Raising the Red and White flag in Irian, and Getting ready for general mobilization. The special task force, known as Mandala Com-mand was set up led by Major General Soeharto and so began the military operations to Irian. Under such circumstances on 15 August 1962 Indonesia and the Dutch reached the New York agree-ment. On May 1963 the Dutch through the good offices of the United Nations officially transferred the sovereignty over Irian to the Republic of Indonesia. The diorama shows Soedjarwo Tjondronegoro, Indonesia's representative, at the ceremony transferring sovereignty over Irian to the Republic of Indonesia on May 1963 in Jayapura. The Dutch flag is lowered and the Indonesian flag raised.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.
=====[https://archive.org/details/45-hari-kesaktian-pancasila-1-oktober-1965-img-9637 HARI KESAKTIAN PANCASILA, 1 OKTOBER 1965]=====

*DIORAMA 45: HARI KESAKTIAN PANCASILA (1 OKTOBER 1965)
::Pada masa pemerintahan Orde Lama, PKI meningkatkan serangannya terhadap kekuatan Pancasila. Karena menurunnya kesehatan Presiden Soekarno saat itu. PKI merasa adanya bahaya yang akan mengancam eksistensinya. Yang dianggap bahaya terbesar adalah pihak TNI-Angkatan Darat, karena Pemimpinnya bersikap waspada terhadap kegiatan PKI yang hendak menyelewengkan Pancasila. Untuk mendiskreditkan lawannya itu, PKI membuat fitnah terhadap Pimpinan TNI Angkatan Darat seolah-olah mereka membentuk Dewan Jenderal yang akan merebut kekuasaan negara. Dengan dalih mendahului coup Dewan Jenderal itu maka pada tanggal | Oktober 1965 PKI, dibantu oleh oknum-oknum ABRI, melancarkan Gerakan 30 September dan melakukan pembunuhan terhadap pimpinan TNI-Angkatan Darat di Lubang Buaya, Jakarta Timur. Tetapi rakyat yang berjiwa Pancasila sejati segera sadar bahwa gerakan itu bertujuan untuk melenyapkan Pancasila dan UUD 45. Dibawah pimpinan Mayor Jenderal Soeharto. Panglima Kostrad, usaha perebutan kekuasaan oleh Gerakan 30 September/PKI berhasil digagalkan dan gerakannya ditumpas dalam waktu singkat. Peristiwa ini merupakan kemenangan dari Pancasila yang telah benar-benar dihayati oleh seluruh rakyat. Diorama ini menggambarkan jenazah para Pahlawan Revolusi diangkat dari sumur di Lubang Buaya dipimpin langsung oleh Mayor Jenderal Soeharto.

*DIORAMA 45: PANCASILA SANCTITY DAY (1 OCTOBER 1965)
::During the Old Order regime, the Indonesian Communist Party increased its offensive against the forces of Pancasila. Because of the decline of Presi-dent Soekarno's health, who was its ally and protec-tor, the Indonesian Communist Party felt the danger that threatened its existence. The biggest danger they considered was the Indonesian Army (TNI-AD), because TNI-AD commander were very much alert of the Indonesian Communist Party activities that had the aim of diverting the Pancasila. To bring discredit to his opponent, they slandered the TNI-AD leaders accusing them of forming a Council of General with which to carry out a coup d'etat. With the excuse of intercepting the coup d'etat of the Council of Generals, on October 1, 1965, the In-donesian Communist Party with several officers from the Armed Forces, launched the 30 September Move-ment by killing the top leaders of the army in Lubang Buaya, East Jakarta. But the Indonesian people who are true Pancasialists were immediately aware that the Indonesian Communist Party movement was aimed at destroying the Pancasila state philosophy and the 1945 Constitution. Under the command of Major General Soeharto the effort for a coup d'etat by the Indonesian Commu-nist Party were thwarted, and the movement was destroyed within a very short time. This event proved of the invulnerability of the Pancasila as it is in the soul of the people. The diorama shows on 4 October 1965 the corpses of the Revolution Heroes are lifted from the well in Lubang Buaya led by Major General Soeharto.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.
=====[https://archive.org/details/46-aksi-aksi-tri-tuntutan-rakyat-1966-img-9640 AKSI-AKSI TRI TUNTUTAN RAKYAT, 1966]=====

*DIORAMA 46: AKSI-AKSI TRI TUNTUTAN RAKYAT (1966)
::Semenjak gagalnya coup berdarah yang dilakukan oleh Partai Komunis Indonesia, pemerintahan Orde Lama menjadi goyah. Di samping itu krisis politik dan ekonomi semakin parah. Mahasiswa sebagai generasi muda yang tergabung dalam Kesatuan Aksi Mahasiswa Indonesia (KAMI) mengajukan Tri Tuntutan Rakyat (Tritura), meliputi 1. Bubarkan PKI 2. Bersihkan Kabinet dari unsur-unsur G-30-S/PKI 3. Turunkan harga-harga. Diorama ini menggambarkan suasana gelombang demonstrasi yang pada saat itu diadakan di area Taman Medan Merdeka Utara, Jakarta.

*DIORAMA 46: THE PEOPLE'S THREE DEMAND ACTION (1966)
::Since the failure of the bloody coup d'etat of the Indonesian Communist Party, the Old Order regime became unstable. Besides, political and economical crisis apparent. Throughout the country, universities and high schools students with the support of the Pancasila forces and the Armed Forces, demanded: 1 Banning the Indonesian Communist Party 2. Purging communist elements from the Dwikora Cabinet 3. Lowering prices of basic commodities.The diorama shows the demonstration to voice the people's Three Demands held in northern area of Medan Merdeka Square, Jakarta.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.
=====[https://archive.org/details/47-surat-perintah-11-maret-1966-img-9645 SURAT PERINTAH 11 MARET 1966]=====

*DIORAMA 47: SURAT PERINTAH SEBELAS MARET (1966)
::Situasi negara Indonesia sesudah digagalkannya kudeta Gerakan 30 September/PKI merupakan masa kritis yang menggoncangkan sendi-sendi negara. Presiden Soekarno beserta pemerintahannya yang penuh dengan oknum-oknum Gerakan 30 September/PKI sama sekali kehilangan kepercayaan rakyat. Pada tanggal 11 Maret 1966 Presiden Soekarno mengeluarkan Surat Perintah kepada Jenderal Soeharto untuk memulihkan kewibawaan Pemerintah dengan jalan mengambil semua tindakan yang dianggap perlu. Jenderal Soeharto dengan cepat melaksanakan Surat Perintah | Maret 1966 itu dengan memenuhi dua diantara. Tri Tuntutan Rakyat, yakni membubarkan Partai Komunis Indonesia dan membersihkan kabinet dari menteri-menteri yang ada indikasi terlibat Gerakan 30 September/PKI atau memperlihatkan itikad kurang baik terhadap usaha-usaha pemulihan keamanan dan ketertiban. Dalam diorama ini digambarkan tiga Perwira Tinggi Angkatan Darat, yakni Mayjen Basuki Rahmat. Brigjen M. Jusuf dan Brigjen Amir Machmud sedang melaporkan Surat Perintah 11 Maret 1966 kepada Jenderal Soeharto, yang sedang berbaring karena sakit.

*DIORAMA 47:DIORAMA 47: THE WRITTEN ORDER OF MARCH ELEVENTH (1966)
::The time after the failure of the September 30 Movement/the Indonesian Communist Party, a new crisis emerged which shook the foundation of the country. On 11 March 1966 President Soekarno issued his mandate to General Soeharto in order to reinstate the Government authority and restore the national security by taking any necessary measures. General Soeharto immediately executed the or-der by fulfilling two of the People's Three Demands. i.e. Banning the Indonesian Communist Party, and purging the cabinet from the ministers who were involved in the September 30 Movement/ Indonesian Communist Party or those who hampered efforts to recovering security and order. The diorama shows General Soeharto as he was very sick - lying on bed receives, from left to right, army officers Brigadier General Amir Machmud, Major General Basuki Rachmat and Brigadier General M. Jusuf who have come to report the written order of March Eleventh.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.
=====[https://archive.org/details/48-penentuan-pendapat-rakyat-irian-jaya-1969-img-9646 PENENTUAN PENDAPAT RAKYAT IRIAN JAYA, 1969]=====

*DIORAMA 48: PENENTUAN PENDAPAT RAKYAT IRIAN BARAT (1969)
::Salah satu isi persetujuan New York tanggal 15 Agustus 1962 mengenai penyerahan Irian Barat kepada Indonesia adalah bahwa pada tahun 1969 harus diadakan Penentuan Pendapat Rakyat (Pepera), apakah memilih Republik Indonesia atau tidak. Pelaksanaannya akan diawasi oleh Perserikatan Bangsa-Bangsa. Timbul masalah dalam pelaksanaannya, apakah setiap orang memberikan suara langsung sebagaimana usul wakil PBB, Duta Besar Bolivia Ortin Sede, atau perwakilan setiap kelompok melalui pemilihan secara bertingkat seperti usul Indonesia. Karena usul wakil PBB adalah amat sulit untuk dilaksanakan dalam kondisi seperti di Irian Barat, usul Indonesia yang diterima. Dengan disaksikan oleh wakil-wakil PBB, pers dalam dan luar negeri serta peninjau-peninjau dari beberapa kedutaan asing di Jakarta, dimulailah Pepera tersebut dari bulan April - Juni 1969, untuk pemilihan anggota Dewan Musyawarah Kabupaten (Regency Consultative Assemblies) di mana terpilih 1026 anggota mewakili 8 kabupaten, diantaranya 43 wanita. Keputusan Dewan Musyawarah Pepera dengan suara bulat memilih Irian Barat tetap merupakan bagian dari Negara Kesatuan Republik Indonesia. Padá tanggal 19 November 1969, PBB mensahkan hasil Pepera tersebut dengan 84 suara setuju, 6 menolak dan 30 suara abstain (terutama negara Afrika). Diorama ini menggambarkan suasana Sidang Musyawarah Penentuan Pendapat Rakyaat Irian Barat pada bulan Juli 1969.

*DIORAMA 48: REFERENDUM OF THE PEOPLE OF WEST IRIAN (1969)
::The contents of the agreement of New York on August 15, 1962, concerning the transfer of sovereignty of West Irian to Indonesia, said that in 1969, the people of Irian should be given the right of self-determination in order to choose whether they would consent to be a part of Indonesia or otherwise. The execution would be under supervision of the United Nations. Complication arose concerning the procedure of execution whether every voter would directly give his vote, as was suggested by the delegation of the United Nations, Bolivian Ambassador Ortin Sede, or repre-sentatives of each group and so voting in stages (Indonesia's proposal). Based on the geographical con-dition in Irian, finally Indonesia's proposal was accepted. From April to June 1969, the Indonesia's govern-ment held a United Nations' supervised referendum in West Irian, witnessed by United Nations representatives, local and foreign journalists and observers from several embassies in Jakarta in which 1026 delegates were elected representing 8 regencies, among them 43 were women. The result was a unanimous option for joining the Republic of Indonesia as an integral part of the Republic. On 19 November the United Nations approved the result of the referendum after taking of a vote, 84 in favor, 6 opposed and 30 abstain (mostly African States). The diorama shows the atmosphere of the People's Referendum Assembly in Irian in July 1969.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

=====(The museum)=====
======[https://archive.org/details/img-9384_202601 IMG_9384]======

*Interior of Museum Sejarah Nasional (National History Museum), located in the basement of Monas.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

======[https://archive.org/details/img-9391a IMG_9391a]======

*Interior of Museum Sejarah Nasional (National History Museum), located in the basement of Monas.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

======[https://archive.org/details/img-9402_202601 IMG_9402]======

*Interior of Museum Sejarah Nasional (National History Museum), located in the basement of Monas.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

======[https://archive.org/details/img-9415_202601 IMG_9415]======

*Interior of Museum Sejarah Nasional (National History Museum), located in the basement of Monas.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

======[https://archive.org/details/img-9436_202601 IMG_9436]======

*Interior of Museum Sejarah Nasional (National History Museum), located in the basement of Monas.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

======[https://archive.org/details/img-9439_202602 IMG_9439]======

*Interior of Museum Sejarah Nasional (National History Museum), located in the basement of Monas.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

======[https://archive.org/details/img-9614_202601 IMG_9614]======

*Interior of Museum Sejarah Nasional (National History Museum), located in the basement of Monas.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

======[https://archive.org/details/img-9384_202601 IMG_9384]======

*Interior of Museum Sejarah Nasional (National History Museum), located in the basement of Monas.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

======[https://archive.org/details/img-9391a IMG_9391a]======

*Interior of Museum Sejarah Nasional (National History Museum), located in the basement of Monas.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

======[https://archive.org/details/img-9402_202601 IMG_9402]======

*Interior of Museum Sejarah Nasional (National History Museum), located in the basement of Monas.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

======[https://archive.org/details/img-9415_202601 IMG_9415]======

*Interior of Museum Sejarah Nasional (National History Museum), located in the basement of Monas.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

======[https://archive.org/details/img-9436_202601 IMG_9436]======

*Interior of Museum Sejarah Nasional (National History Museum), located in the basement of Monas.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

======[https://archive.org/details/img-9439_202602 IMG_9439]======

*Interior of Museum Sejarah Nasional (National History Museum), located in the basement of Monas.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

======[https://archive.org/details/img-9614_202601 IMG_9614]======

*Interior of Museum Sejarah Nasional (National History Museum), located in the basement of Monas.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

====Hasil Jadi====
=====[https://archive.org/details/mon-jam-00001 MON_JAM_00001]=====
*Photo of the installation of diorama number 29, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team at the National Monument, with the title Youth Pledge.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-jam-00002 MON_JAM_00002]=====
*Photo of the installation of diorama number 29, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team at the National Monument, with the title Youth Pledge.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-jam-00003 MON_JAM_00003]=====
*Photo of the installation of diorama number 29, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team at the National Monument, with the title Youth Pledge.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-jam-00004 MON_JAM_00004]=====
*Photo of the installation of diorama number 17, commissioned by Edhi Sunarso and the Keluarga Arca sculptor team at the National Monument, titled The Aceh War, shows a miniature building resembling the Baiturrahman Mosque in Aceh, which was later abandoned.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-jam-00005 MON_JAM_00005]=====
*Photo of the installation of diorama number 17, commissioned by Edhi Sunarso and the Keluarga Arca sculptor team at the National Monument, titled The Aceh War, shows a miniature building resembling the Baiturrahman Mosque in Aceh, which was later abandoned.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-jam-00006 MON_JAM_00006]=====
*Photo of the installation of diorama number 17, commissioned by Edhi Sunarso and the Keluarga Arca sculptor team at the National Monument, titled The Aceh War, shows a miniature building resembling the Baiturrahman Mosque in Aceh, which was later abandoned.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-jam-00007 MON_JAM_00007]=====
*Photo of the installation of diorama number 37, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team at the National Monument, with the title Guerrilla in the War of Independence.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-jam-00008 MON_JAM_00008]=====
*Photo of the installation of diorama number 37, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team at the National Monument, with the title Guerrilla in the War of Independence.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-jam-00009 MON_JAM_00009]=====
*Photo of the installation of diorama number 30, which was done by Edhi Sunarso and the Keluarga Arca sculptor team, at the National Monument, with the title Romusha.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-jam-00010 MON_JAM_00010]=====
*Photo of the installation of diorama number 33, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team at the National Monument, with the title Ratification of Pancasila as the Philosophical Foundation of the State and the 1945 Constitution.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-jam-00011 MON_JAM_00011]=====
*Photo of the installation of diorama number 33, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team at the National Monument, with the title Ratification of Pancasila as the Philosophical Foundation of the State and the 1945 Constitution.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-jam-00012 MON_JAM_00012]=====
*Photo of one of the artists in front of diorama number 33 with the title Ratification of Pancasila as the State Foundation and the 1945 Constitution, which was done by Edhi Sunarso and the Keluarga Arca sculptor team at the National Monument

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-jam-00013 MON_JAM_00013]=====
*Photo of the installation of diorama number 20, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team at the National Monument, with the title Cultivation Forced Planting.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-jam-00014 MON_JAM_00014]=====
*Photo of the installation of diorama number 20, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team at the National Monument, with the title Cultivation Forced Planting.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-jam-00015 MON_JAM_00015]=====
*Photo of the installation of diorama number 20, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team at the National Monument, with the title Cultivation Forced Planting.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-jam-00016 MON_JAM_00016]=====
*Photo of the installation of diorama number 20, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team at the National Monument, with the title Cultivation Forced Planting.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-jam-00017 MON_JAM_00017]=====
*Photo of the installation of diorama number 30, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team, at the National Monument, with the title Romusha.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-jam-00018 MON_JAM_00018]=====
*Photo of the installation of diorama number 23, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team, at the National Monument, with the title National Awakening.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-jam-00019 MON_JAM_00019]=====
*Photo of one of the Keluarga Arca artists in front of diorama number 6 entitled Palapa Oath, which was done by Edhi Sunarso and the Keluarga Arca sculptor team at the National Monument

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-jam-00020 MON_JAM_00020]=====
*Photo of an artist from the Keluarga Arca sculptor team working on installing diorama number 14 entitled The Diponegoro War, at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-jam-00021 MON_JAM_00021]=====
*Photo of the installation of diorama number 14, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team,at the National Monument, with the title Diponegoro War.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-jam-00022 MON_JAM_00022]=====
*Photo of artists from the Keluarga Arca sculptor team preparing statues for a diorama at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-mer-00001 MON_MER_00001]=====
*Photo of the installation of diorama number 2, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team at the National Monument, with the title Sriwijaya seaport.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-mer-00002 MON_MER_00002]=====
*Photo of the finished product from the installation of diorama number 3, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team at the National Monument, with the title Borobudur Temple Under Construction

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-mer-00003 MON_MER_00003]=====
*Photo of the installation of diorama number 7, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team, at the National Monument, with the title Majapahit War Fleet.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-mer-00004 MON_MER_00004]=====
*Photo of the installation of diorama number 44, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team, at the National Monument, with the title Liberation of West Irian.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-mer-00005 MON_MER_00005]=====
*Photo of the installation of diorama number 15, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team at the National Monument, with the title Imam Bonjol War

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-mer-00006 MON_MER_00006]=====
*Photo of the installation of diorama number 12, which was carried out by Edhi Sunarso and the keluarga Arca sculptor team,at the National Monument, with the title Makassar War.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-mer-00007 MON_MER_00007]=====
*Photo of the installation of diorama number 10, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team , at the National Monument, with the title The War for the Formation of Jayakarta.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-mer-00008 MON_MER_00008]=====
*Photo of the installation of diorama number 30, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team , at the National Monument, with the title Romusha.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-mer-00009 MON_MER_00009]=====
*Photo of the installation of diorama number 11, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team, at the National Monument, with the title Bugis Trading Fleet.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-mer-00010 MON_MER_00010]=====
*Photo of the installation of diorama number 8, which was done by Edhi Sunarso and the Keluarga Arca sculptor team, at the National Monument, with the title Chinese Envoy to Majapahit.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-mer-00011 MON_MER_00011]=====
*Photo of the installation of diorama number 9, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team, at the National Monument, with the title Pesantren as a Uniter of the Indonesian Nation.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-mer-00012 MON_MER_00012]=====
*Photo of the installation of diorama number 25, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team, at the National Monument, with the title Muhammadiyah.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-mer-00013 MON_MER_00013]=====
*Photo of the installation of diorama number 42, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team, at the National Monument, with the title Asia-Africa Conference.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-mer-00014 MON_MER_00014]=====
*Photo of the installation of diorama number 37, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team at the National Monument, with the title Guerrilla in the War of Independence.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-mer-00015 MON_MER_00015]=====
*Photo from one corner of the diorama room at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-mer-00016 MON_MER_00016]=====
*Photo of the installation of diorama number 38, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team, at the National Monument, with the title General Soedirman.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-mer-00017 MON_MER_00017]=====
*Photo of the installation of diorama number 5, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team at the National Monument, with the title Jawi Temple: A Combination of Shivaism and Buddhism

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-mer-00018 MON_MER_00018]=====
*Photo of the installation of diorama number 26, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team at the National Monument, with the title Indonesian Association.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-mer-00019 MON_MER_00019]=====
*Photo of the installation of diorama number 27, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team at the National Monument, with the title STOVIA

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-mer-00020 MON_MER_00020]=====
*Photo of the installation of diorama number 6, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team at the National Monument, with the title Palapa Oath.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-mer-00021 MON_MER_00021]=====
*Photo of the installation of diorama number 39, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team at the National Monument, with the title Recognition of Sovereignty.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-mer-00022 MON_MER_00022]=====
*Photo of the finished product from the installation of diorama number 4, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team at the National Monument, with the title Waringin Sapta Dam.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-mer-00023 MON_MER_00023]=====
*photo documentation of one of the dioramas

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-mer-00024 MON_MER_00024]=====
*Photo of the installation of diorama number 4, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team at the National Monument, with the title Diponegoro War.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-mer-00025 MON_MER_00025]=====
*Photo of the installation of diorama number 46, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team at the National Monument, with the title Three Demands of the People's Action

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-mer-00026 MON_MER_00026]=====
*Photo of the installation of diorama number 45, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team at the National Monument, with the title Pancasila Sanctity Day.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-mer-00027 MON_MER_00027]=====
*Photo of the installation of diorama number 45, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team at the National Monument, with the title Pancasila Sanctity Day.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-mer-00028 MON_MER_00028]=====
*Photo of the installation of diorama number 47, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team at the National Monument, with the title 11th March 1966 Order Letter

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-post-00001 MON_POST_00001]=====
*Photo of one of the artists from the Keluarga Arca sculptor team on one side of the National Monument building.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-post-00002 MON_POST_00002]=====
*Photo of artists from the Keluarga Arca sculptor team creating sculptures in the studio

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-post-00003 MON_POST_00003]=====
*Photo of the installation of diorama number 45, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team at the National Monument, with the title Pancasila Sanctity Day.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-post-00004 MON_POST_00004]=====
*Photo of the installation of diorama number 7, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team at the National Monument, with the title Majapahit War Fleet.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-post-00005 MON_POST_00005]=====
*Photo of the installation of diorama number 45, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team at the National Monument, with the title Pancasila Sanctity Day.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-post-00006 MON_POST_00006]=====
*Photo of the installation of diorama number 40, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team at the National Monument, with the title Returning to the Unitary State.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-post-00007 MON_POST_00007]=====
*Photo of the installation of diorama number 46, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team at the National Monument, with the title Three Demands of the People's Action

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-post-00008 MON_POST_00008]=====
*Photo of the installation of diorama number 7, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team at the National Monument, with the title Majapahit War Fleet.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

====Pemasangan Diorama====
=====[https://archive.org/details/mon-bwf-00001 MON_BWF_00001]=====
*Photo of the base of the Monas building

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-bwf-00002 MON_BWF_00002]=====
*Photo of Edhi Sunarso with his colleagues on the steps of the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-bwf-00003 MON_BWF_00003]=====

*Photo of artists from the Keluarga Arca sculptor team preparing one of the dioramas at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-bwf-00004 MON_BWF_00004]=====

*Photo of artists from the Keluarga Arca sculptor team in the process of coloring the statues for the diorama at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-bwf-00005 MON_BWF_00005]=====

*Photo of artists from the Keluarga Arca sculptor team in the process of coloring the statues for the diorama at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-bwf-00006 MON_BWF_00006]=====

*Photo of the artist preparing diorama room number 39 at the National Monument entitled Recognition of Sovereignty.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-bwf-00007 MON_BWF_00007]=====

*Photo of one of the artists preparing a scene in diorama number 14 at the National Monument entitled The Diponegoro War.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-bwf-00008 MON_BWF_00008]=====

*Photo of artists from the Keluarga Arca sculptor team in the process of coloring the statues for the diorama at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-bwf-00009 MON_BWF_00009]=====

*Photo of one of the scenes in the diorama arrangement process at the National Monument, possibly in diorama number 18 with the title Sisingamagaraja's Resistance.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-bwf-00010 MON_BWF_00010]=====

*Photo of one of the scenes in the diorama arrangement process at the National Monument, possibly in diorama number 18 with the title Sisingamagaraja's Resistance.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-bwf-00011 MON_BWF_00011]=====

*Photo of one of the scenes in the diorama arrangement process at the National Monument, possibly in diorama number 18 with the title Sisingamagaraja's Resistance.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-bwf-00012 MON_BWF_00012]=====

*Photo of one of the scenes in the process of arranging the diorama at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-bwf-00013 MON_BWF_00013]=====

*Photo of one of the scenes in the process of arranging diorama number 14 entitled Diponegoro War at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-bwf-00014 MON_BWF_00014]=====

*Photo of one of the scenes in the process of arranging diorama number 14 entitled Diponegoro War at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-bwf-00015 MON_BWF_00015]=====

*Photo of one of the scenes in the diorama arrangement process at the National Monument in diorama number 18 with the title Sisingamagaraja's Resistance.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-bwf-00016 MON_BWF_00016]=====

*Photo of one of the artists while arranging the statues in the diorama room for diorama scene number 39 at the National Monument with the title Recognition of Sovereignty

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-bwf-00017 MON_BWF_00017]=====

*Photo of an artist preparing a miniature building as one of the elements in diorama number 17 at the National Monument entitled The Aceh War

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-bwf-00018 MON_BWF_00018]=====

*Photo of an artist preparing a miniature building as one of the elements in diorama number 17 at the National Monument entitled The Aceh War

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-bwf-00019 MON_BWF_00019]=====

*Photo of artists from the Keluarga Arca sculptor team in the process of coloring the statues for the diorama at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-bwf-00020 MON_BWF_00020]=====

*Photo of artists from the Keluarga Arca sculptor team in the process of coloring the statues for the diorama at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-bwf-00021 MON_BWF_00021]=====

*Photo of one of the scenes in diorama number 20 at the National Monument entitled Forced Cultivation.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-bwf-00022 MON_BWF_00022]=====

*Photo of one of the scenes in diorama number 20 at the National Monument entitled Forced Cultivation.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-bwf-00023 MON_BWF_00023]=====

*Photo of one of the scenes in diorama number 20 at the National Monument entitled Forced Cultivation.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-bwf-00024 MON_BWF_00024]=====

*Photo of the artist painting the background of diorama number 6 at the National Monument entitled Palapa Oath.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-bwf-00025 MON_BWF_00025]=====

*Photo of the artist arranging the statues in diorama number 6 at the National Monument with the title Palapa Oath.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-bwf-00026 MON_BWF_00026]=====

*Photo of Edhi Sunarso sleeping and the other artists preparing statues for a diorama at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-bwf-00027 MON_BWF_00027]=====

*Photo of artists preparing statues to be installed in a diorama at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-bwf-00028 MON_BWF_00028]=====

*Photo of artists preparing statues to be installed in a diorama at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-bwf-00029 MON_BWF_00029]=====

*Photo of artists preparing statues to be installed in a diorama at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-bwf-00030 MON_BWF_00030]=====

*Photo of artists from the Keluarga Arca sculptor team in the process of coloring the statues for the diorama at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-bwf-00031 MON_BWF_00031]=====

*A photo of artists from the Keluarga Arca sculptor team in the process of coloring the statues for the diorama at the National Monument. The photo is shown behind the space prepared for diorama number 33 at the National Monument, titled "The Ratification of Pancasila, the Philosophical Foundation of the State and the 1945 Constitution."

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-bwf-00032 MON_BWF_00032]=====

*Photo of an artists from the Keluarga Arca sculptor team painting a background on a diorama

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-bwf-00033 MON_BWF_00033]=====

*Photo of artists from the Keluarga Arca sculptor team artist installing the contents of diorama number 46 at the National Monument with the title Three Demands of the People's Action.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-mon-kun-00001 MON_MON_KUN_00001]=====

*Photo of Kustiyah Edhi Sunarso standing in front of a diorama at the National Monument entitled Ancient Indonesian Society.entitled Ancient Indonesian Society.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-mon-kun-00002 MON_MON_KUN_00002]=====

*Photo of the artists in front of the diorama room which is currently being installed at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-mon-kun-00003 MON_MON_KUN_00003]=====

*Photo of an artist painting the background of one of the dioramas at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-mon-kun-00004 MON_MON_KUN_00004]=====

*Photo of an artist observing diorama number 1 at the National Monument entitled Ancient Indonesian Society.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-mon-kun-00005 MON_MON_KUN_00005]=====

*Photo of Edhi Sunarso and Kustiyah Edhi Sunarso with fellow artists in front of the diorama room which is currently being installed at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-mon-kun-00006 MON_MON_KUN_00006]=====

*Photo of the artist working on installing a statue for diorama number 30 at the National Monument entitled Romusha.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-mon-mer-00001 MON_MON_MER_00001]=====

*Photo of artists from the Keluarga Arca sculptor team preparing statues to be installed in a diorama

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-mon-mer-00002 MON_MON_MER_00002]=====

*Photo of artists from the Keluarga Arca sculptor team preparing statues to be installed in a diorama

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-mon-mer-00003 MON_MON_MER_00003]=====

*Photo of an artist from the Keluarga Arca sculptor team preparing a diorama space

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-mon-mer-00004 MON_MON_MER_00004]=====

*Photo of artists from the Keluarga Arca sculptor team preparing statues to be installed in one of the diorama rooms

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-mon-mer-00005 MON_MON_MER_00005]=====

*Photo of an artist from the Keluarga Arca sculptor team preparing one of the diorama rooms at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/pro-mon-jak-00001 PRO_MON_JAK_00001]=====

*Photo of peoples reviewing one of the dioramas at the National Monument with the title Romusha.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/pro-mon-jak-00002 PRO_MON_JAK_00002]=====

*Photo of the artists of Keluarga Arca Sculptor team during the installation process of diorama number 45 at the National Monument with the title Pancasila Sanctity Day.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/pro-mon-jak-00003 PRO_MON_JAK_00003]=====

*Photo of Edhi Sunarso during the installation process of diorama number 45 at the National Monument with the title Pancasila Sanctity Day.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/pro-mon-jak-00004 PRO_MON_JAK_00004]=====

*Photo of artists from the Keluarga Arca sculptor team installing a statue for one of the dioramas at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/pro-mon-jak-00005 PRO_MON_JAK_00005]=====

*Photo of the artist working on installing a statue for diorama number 30 at the National Monument entitled Romusha.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/pro-mon-jak-00006 PRO_MON_JAK_00006]=====

*Photo of artists from the Keluarga Arca sculptor team in the process of installing diorama number 45 at the National Monument with the title Pancasila Sanctity Day.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/pro-mon-jak-00007 PRO_MON_JAK_00007]=====

*Photo of Kustiyah Edhi Sunarso in front of the artists from Keluarga Arca Sculptor team, in the process of installing diorama number 45 at the National Monument with the title Pancasila Sanctity Day.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/pro-mon-jak-00008 PRO_MON_JAK_00008]=====

*A photograph of an artist from Keluarga Arca Sculptor team coloring the background of one of the dioramas at the National Monument, possibly diorama number 1, titled Ancient Indonesian Society.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/pro-mon-jak-00009 PRO_MON_JAK_00009]=====

*Photo of the artists in front of one of the dioramas at the National Monument

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/pro-mon-jak-00010 PRO_MON_JAK_00010]=====

*Photo of Edhi Sunarso with his colleagues in front of diorama number 20 at the National Monument with the title Romusha.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/pro-mon-jak-00011 PRO_MON_JAK_00011]=====

*Photo of Edhi Sunarso with local people during a visit to an area in Central Indonesia.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

=====[https://archive.org/details/pro-mon-jak-00012 PRO_MON_JAK_00012]=====

*Photo of Edhi Sunarso and Kustiyah Edhi Sunarso playing with their son

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/pro-mon-jak-00013 PRO_MON_JAK_00013]=====

*Photo of Kustiyah Edhi Sunarso and her fellow artist in front of diorama number 1 entitled Ancient Indonesian Society which is located at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/pro-mon-jak-00014 PRO_MON_JAK_00014]=====

*Photo of the artist from Keluarga Arca Sculptor team providing color for the background of diorama number 1 entitled Ancient Indonesian Society which is located at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/pro-mon-jak-00015 PRO_MON_JAK_00015]=====

*Photo of an artist from Keluarga Arca Sculptor team working on a relief

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/pro-mon-jak-00016 PRO_MON_JAK_00016]=====

*Photo of an artist from Keluarga Arca Sculptor team creating a sculpture for a diorama.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/pro-mon-jak-00017 PRO_MON_JAK_00017]=====
*Photo of Edhi Sunarso and Kustiyah Edhi Sunarso in front of the National Monument, in Jakarta

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/pro-mon-jak-00018 PRO_MON_JAK_00018]=====
*Photo of fellow artists from Keluarga Arca Sculptor team in front of the National Monument. in Jakarta

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/pro-mon-jak-00019 PRO_MON_JAK_00019]=====
*Photo of artists from Keluarga Arca Sculptor team in the process of installing diorama number 45 at the National Monument with the title Pancasila Sanctity Day.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/pro-mon-jak-00020 PRO_MON_JAK_00020]=====
*Photo of the artist from Keluarga Arca Sculptor team on one side of the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/pro-mon-jak-00021 PRO_MON_JAK_00021]=====
*Photo of artists from the Keluarga Arca sculptor team in the process of installing one of the dioramas at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

====Pembuatan Diorama====
=====[https://archive.org/details/pro-mon-jog-00001 PRO_MON_JOG_00001]=====

*Photo of clay statues at the Keluarga Arca sculpture studio, Yogyakarta, for diorama number 6 entitled The Palapa Oath at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/pro-mon-jog-00002 PRO_MON_JOG_00002]=====

*Photo of the process of creating one of the dioramas at the National Monument, carried out by an artist at the Keluarga Arca sculpture studio in Yogyakarta.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/pro-mon-jog-00003_202602 PRO_MON_JOG_00003]=====

*Photo of clay statues at the Keluarga Arca sculpture studio, Yogyakarta, which were prepared to fill diorama number 18 at the National Monument with the title Sisingamangaraja's Resistance.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/pro-mon-jog-00004 PRO_MON_JOG_00004]=====

*Photo of a group of statues in the Keluarga Arca sculpture studio being prepared to fill one of the dioramas at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/pro-mon-jog-00005 PRO_MON_JOG_00005]=====

*Photo of clay statues at the Keluarga Arca sculpture studio, Yogyakarta, which were prepared to fill diorama number 18 at the National Monument with the title Sisingamangaraja's Resistance.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/pro-mon-jog-00006 PRO_MON_JOG_00006]=====

*Photo of clay statues at the Keluarga Arca sculpture studio, Yogyakarta, which were prepared for diorama number 33 at the National Monument entitled Ratification of Pancasila as the Philosophical Foundation of the State and the 1945 Constitution.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/pro-mon-jog-00007 PRO_MON_JOG_00007]=====

*Photo of artists at the Keluarga Arca sculpture studio, Yogyakarta, working on statues for the dioramas at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/pro-mon-jog-00008 PRO_MON_JOG_00008]=====

*Photo of clay statues at the Keluarga Arca sculpture studio, Yogyakarta, which were prepared for diorama number 33 at the National Monument entitled Ratification of Pancasila as the Philosophical Foundation of the State and the 1945 Constitution.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/pro-mon-jog-00009 PRO_MON_JOG_00009]=====

*Photo of artists at the Keluarga Arca sculpture studio, Yogyakarta, working on statues for the dioramas at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/pro-mon-jog-00010 PRO_MON_JOG_00010]=====

*Photo of clay statues at the Keluarga Arca sculpture studio, Yogyakarta, for diorama number 6 entitled The Palapa Oath at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/pro-mon-jog-00011 PRO_MON_JOG_00011]=====

*Photo of artists at the Keluarga Arca sculpture studio, Yogyakarta, working on statues for the dioramas at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/pro-mon-jog-00012 PRO_MON_JOG_00012]=====

*Photo of clay statues at the Keluarga Arca sculpture studio, Yogyakarta, which were prepared to fill diorama number 18 at the National Monument with the title Sisingamangaraja's Resistance.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/pro-mon-jog-00013 PRO_MON_JOG_00013]=====

*Photo of clay statues at the Keluarga Arca sculpture studio, Yogyakarta, for diorama number 6 entitled The Palapa Oath at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/pro-mon-jog-00014 PRO_MON_JOG_00014]=====

*Photo of artists at the Keluarga Arca sculpture studio, Yogyakarta, working on statues for the dioramas at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/pro-mon-jog-00015 PRO_MON_JOG_00015]=====

*Photo of clay statues at the Keluarga Arca sculpture studio, Yogyakarta, for diorama number 6 entitled The Palapa Oath at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/pro-mon-jog-00016 PRO_MON_JOG_00016]=====

*Photo of clay statues at the Keluarga Arca sculpture studio, Yogyakarta, which were prepared to fill diorama number 29 at the National Monument with the title Youth Pledge.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/pro-mon-jog-00017 PRO_MON_JOG_00017]=====

*Photo of clay statues at the Keluarga Arca sculpture studio, Yogyakarta, which were prepared to fill diorama number 18 at the National Monument with the title Sisingamangaraja's Resistance.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/pro-mon-jog-00018 PRO_MON_JOG_00018]=====

*Photo of one of the statues for diorama number 18 at the National Monument with the title Sisingamangaraja's Resistance.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/pro-mon-jog-00019 PRO_MON_JOG_00019]=====

*Photo of a group of statues in the Keluarga Arca sculpture studio, Yogyakarta,, which are being prepared to fill the diorama at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/pro-mon-jog-00020 PRO_MON_JOG_00020]=====

*Photo of clay statues at the Keluarga Arca sculpture studio, Yogyakarta, which were prepared to fill diorama number 29 at the National Monument with the title Youth Pledge.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/pro-mon-jog-00021 PRO_MON_JOG_00021]=====

*Photo of artists at the Keluarga Arca sculpture studio, Yogyakarta, working on statues for the dioramas at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/pro-mon-jog-00022 PRO_MON_JOG_00022]=====

*Photo of one of the statues for diorama number 18 at the National Monument with the title Sisingamangaraja's Resistance.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/pro-mon-jog-00023 PRO_MON_JOG_00023]=====

*Photo of artists at the Keluarga Arca sculpture studio, Yogyakarta, working on statues for the diorama at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/pro-mon-jog-00024 PRO_MON_JOG_00024]=====

*Photo of artists at the Keluarga Arca sculpture studio, Yogyakarta, working on statues for the diorama at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/pro-mon-jog-00025 PRO_MON_JOG_00025]=====

*Photo of artists at the Keluarga Arca sculpture studio, Yogyakarta, working on statues for the diorama at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/pro-mon-jog-00026 PRO_MON_JOG_00026]=====

*Photo of clay statues at the Keluarga Arca sculpture studio, Yogyakarta, for diorama number 6 entitled The Palapa Oath at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/pro-mon-jog-00027 PRO_MON_JOG_00027]=====

*Photo of artists at the Keluarga Arca sculpture studio, Yogyakarta, working on statues for the diorama at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/pro-mon-jog-00028 PRO_MON_JOG_00028]=====

*Photo of artists at the Keluarga Arca sculpture studio, Yogyakarta, working on statues for the diorama at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/pro-mon-jog-00029_20260208 PRO_MON_JOG_00029]=====

*Photo of clay statues at the Keluarga Arca sculpture studio, Yogyakarta, which were prepared for diorama number 33 at the National Monument entitled Ratification of Pancasila as the Philosophical Foundation of the State and the 1945 Constitution.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/pro-mon-jog-00030 PRO_MON_JOG_00030]=====

*Photo of artists at the Keluarga Arca sculpture studio, Yogyakarta, working on statues for the diorama at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/pro-mon-jog-00031 PRO_MON_JOG_00031]=====

*Photo of clay statues at the Keluarga Arca sculpture studio, Yogyakarta, which were prepared for diorama number 33 at the National Monument entitled Ratification of Pancasila as the Philosophical Foundation of the State and the 1945 Constitution.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/scan-27_202602 Scan 27]=====

*Photo of one of the artists in front of diorama number 1 at the National Monument entitled Ancient Indonesian Society.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

====Kliping====
=====[https://archive.org/details/image-0_202602 Tabloid Selecta No. 796]=====
*The article “Edhi Sunarso, Creator of Major Statues in Jakarta” in Tabloid Selecta No. 796 summarizes Edhi Sunarso’s journey as an important Indonesian sculptor, starting from his role in creating major monuments such as the Welcome Monument, the West Irian Liberation Monument, and the Dirgantara Monument, his role as Head of the ASRI Sculpture Department, his international achievements in London and India, as well as an explanation of the technical process of making bronze statues and dioramas, to his personal life story full of struggles since childhood, his involvement in the war of independence, his experience of being arrested and tortured by the Dutch, the process of searching for his identity and family, and his determination to pursue art education in Yogyakarta which ultimately led him to become a great artist with works that are recognized and collected nationally and internationally.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

====Patung 4 Sisi (tidak jadi dibuat)====
=====Amplop Patung Banteng=====
======[https://archive.org/details/img-002_202602 IMG_002]======

*Above: Photo of Edhi Sunarso and artists from the Keluarga Arca group working on one of the 4-sided statue models for the National Monument. Below Left: Front view of one of the 4-sided statue models for the National Monument. Below Right: Side view of one of the 4-sided statue models for the National Monument. These three photographs document the process of creating the four-sided statues for the National Monument, which President Soekarno requested from Edhi Sunarso and the Keluarga Arca group, but which ultimately were not completed. This collection of three photographs is titled Monas Study Package 1 (Collective).

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/img-003_202602 IMG_003]======

*Three photographs of a model of one of the 4-sided statues for the National Monument, taken from various angles, with the stamp of the Keluarga Arca Sculpture Team on the sheet where the photographs are attached. These three photographs document the process of creating the 4-sided statue for Monas, which President Sukarno requested from Edhi Sunarso and the Keluarga Arca group, but which ultimately was not completed.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/img-004_202602 IMG_004]======

*Four photographs of a model of one of the 4-sided statues for the National Monument, taken from various angles. These four photographs document the process of creating the four-sided statue for Monas, a project requested by President Sukarno from Edhi Sunarso and the Keluarga Arca Group, but ultimately abandoned. This collection of four photographs is titled Monas Model Study III (Collective).

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/img-005_202602 IMG_005]======

*Three photographs of a model of one of the 4-sided statues for the National Monument, taken from various angles. These three photographs document the process of creating the four-sided statue for Monas, which President Sukarno commissioned from Edhi Sunarso and the Keluarga Arca group, but which ultimately was not completed.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/img-006_202602 IMG_006]======

*A collection of photos of statues of people holding anchors from various angles

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/img-007_202602 IMG_007]======

*A collection of two photographs of a model of an elephant statue created by Edhi Sunarso and the Keluarga Arca group for the Musi River Monument. President Sukarno's signature is on the sheet of paper where the photographs are attached.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/img-008_202602 IMG_008]======

*A collection of two photographs of a model of an elephant statue created by Edhi Sunarso and the Keluarga Arca group for the Musi River Monument. President Sukarno's signature is on the sheet of paper where the photographs are attached.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/img-009_202602 IMG_009]======

*Three photographs depict the creation of the statue for the Musi River Monument, created by Edhi Sunarso and the Keluarga Arca group. This collection of three photographs is titled Musi River Monument (Collective).

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/img-011_202602 IMG_011]======

*Above: Photo of Edhi Sunarso and the Keluarga Arca group with the statue being constructed. Bottom-left: Photo of a model of the statue created by Edhi Sunarso and the Keluarga Arca group. Bottom-right: Photo of a group of people sitting in a room.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/img-012_202602 IMG_012]======

*Above: A photo of two artists sitting on the steps of the Monas building, with a bull statue behind them. Middle: A photo of a group of people dressed smartly, as if welcoming an important guest. Below: A photo of one of the artists from the Keluarga Arca group.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/img-013 IMG_013]======

*Above: Photo of a bull statue in one corner of Monas. Below: Photo of a group of people in a room.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

=====MONAS - Patung 4 Sisi=====
======[https://archive.org/details/mon-pat-4-si-00001 MON_PAT_4SI_00001]======

*A photo of one of the clay statue models at the Keluarga Arca sculpture studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was requested by President Soekarno to Edhi Sunarso and the Keluarga Arca group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/mon-pat-4-si-00002 MON_PAT_4SI_00002]======

*A photo of one of the clay statue models at the Keluarga Arca sculpture studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was requested by President Soekarno to Edhi Sunarso and the Keluarga Arca group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/mon-pat-4-si-00003 MON_PAT_4SI_00003]======

*A photo of one of the clay statue models at the Keluarga Arca sculpture studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was requested by President Soekarno to Edhi Sunarso and the Keluarga Arca group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/mon-pat-4-si-00004 MON_PAT_4SI_00004]======

*A photo of one of the clay statue models at the Keluarga Arca sculpture studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was requested by President Soekarno to Edhi Sunarso and the Keluarga Arca group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/mon-pat-4-si-00005 MON_PAT_4SI_00005]======

*A photo of one of the clay statue models at the Keluarga Arca sculpture studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was requested by President Soekarno to Edhi Sunarso and the Keluarga Arca group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/mon-pat-4-si-00006 MON_PAT_4SI_00006]======

*A photo of one of the clay statue models at the Keluarga Arca sculpture studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was requested by President Soekarno to Edhi Sunarso and the Keluarga Arca group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/mon-pat-4-si-00007 MON_PAT_4SI_00007]======

*A photo of one of the clay statue models at the Keluarga Arca sculpture studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was requested by President Soekarno to Edhi Sunarso and the Keluarga Arca group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/mon-pat-4-si-00008 MON_PAT_4SI_00008]======

*A photo of one of the clay statue models at the Keluarga Arca sculpture studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was requested by President Soekarno to Edhi Sunarso and the Keluarga Arca group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/mon-pat-4-si-00009 MON_PAT_4SI_00009]======

*A photo of one of the clay statue models at the Keluarga Arca sculpture studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was requested by President Soekarno to Edhi Sunarso and the Keluarga Arca group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/mon-pat-4-si-00010 MON_PAT_4SI_00010]======

*A photo of one of the clay statue models at the Keluarga Arca sculpture studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was requested by President Soekarno to Edhi Sunarso and the Keluarga Arca group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/mon-pat-4-si-00011 MON_PAT_4SI_00011]======

*A photo of one of the clay statue models at the Keluarga Arca sculpture studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was requested by President Soekarno to Edhi Sunarso and the Keluarga Arca group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/mon-pat-4-si-00012 MON_PAT_4SI_00012]======

*Photo of a clay sculpture of a woman's face.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/mon-pat-4-si-00013 MON_PAT_4SI_00013]======

*A photo of one of the clay statue models at the Keluarga Arca sculpture studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was requested by President Soekarno to Edhi Sunarso and the Keluarga Arca group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/mon-pat-4-si-00014 MON_PAT_4SI_00014]======

*A photo of one of the clay statue models at the Keluarga Arca sculpture studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was requested by President Soekarno to Edhi Sunarso and the Keluarga Arca group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/mon-pat-4-si-00015 MON_PAT_4SI_00015]======

*A photo of one of the clay statue models at the Keluarga Arca sculpture studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was requested by President Soekarno to Edhi Sunarso and the Keluarga Arca group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/mon-pat-4-si-00016 MON_PAT_4SI_00016]======

*A photo of one of the clay statue models at the Keluarga Arca sculpture studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was requested by President Soekarno to Edhi Sunarso and the Keluarga Arca group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/mon-pat-4-si-00017 MON_PAT_4SI_00017]======

*A photo of one of the clay statue models at the Keluarga Arca sculpture studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was requested by President Soekarno to Edhi Sunarso and the Keluarga Arca group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/mon-pat-4-si-00018 MON_PAT_4SI_00018]======

*A photo of one of the clay statue models at the Keluarga Arca sculpture studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was requested by President Soekarno to Edhi Sunarso and the Keluarga Arca group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/mon-pat-4-si-00019 MON_PAT_4SI_00019]======

*A photo of one of the clay statue models at the Keluarga Arca sculpture studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was requested by President Soekarno to Edhi Sunarso and the Keluarga Arca group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/mon-pat-4-si-00020 MON_PAT_4SI_00020]======

*A photo of one of the clay statue models at the Keluarga Arca sculpture studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was requested by President Soekarno to Edhi Sunarso and the Keluarga Arca group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/mon-pat-4-si-00021 MON_PAT_4SI_00021]======

*A photo of one of the clay statue models at the Keluarga Arca sculpture studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was requested by President Soekarno to Edhi Sunarso and the Keluarga Arca group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/mon-pat-4-si-00022 MON_PAT_4SI_00022]======

*A photo of one of the clay statue models at the Keluarga Arca sculpture studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was requested by President Soekarno to Edhi Sunarso and the Keluarga Arca group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/mon-pat-4-si-00023_202602 MON_PAT_4SI_00023]======

*A photo of one of the clay statue models at the Keluarga Arca sculpture studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was requested by President Soekarno to Edhi Sunarso and the Keluarga Arca group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/mon-pat-4-si-00024 MON_PAT_4SI_00024]======

*Photo of Edhi Sunarso making a clay statue with a woman as his model.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/mon-pat-4-si-00025 MON_PAT_4SI_00025]======

*A photo of one of the clay statue models at the Keluarga Arca sculpture studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was requested by President Soekarno to Edhi Sunarso and the Keluarga Arca group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/mon-pat-4-si-00026 MON_PAT_4SI_00026]======

*A photo of one of the clay statue models at the Keluarga Arca sculpture studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was requested by President Soekarno to Edhi Sunarso and the Keluarga Arca group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/mon-pat-4-si-00027 MON_PAT_4SI_00027]======

*A photo of one of the clay statue models at the Keluarga Arca sculpture studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was requested by President Soekarno to Edhi Sunarso and the Keluarga Arca group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/mon-pat-4-si-00028 MON_PAT_4SI_00028]======

*Photos of the statue and relief models made by Edhi Sunarso and the Keluarga Arca group.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/mon-pat-4-si-00029 MON_PAT_4SI_00029]======

*Photos of the statue and relief models made by Edhi Sunarso and the Keluarga Arca group.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/mon-pat-4-si-00030 MON_PAT_4SI_00030]======

*A photo of one of the clay statue models at the Keluarga Arca sculpture studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was requested by President Soekarno to Edhi Sunarso and the Keluarga Arca group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/mon-pat-4-si-00031 MON_PAT_4SI_00031]======

*Photo of one of the artists from the Family Arca group arranging a model consisting of a warrior statue and relief.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/mon-pat-4-si-00032 MON_PAT_4SI_00032]======

*Photo of Edhi Sunarso and artists from the Keluarga Arca group with models of warrior statues and reliefs they made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/mon-pat-4-si-00033 MON_PAT_4SI_00033]======

*A photo of one of the clay statue models at the Keluarga Arca sculpture studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was requested by President Soekarno to Edhi Sunarso and the Keluarga Arca group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/mon-pat-4-si-00034 MON_PAT_4SI_00034]======

*Photo of one of the fighter statue models made by Edhi Sunarso and the Keluarga Arca group

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/mon-pat-4-si-00035 MON_PAT_4SI_00035]======

*Photo of a model of three warriors in bronze, made by Edhi Sunarso and the Keluarga Arca group.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/mon-pat-4-si-00036 MON_PAT_4SI_00036]======

*Photo of one of the statue models made by Edhi Sunarso and the Keluarga Arca group, made of clay.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/mon-pat-4-si-00037 MON_PAT_4SI_00037]======

*Photo of one of the models of the warrior statues made by Edhi Sunarso and the Keluarga Arca group, made of clay.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/mon-pat-4-si-00038 MON_PAT_4SI_00038]======

*Photo of Edhi Sunarso making a statue at the Keluarga Arca studio.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/mon-pat-4-si-00039 MON_PAT_4SI_00039]======

*A photo of one of the clay statue models at the Keluarga Arca sculpture studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was requested by President Soekarno to Edhi Sunarso and the Keluarga Arca group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/mon-pat-4-si-00040 MON_PAT_4SI_00040]======

*A photo of one of the clay statue models at the Keluarga Arca sculpture studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was requested by President Soekarno to Edhi Sunarso and the Keluarga Arca group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/mon-pat-4-si-00041 MON_PAT_4SI_00041]======

*A photo of one of the clay statue models at the Keluarga Arca sculpture studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was requested by President Soekarno to Edhi Sunarso and the Keluarga Arca group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/mon-pat-4-si-00042 MON_PAT_4SI_00042]======

*A photo of one of the clay statue models at the Keluarga Arca sculpture studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was requested by President Soekarno to Edhi Sunarso and the Keluarga Arca group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/mon-pat-4-si-00043 MON_PAT_4SI_00043]======

*A photo of one of the clay statue models at the Keluarga Arca sculpture studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was requested by President Soekarno to Edhi Sunarso and the Keluarga Arca group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/mon-pat-4-si-00044 MON_PAT_4SI_00044]======

*A photo of one of the clay statue models at the Keluarga Arca sculpture studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was requested by President Soekarno to Edhi Sunarso and the Keluarga Arca group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/mon-pat-4-si-00045 MON_PAT_4SI_00045]======

*A photo of one of the clay statue models at the Keluarga Arca sculpture studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was requested by President Soekarno to Edhi Sunarso and the Keluarga Arca group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/mon-pat-4-si-00046 MON_PAT_4SI_00046]======

*A photo of one of the clay statue models at the Keluarga Arca sculpture studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was requested by President Soekarno to Edhi Sunarso and the Keluarga Arca group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/mon-pat-4-si-00047 MON_PAT_4SI_00047]======

*A photo of one of the clay statue models at the Keluarga Arca sculpture studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was requested by President Soekarno to Edhi Sunarso and the Keluarga Arca group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/mon-pat-4-si-00048 MON_PAT_4SI_00048]======

*A photo of one of the clay statue models at the Keluarga Arca sculpture studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was requested by President Soekarno to Edhi Sunarso and the Keluarga Arca group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/mon-pat-4-si-00049 MON_PAT_4SI_00049]======

*A photo of one of the clay statue models at the Keluarga Arca sculpture studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was requested by President Soekarno to Edhi Sunarso and the Keluarga Arca group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/mon-pat-4-si-00050 MON_PAT_4SI_00050]======

*A photo of one of the clay statue models at the Keluarga Arca sculpture studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was requested by President Soekarno to Edhi Sunarso and the Keluarga Arca group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/mon-pat-4-si-00051 MON_PAT_4SI_00051]======

*A photo of one of the clay statue models at the Keluarga Arca sculpture studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was requested by President Soekarno to Edhi Sunarso and the Keluarga Arca group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

=====Studi Patung Banteng Monas=====
======[https://archive.org/details/20260210_20260210_1346 Studi Patung Banteng Monas____]======

*Three documentary photos of a clay bull statue model from various angles made by Edhi Sunarso and the Keluarga Arca group.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/20260210_20260210_1346 Studi Patung Banteng Monas___]======

*Three documentary photographs of a clay bull statue model created by Edhi Sunarso and the Keluarga Arca group. It bears President Soekarno's signature on 7th January 1966, confirming the model's approval.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/a-1_20260210 Studi Patung Banteng Monas A1]======

*Three documentary photos of a clay bull statue model made by Edhi Sunarso and the Keluarga Arca group, entitled First Study.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/a-2_20260210 Studi Patung Banteng Monas A2]======

*Documentation photo of a clay bull statue model, part of the documentation entitled First Study, made by Edhi Sunarso and the Keluarga Arca group.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/b_20260210 Studi Patung Banteng Monas B]======

*Three documentary photos of a clay bull statue model made by Edhi Sunarso and the Keluarga Arca group entitled Second Study.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/c-1_20260210 Studi Patung Banteng Monas C1]======

*Documentation photo of a clay bull statue model made by Edhi Sunarso and the Keluarga Arca group entitled Third Study.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/c-2_20260210 Studi Patung Banteng Monas C2]======

*Documentation photo of a clay bull statue model, part of the documentation entitled Third Study, made by Edhi Sunarso and the Keluarga Arca group

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/d_20260210 Studi Patung Banteng Monas D]======

*Three documentary photos of a clay bull statue model made by Edhi Sunarso and the Keluarga Arca group entitled Forth Study.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/e_20260210 Studi Patung Banteng Monas E]======

*Two documentary photos of a clay bull statue model made by Edhi Sunarso and the Keluarga Arca group entitled Fifth Study.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/f-acc-bk Studi Patung Banteng Monas F - ACC BK]======

*Three documentary photographs of a clay bull statue model created by Edhi Sunarso and the Keluarga Arca group, entitled Sixth Study. It bears President Soekarno's signature on 7th January 1966, signifying the model's approval.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/g-acc-bk Studi Patung Banteng Monas G - ACC BK]======

*Three documentary photographs of a clay bull model created by Edhi Sunarso and the Keluarga Arca group, entitled Seventh Study. It bears President Soekarno's signature on 7th January 1966, signifying the model's approval.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/h-1_20260210 Studi Patung Banteng Monas H1]======

*Documentation photo of a clay bull statue model made by Edhi Sunarso and the Keluarga Arca group entitled Eghth Study.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/h-2_20260210 Studi Patung Banteng Monas H2]======

*Documentation photo of a clay bull statue model, part of the documentation entitled Eighth Study made by Edhi Sunarso and the Keluarga Arca group.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/h-3_20260210 Studi Patung Banteng Monas H3]======

*Documentation photo of a clay bull statue model, part of the documentation entitled Eighth Study made by Edhi Sunarso and the keluarga Arca group.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/i_20260210 Studi Patung Banteng Monas I]======

*Three documentary photos of a clay bull statue model made by Edhi Sunarso and the Keluarga Arca group entitled Ninth Study.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/j_20260210 Studi Patung Banteng Monas J]======

*Two documentary photographs of a clay bull statue model created by Edhi Sunarso and the Keluarga Arca group, entitled Tenth Study. It bears President Soekarno's signature on 7th January 1966, signifying the model's approval.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/l_20260210 Studi Patung Banteng Monas L]======

*Three documentary photos of a clay bull statue model made by Edhi Sunarso and the Keluarga Arca group entitled Twelfth Study.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/m_20260210 Studi Patung Banteng Monas M]======

*Three documentary photos of a clay bull statue model made by Edhi Sunarso and the Keluarga Arca group entitled Fourteenth Study.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

====Penerbitan seputar Monas====
=====[https://archive.org/details/katalog-museum-sejarah-nasional-1977 Katalog Museum Sejarah Nasional, 1977]=====
*The National History Museum Catalogue (1978) documents the presentation of dioramas of Indonesian history chronologically, from prehistoric times to the struggle to maintain independence, with explanations of events, important figures, and the visual concept of the diorama as a medium for historical education.

=====[https://archive.org/details/keagungan-perjuangan-bangsa-indonesia-1996 Keagungan Perjuangan Bangsa Indonesia, 1996]=====
*The book entitled "National Monument: Monument to the Greatness of the Indonesian Nation's Struggle" (1996) is a reference work that documents the history and philosophical meaning of the National Monument (Monas) as an eternal symbol of the Proclamation of Indonesian Independence on 17th August 1945. The contents of this book include the history of its establishment, the aims and objectives of its construction, as well as the technical details of its construction implementation, which were divided into three main stages from 1961 to 1975. In addition, this book describes the physical parts of Monas, such as the History Museum Room, the Independence Room, and the Flame of Independence.

=====[https://archive.org/details/rencana-penyempuranaan-diorama-museum-sejarah-di-tugu-nasional Rencana Penyempuranaan Diorama Museum Sejarah di Tugu Nasional, 2007]=====
*The book of plans for improving the diorama of the history museum at the National Monument (MONAS) which is based on the decision of the Minister of State Secretary number 6 of 2007 concerning the formation of a committee for improving the diorama of the national history museum at the National Monument, which will be implemented by the Indonesian Historians Society, the Faculty of Cultural Sciences, University of Indonesia, Architects, and previous Diorama Designers. The diorama improvement plan comes from the results of a study by the diorama improvement team with considerations from the side of historical philosophy, historical facts, technical and aesthetic aspects.

=====[https://archive.org/details/tugu-nasional-laporan-pembangunan-1978_202602 Tugu Nasional - Laporan Pembangunan, 1978]=====
*The National Monument Book: Construction Report (1978) is an official report that documents in detail the planning, construction process, and completion of the National Monument (Monas) as a monument commemorating the Proclamation of Independence on 17th August 1945, including the background to the idea of establishing Monas, the symbolic architectural concept that represents the spirit of independence and the personality of the nation, the stages of construction from the beginning to completion, the involvement of various parties and experts, the use of technology and building materials, to the filling of Monas spaces such as the National History Museum and the top of the monument. This book was produced under the direction of the Deputy Governor/Regional Head of DKI Jakarta for Development, Ir. Prayogo, compiled by the DKI Jakarta Office of Building Design and Conservation led by Ir. W. Pragantha as Head of Office with Soedarmadji and J. H. Damais as advisers, with text written by Architect Soedarsono, Ir. Imron Sugiono, and Drs. Wahjudiono, documentation prepared by the Office of Building Design and Conservation as the implementing authority for the National Monument, graphic design by Didit Chris, Purnomo M., and Guruh Sulawat, and printed by P.T. Jayakarta Agung Offset.

====Relief dan Benteng Monas====
=====[https://archive.org/details/mon-relief-00001 MON_RELIEF_00001]=====

*Documentation photo of an artist working on a relief at the National Monument complex in Jakarta.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-relief-00002 MON_RELIEF_00002]=====

*Documentation photo of one of the reliefs in the National Monument complex in Jakarta.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-relief-00003 MON_RELIEF_00003]=====

*Documentation photo of one of the reliefs in the National Monument complex in Jakarta.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-relief-00004 MON_RELIEF_00004]=====

*Documentation photo of one of the reliefs in the National Monument complex in Jakarta.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-relief-00005 MON_RELIEF_00005]=====

*Documentation photo of one of the reliefs in the National Monument complex in Jakarta.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-relief-00006 MON_RELIEF_00006]=====

*Documentation photo of one of the reliefs in the National Monument complex in Jakarta.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-relief-00007 MON_RELIEF_00007]=====

*Documentation photo of an artist working on a relief at the National Monument building complex in Jakarta.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-relief-00008 MON_RELIEF_00008]=====

*Documentation photo from Edhi Sunarso at the National Monument complex in Jakarta

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-relief-00009 MON_RELIEF_00009]=====

*Documentation photo of one of the reliefs in the National Monument complex in Jakarta

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-relief-00010 MON_RELIEF_00010]=====

*Documentation photo of an artist working on a relief at the National Monument complex in Jakarta.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-relief-00011 MON_RELIEF_00011]=====

*Documentation photo of one of the reliefs in the National Monument complex in Jakarta

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-relief-00012 MON_RELIEF_00012]=====

*Documentation photo of one of the reliefs in the National Monument complex in Jakarta

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-relief-00013 MON_RELIEF_00013]=====

*Documentation photo of one of the reliefs in the National Monument complex in Jakarta

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-relief-00014 MON_RELIEF_00014]=====

*Documentation photos of the artists taking a break.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-relief-00015 MON_RELIEF_00015]=====

*Documentation photo of one of the reliefs in the National Monument complex in Jakarta

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-relief-00016 MON_RELIEF_00016]=====

*Documentation photo of one of the reliefs in the National Monument complex in Jakarta

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-relief-00017 MON_RELIEF_00017]=====

*Documentation photo of one of the reliefs in the National Monument complex in Jakarta

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-relief-00018 MON_RELIEF_00018]=====

*Documentation photo of an artist working on a relief at the National Monument complex in Jakarta.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-relief-00019 MON_RELIEF_00019]=====

*Documentation photo of Edhi Sunarso and his group resting.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-relief-00020 MON_RELIEF_00020]=====

*Documentation photo of Edhi Sunarso supervising an artist working on one of the reliefs at the National Monument complex in Jakarta.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-relief-00021 MON_RELIEF_00021]=====

*Documentation photo of one of the reliefs in the National Monument complex in Jakarta

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-relief-00022 MON_RELIEF_00022]=====

*Documentation photo of an artist working on a relief at the National Monument complex in Jakarta.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-relief-00023 MON_RELIEF_00023]=====

*Documentation photo of an artist working on a relief

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-relief-00024 MON_RELIEF_00024]=====

*Documentation photo of Edhi Sunarso and his group resting.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-relief-00025 MON_RELIEF_00025]=====

*A documentary photograph of one of the reliefs at the National Monument complex in Jakarta. W.R. Soepratman is seen on the relief.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-relief-00026 MON_RELIEF_00026]=====

*Documentation photo of the artist in front of a building

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/editxml/mon-relief-00027 MON_RELIEF_00027]=====

*Documentation photo of an artist working on a relief

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-relief-00028 MON_RELIEF_00028]=====

*Documentation photo of one of the reliefs in the National Monument complex in Jakarta

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-relief-00029 MON_RELIEF_00029]=====

*Documentation photo of one of the reliefs

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-relief-00030 MON_RELIEF_00030]=====

*Documentation photo of one of the reliefs

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-relief-00031 MON_RELIEF_00031]=====

*A documentary photograph of one of the reliefs in the National Monument complex in Jakarta. The relief depicts Ki Hadjar Dewantoro, Dr. Tjipto Mangunkusumo, and Douwes Dekker.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-relief-00032 MON_RELIEF_00032]=====

*A documentary photo of one of the reliefs in the National Monument complex in Jakarta. One of the figures depicted is Muhammad Hatta.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-relief-00033 MON_RELIEF_00033]=====

*Documentation photo of one of the reliefs in the National Monument complex in Jakarta

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-relief-00034 MON_RELIEF_00034]=====

*Documentation photo of one of the reliefs in the National Monument complex in Jakarta

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-relief-00035 MON_RELIEF_00035]=====

*Documentation photo of one of the reliefs in the National Monument complex in Jakarta

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-relief-00036 MON_RELIEF_00036]=====

*Documentation photo of an artist working on a relief for the National Monument complex in Jakarta.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-relief-00037 MON_RELIEF_00037]=====

*Documentation photo of an artist working on a relief for the National Monument complex in Jakarta.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-relief-00038 MON_RELIEF_00038]=====

*Documentation photo of an artist working on a relief for the National Monument complex in Jakarta.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-relief-00039 MON_RELIEF_00039]=====

*Documentation photo of an artist working on a relief for the National Monument complex in Jakarta.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-relief-00040 MON_RELIEF_00040]=====

*A documentary photograph of one of the reliefs at the National Monument complex in Jakarta. W.R. Soepratman is seen on the relief.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-relief-00041 MON_RELIEF_00041]=====

*A documentary photo of an artist working on a relief for the National Monument complex in Jakarta. The figure of Ir. Soekarno is visible on the relief.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-relief-00042 MON_RELIEF_00042]=====

*Documentation photo of one of the reliefs in the National Monument complex in Jakarta

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-relief-00043 MON_RELIEF_00043]=====

*Documentation photo of one of the reliefs

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-relief-00044 MON_RELIEF_00044]=====

*Documentation photo of an artist working on a relief at the National Monument complex in Jakarta.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-relief-00045 MON_RELIEF_00045]=====

*Documentation photo of one of the reliefs in the National Monument complex in Jakarta

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-relief-00046 MON_RELIEF_00046]=====

*Documentation photo of one of the reliefs in the National Monument complex in Jakarta

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-relief-00047 MON_RELIEF_00047]=====

*Documentation photo of one of the reliefs in the National Monument complex in Jakarta

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-relief-00048 MON_RELIEF_00048]=====

*Documentation photo of one of the reliefs in the National Monument complex in Jakarta

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-relief-00049 MON_RELIEF_00049]=====

*Documentation photo of one of the reliefs in the National Monument complex in Jakarta

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-relief-00050 MON_RELIEF_00050]=====

*Documentation photo of one of the reliefs in the National Monument complex in Jakarta

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-relief-00051 MON_RELIEF_00051]=====

*Documentation photo of an artist working on a relief at the National Monument complex in Jakarta.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-relief-00052 MON_RELIEF_00052]=====

*Documentation photo of Edhi Sunarso supervising the relief-making work at the National Monument complex in Jakarta.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-relief-00053 MON_RELIEF_00053]=====

*Documentation photo of one of the reliefs in the National Monument complex in Jakarta

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-relief-00054 MON_RELIEF_00054]=====

*A documentary photo of one of the reliefs in the National Monument complex in Jakarta. The relief depicts Ir. Soekarno and Mohammad Hatta.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-relief-00055 MON_RELIEF_00055]=====

*Documentation photo of a group of officials who will inspect the project at the National Monument complex in Jakarta.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-relief-00056 MON_RELIEF_00056]=====

*Documentation photo of one of the reliefs in the National Monument complex in Jakarta

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-relief-00057 MON_RELIEF_00057]=====

*Documentation photo of one of the reliefs in the National Monument complex in Jakarta

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-relief-00058 MON_RELIEF_00058]=====

*Documentation photo of one of the reliefs in the National Monument complex in Jakarta

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

====Riset diorama====
=====[https://archive.org/details/adegan-pepera-irian-barat Adegan Pepera Irian Barat]=====

*A collection of documentary photographs from the PEPERA (Determination of the People's Opinion) incident in several locations in West Irian in 1969, to determine whether West Irian would join the Republic of Indonesia or become independent. These photographs were used for research into dioramas depicting scenes from the PEPERA in West Irian.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

=====[https://archive.org/details/adegan-tanam-paksa Adegan Tanam Paksa]=====

*A collection of sketches and documentary photographs were used for research into dioramas depicting scenes from the forced cultivation of plants.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

=====Amplop Potret=====
======[https://archive.org/details/amp-pot-01 AMP_POT_01]======

*Above : Photo documentation of a group of people standing in front of the Hollandia building in Jayapura. The photo was used for diorama research. Below : Photo documentation of a group of people standing in front of a building.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/amp-pot-02 AMP_POT_02]======

*Left : Photo of K.H. Ahmad Dahlan, founder of Muhammadiyah. Right : Photo of K.H. Mas Mansur, one of Muhammadiyah figures.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/amp-pot-03 AMP_POT_03]======

*Above : Photo of a soldiers of the Republic of Indonesia. Below : Photo documentation of the ceremony in front of the Hollandia building, in Jayapura, which was used for diorama research

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/amp-pot-04 AMP_POT_04]======

*Left: One of Indonesia's judicial figures, possibly a photo of Kusumah Atmaja. Right: A sketch of Tuanku Imam Bonjol.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/amp-pot-05 AMP_POT_05]======

*Left: Photo of an Indonesian figure. Right: Photo of K.H. Abdul Wahid Hasjim.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/amp-pot-06 AMP_POT_06]======

*Left: Photo of Mohammad Yamin. Right: Photo of Wage Rudolf Soepratman.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/amp-pot-07 AMP_POT_07]======

*Left: Photo of Djuanda Kartawidjaja. Right: Photo of an Indonesian figure

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/amp-pot-08 AMP_POT_08]======

*Left: Photo of an Indonesian figure. Right: Photo of Ernest Douwes Dekker, also known as Danudirja Setiabudi.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/amp-pot-09 AMP_POT_09]======

*Left: Photo of Abdul Muis. Right: Photo of Sutan Syahrir.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/amp-pot-10 AMP_POT_10]======

*Left: Painting by Sam Ratulangi. Right: Photo by Pierre Tendean.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/amp-pot-11 AMP_POT_11]======

*Photo of an Indonesian figures.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/amp-pot-12 AMP_POT_12]======

*Left: Photo of an Indonesian figure. Right: Photo of Ki Hadjar Dewantara.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/amp-pot-13 AMP_POT_13]======

*Left: Photo of Supeno. Right: Photo of Ferdinand Lumban Tobing.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/amp-pot-14 AMP_POT_14]======

*Left: Photo of an Indonesian figure. Right: Photo of Prof. Dr. Raden Soepomo.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/amp-pot-15 AMP_POT_15]======

*Documentation photo from Left: H.O.S. Cokroaminoto Right: Cipto Mangunkusumo.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/amp-pot-16 AMP_POT_16]======

*Left: Photo of Raden Mas Soerjopranoto. Right: Painting by H. Samanhudi

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/amp-pot-17 AMP_POT_17]======

*Left: Photo of Albertus Soegijapranata. Right: Photo of Haji Agus Salim

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/amp-pot-18 AMP_POT_18]======

*Documentation photo of Indonesian figures being welcomed by Swiss Guard troops.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/amp-pot-19 AMP_POT_19]======

*Documentation photo shows a group of children in traditional clothing playing foos balll.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

=====Amplop Sketsa Diorama Monas=====
======[https://archive.org/details/ske-dio-mon-01 SKE_DIO_MON_01]======

*Photo of a sketch for one of the diorama scenes at the National Monument (Monas), titled "Youth Pledge."

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/ske-dio-mon-02 SKE_DIO_MON_02]======

*Photo of a sketch for one of the diorama scenes at the Monas, titled "Youth Pledge."

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/ske-dio-mon-03 SKE_DIO_MON_03]======

*Photo of a sketch for one of the diorama scenes at the Monas, titled "The Aceh War."

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/ske-dio-mon-04 SKE_DIO_MON_04]======

*Photo of a sketch for one of the diorama scenes at the Monas, titled "The Battle of Surabaya."

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/ske-dio-mon-05 SKE_DIO_MON_05]======

*Photo of a sketch for one of the diorama scenes at the Monas, titled "Indonesian Association"

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/ske-dio-mon-06 SKE_DIO_MON_06]======

*Photo of a sketch for one of the diorama scenes at the Monas, titled "The Palapa Oath."

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/ske-dio-mon-07 SKE_DIO_MON_07]======

*Photo of a sketch for one of the diorama scenes at the Monas, titled "National Awakening."

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/ske-dio-mon-08 SKE_DIO_MON_08]======

*Photo of a sketch for one of the diorama scenes at the Monas, titled "The Struggle to Return to the Unitary State."

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/ske-dio-mon-09 SKE_DIO_MON_09]======

*Photo of a sketch for one of the diorama scenes at the Monas, titled "The Battle of Jagaraga."

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/ske-dio-mon-10 SKE_DIO_MON_10]======

*Photo of a sketch for one of the diorama scenes at the National Monument (Monas), titled "The Majapahit War Fleet."

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/ske-dio-mon-11 SKE_DIO_MON_11]======

*Photo of a sketch for one of the diorama scenes at the Monas, titled "Recognition of Sovereignty."

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/ske-dio-mon-12 SKE_DIO_MON_12]======

*Photo of a sketch for one of the diorama scenes at the Monas, titled "The Liberation of Irian."

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/ske-dio-mon-13 SKE_DIO_MON_13]======

*Photo of a sketch for one of the diorama scenes at the Monas, titled "The Resistance of Sisingamangaraja."

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/ske-dio-mon-14 SKE_DIO_MON_14]======

*Photo of a sketch for one of the diorama scenes at the Monas, titled "Indonesia Becomes a Member of the United Nations."

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/ske-dio-mon-15 SKE_DIO_MON_15]======

*Photo of a sketch for one of the diorama scenes at the Monas, titled "The Diponegoro War."

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

=====[https://archive.org/details/dari-buku-gambar Dari Buku Gambar]=====

*A collection of documentary photographs from a sketchbook were used as research material for dioramas depicting the Bugis Incident, the Battle of Bogor, the Battle of Tjibadak, the Three Regions Incident, the Five-Day Battle of Palembang, the Expedition to Maluku, and the Seaborne Operation from Banyuwangi to Bali.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

=====[https://archive.org/details/draaiboek-monas-879pgs-2 Draaiboek Monas - 879pgs 2]=====

*A guideline for creating a diorama at Monas, entitled 1. TRIKORA AND/OR THE RETURN OF WEST IRIAN (The Return of West Irian to the Territory of the Republic of Indonesia). 2. GANEFO (The Opening Ceremony of Ganefo on October 10, 1963). This guide provides details for the diorama scenes, such as miniature figures, building elements, and paintings on the left and right walls of the diorama. The script also includes historical research, key events that formed the background to the events depicted in the diorama, and sources used for the historical research.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

=====Gambar-gambar perjuangan indonesia=====
======[https://archive.org/details/alb-gam-per-idn-01 ALB_GAM_PER_IDN01]======

*Documentation photo of the Indonesian flag flying on the North Field of the Yogyakarta Palace.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/alb-gam-per-idn-02 ALB_GAM_PER_IDN02]======

*Documentation photo of the fighters marching in ceremonial formation.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/alb-gam-per-idn-03 ALB_GAM_PER_IDN03]======

*Documentation photo of President Soekarno giving a salute.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/alb-gam-per-idn-04 ALB_GAM_PER_IDN04]======

*Documentation photo of a line of fighters welcoming a group of state officials in the northern square of the Yogyakarta palace.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/alb-gam-per-idn-05 ALB_GAM_PER_IDN05]======

*Documentation photo of a ceremony in the northern square of the Yogyakarta palace.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/alb-gam-per-idn-06 ALB_GAM_PER_IDN06]======

*Documentation photo of a ceremony in the northern square of the Yogyakarta palace.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/alb-gam-per-idn-07 ALB_GAM_PER_IDN07]======

*Documentation photo of President Soekarno, Vice President Mohammad Hatta, General Soedirman, and Sri Sultan Hamengku Buwono IX with a group of state officials at an event on the podium of the northern square of the Yogyakarta palace.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/alb-gam-per-idn-08 ALB_GAM_PER_IDN08]======

*Documentation photo of a fighter, possibly Raden Said Soekanto Tjokrodiatmodjo, as the Chief of the National Police, reading a speech

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/alb-gam-per-idn-09 ALB_GAM_PER_IDN09]======

*Documentation photo of General Soedirman, Vice President Mohammad Hatta, President Soekarno, and National Police Chief Raden Said Soekanto Tjokrodiatmodjo, together with a group of state officials.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/alb-gam-per-idn-10 ALB_GAM_PER_IDN10]======

*Documentation photo of President Soekarno reading a speech, also showing General Soedirman, Vice President Mohammad Hatta, and National Police Chief Raden Said Soekanto Tjokrodiatmodjo, along with a group of state officials.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/alb-gam-per-idn-11 ALB_GAM_PER_IDN11]======

*Documentation photo of President Soekarno, Vice President Mohammad Hatta, and National Police Chief Raden Said Soekanto Tjokrodiatmodjo, together with a group of state officials.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/alb-gam-per-idn-12 ALB_GAM_PER_IDN12]======

*Documentary photo of a woman being trained to shoot with a rifle.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/alb-gam-per-idn-13 ALB_GAM_PER_IDN13]======

*Documentation photo of President Soekarno giving a speech in front of the ceremony participants in the north square of the Yogyakarta palace

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/alb-gam-per-idn-14 ALB_GAM_PER_IDN14]======

*Documentation photo of Vice President Mohammad Hatta giving a speech, also seen in the photo are President Soekarno, National Police Chief Raden Said Soekanto Tjokrodiatmodjo, and a group of state officials.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/alb-gam-per-idn-15 ALB_GAM_PER_IDN15]======

*Documentation photo of a line of soldiers in the north square of the Yogyakarta Palace

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/alb-gam-per-idn-16 ALB_GAM_PER_IDN16]======

*Documentation photo of a line of soldiers in the north square of the Yogyakarta Palace

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/alb-gam-per-idn-17 ALB_GAM_PER_IDN17]======

*Documentation photo of a line of soldiers in the north square of the Yogyakarta Palace

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/alb-gam-per-idn-18 ALB_GAM_PER_IDN18]======

*Documentation photo of a line of soldiers in the north square of the Yogyakarta Palace

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/alb-gam-per-idn-19 ALB_GAM_PER_IDN19]======

*Documentation photo of a line of soldiers with a respectful attitude in the north square of the Yogyakarta Palace

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/alb-gam-per-idn-20 ALB_GAM_PER_IDN20]======

*Documentation photo of a line of soldiers in the north square of the Yogyakarta Palace

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/alb-gam-per-idn-21 ALB_GAM_PER_IDN21]======

*Documentation photo of a line of soldiers in the north square of the Yogyakarta Palace

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/alb-gam-per-idn-22 ALB_GAM_PER_IDN22]======

*Documentation photo of Vice President Mohammad Hatta giving a speech in the north square of the Yogyakarta Palace.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/alb-gam-per-idn-23_202602 ALB_GAM_PER_IDN23]======

*Documentation photo of the line of soldiers in the north square of the Yogyakarta Palace, also seen are people watching the ceremony.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/alb-gam-per-idn-24 ALB_GAM_PER_IDN24]======

*Documentation photo of a line of soldiers in the north square of the Yogyakarta Palace

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/alb-gam-per-idn-25 ALB_GAM_PER_IDN25]======

*Documentation photo of President Soekarno, Vice President Mohammad Hatta, and National Police Chief Raden Said Soekanto Tjokrodiatmodjo, inspecting the ranks of soldiers in the northern square of the Yogyakarta Palace.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/alb-gam-per-idn-26 ALB_GAM_PER_IDN26]======

*Documentation photo of President Soekarno, Vice President Mohammad Hatta, and National Police Chief Raden Said Soekanto Tjokrodiatmodjo, inspecting the ranks of soldiers in the northern square of the Yogyakarta Palace.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/alb-gam-per-idn-27 ALB_GAM_PER_IDN27]======

*Documentation photo of President Soekarno, Vice President Mohammad Hatta, and National Police Chief Raden Said Soekanto Tjokrodiatmodjo, inspecting the ranks of soldiers in the northern square of the Yogyakarta Palace.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/alb-gam-per-idn-28 ALB_GAM_PER_IDN28]======

*Documentation photo of President Soekarno, Vice President Mohammad Hatta, and National Police Chief Raden Said Soekanto Tjokrodiatmodjo, inspecting the ranks of soldiers in the northern square of the Yogyakarta Palace.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/alb-gam-per-idn-29 ALB_GAM_PER_IDN29]======

*Documentation photo of President Soekarno, Vice President Mohammad Hatta, and National Police Chief Raden Said Soekanto Tjokrodiatmodjo, inspecting the ranks of soldiers in the northern square of the Yogyakarta Palace.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/alb-gam-per-idn-30 ALB_GAM_PER_IDN30]======

*Documentation photo of President Soekarno, Vice President Mohammad Hatta, and National Police Chief Raden Said Soekanto Tjokrodiatmodjo, inspecting the ranks of soldiers in the northern square of the Yogyakarta Palace.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/alb-gam-per-idn-31 ALB_GAM_PER_IDN31]======

*Documentation photo of President Soekarno inspecting the ranks of soldiers in the northern square of the Yogyakarta Palace.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/alb-gam-per-idn-32 ALB_GAM_PER_IDN32]======

*Photo of a group of soldiers from the National Police Agency

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/alb-gam-per-idn-33 ALB_GAM_PER_IDN33]======

*Documentation photo of Vice President Mohammad Hatta, and National Police Chief Raden Said Soekanto Tjokrodiatmodjo, inspecting the ranks of soldiers in the northern square of the Yogyakarta Palace.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/alb-gam-per-idn-34 ALB_GAM_PER_IDN34]======

*Documentation photo of the marching band from the Indonesian National Police at a ceremony.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/alb-gam-per-idn-35 ALB_GAM_PER_IDN35]======

*Documentation photo of President Soekarno tidying up the attributes of one of the soldier on the north field of the Yogyakarta Palace.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/alb-gam-per-idn-36 ALB_GAM_PER_IDN36]======

*Documentation photo of President Soekarno, Vice President Mohammad Hatta, and National Police Chief Raden Said Soekanto Tjokrodiatmodjo, inspecting the ranks of soldiers in the northern square of the Yogyakarta Palace.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/alb-gam-per-idn-37 ALB_GAM_PER_IDN37]======

*Documentation photo of President Soekarno giving his respects, seen next to him is Vice President Mohammad Hatta.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/alb-gam-per-idn-38 ALB_GAM_PER_IDN38]======

*Documentary photo of a line of soldiers saluting.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/alb-gam-per-idn-39 ALB_GAM_PER_IDN39]======

*Documentation photo of soldiers carrying weapons.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/alb-gam-per-idn-40 ALB_GAM_PER_IDN40]======

*Documentation photo of a line of soldiers in the north square of the Yogyakarta palace

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/alb-gam-per-idn-41 ALB_GAM_PER_IDN41]======

*Documentation photo of a line of soldiers in the north square of the Yogyakarta palace

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/alb-gam-per-idn-42 ALB_GAM_PER_IDN42]======

*Documentation photo of a line of soldiers in the north square of the Yogyakarta palace

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/alb-gam-per-idn-43 ALB_GAM_PER_IDN43]======

*Documentation photo of a line of soldiers in the north square of the Yogyakarta palace

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/alb-gam-per-idn-44 ALB_GAM_PER_IDN44]======

*Documentation photo of a line of soldiers in the north square of the Yogyakarta palace

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/alb-gam-per-idn-45 ALB_GAM_PER_IDN45]======

*Documentation photo of a line of soldiers in the north square of the Yogyakarta palace

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/alb-gam-per-idn-46 ALB_GAM_PER_IDN46]======

*Documentation photo of Soeharto's swearing-in when he became president of Indonesia

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/alb-gam-per-idn-47 ALB_GAM_PER_IDN47]======

*Documentation photo of a line of soldiers in the north square of the Yogyakarta palace

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/alb-gam-per-idn-48 ALB_GAM_PER_IDN48]======

*Documentation photo of a line of soldiers in the north square of the Yogyakarta palace

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/alb-gam-per-idn-49 ALB_GAM_PER_IDN49]======

*Documentation photo of a line of soldiers in the north square of the Yogyakarta palace

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/alb-gam-per-idn-50 ALB_GAM_PER_IDN50]======

*Documentation photo of a line of soldiers in the north square of the Yogyakarta palace

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/alb-gam-per-idn-51 ALB_GAM_PER_IDN51]======

*Documentation photo of a line of soldiers in the north square of the Yogyakarta Palace, giving a salute

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/alb-gam-per-idn-52 ALB_GAM_PER_IDN52]======

*Documentation photo of soldiers carrying weapons, in the north square of the Yogyakarta Palace

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/alb-gam-per-idn-53 ALB_GAM_PER_IDN53]======

*Documentation photo of a line of soldiers in the north square of the Yogyakarta palace

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/alb-gam-per-idn-54 ALB_GAM_PER_IDN54]======

*Documentation photo of a line of soldiers in the north square of the Yogyakarta Palace, giving a salute

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/alb-gam-per-idn-55 ALB_GAM_PER_IDN55]======

*Documentation photo of a line of soldiers in the north square of the Yogyakarta palace

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/alb-gam-per-idn-56 ALB_GAM_PER_IDN56]======

*Documentation photo of a line of soldiers in the north square of the Yogyakarta palace

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/alb-gam-per-idn-57 ALB_GAM_PER_IDN57]======

*Documentation photo of a line of soldiers in the north square of the Yogyakarta palace

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/alb-gam-per-idn-58 ALB_GAM_PER_IDN58]======

*Documentation photo of a line of soldiers in the north square of the Yogyakarta palace

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/alb-gam-per-idn-59 ALB_GAM_PER_IDN59]======

*Documentation photo of a dog among a line of soldiers.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/alb-gam-per-idn-60 ALB_GAM_PER_IDN60]======

*Documentation photo of a line of soldiers in the north square of the Yogyakarta palace

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/alb-gam-per-idn-61 ALB_GAM_PER_IDN61]======

*Documentation photo of the demonstration of skills from the Kedoe Police Mobile Brigade unit, in the north square of the Yogyakarta palace

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/alb-gam-per-idn-62 ALB_GAM_PER_IDN62]======

*Documentation photo of the demonstration of skills from the Kedoe Police Mobile Brigade unit, in the north square of the Yogyakarta palace

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/alb-gam-per-idn-63 ALB_GAM_PER_IDN63]======

*Documentation photo of a soldiers' meeting

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/alb-gam-per-idn-64 ALB_GAM_PER_IDN64]======

*Documentation photo of a military meeting, showing National Police Chief Raden Said Soekanto Tjokrodiatmodjo standing, and Vice President Mohammad Hatta sitting next to him.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/alb-gam-per-idn-65 ALB_GAM_PER_IDN65]======

*Documentation photo of soldiers carrying weapons, in the north square of the Yogyakarta palace

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/alb-gam-per-idn-66 ALB_GAM_PER_IDN66]======

*Documentation photo of soldiers carrying weapons, in the north square of the Yogyakarta palace

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/alb-gam-per-idn-67 ALB_GAM_PER_IDN67]======

*Documentation photo of a line of soldiers from behind, in the northern square of the Yogyakarta Palace.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/alb-gam-per-idn-68 ALB_GAM_PER_IDN68]======

*Documentation photo of a line of soldiers in the north square of the Yogyakarta palace

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

=====[https://archive.org/details/img-029_202602 IMG_029]=====

*Above: Documentation photo of the clay miniatures used for the Singamangaraja Resistance diorama at Monas. Below: Documentation photo of the clay miniatures used for one of the dioramas at Monas.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

=====Peristiwa Tanjung Morawa 16 Maret 1953=====
======[https://archive.org/details/map-ris-tjg-mor-00001 MAP_RIS_TJG_MOR_00001]======

*Documentation photo of land belonging to the Department of Agriculture, Tanjung Morawa District, Deli Serdang Regency, North Sumatra.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/map-ris-tjg-mor-00002 MAP_RIS_TJG_MOR_00002]======

*Documentation photo of a heavy machine.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/map-ris-tjg-mor-00003 MAP_RIS_TJG_MOR_00003]======

*Documentation photo of a community group.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

==Museum Satriamandala, Jakarta==
Lorem ipsum dolor sit amet, consectetur adipiscing elit. Nunc porttitor mauris metus, vitae venenatis lacus gravida sit amet. Suspendisse cursus lectus eu leo varius, at auctor nibh imperdiet. Nunc consectetur metus eu venenatis commodo.

===[https://archive.org/details/sik-corps-al Album Beberapa Sikap Corps Marinir AL (Jakarta, 22-8-1978)]===

*This photo presents a systematic documentation of standard military drill and parade positions, both armed and unarmed, shown from multiple perspectives (front, rear, right, and left), including formations such as the perfect armed stance, armed salute, armed rest, normal rest unarmed, parade armed rest/guard stance, perfect armed shoulder stance, perfect unarmed stance, and parade rest unarmed, serving as a structured visual reference to ensure accuracy of posture, alignment, and formal disciplinary standards.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

===Album Diorama Proklamasi Museum Eka Ekstrim Kanan Satria Mandala #1===
Quisque ut ex convallis, congue urna egestas, ornare eros. Etiam feugiat nunc eu suscipit sagittis. Maecenas ullamcorper lacus nisi, in viverra urna pharetra et. Morbi accumsan auctor egestas. Quisque velit lectus, finibus a mauris et, dapibus auctor sapien.

===Album Diorama Proklamasi Museum Eka Ekstrim Kanan Satria Mandala #2===
Pellentesque suscipit, nibh nec luctus molestie, dui nunc gravida dolor, non condimentum elit ligula et turpis.

===[https://archive.org/details/gar-mat-mak-00000 Album Foto Perjuangan Indonesia]===

*Documentation of the activities of the X Garuda Mataram Brigade in Makassar under the leadership of Lieutenant Colonel Suharto in military operations to overcome the Makassar Uprising, also known as the Andi Aziz rebellion, in Makassar, South Sulawesi, 1950

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

===[https://archive.org/details/alb-rpkad Album RPKAD]===

*A collection of photo documentation of a series of technical instructions regarding the RPKAD soldiers' marching regulations, which include various basic positions such as perfect stance, normal rest, to armed rest parade in guard position, which are systematically documented from the front, rear, and left and right side perspectives, for diorama research purposes.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

===Buku Panduan Museum Satriamandala===
====[https://archive.org/details/central-museum-of-the-armed-forces-satria-mandala Central Museum Of The Armed Forces SATRIA MANDALA]====

*An operational guidebook for visitors to the ABRI Satriamandala Central Museum in English, which includes information on visiting hours, descriptions of the main exhibition spaces in the First and Second Buildings, supporting facilities, floor plans, location maps, and descriptions of the reliefs.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
====[https://archive.org/details/museum-satria-mandala-buku-panduan Museum Satria Mandala - Buku Panduan]====

*An operational guidebook for visitors to the ABRI Satriamandala Central Museum in Indonesian, which includes information on visiting hours, descriptions of the main exhibition spaces in the First and Second Buildings, supporting facilities, floor plans, location maps, and descriptions of reliefs.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

===Dokumen dan Surat===
====[https://archive.org/details/surat-perintah-kerja-museum-pusat-abri Surat Perintah Kerja Museum Pusat ABRI, 1973]====

*The Work Order Letter with letter number PRINT/1110/PUSJARAH/VIII/73 issued on 25th August 1973 in Jakarta is an official instruction from the ABRI (Armed Forces of the Republic of Indonesia) History Center to artist Edhi Sunarso to carry out the construction of the ABRI Central Museum phase III. Based on a series of Decrees of the Minister of Defense/Commander of the Armed Forces regarding the formation of the project committee and budget allocation for 1973/1974, this order includes the construction of 24 diorama dome units along with supporting installations (frames, windows, and glass) with a total work value of Rp11,947,000. The document was signed by Colonel Inf. Soepardijo, as Deputy Head of the ABRI History Center and stamped

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
====[https://archive.org/details/surat-perintah-kerja-diorama-museum-pusat-abri Surat Perintah Kerja Diorama Museum Pusat ABRI, 1974]====

*The Work Order Letter with the letter number SPRIN/161/PUSJARAH/XII/74 issued in Jakarta on 19th December 1974, was an official instruction from the ABRI History Center to a team of artists led by Edhi Sunarso (along with Saptoto, Ratmoyo, Heri Wibowo, and Ramelan). Based on the legal basis for the formation of the ABRI Central Museum Project Committee, this team was assigned to conduct field research on historical objects in the regions of Java, Bali, Sumatra, and Sulawesi. This research aimed to ensure historical accuracy in filling the dioramas at the ABRI Satriamandala Museum. The document was signed by Colonel Inf. Soepardijo, as Deputy Head of the ABRI History Center and stamped

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
====[https://archive.org/details/19750107-surat-perintah-kerja-diorama-museum-pusat-abri Surat Perintah Kerja Diorama Museum Pusat ABRI, 1975]====

*This Work Order with letter number PRIN/02/PUSJARAH/I/73 issued on January 7, 1975 in Jakarta was an official instruction from the ABRI History Center to an artist, Edhi Sunarso, assigned to produce 29 dioramas, including one large-scale diorama measuring 3x3 meters, with a total contract value of Rp52,000,000. The document was signed by Colonel Inf. Soepardijo, as Deputy Head of the ABRI History Center and stamped

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
====[https://archive.org/details/19750823-surat-perintah-kerja-diorama-museum-pusat-abri Surat Perintah Kerja Diorama Museum Pusat ABRI, 1975]====

*The Work Order with letter number SPRIN/167/PUSJARAH/VIII/75 issued on 23rd August 1975 in Jakarta is an official instruction from the ABRI History Center to Edhi Sunarso (diorama artist) and Ratmoyo (member of the museum contents team). Based on the legal basis for the construction of the ABRI Central Museum Phase III, the team was assigned to carry out in-depth historical research on the Red and White Incident in Manado, as well as the Andi Azis Rebellion and Westerling's brutality in South Sulawesi. The document was signed by Colonel Inf. Soepardijo, as Deputy Head of the ABRI History Center and stamped

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
====[https://archive.org/details/19750922-kwitansi-museum-pusat-sejarah-abri Kwitansi Museum Pusat Sejarah ABRI, 1975]====

*Proof of receipt of money by Edhi Sunarso from the ABRI (Indonesian Armed Forces) History Center Museum Development Project, "Satria Mandala" Jakarta, for the fifth installment payment of diorama filling costs in accordance with contract agreement number 08/PUSJARAH/I/75, amounting to Rp.7,800,000 (seven million eight hundred thousand rupiah). The proof of receipt was made on 22nd September 1975

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
====[https://archive.org/details/19751002-berita-acara-pemeriksaan-diorama-museum-pusat-abri Berita Acara Pemeriksaan Diorama Museum Pusat ABRI, 1975]====

*The Minutes of Inspection of the Diorama Making Work for the ABRI Central Museum, letter number BA/1307/PUSJARAH/IX/1975, records the results of the official verification conducted on 30th September 1975, on the completion of 29 dioramas for the ABRI Central Museum Satriamandala by artist Edhi Sunarso. The inspection team consisting of Colonel Inf. Soepardjijo, Drs. Sukardi SHH, and Sri Suko stated that all work had been completed correctly in accordance with the provisions of the agreement letter dated 3rd January 1975. Based on the inspection results, the contractor was entitled to receive the fifth installment payment of 15% of the contract value (Rp.7,800,000,-), with the obligation to maintain and improve for three months until 22nd December 1975. This document was signed by Colonel Inf. Soepardijo, Drs. Sukardi SHH, and Sri Suko in Jakarta on 2nd October 1975.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
====[https://archive.org/details/19751002-berita-acara-penyerahan-pertama-diorama-museum-pusat-abri Berita Acara Penyerahan Pertama Diorama Museum Pusat ABRI, 1975]====

*The Minutes of First Handover of ABRI Central Museum Dioramas with letter number. BA/308/PUSJARAH/X/1975 issued on 2nd October 1975 regulates the first handover of the results of the diorama filling work of the ABRI Satriamandala Central Museum. In this document, the 2nd Party (Edhi Sunarso) officially handed over 29 diorama units to the 1st Party (ABRI History Center) in accordance with the terms of the contract dated 3rd January 1975. This handover was declared in good condition by Colonel Inf. Soepardijo with the clause that the responsibility for improvement and maintenance remains with the 2nd Party during the three-month warranty period until 22nd December 1975. This administrative validation became the basis for the payment of the fifth installment of 15% of the total contract value (Rp.7,800,000,-). This document was signed by Edhi Sunarso, as the 2nd Party (Contractor/Executor) and Colonel Inf. Soepardijo as the 1st Party (Deputy Head of the ABRI History Center), and stamped

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
====[https://archive.org/details/19751002-kwitansi-diorama-museum-abri Kwitansi Diorama Museum ABRI, 1975]====

*This document is proof of an official financial transaction for the fifth installment of the diorama project for the ABRI Satriamandala Museum. In the payment receipt, Marine Major (A) Drs. A. Kusaeri, as Treasurer of the Wisma Yaso Project, transferred Rp7,800,000 (seven million eight hundred thousand rupiah) to artist Edhi Sunarso, the contractor. This document was signed by Marine Major (A) Drs. A. Kusaeri and Edhi Sunarso on October 2, 1975.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
====[https://archive.org/details/19751200-berita-acara-penyerahan-kedua-diorama-museum-pusat-abri Berita Acara Penyerahan Kedua Diorama Museum Pusat ABRI, 1975]====

*Minutes of the Second Handover of the Filling of the ABRI Central Museum Diorama signed by Drs. Nugroho Notosusanto, with the rank of Brigadier General of the Indonesian National Army, who serves as the Head of the ABRI History Center as the Head of the ABRI Museum Project, hereinafter referred to as the First Party, and Edhi Sunarso as the contractor of the ABRI Museum diorama, hereinafter referred to as the Second Party. In the minutes it is explained that the second party has been able to be paid the sixth (final) wholesale price of 5% of the total wholesale price or Rp.2,600,000 (two million six hundred thousand rupiah). The minutes were made in Jakarta, and signed by Drs. Nugroho Notosusanto and Edhi Sunarso in December 1975

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
====[https://archive.org/details/19760624-kwitansi-sewa-bus Kwitansi Sewa Bus, 1976]====

*Proof of receipt of money by Johnny from ASRI (Indonesian Fine Arts Academy) Yogyakarta for payment of bus rental for 5 days from 24th June 1976 to 28th June 1976 to Jakarta, amounting to Rp. 200,000 (two hundred thousand rupiah). The proof of receipt of money was made in Yogyakarta on 24th June 1976, affixed with a stamp and signed by Johnny.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

===EKA===

===Eka Ekstrem Kanan Satya Mandala_(dari meja)===

===Laporan Diorama Museum ABRI===

===MAP BIRU_Museum Satria Mandala===

===Map Hijau EKA #2===

===MAP HIJAU_Angkatan Udara RI===

===Pembuatan Diorama "Eka-Ekstrimkanan" Satria Mandala Jakarta Tahun 1976===

===Potret Jendral-Jendral===

===Proses revisi===
====[https://archive.org/details/19750522-pakaian-dinas-upacara-abri Pakaian Dinas Upacara ABRI]====

*This document serves as an official guideline or regulation for the use of uniforms (attributes) of the Indonesian Armed Forces Ceremonial Service Uniform I (PDU-I) which displays illustrations of official ceremonial uniforms for the four branches, namely the Indonesian Army (AD), the Indonesian Navy (AL), the Indonesian Air Force (AU), and the Indonesian National Police (POLRI), then the Indonesian Armed Forces Ceremonial Service Uniform II (PDU-II) which displays illustrations of other versions of the ceremonial uniforms used in the military and police environment of the Republic of Indonesia during that period.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

====[https://archive.org/details/19780731-surat-perintah-kerja-museum-abri-satria-manda Surat Perintah Kerja_Museum ABRI Satria Mandala]====

*Work Order Letter with letter number SPK/105/PUSJARAH/III/78 issued by the Department of Defense and Security in Jakarta on 31st July 1978 to Edhi Sunarso, to carry out the work of making ABRI uniform mannequins, to be installed at the ABRI Satriamandala Museum. The letter also explains the number of mannequins complete with their bases, the uniform period, the wholesale price, and the deadline for the work. This letter was signed by Brigadier General TNI Drs. Nugroho Notosusanto, as Head of the ABRI History Center, and stamped

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

===[https://archive.org/details/ris-ser-tni-al Riset seragam TNI AL]===

*Photo documentation of Indonesian uniforms from the era of the Maritime Homeland Defense Forces (PETA Laut, 1946) to standardization in 1975. The scope includes various categories of service clothing (Daily, Ceremonial, and Servant) as well as special uniforms for the Navy Women's Corps and Military Police. This information includes technical details of materials (drill, gabardine, tetoron), colors (white, gray, Navy green), and specifications for the front and back of the clothing pieces stored at the Indonesian Navy National Armed Forces Museum, Morokrembangan, Surabaya. contains 34 photos (only 26 found, ed. Hyphen —)

===[https://archive.org/details/sejarah-singkat-hakekat-museum-sejarah-dan-perpustakaan Sejarah Singkat, Hakekat Museum, Sejarah, dan Perpustakaan, 1978]===

*This book details the history of the founding of the Indonesian Air Force Central Museum "Dirgantara Mandala", which began with the idea of the AURI leadership in 1960 to immortalize the historical events of the air force, until its inauguration in Jakarta in 1969 and its relocation to Yogyakarta in 1978 due to the historical value of the city as the birthplace of the Indonesian Air Force.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

Sketches, stitches, and negotiations: Data catalogue

2026-03-02T09:06:19Z

Wikihyphen:

TOC

Lorem ipsum dolor sit amet, consectetur adipiscing elit. Nunc porttitor
mauris metus, vitae venenatis lacus gravida sit amet. Suspendisse cursus
lectus eu leo varius, at auctor nibh imperdiet. Nunc consectetur metus
eu venenatis commodo. Mauris molestie magna velit. Quisque malesuada,
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nunc sem tincidunt massa. Phasellus non rutrum arcu. Nam maximus risus
libero, nec varius neque sollicitudin sit amet. Pellentesque suscipit,
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ligula et turpis. Quisque ut ex convallis, congue urna egestas, ornare
eros. Etiam feugiat nunc eu suscipit sagittis. Maecenas ullamcorper
lacus nisi, in viverra urna pharetra et. Morbi accumsan auctor egestas.
Quisque velit lectus, finibus a mauris et, dapibus auctor sapien.

==Museum Sejarah Nasional (National History Museum)== Located in the
basement of Monumen Nasional (National Monument), Jakarta, popularly
known as Monas. Colloquially, the museum is dubbed as “Museum Monas”.

===Dokumen dan Surat=== ;
’’‘[https://archive.org/details/19651228-surat-idzin-djalan-menemui-pjm-soekarno
Surat Idzin Djalan - Menemui PJM Soekarno]’’’ *Travel Permit with letter
number 023/Djl./I.J./12/65 issued by the Yogyakarta Palace Household for
Edhi Sunarso, A.S.R.I. (Indonesian Academy of Fine Arts) Lecturer in
Yogjakarta, with address at A.S.R.I. Gampingan Yogyakarta, to meet with
His Majesty the President in Jakarta, by train, on 29th December 1965
until it is completed, with one person accompanying him. The Travel
Permit was issued in Yogyakarta, on 28th December 1965, at 12.00 West
Indonesian Time, signed by Alip Parintono, as Supervisor of the
Yogyakarta Palace Household, and stamped.

;
’’‘[https://archive.org/details/19660108-surat-keterangan-monas-auri-musi
Surat Keterangan Monas, AURI, Musi]’’’ *Statement letter with letter
number 7/Ktr./U.P./66.-, which explains that Edhi Sunarso, with a job as
a Lecturer at the Indonesian Academy of Fine Arts R.I. (Republic of
Indonesia)/Head of the Keluarga Arca Sculptor Team in Yogjakarta,
received an assignment from His Majesty the President, as the
executor/coordinator of the A.U.R.I. (Indonesian Air Force) Monument
Statue project, Musi Bridge Decoration Statue, Hotel Decoration,
National Monument, and others. The letter was issued in Jakarta, on 8th
January, 1966, and signed by Djamin, as Presidential Secretary-Head of
the Presidential Cabinet, and stamped.

;
’’‘[https://archive.org/details/19660114-susunan-personalia-patung-banteng-monas
Susunan Personalia Patung Banteng Monas]’’’ *The composition of the
personnel of the Jakarta National Museum Bull Statue Implementation
Team, consisting of Soedarsono as the National Monument Executive
Director, Edhi Sunarso and I. Gardono as the Personnel in Charge of the
Implementation, Drs. Soepardjo and A. Singgih as the Implementation
Staff, the Keluarga Arca Sculptor Team as the Planning Team, and
Sarpomo, Soewardi, Boediani, Mon Moedjiman, Herjana Iskandar, Askabul,
and Harri Djauharuddin as the Core Team of Sculptors. The composition of
the personnel was signed by Edhi Sunarso as the sculptor on 14th January
1966 in Jakarta.

; ’’‘[https://archive.org/details/19660707-surat-keterangan-monas Surat
Keterangan MONAS]’’’ *This certificate was issued by the National
Monument Implementation Command in Jakarta on July 7, 1966, providing
official identification and details of the work of Edhi Sunarso, aged
33, who was assigned as an artist in the National Monument (Monas)
Project at Merdeka Square, Jakarta, and lived in the National Monument
Project Housing in Medan Merdeka. This document serves as an official
assignment letter authorizing the holder to carry out daily duties in
the National Monument Project area and serves as official identification
when dealing with military or police authorities, who are requested to
contact the Security Division of the National Monument Implementation
Command. The certificate is valid for a period of one month from the
date of issuance and is signed by Kunto Sudarsono, Lieutenant Colonel of
the Military Police Corps (CPM), service number 12687, in his capacity
as Deputy Commander and Special Assistant for Security Affairs of the
National Monument Implementation Command.

; ’’‘[https://archive.org/details/surat-dinas-project-monas-1 Surat
Dinas Project Monas_1]’’’ *A statement letter issued by the State
Secretariat of the Presidential Cabinet stating that Edhi Sunarso, a
sculptor/lecturer at the Indonesian Fine Arts Academy (A.S.R.I.) in
Yogyakarta, was assigned by His Majesty the President to carry out the
following projects: 1. The Air Force Monument Statue. 2. Decoration of
the Musi River Bridge Project. 3. Coordinator of Special Projects
Ordered by the His Majesty the President.The letter was drawn up in
Jakarta on 29th January 1965, signed by Djamin, the Presidential
Secretary/Head of the Presidential Cabinet, and stamped.

; ’’‘[https://archive.org/details/surat-dinas-project-monas-2 Surat
Dinas Project Monas_2]’’’ *Official duty order issued by the Indonesian
Fine Arts Academy of Yogyakarta for Edy Sunarso (another name from Edhi
Sunarso), who serving as a Lecturer at the Indonesian Fine Arts Academy,
with a basic salary of Rp.1,764, located in Yogyakarta, with the
destination being Jakarta, for official purposes to accompany the
Director of A.S.R.I. (Indonesian Fine Arts Academy) to the National
Monument Project, which departed on 11th February 1966, until it is
completed. The official duty order was made in Yogyakarta on 10th
February 1966 signed by Alibasjah as Director of the Indonesian Fine
Arts Academy and Edhi Sunarso as the letter holder.

===Foto=== ; ’‘’Foto diorama MONAS oleh Ary “Jimged” Sendy’’’ ;
’’‘[https://archive.org/details/01-masyarakat-indonesia-purba-3000-2000-sm-img-9473
MASYARAKAT INDONESIA PURBA, 3000-2000 SM]’’’ *DIORAMA 1: MASYARAKAT
INDONESIA PURBA (3.000 - 2.000 SM) ::Nenek moyang Bangsa Indonesia
(Paleo-Mongoloid) pada Zaman Megalithikum sudah hidup dalam masyarakat
teratur. Mereka sudah mempunyai tempat tinggal tetap, sebagian sudah
jadi pelaut dan sebagian lagi hidup sebagai petani. Selain pakaian dari
kulit kayu sudah dikenal juga pakaian dari tenunan. Hasil budaya
Megalithikum yang terpenting diantaranya adalah alat-alat serpih
(flakes, pebbles dan bones), menhir (tiang batu), dolmen (meja batu),
sarcophagus, kubur batu (peti mayat batu), punden berundak-undak
(bangunan pemujaan) dan arca. Benda-benda peninggalan budaya
Megalithikum it tersebar di seluruh Indonesia, tetapi yang terpenting
terdapat di Pasemah (daerah pegunungan yang terletak antara wilayah
Palembang dan Bengkulu) dan Besuki (Pulau Jawa). Diorama in
menggambarkan kehidupan nenek moyang bangsa Indonesia.

*DIORAMA 1: THE PREHISTORIC INDONESIAN SOCIETY (3.000 - 2.000 BC) ::The
Indonesian forefathers (Paleo-Mongoloid) in the Neolithic age had
already a sort of ordered society. They had permanent homes making a
living as fisher-men or farmers. They knew clothing either woven besides
clothing made from the bark of trees. The most important instruments of
the Neolithi-cum culture are flakes, pebbles and bones, stone coffin,
little houses of worship and even statues. These remains are scattered
over the whole of Indonesia, but the most important things are found at
the Pasemah plain (between Palembang and Bengkulu) and at Besuki (East
Java). The diorama shows the life-style of Indonesian prehistoric
society.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA
INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL
STRUGGLE), published in 1996.

Photo taken in 2020, by Ary “Jimged” Sendy, courtesy of Hyphen—.

;
’’‘[https://archive.org/details/02-bandar-sriwijaya-abad-viii-xiii-img-9469https://archive.org/details/02-bandar-sriwijaya-abad-viii-xiii-img-9469,
BANDAR SRIWIJAYA, ABAD VIII-XIII]’’’ *DIORAMA 2: BANDAR SRIWIJAYA (ABAD
KE 8 - 13) ::Bandar Sriwijaya terletak di persimpangan tiga jalur
pelayaran antara Indonesia, Cina dan India. Posisi ini sangat
menguntungkan bagi Kerajaan Sriwijaya, sehingga dengan sendirinya
memegang peranan penting pula dalam perjalanan perdagangan selama
berabad-abad. Kapal-kapal dari negeri Cina yang membawa pendeta-pendeta
Budha banyak berlabuh dan sering menetap untuk waktu yang lama. Bandar
tersebut akhirnya menjadi pusat perdagangan dan budaya pada waktu itu.
Letak Bandar Sriwijaya berada di muara sungai di daerah pertemuan sungai
Kampar Kanan dan Kampar Kiri kira-kira 2.5 derajat sebelah Utara
Palembang. Diorama ini menggambarkan kegiatan perdagangan di Bandar
Sriwijaya.

*DIORAMA 2: THE PORT OF SRIWIJAYA (8TH - 13TH CENTURY) ::The Port of
Sriwijaya was very favorably located for the Kingdom as it used to be
the crossroad of the prominent trade routes among Indonesia - China -
India and brought many windfalls to the Sriwijaya dynasty. Automatically
it had a prominent part and influenced the international trade. Strange
and foreign vessels fre-quented the Port, moreover, many Buddhist
priests from China stopped over, so that finally it became the center of
trade and culture. The Port of Sriwijaya is located in mouth of the
river Kampar Kanan and Kampar Kiri, about 2,5 degree of the northern of
Palembang, South Sumatra. The diorama shows the atmosphere of trading
ac-tivities among the merchants.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA
INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL
STRUGGLE), published in 1996.

Photo taken in 2020, by Ary “Jimged” Sendy, courtesy of Hyphen—.

; ’’‘[https://archive.org/details/03-candi-borobudur-824-img-9480 CANDI
BOROBUDUR (824)]’’’ *DIORAMA 3: CANDI BOROBUDUR (824) ::Candi Borobudur
didirikan pada sekitar tahun 824 M oleh Raja Samaratungga dari keluarga
Sailendra. Bangunan candi berbentuk pyramid dan mencerminkan alam
semesta. Bangunan ini dibuat dari batu sumbangan para menganut agama
Budha dan dibangun dengan cara gotong-royong. Dalam pembangunan Candi
Borobudur, hampir dua ratus ribu kaki kubik batu dipergunakan, lebih
dari empat puluh ribu kaki kubik masuk dalam tingkat-tingkat terbuat
dari batu. Pada candi ini terdapat 505 buah patung Budha dan 1.555 Stupa
ukuran besar dan kecil yang melengkapi monumen Budha yang megah ini.
Dari pendirian bangunan ini terbukti bahwa kemampuan bangsa Indonesia di
bidang teknik dan organisasi sudah baik. Diorama ini menggambarkan tahap
akhir pembangunan Candi Borobudur.

*DIORAMA 3: THE BOROBUDUR TEMPLE (824) ::Candi Borobudur was founded by
King Samaratungga of the Cailendra dynasty in the year 824 and is a
reflection of the universe. It was built by means of contributions from
the Buddhist population and mu-tual cooperation of the people. The
construction of the Candi has indicated that time the nation had already
achieved a high technical knowledge and organization. Candi Borobudur is
regarded to be one of the wonders of the world. On the temple founded
505 Buddhist statues and 1.555 large and little “Stupa” which completed
the great Buddhist monument. On the temple construction was proved the
ability of the Indonesian people in technical and organization. The
diorama shows the last stage of the construction

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA
INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL
STRUGGLE), published in 1996.

Photo taken in 2020, by Ary “Jimged” Sendy, courtesy of Hyphen—.

;
’’‘[https://archive.org/details/04-bendungan-waringin-sapta-abad-xi-img-9482
BENDUNGAN WARINGIN SAPTA ABAD XI]’’’ *DIORAMA 4: BENDUNGAN WARINGIN
SAPTA (ABAD KE 11) ::Setelah Raja Airlangga memperoleh wilayah yang
menjadi haknya, kemudian ia berusaha memakmurkan rakyatnya. Sungai
Brantas yang sering meluap dan selalu menimbulkan kerusakan-kerusakan
pada tanah-tanah persawahan dibendung dengan mendirikan tanggul di
Waringin Sapta. Untuk menjaga supaya tanggul tidak rusak, Raja Airlangga
menunjuk rakjat setempat untuk memeliharanya, dan sebagai imbalan daerah
tersebut dibebaskan dari kewajibannya membayar pajak. Akibatnya, rakyat
makmur, pelayaran di Sungai Brantas bertambah ramai dan Pelabuhan Hujung
Galuh menjadi pusat perdagangan antar pulau. Diorama ini menggambarkan
ketika sungai Brantas sedang dibendung dekat Kelagen dan diawasi oleh
Raja Airlangga.

*DIORAMA 4: WARINGIN SAPTA DAM (11TH CENTURY) ::After King Airlangga
obtained his right domain, he endeavored to promote the prosperity and
welfare of his people. The Brantas River which frequently over-flowed
its bank caused much damage to large areas of the people’s rice fields,
was dammed up by rearing dike in order to control the flood and provide
irrigation. To guard the dike against harm and damage, he ordered the
local people to maintain it, and as a compensation he decreed them free
from taxes and as a result the people prospered, the trip increased in
Brantas river, and Hujung Galuh became the center of inter island
trading. The diorama shows the Brantas River being dammed up near the
village of Kelagen and King Airlangga supervising.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA
INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL
STRUGGLE), published in 1996.

Photo taken in 2020, by Ary “Jimged” Sendy, courtesy of Hyphen—.

;
’’‘[https://archive.org/details/05-candi-jawi-perpaduan-sivaisme-dan-buddhisme-1292-img-9488
CANDI JAWI PERPADUAN SIVAISME DAN BUDDHISME, 1292]’’’ *DIORAMA 5: CANDI
JAWI PERPADUAN SIVAISME-BUDHISME (1292) ::Candi Jawi terletak di Gunung
Welirang, sebelah barat daya Pandakan di tepi jalan ke Prigen dan
didirikan untuk makam Raja Kertanegara, raja terakhir kerajaan Singasari
yang meninggal pada tahun 1292. Dibagian atas candi terdapat arca Budha
Aksobhya sedangkan di bagian bawah caridi terdapat arca Siva-Mahadewa.
Dari bangunan ini dapat diketahui bahwa pada jaman Singasari dan
Majapahit terjadi perpaduan Sivaisme-Budhisme. Diorama ini menggambarkan
ketika pemimpin agama Budha serta pengikut-pengikutnya sedang mengadakan
upacara keagamaan di Candi Jawi

*DIORAMA 5: JAWI TEMPLE, A BLEND OF SIVAISM-BUDDHISM (1292) ::Candi Jawi
is located at Gunung Welirang. South-west of Pandaan along side the road
to Prigen, East Java and founded as the grave of King Kartanegara, the
last King of the Singasari Dynasty, who died in 1292. It features Buddha
statue at its upper part and statue of Siva-Mahadewa at its lower part.
From the Candi can be deducted that at time a merging of Sivaism and
Buddhism occurred in the era of Singosari and Majapahit dynasties. The
diorama shows a Buddhist priest and monks conducting a religious
ceremony at Candi Jawi.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA
INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL
STRUGGLE), published in 1996.

Photo taken in 2020, by Ary “Jimged” Sendy, courtesy of Hyphen—.

; ’’‘[https://archive.org/details/06-sumpah-palapa-1331-img-9490 SUMPAH
PALAPA 1331]’’’ *DIORAMA 6: SUMPAH PALAPA (1331) ::Dalam rangka membela
integrasi Negara Majapahit, Gajah Mada seorang Patih dari Kerajaan
Majapahit yang terkenal, bersumpah tidak akan makan Palapa sebelum
Nusantara dapat dipersatukan di bawah mahkota Majapahit. Peristiwa ini
dikenal dengan nama Sumpah Palapa. Sumpah itu dilakukan di Panangkilan,
suatu tempat yang terletak di sebelah selatan alun-alun Majapahit. Pada
saat itu banyak rekan-rekan Gajah Mada yang menertawakan dan
mencemoohkannya. Namun Gajah Mada tejap teguh pada pendiriannya dan
akhirnya berhasil menepati janji itu. Diorama ini menggambarkan Patih
Gajah Mada dengan menggenggam sebilah keris mengucapkan Sumpah Palapa di
hadapan prajurit-prajurit kerajaan Majapahit.

*DIORAMA 6: THE PLEDGE OF PALAPA (1331) ::In his effort to maintain the
integration of Nusantara, Gajah Mada, the famous Vice-regent of the
Majapahit Kingdom, pledged not to eat Palapa (rice with side dishes)
before Nusantara (the Indonesian Archipelago) has been united under the
reign of Majapahit. The pledge took place at Penangkilan, a certain
place south of the Alun-alun of Majapahit. Many of his contemporaries
laughed and ridiculed him. Gajah Mada. however, held firmly and
eventually fulfilled his promise. The diorama shows Gajah Mada being
pledged in front of the Gajah Mada troops.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA
INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL
STRUGGLE), published in 1996.

Photo taken in 2020, by Ary “Jimged” Sendy, courtesy of Hyphen—.

;
’’‘[https://archive.org/details/07-armada-perang-majapahit-abad-ke-14-img-9500
ARMADA PERANG MAJAPAHIT ABAD KE-14]’’’ *DIORAMA 7: ARMADA PERANG
MAJAPAHIT (ABAD KE 14)

::Setelah Gajah Mada meninggal, timbul kesulitan dalam pemerintahan Raja
Hayam Wuruk. Pemerintah yang baru berusaha mengekalkan keutuhan negara.
Maka tindakan-tindakan ditujukan kepada kemakmuran rakyat dan keamanan
daerah-daerah mendapat prioritas utama. Upaya tersebut dilakukan dengan
memperkuat armada Majapahit dengan tujuan untuk menjaga keutuhan
Nusantara dan mengatasi tindakan pengacauan yang dilakukan oleh Cina.
Diorama ini menggambarkan armada Majapahit sedang menghadang kapal-kapal
Cina di perairan Nusantara.

*DIORAMA 7: THE FLEET OF MAJAPAHIT (14TH CENTURY) ::After the death of
the prominent figure Gajah Mada. disturbances arose under the reign of
King Hayam Wuruk. The new sovereign strove to enforce the unity of
Majapahit Kingdom. So, efforts for the people’s pros-perity and the
defence of all territory were given high priority. This was proved by
strengthening the Majapahit’s fleet with the aim to safeguard
Nusantara’s unity and resist attempts to create disorders by Chinese
fleet, among other things. The diorama shows the Majapahit’s fleet
succeeds in driving away the Chinese fleet.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA
INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL
STRUGGLE), published in 1996.

Photo taken in 2020, by Ary “Jimged” Sendy, courtesy of Hyphen—.

;
’’‘[https://archive.org/details/08-utusan-china-ke-majapahit-1405-img-9503
UTUSAN CHINA KE MAJAPAHIT 1405]’’’ *DIORAMA 8: UTUSAN CINA KE MAJAPАНІТ
(1405) ::Semasa pemerintahan raja Wikrama-wardhana, hubungan
persahabatan dengan negara-negara tetangga berlangsung baik. Hal ini
terbukti dengan kedatangan Cheng Ho, utusan kerajaan Kaisar Cina ke
Majapahit sebagai pengakuan kedaulatan Kerajaan oleh Cina. Diorama ini
menggambarkan Cheng Ho sedang membawa hadiah dari Kaisar Cina sedang
menghadap raja Wikramawardhana.

*DIORAMA 8: THE CHINESE ENVOY TO MAJAPAHIT (1405) ::In the reign of king
Wikramawardhana friendly relations with neighboring states and kingdoms
were main-tained in good order. This was confirmed with the com-ing of
Cheng Ho, the Emperor of China delegation visiting Majapahit as
recognition of the Kingdom’s sover-eignty by China. The diorama shows
Cheng Ho with presents from the Emperor of China makes a formal
appearance before King Wikramawardhana.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA
INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL
STRUGGLE), published in 1996.

Photo taken in 2020, by Ary “Jimged” Sendy, courtesy of Hyphen—.

;
’’‘[https://archive.org/details/09-peranan-pesantren-dalam-penyatuan-bangsa-abad-ke-14-img-9507
PERANAN PESANTREN DALAM PENYATUAN BANGSA, ABAD KE-14]’’’ *DIORAMA 9:
PESANTREN SEBAGAI PEMERSATU BANGSA INDONESIA (ABAD KE 14) ::Salah satu
cara untuk menyebarkan Agama Islam di Indonesia adalah melalui
pendidikan di pesantren atau pondok yang diselenggarakan oleh guru-guru
agama, kyai-kyai atau ulama. Pesantren merupakan lembaga penting dalam
penyebaran agama Islam. Di tempat ini dilakukan pembinaan calon-calon
guru agama, kyai-kyai atau ulama. Setelah keluar dari pesantren itu
mereka akan kembali ke daerah asal masing-masing. Pesantren-pesantren
beserta kyai-kyai mempunyai peranan yang penting dalam proses
pengembangan pendidikan masyarakat. Semakin terkenal kyai yang mengajar
itu semakin terkenal pesantrennya dan pengaruhnya akan mencapai radius
yang lebih jauh lagi. Dengan cara ini integrasi nasional berdasarkan
Islam meliputi wilayah yang makin lama makin luas. Diorama ini
menggambarkan suasana pengajaran di Pondok Pesantren yang dipimpin oleh
Sunan Giri di Jawa Timur.

*DIORAMA 9: MOSLEM BOARDING SCHOOLS IN UNITING THE NATION (14TH CENTURY)
::One of the methods of spreading the Islam in Indonesia is education
conducted in the Pesantren (Moslem Boarding Schools) by religious
teachers, scholars or kiaies. Pesantrens are significant institution in
the spreading of Islam. After graduation, the students return to their
homestead or villages. At their homestead they become prominent
religious figures and establish their own Pesantrens. The Pesantren and
Muslim religious leaders rep-resent an important element in the
propagation of Is-lam and the spread of education. The more well-known
the kiaies the more well-known his Pesantren and his influence will be
widespread. This way the longer the wider the area of integration based
on Islam. The diorama shows the atmosphere of Islamic teaching at a
pesantren led by Sunan Giri in East Java

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA
INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL
STRUGGLE), published in 1996.

Photo taken in 2020, by Ary “Jimged” Sendy, courtesy of Hyphen—.

;
’’‘[https://archive.org/details/10-pertempuran-pembentukan-jayakarta-22-juni-1527-img-9511
PERTEMPURAN PEMBENTUKAN JAYAKARTA, 22 JUNI 1527]’’’ *DIORAMA 10:
PERTEMPURAN SUNDA KELAPA (1527) ::Dalam usaha menyerang Malaka yang
diduduki Portugis, Sultan Trenggono dari Demak tidak melakukannya secara
langsung melainkan dengan jalan mengisolasi daerahnya dari pengaruh
Portugis, terutama daerah-daerah yang pendukungnya belum masuk Islam.
Setelah diketahui bahwa Portugis berhubungan dengan Raja Samian yang
saat itu menguasai Pelabuhan Sunda Kelapa, Sultan Trenggono segera
memerintahkan menantunya, yakni Pangeran Fatahillah, untuk segera
menduduki Banten, Sunda Kelapa dan Cirebon. Pada tahun 1522 Penguasa
daerah Sunda Kelapa. Raja Samian, mengadakan perjanjian dengan wakil
Portugis. Henrique Leme, yang memberikan izin mendirikan benteng bagi
Portugis. Ekspedisi Demak yang dipimpin Fatahillah pada tahun 1527
berhasil menduduki Banten, Sunda Kelapa dan Cirebon. Untuk menagih janji
Raja Samian, pada tahun 1527 Portugis mengirim ekspedisi terdiri dari 6
buah kapal yang dipimpin oleh Francisco de Sa. Ternyata Portugis tidak
lagi berhadapan dengan kerajaan Hindu melainkan dengan kerajaan Islam.
Setelah tuntutan mereka ditolak oleh Fatahillah mereka mencoba
mendaratkan tentaranya. Usaha tersebut dilawan oleh Fatahillah sehingga
terjadilah pertempuran yang berlangsung di Teluk Sunda Kelapa. Armada
Portugis akhirnya berhasil dipukul mundur. Peristiwa ini diabadikan
dengan mengganti nama Sunda Kelapa menjadi Jayakarta. Diorama ini
menggambarkan pertempuran yang berlangsung di Teluk Sunda Kelapa pada
tanggal 22 Juni 1527.

*DIORAMA 10: THE BATTLE OF SUNDA KELAPA (1527) ::In the effort to attack
Malacca which was ruled by the Portuguese, Sultan Trenggono of Demak did
not carry it out directly but he isolated his area from the influence of
the Portuguese, especially the area whose inhabitants were not converted
yet to Islam. When he realized that the Portuguese was in contact with
King Samian, the authority of Sunda Kelapa, Sultan Trenggono immediately
ordered his son-in-law to occupy Banten. Sunda Kelapa and Cirebon. In
1522, King Samian signed an agreement with the Portuguese, represented
by Henrique Leme which gave the Portuguese the right to build a fortress
for his trade interest in Sunda Kelapa. Early in 1522 Demak expedition
led by Fatahillah succeeded in occupying Banten, Sunda Kelapa and
Cirebon. To press his claim further on King Samian, on 1527, the
Portuguese sent an expedition of six ships led by Francisco de Sa. But
evidently they did not oppose, a Hindu kingdom anymore, but an Islamic
monarch. When their demand were rejected by Fatahillah, they tried to
embark with force and so began the siege of the Bay of Sunda Kelapa. The
Portuguese was then successfully by Fatahillah’s troops. This event is
immortalized by changing the name of Sunda Kelapa to Jayakarta (Glorious
City). The diorama shows the battle of Sunda Kelapa on A June 22, 1527
when the Prince Fatahillah and his troops defeated the Portuguese fleet
off Sunda Kelapa Bay

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA
INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL
STRUGGLE), published in 1996.

Photo taken in 2020, by Ary “Jimged” Sendy, courtesy of Hyphen—. ;
’’‘[https://archive.org/details/11-armada-perang-bugis-abad-ke-15-img-9515
ARMADA PERANG BUGIS, ABAD KE-15]’’’ *DIORAMA 11: ARMADA DAGANG BUGIS
(ABAD KE 15) ::Pelayaran orang Makasar dan Bugis dengan pinisi mulai
abad ke 15 atau sebelumnya sudah meliputi hampir seluruh perairan
Nusantara. Cerita tentang pengembaraan Sawerigading bisa memberi
petunjuk tentang luasnya daerah-daerah yang dikunjungi. Gambaran lebih
jelas baru diperoleh dari catatan pada masa sesudahnya. Misalnya dalam
tulisan tentang hukum laut Amanna Gappa dan juga dari peta laut Bugis.
Dari bukti-bukti ini kita melihat bahwa pelayaran mereka sampai ke Aceh.
Kedah, Kamboja. ke Timur sampai ke Kei dan Teluk Ternate dan ke Utara
sampai ke pulau-pulau Filipina (Sulu) dan Kalimantan Utara (Berau).
Selanjutnya, menurut kisah Daeng Saro dari kampung Bontoranu, pelayaran
penangkap-penangkap teripang dari Sulawesi Selatan sampai ke Marege,
yaitu nama penduduk asli Australia dalam bahasa Bugis dan Makasar
mengambil rute Ujung Pandang, Selayar, Wetar, Kisar. Leti dan Moa,
selajutnya ke arah Tenggara ke pelabuhan Darwin. Diorama ini
menggambarkan pelayaran armada dagang Bugis.

*DIORAMA 11: THE BUGINESE MERCANTILE FLEET (15TH CENTURY) ::The voyages
of the Makassarese and Buginese using pinisi (Bugis traditional cargo
boat) in the 15th cen-tury and before reached almost all the outskirts
of the Indonesian archipelago and beyond. The story of Sawerigading
adventures showed how wide was their visitation area. The figure became
cleaner when the new evidence was obtained from the sea law Amanna Gappa
and the Buginese nautical chart. From these evidences we could see that
their voy-ages reached Aceh, Kedah, Cambodia, and east to Kei islands
and Ternate Bay, and north to the Philippines archipelago (Sulu) and
northern Kalimantan (Borneo). Furthermore, according to Daeng Saro story
of the Bontoranu village, the voyages of fishermen from South Sulawesi
to Marega took the route Ujung Pandang, Selayar, Wetar, Kisar, Leti and
Moa, and then to south-east heading for Darwin sea port. The diorama
shows a number of the Buginese mercantile fleet being ready to sail
away.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA
INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL
STRUGGLE), published in 1996.

Photo taken in 2020, by Ary “Jimged” Sendy, courtesy of Hyphen—. ;
’’‘[https://archive.org/details/12-perang-makassar-1654-1668-img-9517
PERANG MAKASSAR, 1654-1668]’’’ *DIORAMA 12: PERANG MAKASAR (1654 - 1668)
::Saingan V.O.C. dalam perdagangan abad ke 17 adalah Makasar. Sultan
Makasar, Hasanuddin, membuka pelabuhannya untuk negara asing yang mau
berhubungan dagang dengan Makasar. Melihat perkembangan Makasar dan
sikap Sultan yang menjalankan politik bebas dalam perdagangan itu.
Kompeni kemudian menggunakan politik pecah belah dan kuasai dengan
menunggangi Aru Palaka. Sultan Hasanuddin terpaksa menerima perjanjian
Bonggaya yang ditandatangani tanggal 18 November 1667. Dalam perjanjian
ini V.O.C. diberi hak untuk membuat benteng di Makasar yang akhirnya
mengurangi ruang gerat bagi pelaut Makasar. Diorama ini mnggambarkan
Sultan Hasanuddin memimpin pertempuran mempertahankan benteng Sombaopu
dari serbuan Belanda pada tnggal 8-9 Agustus 1668.

*DIORAMA 12: MAKASSAR WAR (1654-1668) ::The V.O.C. trading competitor on
17th century was Makassar. Sultan Hasanuddin of Makassar adopted a
policy of free trade with all nations, he opened his Port for foreign
traders who desired to trade with Makassar. Observing the growth and
development of Sultan’s policy, the V.O.C. (the Dutch East Indies
Com-pany that held a monopoly in Indonesia 1602-1799) decided to use its
‘the divide and rule’ policy by using Aru Palaka. Sultan Hasanuddin was
forced to accept the Bonggaya treaty which was signed on 18 Novem-ber
1667. The V.O.C. was given the right to build a fortress in Makassar and
afterwards was able to decrease the space of activities of the Makassar
fleet. The diorama shows Sultan Hasanuddin personally leads the fight
defending Sombaopu fortress against the Dutch attack on 8-9 August 1668.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA
INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL
STRUGGLE), published in 1996.

Photo taken in 2020, by Ary “Jimged” Sendy, courtesy of Hyphen—.

; ’’‘[https://archive.org/details/13-perlawanan-pattimura-1817-img-9519
PERLAWANAN PATTIMURA, 1817]’’’ *DIORAMA 13: PERLAWANAN PATTIMURA (1817)
::Berdasarkan Konvensi London tahun 1814, Belanda berkuasa kembali di
Indonesia serta mengulangi menjalankan monopolinya di mana segala
sesuatu yang bersifat eksploitasi dilaksanakan kembali. Rakyat Maluku
dipimpin oleh Pattimura dan dibantu oleh Christina Martha Tiahahu
menolak politik monopoli tersebut kemudian memberontak terhadap Belanda.
Diorama ini menggambarkan serbuan rakyat Maluku di bawah pimpinan
Pattimura pada tanggal 15 Mei 1817 berhasil merebut benteng Duurstede di
Pulau Saparua di mana hampir seluruh tentara Belanda di dalam benteng
ini terbunuh.

*DIORAMA 13: PATTIMURA UPRISING (1817) ::Based on the London Convention
in 1814, the Dutch Government reclaimed their sovereignty in Indonesia
and re-established their policy of monopoly in trade by reinforcing
their method o f exploitation. The people of the Mollucas led by
Pattimura and assisted by Christina Martha Tiahahu rejected the monopoly
policy and then revolted against the Dutch. The diorama shows Pattimura
and his troops succeeding i n capturing the Dutch fortress Duurstede.
The uprising broke out on May 15th, 1817, on Saparua island whereby most
of the Dutch soldiers were killed in the fortress.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA
INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL
STRUGGLE), published in 1996.

Photo taken in 2020, by Ary “Jimged” Sendy, courtesy of Hyphen—. ;
’’‘[https://archive.org/details/14-perang-diponegoro-1825-1830-img-9521
PERANG DIPONEGORO, 1825-1830]’’’ *DIORAMA 14: PERANG DIPONEGORO (1825 -
1830) ::Perang yang dicetuskan pada tahun 1825 oleh Pangeran Diponegoro
merupakan suatu perlawanan rakyat semesta. Perang selama 5 tahun itu
(1825-1830) berlangsung secara terus menerus sehingga Belanda menderita
kerugian sebanyak 15.000 tentara dan biaya sekitar 20 juta gulden.
Diponegoro beserta para pembantunya seperti Mangkubumi. Kyai Modjo,
Sentot Prawirodiredjo dan pahlawan-pahlawan lainnya hingga tahun 1828
menguasai medan perang. Untuk mengakhiri perang. jerideral de Kock
menggunakan siasat benteng stelsel dengan tujuan mempersempit daerah
operasi Diponegoro dan mendesaknya ke daerah selatan. namun tidak
berhasil. Dengan perangkap berkedok perundingan, akhirnya Diponegoro
pada tanggal 28 Maret 1830 ditangkap di Magelang. Diponegoro meninggal
dunia dalam benteng Belanda Ujung Pandang di Makasar pada tanggal 8
Januari 1855. Diorama ini menggambarkan pertempuran di tepi sungai
Bogowonto di mana Diponegoro berhasil mengalahkan pasukan Kavaleri
Belanda.

*DIORAMA 14: THE DIPONEGORO WAR (1825-1830) ::The war ignited in 1825 by
Prince Diponegoro constituted a total war involving the whole
population. That five-year war in Central Java went on continuously
caused the Dutch lost 15,000 soldiers and 20 million guilders. In 1825
Diponegoro and his assistants such as Mangkubumi, Kyai Mojo, Sentot
Prawirodirjo and other heroes dominated the battle field. In his effort
to win the war, General de Kock applied the benteng stelsel (Fortress
System) with the aim to decrease Prince Diponegoro’s operational areas
and drive him south-ward, but without success. Pretending that they were
willing to negotiate, the Dutch lured the Prince into cap-tivity on 28
March 1830 in Magelang. Prince Diponegoro died on 8 January 1855 in the
Dutch fortress in Ujung Pandang. The diorama shows the battle near the
Bogowonto River where Prince Diponegoro and his troops defeated the
Dutch troops.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA
INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL
STRUGGLE), published in 1996.

Photo taken in 2020, by Ary “Jimged” Sendy, courtesy of Hyphen—. ;
’’‘[https://archive.org/details/15-perang-imam-bonjol-1821-1837-img-9524
PERANG IMAM BONJOL, 1821-1837]’’’

*DIORAMA 15: PERANG IMAM BONJOL (1821 - 1837) ::Perang yang berlangsung
dari tahun 1821 - 1837 itu dapat dibagi dalam 3 tahap. Tahap pertama,
perang antara kaum adat dengan kaum agama. Hal ini terjadi setelah
kembalinya 3 orang ulama dari tanah suci. Mereka melihat keadaan
kehidupan di tanah airnya jauh dari pada kesesuaian dengan ajaran-ajaran
Islam. Oleh karena itu, mereka bermaksud hendak mengadakan
pembaruan-pembaruan, tetapi ditentang oleh kaum adat. Pemimpin kaum
ulama yang menjadi terkenal dalam perang ini ialah Tuanku Imam Bonjol.
Tahap kedua: Kaum adat dibantu Belanda melawan kaum ulama.
Pertempuran-pertempuran yang terjadi antara tahun 1821 1825 di Sulit
Air, Para Palam dan Sawah Tengah. Tahap ketiga: Setelah Perang
Diponegoro berakhir, perlawanan terhadap Belanda dilakukan oleh kaum
ulama bersama kaum adat. Barulah dengan kekuatan militer yang besar pada
tahun 1837 Belanda berhasil merebut Bonjol, daerah pertahanan terakhir
Tuanku Imam Bonjol. Diorama ini menggambarkan tatkala Tuanku Imam Bonjol
memimpin perlawanan terhadap Belanda.

*DIORAMA 15: THE IMAM BONJOL WAR (1821 - 1837) ::The war which took
place in 1821 - 1837 could be divided into three phases. The first
phase: the war between the traditionalists against the religious group
from Mecca. They were observing the backward way of life a far cry from
the Islamic teachings. They tried to bring upon innovations which the
traditionalists rejected. A leading prominent figure who became famous
in this war was Tuanku Imam Bonjol. The second phase: After the Dutch
government decided to take side with the traditionalists against the
religious group. The battle broke out in Sulit Air, Para Palam and Sawah
Tengah in 1821-1825. The third phase: After the Diponegoro war ended,
both opponents came together and opened the resis-tance struggle against
the Dutch. Eventually with large military force in 1837, the Dutch was
able to seize Bonjol, the last resistance stronghold of Tuanku Imam
Bonjol. The diorama shows Tuanku Imam Bonjol who per-sonally leads the
fighting against the Dutch

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA
INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL
STRUGGLE), published in 1996.

Photo taken in 2020, by Ary “Jimged” Sendy, courtesy of Hyphen—. ;
’’‘[https://archive.org/details/20-tanam-paksa-1830-1870-img-9548 PERANG
BANJAR, 1859-1905]’’’ *DIORAMA 16: PERANG BANJAR (1859-1905) ::Sudah
sejak beberapa waktu Belanda memperoleh hak ikut campur tangan mengatur
penggantian Sultan Banjar. Pada tahun 1824 timbul persoalan penggantian
Sultan dimana Belanda memaksakan kehendaknya untuk menempatkan calon
pilihannya. Hal ini ditentang oleh Sultan dan rakyatnya. Putra Mahkota
yang ditunjuk oleh Sultan yaitu Prabu Anom ditawan oleh Belanda di
Banjarmasin. Calon lainnya, Pangeran Hidayatullah, juga ditawan oleh
Belanda dan dibawa ke Jawa. Inilah yang menyebabkan Pangeran Antasari
dan rakyat Banjar mengangkat senjata melawan Belanda pada tahun 1859.
Pada tanggal 9 -10 Mei 1859 Pangeran Antasari melakukan pengepungan dan
penyerangan terhadap tambang batu bara Belanda di Pengaron. Diorama ini
menggambarkan rakyat Banjar dipimpin oleh Pangeran Suropati menyerang
kapal Belanda di Lontartur, sungai Kapuas.

*DIORAMA 16: THE BANJAR WAR (1859-1905) ::From some period of time, the
Dutch government created a right to have a say in choosing the crown
suc-cessor of the Sultan of Banjarmasin and eventually in 1824 arose the
matter to replace the Crown Prince in which the Dutch forced their
decision to place their nominee. This was opposed by the Sultan and his
people. The Crown Prince of the Sultan’s choice, Prabu Anom, was
captured by the Dutch in Banjarmasin. An-other successor, Prince
Hidayatullah, was also captured and exiled to Java. This caused Prince
Antasari and his people opposed the Dutch intervention in the
adminis-tration affairs of the Sultanate of Banjar in South of
Kalimantan in 1859. On 9-10 May 1859 Prince Antasari and the Banjar
people encircled and attacked the Dutch coal mine in Pengaron. The
diorama shows the people of Banjar led by Prince Suropati attack the
Dutch sailing vessel in Lontartur, Kapuas river.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA
INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL
STRUGGLE), published in 1996.

Photo taken in 2020, by Ary “Jimged” Sendy, courtesy of Hyphen—. ;
’’‘[https://archive.org/details/17-perang-aceh-1873-1904-img-9532 PERANG
ACEH, 1873-1904]’’’

*DIORAMA 17: PERANG ACЕН (1873 - 1904) ::Pada tahun 1871 Belanda dan
Inggris mengadakan perubahan Traktat London sebagai rangkaian dari
Konvensi London tahun 1814. Pembaruan terakhir bernama Traktat Sumatra
yang memberikan kepada Belanda kekuasaan atas Sumatra. Perjanjian ini
membuka jalan kepada Belanda untuk menduduki Aceh. Perang Aceh pecah
akibat konflik yang semakin meruncing ketika pada tahun 1873 Belanda
menuntut agar Aceh menghentikan hubungannya dengan negara-negara lain
ditolak. Belanda segera mengirimkan ekspedisi militer ke Aceh, tetapi
merekadikalahkan, bahkan panglimanya JHR Kohler tewas dalam pertempuran
tanggal 13-14 April 1973 di depan Masjid Agung Baiturrahim. Diorama ini
menggambarkan pertempuran sengit di halaman Masjid Agung Baiturrahim
ketika JHR Kohler menjadi korban penembak jitu Aceh.

*DIORAMA 17: THE ACEH WAR (1873 - 1904) ::In 1871 the Dutch and the
British amended the London Treaty as an attachment to the London
Con-vention 1814. The last renewal was the Sumatra Treaty which gave the
Dutch sovereignty over Sumatra. This treaty opened the way for the Dutch
to occupy Aceh. The Aceh war broke out as a result of mounting conflicts
when in 1873 the Dutch demanded the de-crease of Aceh’s relation with
foreign countries but it was rejected by the Aceh authority. The Dutch
immediately sent in a military expedi-tion to Aceh, but they were
defeated, more over the army commander JHR Kohler was killed in a battle
near the grand Mosque Baiturrahim. The diorama shows the fierce fighting
on 13 April 1973 around the Baiturrahim grand Mosque when JHR Kohler was
hit by Acehnese sniper.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA
INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL
STRUGGLE), published in 1996.

Photo taken in 2020, by Ary “Jimged” Sendy, courtesy of Hyphen—. ;
’’‘[https://archive.org/details/18-perlawanan-sisimangaraja-1877-1907-img-9536
PERLAWANAN SISIMANGARAJA, 1877-1907]’’’

*DIORAMA 18: PERLAWANAN SI SINGAMANGARAJA (1877 - 1907) ::Dengan dalih
bahwa zending sering diganggu oleh pasukan Si Singamangaraja, Belanda
mendapatkan kesempatan melakukan ekspedisi ke Tanah Batak, Tapanuli.
Bentrokan pertama dengan Belanda terjadi pada tanggal 15 Februari 1878,
setelah terlebih dahulu Si Singamangaraja memberi peringatan kepada
pasukan Belanda supaya meninggalkan Tapanuli. Perlawanan terhadap
kolonialis Belanda ternyata mendapat bantuan dari rakyat Aceh dan
Minangkabau. Penyerangan besar-besaran terhadap markas Belanda dengan
bantuan rakyat kedua daerah tersebut dilakukan pada tahun 1887.
Perjuangan Si Singamangaraja berlangsung hingga awal abad ke dua puluh.
Si Singamangaraja gugur dalam pertempuran di Pearaja Diri pada tanggal
17 Juni 1907. Diorama ini menggambarkan pertempuran di Tanggabatu dekat
kota Balige pada tahun 1884 ketika Si Singamangaraja berhasil memukul
mundur pasukan Belanda.

*DIORAMA 18: SI SINGAMANGARAJA REVOLT (1877 - 1907) ::With the excuse
that the missionaries were frequently assaulted by Si Singamangaraja,
the Dutch government seized at the opportunity to expand their territory
to land of Batak People, Tapanuli. The first con-tact took place on
February 15, 1878, after Si Singamangaraja reminded the Dutch to leave
Tapanuli. The resistance movement against the Dutch was aided by the
people of Aceh and Minangkabau. The large scale offensive to the Dutch
headquarter with the assistance of both neighboring people took place in
1887. Si Singamangaraja’s struggle went on until the beginning of the
twentieth century. He was killed in a battle in Pearaja Diri on June 15,
1907. The diorama shows the battle at Tanggabatu near Balige in 1884
where Si Singamangaraja repulsed the Dutch troops.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA
INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL
STRUGGLE), published in 1996.

Photo taken in 2020, by Ary “Jimged” Sendy, courtesy of Hyphen—. ;
’’‘[https://archive.org/details/19-pertempuran-jagaraga-1848-1849-img-9544
PERTEMPURAN JAGARAGA, 1848-1849]’’’

*DIORAMA 19: PERTEMPURAN JAGARAGA (1848-1849) ::Pada tahun 1841 Belanda
memaksakan penghapusan peraturan tawan karang yang diakui sebagai
lembaga hukum adat di Bali. Menurut peraturan tawan-karang semua muatan
kapal yang kandas menjadi milik raja dan penduduk pantai, sedang
penumpangnya dijadikan budak. Beberapa kerajaan di Bali menerima
peraturan Belanda itu, kecuali Buleleng dan Karangasem. Dua kali
Buleleng mengenakan tawan-karang terhadap kapal-kapal Belanda yang
terdampar di daerahnya. Belanda menuntut agar muatan dan isi kapal itu
dikembalikan, tetapi ditolak oleh Raja Buleleng sehingga perang tidak
dapat dihindarkan lagi. Meskipun dalam serangan Belanda tahun 1846
Buleleng dan Karangasem dapat diduduki namun semangat juang rakyat tetap
berkobar dan mereka menyiapkan pertahanan di jagaraga. Diorama ini
menggambarkan pertempuran yang terjadi di muka Pura Dalem Jagaraga yang
berakhir dengan gugurnya seisi Pura.

*DIORAMA 19: THE BATTLE OF JAGARAGA (1848-1849) ::In 1841 the Dutch
government tried to enforce the abolition of the Balinese customary law
of Tawan Karang. According to the rule of Tawan Karang, the people and
his King had the right to appropriate the goods of stranded ships and to
enslave all passengers and crew alike. Several Kingdoms in Bali accepted
this rule, except the Kingdoms of Buleleng and Karangasem. Twice the
King of Buleleng applied the customary law to the Dutch stranded ship in
his domain. The Dutch demanded the return of all merchandises and
personnels but this was rejected by King of Buleleng caused the war
could not be avoided. Although in the Dutch attack in 1846 Buleleng and
Karangasem was occupied, the fighting spirit of the people was
constantly exuberant and they developed a stronghold in Jagaraga. The
diorama shows the tremendous battle in front of the Pura Dalem of
Jagaraga, which ends with the fall of all Pura’s occupants.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA
INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL
STRUGGLE), published in 1996.

Photo taken in 2020, by Ary “Jimged” Sendy, courtesy of Hyphen—. ;
’’‘[https://archive.org/details/20-tanam-paksa-1830-1870-img-9548 TANAM
PAKSA, 1830-1870]’’’

*DIORAMA 20: TANAM PAKSA (CULTUUR STELSEL) (1830-1870) ::Perang
Diponegoro yang berlangsung selama lima tahun (1825-1830) mengakibatkan
krisis keuangan bagi kerajaan Belanda. Tetapi di daerah kerajaan
Mataram, Belanda berhasil menduduki wilayah seluas 3000 km persegi yang
terdiri dari tanah yang subur. Untuk mengatasi keadaan krisis itu muncul
gagasan Gubernur Jenderal Van Den Bosch untuk menjadikan tanah Jawa
sebagai perkebunan yang besar atas dasar perjanjian antara pemerintah
Hindia Belanda dan petani. Pemerintah Belanda akan menjadi pedagang dan
tuan kebun, Tanaman yang akan ditanam di Jawa haruslah tanaman yang
sangat laku di pasar Eropa, seperti nila, gula, teh, lada, kopi dan
kayumanis. Gagasan Van Den Bosch disetujui oleh Raja Belanda dan
realisasi di Jawa dimulai tahun 1830. Dalam kenyataannya tidak terdapat
kontrak antara pemerintah kolonial dengan rakyat petani, melainkan
hubungan paksa. Sejak inilah dimulai periode eksploitasi tenaga rakyat
secara besar-besaran. Bagi rakyat yang tidak memiliki tanah diharuskan
bekerja pada perkebunan nila (indigo) seperti yang terjadi di Jawa
Barat. Mereka tidak diperkenankan pulang dari tempat bekerja yang
letaknya puluhan kilometer dari kampung halamannya. Mereka yang dianggap
malas dikenai hukuman cambuk dan siksaan lainnya. Tanam paksa ini
memberikan keuntungan luar biasa bagi pemerintah Belanda, sedangkan bagi
rakyat Indo-nesia mengakibatkan penderitaan yang sangat berat. Rakyat
kelaparan karena mereka tidak berkesempatan menggarap sawah dan
ladangnya. Diorama ini menggambarkan penderitaan rakyat In-donesia yang
dipaksa untuk bekerja keras di daerah perkebunan disertai dengan siksaan
fisik.

*DIORAMA 20: THE FORCED CULTURE SYSTEM (1830-1870) ::The Diponegoro War
which had lasted for a term of five years (1825-1830) caused a financial
crisis for the Dutch Crown. But in Mataram Kingdom area, the Dutch
succeeded in controlling a 3000 km square land comprising of fertile
soil. To overcome this crisis Governor General Van Den Bosch conceived
the idea of making the land of Java into a big plantation on the basis
of an agreement between the Dutch Indies government and the farmers. The
Dutch Indies government would be the trader as well as land-lord. The
plants which would be cultivated in Java ought to produce commodities
being much in demand in Europe, such as indigo, sugar, tea, pepper and
cinnamon. Bosch’s idea was approved by the King of Netherlands and its
implementation was started in 1830 in Java. In fact the work contract
had never been made between the colonial government and the farmers,
rather it was a forced relation. So began the extortion and the
oppression of the people. Those who did not own land were forced to work
in the indigo plantation for free as was known in West Java. They were
forbidden to go home as they worked tens kilometers away from home.
Those who were thought lazy were imposed whipping punishment and other
physical torture. This system was indeed very profitable for the Dutch,
on the contrary it was a misery for the Javanese people. The farmers
died of starvation as they had no time at all to cultivate their own
land. The diorama shows how cruelly the people are forced to work under
physical torture and other punishment.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA
INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL
STRUGGLE), published in 1996.

Photo taken in 2020, by Ary “Jimged” Sendy, courtesy of Hyphen—. ;
’’‘[https://archive.org/details/21-peranan-gereja-protestan-dalam-penyatuan-bangsa-1930-img-9552
PERANAN GEREJA PROTESTAN DALAM PENYATUAN BANGSA, 1930]’’’

*DIORAMA 21: KEGIATAN GEREJA PROTESTAN DALAM PROSES PENYATUAN BANGSA
(Abad ke 20) ::Gereja Protestan dengan zendingnya giat mengadakan
propaganda terutama di daerah-daerah yang masih terbelakang. Selain
bergerak dalam bidang keagamaan, gereja Protestan giat bergerak dalam
bidang pendidikan sehingga secara langsung telah membantu menyatukan
bangsa Indonesia dari berbagai suku yang sedang mengalami proses
penyatuan. Selain di beberapa daerah dan kota-kota di Jawa. pusat-pusat
agama Kristen terutama terdapat di Ambon. Minahasa dan Tapanuli. Pada
tahun 1930 berdiri Perserikatan Kaum Christen (PKC) dan Partai Kaum
Masehi Indonesia, keduanya merupakan bagian dari gerakan nasional untuk
Indonesia merdeka. Diorama ini menggambarkan kegiatan umat Kristen
Protestan dalam bidang sosial, pendidikan dan keagamaan.

*DIORAMA 21: THE ACTIVITIES OF THE PROTESTANT CHURCH IN UNITING THE
NATION (20TH CENTURY) ::The activities of the Protestant church in the
field of propagation of the Protestant faith were of great
sig-nificance, especially in backward areas. Apart from that, the
Protestant church were active in the educational field so that it
directly gave contribution in process of unification of several ethnics
groups in Indonesia. Besides several regions and cities in Java,
Protes-tant centers are mostly found in Ambon, Minahasa and Tapanuli. In
1930 Perserikatan Kaum Christen (Christian Association) and Partai
Masehi Indonesia (Indonesian Christian Party) were set up, both were
part of the national movement for the independence of Indonesia. The
diorama shows the activities of the Protestant in the social and
educational fields and religious affairs.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA
INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL
STRUGGLE), published in 1996.

Photo taken in 2020, by Ary “Jimged” Sendy, courtesy of Hyphen—. ;
’’‘[https://archive.org/details/22-ra-kartini-1879-1904-img-9554 RA
KARTINI, 1879-1904]’’’

*DIORAMA 22: PERJUANGAN KARTINI (1879-1904) ::Gerakan mengejar kemajuan
pada akhir abad ke 19 terbukti dari kebutuhan akan pendidikan dan
pengajaran yang semakin besar Tetapi pandangan umum masih dihinggapi
konservatisme yang kuat bagi anak perempuan. Lahir di Jepara pada
tanggal 21 April 1879 Kartını berjuang untuk memperoleh persamaan hak
bagi kaum wanita dan melepaskan diri darı kungkungan dan prasangka
tradisi dan adat. Kumpulan surat-surat yang dikirimkan kepada
sahabat-sahabatnya di mana dia mengungkapkan buah pikiran dan
cita-citanya telah diterbitkan dalam sebuah buku yang menarik berjudul
Habis Gelap Terbitlah Terang (aslinya Door Duisternis tot Licht).
Diorama ini menggambarkan Kartini menyelenggarakan sekolah untuk
pendidikan anak-anak perempuan

*DIORAMA 22: THE STRUGGLE OF KARTINI (1879-1904) ::The movement to
achieve progress at the end of the 19th century was confirmed by the
increasing de mands for education and studies, but the public opinion
was still under great influence of the prevailing tradi tion, especially
for women. Born in Jepara on 21 April1879, Kartini fought for equal
rights for the Indonesian women and her libera-tion from the shackles
and prejudice of the customary law and tradition. A collection of her
letters to friends in which she express her thoughts and opinion were
subsequently published as an interesting book entitled Letters of A
Javanese Princess (onginally Door Duisternis tot Licht). The diorama
shows Kartini personally conducting a class of girls students.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA
INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL
STRUGGLE), published in 1996.

Photo taken in 2020, by Ary “Jimged” Sendy, courtesy of Hyphen—. ;
’’‘[https://archive.org/details/23-kebangkitan-nasional-20-mei-1908-img-9556
KEBANGKITAN NASIONAL, 20 MEI 1908]’’’

*DIORAMA 23: KEBANGKITAN NASIONAL (20 MEI 1908) ::Menjelang akhir abad
ke 19 masyarakat Indonesia masih terbelakang baik di bidang politik,
ekonomi, maupun sosial budaya termasuk pendidikan. Keadaan ini adalah
akibat langsung dari politik kolonial Belanda yang tidak menghendaki
rakyat Indonesia menjadi cerdas, karena hal itu akan membahayakan
kedudukannya. Tetapi kemudian kaum kolonialis terpaksa juga memberikan
pendidikan modern kepada pemuda-pemuda Indonesia, pertama untuk memenuhi
kebutuhannya akan tenaga-tenaga terdidik di perusahaan-perusahaannya dan
kedua untuk meningkatkan potensi masyarakat Indonesia sebagai pasar bagi
industrinya. Sebagai hasil dari pendidikan itu timbul suatu generasi
pemuda Indonesia yang terkena gagasan-gagasan nasionalisme dan
modernisasi yang menyebar dani Eropa. Pemuda-pemuda itulah yang kemudian
mengorganisir pergerakan Nasional sebagai perwujudan dan Kebangkitan
Nasional rakyat Indonesia. Yang dianggap manifestasi pertama dan
Kebangkitan Nasional tu adalah pembentukan organisasi modern yang
pertama oleh orang Indonesia, yakni Budi Utomo. Budi Utomo dibentuk atas
prakarsa beberapa mahasiswa Sekolah Dokter Jawa (School Tot Opleiding
Van Indische Artsen STOVIA), seperti Sutomo, Gunawan Mangunkusumo, dan
lain-lain dengan Dokter Wahidin Sudirohusodo sebagai penasehatnya.
Kemudian lahirlah organisasi lain seperti Sarikat Is-lam, Indische
Party, Muhammadiyah, dan lain-lain yang dalam perkembangan selanjutnya
bertujuan Indonesia Merdeka. Diorama ini menggambarkan suasana Kongres
Budi Utomo Pertama yang diadakan di Yogyakarta.

*DIORAMA 23: The National Resurgence (20 May 1908) ::By the end of 19th
century, Indonesian people were still backward politically, economically
and socio-cultural including education. This was a direct result of the
Dutch colonialism policy that did not want to see Indonesia become smart
and intelligent as these would endanger their position. Finally,
however, the colonialist had to give modern education to Indonesian
youth to meet the needs for educated people at their enterprises and
secondly to increase Indonesia’s potentials for their market. As a
result of the modern education, a younger generation of people were born
who had nationalism and modernization ideals that came from Europe.
Those young people who then organized the National Move-ment as the
realizations of the Indonesian people’s national resurgence. The first
manifestation of the national resurgence was the establishment of the
first modern organization by the Indonesian, Budi Utomo. Budi Utomo was
established by students of native Medical College (STOVIA: School Tot
Opleiding Van Indische Artsen) such as Sutomo, Gunawan Mangunkusumo etc.
and Dr. Wahidin Sudirohusodo as the adviser. Afterward other
organizations were established such as Sarikat Islam (Islamic
Association), Indische Party (Indies Party), Muhammadiyah (an important
Islamic modernist organization), and others which in their fur-ther
development wanted an Independent Indonesia. This diorama shows the
first congress of Budi Utomo (High Endeavor) held in Yogyakarta.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA
INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL
STRUGGLE), published in 1996.

Photo taken in 2020, by Ary “Jimged” Sendy, courtesy of Hyphen—. ;
’’‘[https://archive.org/details/24-taman-siswa-3-juli-1922-img-9558
TAMAN SISWA, 3 JULI 1922]’’’

*DIORAMA 24: TAMAN SISWA (3 JULI 1922) ::Politik pendidikan pada jaman
penjajahan tidak dapat dipisahkan dari kepentingan kolonial. Sebagai
suatu reaksi politik, pada tanggal 3 Juli 1922 Ki Hajar Dewantara
mendinkan perguruan Taman Siswa di Yogyakarta. Perkembangan perguruan
ini sangat pesat sehingga pemerintah merasa khawatir. Pada tahun 1922
pemerintah mengeluarkan Ordonansi Sekolah Liar hingga praktis
sekolah-sekolah swasta kehilangan identitasnya. Protes timbul dari
berbagai pihak, sehingga ordonansi tersebut dicabut kembali. Semangat
nasionalisme sangat menjiwai kehidupan Perguruan Taman Siswa. Pada tahun
1935 berlangsung Kongres Pendidikan Nasional yang pertama dengan tujuan
hendak menggalang persatuan nasional dan mencari perumusan tentang
pendidikan dan pengajaran yang bersifat nasional. Diorama ini
menggambarkan Ki Hajar Dewantara yang pada tahun 1921 mendirikan
organisasi nasionalis kebudayaan Indonesia yang sangat penting menyambut
orang tua murid di perguruan Taman Siswa

*DIORAMA 24: TAMAN SISWA (3 JULY 1922) ::The educational policy under
colonial regime was inseparable from its interest. As a political
reaction, on 3 July 1922 Ki Hajar Dewantara set up Taman Siswa
Institution in Yogyakarta. This institution expanded rap-idly caused
apprehension among the Dutch authorities In 1932 the Dutch government
issued an ordinance on regulating the activities of non governmental
schools. known as ordinance of illegal school. Practically it made
private school lost its identity. Protest sprang up from everywhere
caused the revocation of the ordinance. The spint of nationalisms
inspired the existence of Taman Siswa. In 1935 the first National
Education Congress took place which had the insistence on giving
national unity a firm platform and setting the platform for national
education and teaching. The diorama shows Ki Hajar Dewantara who in 1921
founded the very important Indonesian cultural nationalist organization
Taman Siswa welcoming the students parents at Taman Siswa.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA
INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL
STRUGGLE), published in 1996.

Photo taken in 2020, by Ary “Jimged” Sendy, courtesy of Hyphen—. ;
’’‘[https://archive.org/details/25-muhammadiyah-18-november-1912-img-9572
MUHAMMADIYAH, 18 NOVEMBER 1912]’’’

*DIORAMA 25: MUHAMMADIYAH (18 NOVEMBER 1912) ::Keadaan masyarakat Islam
Indonesia pada abad sembilan belas dan permulaan abad dua puluh sangat
menyedihkan. KH. Ahmad Dahlan tampil ke depan dengan mendirikan
Muhammadiyah pada tanggal 18 November 1912 di Yogyakarta dengan tujuan
untuk mengembalikan kemurnian ajaran Islam dan memperbaiki kesejahteraan
masyarakat. Di dalam kegiatannya Muhammadiyah mendinkan sekolah, rumah
yatim piatu, rumah-rumah sakit, pelatihan bag juru dakwah, dan
organisasi kepanduan. Saat ini organisasi tersebut merupakan salah satu
lembaga Islam terbesar di Indonesia. Diorama menggambarkan salah satu
kegiatan kepanduan Hizbul Wathan disaksikan oleh K.H. Ahmad Dahlan

*DIORAMA 25: MUHAMMADIYAH (18 NOVEMBER 1912) ::In the nineteenth century
and the beginning of the twentieth century the situation of the
community of Islam in Indonesia was very saddening indeed. K.H. Ahmad
Dahlan came forward by setting up Muhammadiyah on 18 November 1912 in
Yogyakarta. The objective of Muhammadiyah was to rejuvenate the teaching
of Islam and improve the people’s welfare. In its activities.
Muhammadiyah established a large number of schools, orphanages,
hospitals, a training course for missionaries, and scout club. Today the
organization is still one of the largest Muslim bodies in the country.
The diorama shows one of the activities of the Hizbul Wathan Scout Club,
witnessed by K.H. Ahmad Dahlan.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA
INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL
STRUGGLE), published in 1996.

Photo taken in 2020, by Ary “Jimged” Sendy, courtesy of Hyphen—. ;
’’‘[https://archive.org/details/26-perhimpunan-indonesia-1922-img-9575
PERHIMPUNAN INDONESIA, 1922]’’’

*DIORAMA 26: PERHIMPUNAN INDONESIA (1925) ::Perjuangan mencapai
Indonesia Merdeka di luar negeri dipelopori oleh mahasiswa-mahasiswa
Indonesia yang belajar di Negeri Belanda. Pada tahun 1908 berdiri
Indische Vereeniging (Perhimpunan Hindia) yang pada mulanya bersifat
sosial degan tujuan sebagai forum tempat bertemu orang-orang termasuk
para pelajar yang merantau ke negeri Belanda. Pada tanggal 19 Februari
1922 perhimpunan ini mengadakan pertemuan di Den Haag dan salah satu
keputusan penting yang diambil dalam pertemuan tersebut adalah
penggantian nama dari Indische Vereeniging menjadi Indonesisch
Vereeniging. Kemudian pada tanggal 8 Februari 1925 nama tersebut
berganti menjadi Perhimpunan Indonesia. Mereka menuntut agar pemerintah
Hindia Belanda bertanggung. jawab kepada rakyat Indonesia dan bukan
kepada pemerintah Belanda. Akhirnya mereka menuntut kemerdekaan
Indonesia yang berdasarkan kepada kekuatan din sendiri. Dibandingkan
dengan rekan-rekan mereka di Indonesia, mereka lebih banyak memperoleh
kebebasan bergerak. Pada bulan Februan 1927 Perhimpunan Indonesia
berjuang di forum internasional dengan mengambil bagian dalam Kongres
Menentang Imperialisme dan Penindasan Kolonial yang diadakan oleh Liga
Anti Imperialisme dan Bagi Kemerdekaan Nasional di Brussels.
Selanjutnya, propagada Perhimpunan Indonesia, semakin berani dan tajam
sehingga pemerintah Belanda mengadakan penangkapan terhadap pimpinannya,
yaitu Mohammad Hatta, Abdul Majid Joyohadiningrat, Ali Sastroamidjojo
dan Nasir Pamuncak dengan tuduhan menjadi anggota perkumpulan terlarang,
terlibat dalam pemberontakan dan menghasut untuk menentang kerajaan
Belanda. Tetapi, pengadilan membebaskan mereka dari semua tuduhan.
Diorama ini menggambarkan suasana pertemuan perhimpunan Indonesia yang
dipimpin oleh Mohammad Hatta.

*DIORAMA 26: THE INDONESIAN ASSOCIATION (1925) ::The struggle for
national independence abroad was spearheaded by the Indonesian students
in the Netherlands. In 1908 The Indische Vereeniging (Indies
Association) was established which at first had a societal function as a
meeting forum for the people included the Indonesian students who went
overseas in the Netherlan’s. On February 1922. the association held a
meeting in The Hague and an important decision taken at this meeting was
a change of the name from Indische Vereeniging to Indonesische
Vereeniging. Then, on 8 February 1925 the later name was changed into
the new name Perhimpunan Indonesia (Indonesian Association). They
demanded that the Netherlands Indies government to be responsible to the
people of Indonesia not to the Dutch government. Finally they demanded
the independence of Indonesia on the basis of their own power. In
comparison with their colleagues in Indonesia, they had more freedom of
action. In February 1927 the Indonesian Association brought their
struggle to the international forum by taking part in the Congress of
Anti Colonialism and Colonial Oppression held by the League Against
Imperialism and for National Inde-pendence in Brussels. Furthermore, the
propaganda of Perhimpunan Indonesia became brave and sharp that its
leaders Mohammad Hatta, Ali Sastroamidjojo. Nasir Pamuncak and Abdul
Majid Joyohadiningrat were arrested on charges: being a member of
prohibited organization, being involved in a rebellion, and instigating
opposition to the Dutch crown. But then they were acquitted of all
charges. The diorama shows Mohammad Hatta chairing the meeting of the
association.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA
INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL
STRUGGLE), published in 1996.

Photo taken in 2020, by Ary “Jimged” Sendy, courtesy of Hyphen—. ;
’’‘[https://archive.org/details/27-the-stovia-1898-1926-img-9577 THE
STOVIA, 1898-1926]’’’

*DIORAMA 27: STOVIA SEBAGAI TEMPAT PERSEMAIAN PERGERAKAN PEMUDA
INDONESIA (1926) ::Kemiskinan bangsa Indonesia dalam arti lahir dan
batin yang juga dirasakan oleh beberapa orang terpelajar, telah
menggerakkan hati mereka untuk mempertinggi derajat bangsa Usaha dr.
Wahidin Sudirohusodo mendirikan dana belajar tidak berjalan sebagaimana
yang diharapkan. Namun cita-cita luhur yang terkandung di dalamnya telah
menggugah semangat pelajar-pelajar STOVIA (School Tot Opleiding Van
Indische Artsen -Sekolah Dokter Bumi Putera) di Jakarta. Pada hari
bersejarah tanggal 8 Mei 1908 mereka mendirikan perserikatan bernama
Budi Utomo. Kenyataannya, para lulusan dan mahasiswa STOVIA memainkan
peranan penting dalam pertumbuhan gerakan nasional Indonesia modern.
Diorama ini menggambarkan pertemuan yang diadakan oleh pelajar-pelajar
STOVIA di gedung STOVIA yang lebih dikenal sekarang sebagai gedung
Museum Kebangkitan Nasional, Jakarta. Pertemuan pertemuan semacam ini
sering kali dilakukan yang merupakan kegiatan para pelajar STOVIA untuk
membebaskan negerinya dari penjajahan dan keterbelakangan.

*DIORAMA 27: STOVIA AS THE PLACE FOR SEEDBED OF INDONESIA’S YOUTH
MOVEMENT(1926) ::The poverty of body and mind of the little men in
Indonesia which strongly felt by several educated men arose their
anxiety to bring enlightenment. Dr. Wahidin Sudirohusodo’s effort to
establish study fund did not meet the expectations, but his aspiration
had awaken the STOVIA (School Tot Opleiding Van Indische Artsen)
student’s sprint. On the historical day, May 8, 1908 they founded Budi
Utomo (High Endeavour). It was al ready known that the graduates and
students of the STOVIA (a medical training college) played an impor ant
role in the genesis of the modern Indonesian nationalist movement. The
diorama shows the meeting of STOVIA held in STOVIA building which is
known as The Museum of National Resurrection, Jakarta. Such meetings
were held frequently as their activities to liberate their country from
colonialism and backwardness.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA
INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL
STRUGGLE), published in 1996.

Photo taken in 2020, by Ary “Jimged” Sendy, courtesy of Hyphen—. ;
’’‘[https://archive.org/details/28-digul-1926-1927-img-9580 DIGUL,
1926-1927]’’’

*DIORAMA 28: DIGUL (1927) ::Pada tahun 1926 di Pulau Jawa timbul
pemberontakan melawan pemerintahkolonial Pemberontakan ini merupakan
puncak dari gerakan tani yang mula-mula pecah di Banten kemudian
menjalar ke Jawa Barat dan Jawa Tengah. Pada Januari 1927 pecah pula
pemberontakan serupa di Sumatra Barat, akan tetapi dapat ditumpas dengan
kejam. 13.000 orang ditangkap, diantaranya 4.500 dijatuhi hukuman dan
1.300 dibuang ke Tanah Merah, Digul Atas, Irian Jaya. Kemudian Digul
Atas menjadi tempat pengasingan bagi tokoh-tokoh pergerakan nasional.
Sebagai tawanan, di samping harus mencukupi kebutuhannya sendiri, mereka
harus tahan melawan hawa panas dan penyakit malaria yang ganas. Diantara
semua penderitaan itu yang sangat berat adalah penderitaan tekanan jiwa,
sehingga di tempat pengasingan ini tercapailah puncak, penderitaan lahir
dan batin. Hingga kini Digul Atas menjadi lambang pengorbanan
pemimpin-pemimpin nasional kita dari generasi sebelum Perang Dunia II.
Diorama ini menggambarkan sebagian tokoh-tokoh pergerakan nasional di
tempat pengasingan Digul Atas. antara lain Mohammad Hatta dan Sutan
Syahrir.

*DIORAMA 28: DIGUL (1927) ::In the year 1926, a rebellion rose in Java
against the colonial government. This rebellion was the culmination of
the farmers’ movement in Banten, West Java that spread through Central
Java. In January 1927, in West Sumatra the same uprising broke out.
Within short time both up risings were cruelly suppressed. 13.000 men
were ar rested among which 4.500 were imprisoned and 1.300 exiled to
Tanah Merah, Upper Digul in West Irian. Afterwards the swampy forest of
Digul, in West Irian served as a home for Indonesian nationalists exiled
by the Dutch colonial regime. As prisoners besides having to sustain
themselves they had to stand the heat and over bearing malaria, but
uppermost and culminating point of body and mental suffering. Up to the
present time Digul is the symbol of sacrifice for national leaders of
the generation before the second World War. The diorama shows a number
of prominent figures in the national movement organizations being in
exile in Upper Digul, Inan, among others. Mohammad Hatta and Sutan
Syahrir.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA
INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL
STRUGGLE), published in 1996.

Photo taken in 2020, by Ary “Jimged” Sendy, courtesy of Hyphen—. ;
’’‘[https://archive.org/details/29-sumpah-pemuda-28-oktober-1928-img-9582
SUMPAH PEMUDA, 28 OKTOBER 1928]’’’

*DIORAMA 29: SUMPAH PEMUDA (28 OCTOBER 1928) ::Dalam lingkungan
pergerakan nasional Indonesia para pemuda telah melahirkan berbagai
ragam organisasi pemuda, seperti Jong Ambon, Jong Bataks, Jong Celebes,
Jong Islamiten Bond, jong Java and Jong Sumatranen Bond.
Organisasi-organisasi ini pada umumnya bersifat kedaerahan dan
masing-masing tidak mempunyai hubungan dengan yang lain. Lama-kelamaan
iklim persatuan Indonesia mempengaruhi meseka pula dan terasa dorongan
untuk membina suatu pergerakan pemuda Indonesia yang berjiwa nasional
kesatuan. Usaha ke arah itu dilakukan dalam serangkaian kongres pemuda.
Pada Kongres Pemuda kedua tanggal 28 Oktober 1928 di Jakarta dicetuskan
Sumpah Pemuda 1. Kami putra dan putri Indonesia mengaku berbangsa yang
satu. Bangsa Indonesia.2. Kami putra dan putri Indonesia mengaku
bertanah air yang satu. Tumpah Darah Indonesia.3. Kami putra dan putri
Indonesia menjunjung bahasa persatuan, Bahasa Indonesia. Diorama ini
menggambarkan suasana Kongres Pemuda Kedua pada tanggal 28 Oktober 1928
di Jakarta.

*DIORAMA 29: THE YOUTH PLEDGE (28 OCTOBER 1928) ::In the circle of
national movement the Indonesian youth gave birth to heterogeneous youth
organizations. such as: Jong Ambon, Jong Bataks, Jong Celebes, Jong
Islamiten Bond, Jong Java and Jong Sumatranen Bond. Most of these
organizations had the nature of regional ism and each had no relation to
others. Eventually the climate of Indonesia’s unity had influenced each
other and felt the willpower to found a unifying youth move-ment in the
spirit of national unity. In a senes of youth congress they managed to
make concrete efforts towards the youth unity. In the Second Youth
Congress held on 28 October 1928 in Jakarta the youth proclaimed the
Youth Pledge1. We the Indonesia’s youth admit to having one nation,
Indonesia.2. We the Indonesia’s youth admit to having one motherland,
Indonesia3. We the Indonesia’s youth have respect for unity language,
Indonesian language.The diorama shows the atmosphere of the Second Youth
Congress on 28 October 1928 in Jakarta.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA
INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL
STRUGGLE), published in 1996.

Photo taken in 2020, by Ary “Jimged” Sendy, courtesy of Hyphen—. ;
’’‘[https://archive.org/details/30-romusha-1942-1945-img-9585 ROMUSHA,
1942-1945]’’’

*DIORAMA 30: ROMUSHA, 1942-1945 ::Pada tanggal 8 Maret 1942, Panglima
Tentera Hindia Belanda menyerah kepada Jenderal Hitoshi Imamura Panglima
tentara ekspedisi Jepang di Kalijati. Jawa Barat. Dalam upaya
memenangkan Perang Pasifik. Jepang mengerahkan seluruh tenaga dan
kekayaan bumi Indonesia tanpa pembatasan apapun. Dengan meningkatya
situasi perang. Jepang mengerahkan secara paksa orang Indonesia untuk
dipekerjakan pada objek-objek vital dan bangunan-bangunan militer.
Sebelum diangkut ke tempat-tempat yang dituju, mereka dibujuk dan diberi
predikat muluk sebagai prajurit pekerja atau romusya. Dalam prakteknya
mereka melaksanakan kerja-paksa dengan mengalami siksaan-siksaan tanpa
diberi makan dan minum yang cukup menyebabkan puluhan ribu romusya
Indonesia menemui ajalnya. Diorama ini menggambarkan bagaimana para
romusya dalam keadaan kurus kering dan lemah lunglai dipaksa bekerja
berat di bawah pengawasan tentara Jepang.

*DIORAMA 30: THE JAPANESE FORCED LABOUR, 1942-1945 ::On 8 March 1942 the
Commander of the Netherlands East Indies army General Ter Poorten
surrendered to General Hitoshi Imamura, the japanese expedition army
commander in Kalijati, West Java. In its effort to win the Pacific War,
the Japanese occupational army exploited Indonesia’s human and natural
resources. Since the intensity of the Pacific War increased the Japanese
army conscripted Indonesian workers to forced labour to vital Japanese
military installations and buildings. Before leaving for the destination
places they were urged and given pomposity predicate as militia workers
or romushas. in actual practice, they were sent to do forced labour
under torture without enough food and drink caused tens of thousand
Indonesia’s romushas met their end. The diorama shows how hard the weak
and emaciated labours are forced to work under the Japanese army
supervision.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA
INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL
STRUGGLE), published in 1996.

Photo taken in 2020, by Ary “Jimged” Sendy, courtesy of Hyphen—. ;
’’‘[https://archive.org/details/31-pemberontakan-tentara-peta-di-blitar-14-februari-1945-img-9586
PEMBERONTAKAN TENTARA PETA DI BLITAR, 14 FEBRUARI 1945]’’’

*DIORAMA 31: PEMBERONTAKAN TENTARA PETA DI BLITAR (14 FEBRUARI 1945)
::Pada bulan Oktober 1943 Pemerintah Pendudukan Jepang mengeluarkan
Osamu Seiroi No. 44/1943 tentang pembentukan pasukan sukarela untuk
membela Tanah Jawa. Peraturan ini mendapat sambutan hangat dari kalangan
masyarakat Indonesia, khususnya para pemuda yang benar-benar berhasrat
untuk membela tanah air. Dengan berbondong-bondong mereka. mendaftarkan
diri menjadi anggota Tentara Pembela Tanah Air (PETA). Tentara PETA
dibagi atas daidan-daidan (batalyon) yang tidak ada hubungan
organisatoris satu sama lainnya. Segenap Perwira. Bintara dan Tamtama
Tentara PETA adalah orang Indonesia, akan tetapi mereka didampingi orang
Jepang sebagai pelatih merangkap pengawas. Di Blitar terdapat pula suatu
batalyon yang seperti batalyon-batalyon lainnya juga melaksanakan tugas
membangun kubu-kubu pertahanan dengan memakai romusya sebagai tenaga
kasar. Perasaan benci terhadap Jepang yang sudah timbul di kalangan
mereka menjadi semakin mendalam setelah mengetahui keadaan keluarga
mereka yang menderita sebagai akibat tindakan-tindakan Jepang ketika
mereka bertugas bersama para romusya. Mereka tidak tahan menyaksikan
bangsanya diperas tenaganya dan mati kelaparan. Ditambah dengan faktor
aspirasi kemerdekaan, pelbagai faktor itu menyebabkan tekad bulat di
kalangan mereka untuk memberontak. Dengan dipimpin oleh Suprijadi,
Muradi and mendapat nasehat dari dr. Ismangil, mereka mengadakan
serangkaian rapat-rapat persiapan. Dan pada tanggal 14 Pebruari 1945
pukul 03.30 dinihari mulailah pemberontakan. Mereka membunuh beberapa
orang Jepang lalu mengingkir ke luar kota. Pemberontakan berhasil
ditumpas oleh pihak Jepang. Suprijadi, pemimpin pemberontakan
menghilang. Pemimpin-pemimpin lainnya seperti dr. Ismangil, Muradi,
Sunanto, Halir dan kawan-kawannya tertangkap lalu dibawa di Jakarta pada
tanggal 8 Maret 1945. Selanjutnya pada tanggal 14-16 Maret 1945
dihadapkan ke Mahkamah Militer. 6 orang dijatuhi hukuman mati, 3 orang
dijatuhi hukuman seumur hidup. dan yang lainnya dijatuhi hukuman antara
dua sampai limabelas tahun. Diorama ini menggambarkan serangan tentara
PETA terhadap markas militer Jepang di Blitar pada tanggal 14 Februari
1945.

*DIORAMA 31: THE MUTINY OF JAPANESE TRAINED PETA ARMY IN BLITAR (14
FEBRUARY 1945) ::In October 1943, the Government of the Japanese
occupational army issued the Osamu Seiro No.44/1943 on the forming of
the volunteer troops to defend Java. This ordinance was received with
enthu-siasm by youth movements, who were very eager to defend their
country. In hordes they came to enlist as soldier of the PETA (The
Defenders of The Mother land). PETA was divided into several Daidans
(battalions) which had no organizational connections with each other.
Every private, subaltern, officer and commanding officer was an
Indonesian with Japanese as instructor who also held position as
supervisor. In Blitar, East Java, there was also a daidan with the same
formations and construction with romushas as the main labour force which
had orders to set up fortifications. A hatred feeling that had already
emerged among the PETA soldiers was growing more and more when they
discovered their relatives who worked with them as romusha suffered from
Japanese action Obviously they could not stand seeing the people were
exploited and died of starvation. All of those factors and spir ited by
their aspiration for national independence caused a great deal willpower
to stage a mutiny. Led by Suprijadi and Muradi, after getting dr.
Ismangil’s advice, they held a series of preparation meetings. On 14
February 1945 at 03.00 am the revolt against Japa-nese broke out in
Blitar. They killed a number of Japa-nese and then moved to a safe place
out of the city. The revolt was annihilated by Japanese. Suprijadi, the
leader disappeared. Other leaders such as dr. Ismangil, Muradi, Sunanto,
Halir and their compan-ions were captured and then brought to Jakarta on
8 March 1945. In 14-16 March 1945 they were brought to military court. 6
were sentenced to death, 3 were sentenced for life, and the others got
two to fifteen years. This diorama shows the PETA soldiers attack the
Japanese army post on 14 February 1945 in Blitar.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA
INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL
STRUGGLE), published in 1996.

Photo taken in 2020, by Ary “Jimged” Sendy, courtesy of Hyphen—. ;
’’‘[https://archive.org/details/32-proklamasi-kemerdekaan-indonesia-17-agustus-1945-img-9593
PROKLAMASI KEMERDEKAAN INDONESIA, 17 AGUSTUS 1945]’’’

*DIORAMA 32: PROKLAMASI (17 AGUSTUS 1945) ::Pada tanggal 17 Agustus 1945
dinihari teks Proklamasi: selesai dirumuskan oleh Ir. Soekarno. Drs.
Mohammad Hatta dan Mr. Ahmad Subardjo. Beberapa jam kemudian, yaitu pada
pukul 10.00 Proklamasi Kemerdekaan dibacakan oleh Ir. Soekarno yang
didampingi oleh Drs. Mohammad Hatta bertempat di Jalan Pegangsaan Timur
Nomor 56 Jakarta.Hadir pada saat pengucapan teks Proklamasi itu
adalah: 1. Abikusno Tjokrosujoso, Sukardjo Wirja-pranoto. Sukardjo
Kartohadikusumo, KHA Wahid Hasjim dan Dr. Radjiman Widiodiningrat.2.
Wakil Walikota, Suwirjo.3. Ibu Fatmawati.4. Ny. SK. Trimurti.5. Para
perwira PETA: Abdul Kadir, Latif Hendraningrat. dan dr. Soetjipto, Kemal
Idris, Daan Jahja, Arifin Abdurrachman dan Singgih.6. Barisan Pelopor:
Dr. Muwardi dan Asmarahadi.7. Barisan Pelopor Istimewa: Soediro, Soehoed
Sastro Koesoemo, Djohar Nur dan Soepeno.8. Pers: Soeroto, S.F. Mendoer
dan Sjahruddin.Diorama ini menggambarkan peristiwa detik-detik
Proklamasi Kemerdekaan Indonesia 17 Agustus 1945.

*DIORAMA 32: PROCLAMATION OF INDEPENDENCE (17 AUGUST 1945) ::Early at
dawn on 17 August 1945, the text for Proclamation of Indonesian
Independence was drafted by Soekamo, Mohammad Hatta and Ahmad Subardjo.
A few hours later, at ten o’clock in the morning the Proclamation of
Indonesia’s Independence was read out by Soekarno in the company of
Mohammad Hatta at Pegangsaan Timur 56 Jakarta. Present at the reading
out the text of Proclamation were:1. Abikusno Tjokrosujoso. Sukardjo
Wirjopranoto. Sukardjo Kartohadikusumo, KHA Wahid Hasyim and dr.
Radjiman Widiodiningrat.2. Vice Mayor Suwirjo.3. Ms. Fatmawati.4.
Ms. SK. Trimurti.5. PETA officers: Abdul Kadir, Latif Hendraningrat. dr.
Soetjipto, Kemal Idris. Daan Jahja, Arifin Abdurrachman and Singgih.6.
Pioneer Troops: Dr. Muwardi and Asmarahadi.7. Special Pioneer Troops:
Soediro, Soehoed Sastro Koesoemo, Djohar Nur and Soepeno.8. Press:
Soerato, S.F. Mendoer and Sjahruddin.The diorama shows the very moment
of the Proclamation of Indonesia’s Independence 17 August 1945.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA
INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL
STRUGGLE), published in 1996.

Photo taken in 2020, by Ary “Jimged” Sendy, courtesy of Hyphen—.

;
’’‘[https://archive.org/details/33-pengesahan-pancasila-dan-undang-undang-dasar-1945-18-agustus-1945-img-9600
PENGESAHAN PANCASILA DAN UNDANG-UNDANG DASAR 1945, 18 AGUSTUS 1945]’’’
*DIORAMA 33: PENGESAHAN PANCASILA SEBAGAI LANDASAN FALSAFAH NEGARA DAN
U.U.D. 1945 ::Sebelum kemerdekaan Indonesia diproklamasikan tanggal 17
Agustus 1945, Badan Penyelidik Usaha-usaha Persiapan Kemerdekaan
Indonesia membahas berbagai konsep falsafah negara. Diantara konsep yang
terpenting adalah konsep Mr. Muhammad Yamin yang diajukan tanggal 29 Mei
1945, konsep Ir. Soekamo yang diajukan tanggal I juni 1945, lengkap
dengan namanya, yakni PANCASILA dan konsep Panitia Sembilan yang biasa
disebut Piagam Jakarta disusun tanggal 22 Juni 1945. Dalam sidang PPPKI
tanggal 10-16 Juli 1945. disusunlah konsep Undang-Undang Dasar negara
Indonesia beserta mukadimahnya. Mukadimah itu ada dalam Piagam Jakarta
yang mengandung pula dasar falsafah negara. Konsep tersebut, setelah
diperbaiki, disahkan oleh sidang pertama Panitia Persiapan Kemerdekaan
Indonesia tanggal 18 Agustus 1945 di Jakarta sebagai Undang-Undang Dasar
Negara Republik Indonesia yang kemudian dikenal sebagai Undang-Undang
Dasar 1945. Diorama ini menggambarkan suasana sidang Panitia Persiapan
Kemerdekaan Indonesia yang berakhir dengan disahkannya Pancasila
Landasan (Dasar) Falsafah Negara dan Undang-Undang Dasar 1945.

*DIORAMA 33: THE RATIFICATION OF PANCASILA AND THE 1945 CONSTITUTION
::Before the Independence of Indonesia was pro claimed, the Committee to
Investigate Preparations for Indonesian Independence had studied several
concepts for the state philosophy, particularly Mr. Muhammad Yamin’s
concept. Ir. Soekarno’s concept, which outlined the Pancasila, the Five
Principles. Concept of the Committee of Nine, known as the Jakarta
Charter, which was drawn up on 22 June 1945. In July 10-16 1945 the
Committee to Investigate Preparations for indonesian Independence
composed the draft of the Constitution of the Republic of Indonesia
along with its Preambule. The preambule to the Constitution was found in
the Jakarta Charter which also contained the philosophy of the state.
The concept, after revised, was legalized by the Indonesian Independence
Preparatory Committee at its first meeting on 18 August 1945 in Jakarta
as the Constitution of the Republic of Indonesia, known as the 1945
Constitution. The diorama shows the atmosphere of the meeting of the
Indonesian Independence Preparatory Committee, which afterwards ratifies
the Pancasila as the State Philosophy and the 1945 Constitution as the
Constitution of the Republic of Indonesia.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA
INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL
STRUGGLE), published in 1996.

Photo taken in 2020, by Ary “Jimged” Sendy, courtesy of Hyphen—.

; ’’‘[https://archive.org/details/34-hari-abri-5-oktober-1945-img-9603
HARI ABRI, 5 OKTOBER 1945]’’’

*DIORAMA 34: HARI LAHIR ABRI (5 OKTOBER 1945) ::Dalam Sidang Panitia
Persiapan Kemerdekaan Indonesia (PPKI) tanggal 22 Agustus 1945
ditetapkan pembentukan Badan Keamanan Rakyat (BKR) yang bertugas
memelihara keamanan dan ketertiban umum di daerahnya masing-masing.
Untuk memperkuat perasaan keamanan umum maka pada tanggal 5 Oktober 1945
dibentuk Tentara Keamanan Rakyat. Peristiwa ini diperingati sebagai Hari
Angkatan Bersenjata Republik Indonesia. Diorama ini menggambarkan
Jenderal Sudirman sedang memeriksa pasukan Tentara Nasional Indone sia
yang pada waktu itu anggota-anggotanya masih belum memiliki peralatan
lengkap.

*DIORAMA 34: ARMED FORCES DAY (5 OCTOBER 1945) ::At the meeting of the
Indonesian Independence Preparatory Committee, on August 22, 1945, it
was decided to set up the organization of the Badan Keamanan Rakyat
(People’s Security Body) with the task of maintaining the security in
their territory. To strengthen public confidence and order, on 5 October
1945 the People’s Security Army was formed. This event is subsequently
commemorated as the Republic of Indonesia Armed Forces Day. The diorama
shows General Sudirman inspecting Indonesian National Army troops the
members of which, at that time, were not well equipped yet.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA
INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL
STRUGGLE), published in 1996.

Photo taken in 2020, by Ary “Jimged” Sendy, courtesy of Hyphen—. ;
’’‘[https://archive.org/details/35-pertempuran-surabaya-10-november-1945-img-9608
PERTEMPURAN SURABAYA, 10 NOVEMBER 1945]’’’ *DIORAMA 35: PERTEMPURAN
SURABAYA (10 NOPEMBER 1945) ::Pada bulan Oktober 1945 Tentara Sekutu
(Inggris) mendarat di Surabaya untuk melaksnakan tugas melucuti
pasukan-pasukan Jepang dan membebaskan orang-orang Sekutu yang ditawan
oleh Jepang. Mereka berjanji tidak mencampuri urusan dalam negeri
Republik Indonesia. Ternyata Sekutu tidak menepati janjinya, sehingga
menimbulkan beberapa insiden yang kemudian meningkat menjadi
pertempuran. Campur tangan Pemerintah Republik Indonesia untuk
menciptakan keadaan yang tenang tidak berhasil. Dalam salah satu
insiden, komandan Brigade Inggris Brigjen Mallaby tertembak mati.
Panglima Sekutu untuk daerah Jawa Timur, Mayjen Mansergh, mengultimatum
agar rakyat Surabaya termasuk para pejabatnya menyerahkan senjatanya
masing-masing sebelum pukul 06.00 tanggal 10 Nopember 1945. Ultimatum
itu tidak dihiraukan rakyat Surabaya, mereka sama sekali tidak mengakui
wewenang pihak Sekutu (Inggris) untuk memerintah Surabaya. Mereka hanya
tunduk dan taat kepada Republik Indonesia. Pada tanggal 10 Nopember 1945
Sekutu mengerahkan segala kekuatannya di darat, laut dan udara dalam
usaha membinasakan pejuang-pejuang di Surabaya. Serangan tersebut
disambut dengan tekad pantang mundur oleh para pejuang sehingga beribu
mereka gugur sebagai pahlawan kusuma bangsa. Diorama ini menggambarkan
Pertempuran Surabaya, 10 Nopember 1945 yang kemudian diperingati secara
resmi sebagai Hari Pahlawan.

*DIORAMA 35: BATTLE OF SURABAYA (10 NOVEMBER 1945) ::In October 1945,
the Allied Forces (British Troops) landed in Surabaya to disarm Japanese
forces and to set free Allied prisoners of war arrested by Japanese. The
Allied Forces promised not to interfere in the domestic affairs of the
Republic of Indonesia. As a matter of fact, the Allied Forces did not
keep their words and some minor incidents occurred which finally broke
out in battle. The government of the Republic of Indonesia endeavored to
mediate but was unsuccessful. In one of the incidents, the British
Brigade Com-mander, Brigadier General Mallaby, was assassinated. Major
General Mansergh, the Allied Commander in East Java, issued an ultimatum
calling the Surabaya people, including their leaders to surrender all
their firearms to the Allied Forces before 06.00 a.m. on November 10,
1945. The people of Surabaya ignored the ultimatum as they did not
recognize the Allied (British) to govern them. They only adhered to the
government of the Republic of Indonesia. On November 10, 1945 the Allied
land, sea and air forces attacked the Surabaya freedom fighters. The
attack was met with bravery by the freedom fighters and a great many of
them died in the battle as national heroes. The diorama shows the Battle
of Surabaya 10 November 1945 which is then officially comтето-rated as
National Heroes Day.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA
INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL
STRUGGLE), published in 1996.

Photo taken in 2020, by Ary “Jimged” Sendy, courtesy of Hyphen—. ;
’’‘[https://archive.org/details/36-peranan-gereja-katolik-roma-dalam-proses-penyatuan-bangsa-img-9610
PERANAN GEREJA KATOLIK ROMA DALAM PROSES PENYATUAN BANGSA]’’’ *DIORAMA
36: KEGIATAN GEREJA KATHOLIK ROMA DALAM PROSES PENYATUAN BANGSA (1947)
::Gereja Katholik-Roma melalui misinya mengumpulkan pemuda-pemuda dari
berbagai suku dan daerah di bawah naungan agamanya Dengan demikian
terbentuk suatu masyarakat Katholik-Roma yang di dalamnya bersemi pula
semangat nasioalisme Indonesia. Mereka giat mendirikan rumah sakit dan
sekolah. Terhadap cita Gita Indonesia Merdeka Perhimpunan Politik
Katolik Indonesia ikut menandatangani petisi Soetardjo tahun 1936 yang
menuntut kepada pemerintah kolonial untuk memberikan kemerdekaan kepada
bangsa Indonesia Demikian pula dalam masa perang kemerdekaan 1945-1949
mereka bersatu dengan segenap lapisan dan golongan untuk mengusir
penjajah dan memper tahankan kemerdekaan. Diorama ini menggambarkan
suasana perayaan Natal yang diadakan di Semarang dan dihadiri oleh
hampir segenap lapisan masyarakat

*DIORAMA 36: THE ACTIVITY OF THE CATHOLIC CHURCH IN UNITING THE NATION
(1947) ::The role of the Roman Catholic Church in the propagation of the
Christian faith and the promotion of educational activities by the Roman
Catholic missionaries contributed significantly to the unification of
the nation. Besides, they were very active in building hospitals and
schools. Having the Independence of Indonesia as its ideal. the
Political Association of the Indonesian Catholic jointly signed the
Soetardjo Petition in 1936 demand-ing the colonial government to give
independence to the people of Indonesia. During the war defending the
independence 19456 1949, the Roman Catholic Church united with other
social groups and strata firmly to drive out the colonizer and defend
freedom and independence. The diorama shows the atmosphere of the
celebration of Christmas in Semarang Central Java, in the year 1947

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA
INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL
STRUGGLE), published in 1996.

Photo taken in 2020, by Ary “Jimged” Sendy, courtesy of Hyphen—. ;
’’‘[https://archive.org/details/37-gerilya-mempertahankan-kemerdekaan-1945-1949-img-9616
GERILYA MEMPERTAHANKAN KEMERDEKAAN, 1945-1949]’’’ *DIORAMA 37: GERILYA
DALAM PERANG KEMERDEKAAN (1945-1949) ::Pada masa perang kemerdekaan
Angkatan Bersenjata Republik Indonesia masih memiliki peralatan yang
sederhana untuk melawan musuh yang memiliki perlengkapan modern Perang
Dunia II Angkatan bersenjata kita menggunakan taktik geniya, menyerang
secara mendadak lalu menghilang. Gerilya ini kemudian dilaksanakan
sebagai Perang Rakyat Semesta Di daerah-daerah yang dikuasai musuh
disusun kantong kantong gerilya untuk menegakkan kekuasaan Republik
Indonesia. Sistim tersebut berkembang menjadi sistim Wehrkreise dengan
menyusun daerah pertempuran dalam lingkaran lingkaran yang dapat
melaksanakan pertahanan secara berdiri sendiri dengan integrasi segenap
kekuatan politik, ekonomi sosial budaya dan militer. Diorama ini
menggambarkan keberhasilan sejumlah kecil pasukan gerilya menghadang
serta menghancurkan iring iringan pasukan Belanda di Ambarawa

*DIORAMA 37: GEURRILLA IN INDEPENDENCE WAR (1945-1949) ::With the aid of
obsolete weapons, the Indonesian Armed Forces and the civilian
population conducted a guerrilla warfare against the Allied Forces who
were trying to reinstall the Dutch colonial regime. Our troops applied
the guerrilla tactics which were then camed out as a total war involving
the whole population. In the region occupied by the enemy, pockets of
the guerrillas were formed to establish the authority of the Republic of
Indonesia. This system was developed into the Wehrinese system with the
forming of operational areas in self Sustaining penmeters with the
thoroughly integrated forces in the economic social, political and
military elements. The diorama shows the Indonesian Armed Forces
succeeding in attacking the Dutch Military convoy in Ambarawa

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA
INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL
STRUGGLE), published in 1996.

Photo taken in 2020, by Ary “Jimged” Sendy, courtesy of Hyphen—. ;
’’‘[https://archive.org/details/38-jenderal-soedirman-1948-img-9617
JENDERAL SOEDIRMAN, 1948]’’’

*DIORAMA 38: JENDERAL SUDIRMAN MEMIMPIN PERJUANGAN GERILYA (1948-1949)
::Pada tanggal 19 Desember 1948 Belanda melancarkan aksı militer kedua
dengan menyerang Yogyakarta. Ibukota Republik Indonesia. Pemerintah
menunjuk Syafruddin Prawiranegara membentuk Pemerintah Darurat di
Bukittinggi untuk mengambil alih sementara fungsi Pemerintah Pusat. Pada
waktu itu Panglima Besar Jenderal Sudirman memutuskan untuk memimpin
sendiri perjuangan gerilya. Walaupun penyakit beliau bertambah parah.
nyala semangat juang beliau untuk memimpin gerilya tidak pernah
terpadamkan Beliau baru kembali ke Yogyakarta pada bulan Juli 1949
setelah pemulihan kembali Ibukota Republik Indonesia di Yogyakarta.
Diorama ini menggambarkan Jenderal Sudirman. memberikan dorongan
semangat kepada prajurit TNI bahwa dalam keadaan sulit sekalipun
pemimpin mereka tetap setia untuk memimpin perjuangan gerilya
mempertahankan kemerdekaan

*DIORAMA 38: GENERAL SUDIRMAN LED A GUERRILLA STRUGGLE (1948-1949) ::On
19 December 1948 the Dutch launched the second military action by
attacking Yogyakarta, the capital city of the Republic of Indonesia The
government authorized Syafruddin Prawiranegara in Bukittinggi to form an
emergency government to take over temporarily the function of the
central government. At that time it was already known that the Com
mander in Chief of the army, General Sudirman, who was being very sick,
had decided that he himself would lead the guerrilla struggle.
Eventhough he was be coming very ill, he never gave up and his sprint to
lead the guernila forces was not extinguishable. He returned to
Yogyakarta in July 1949 only after the capital city of the Republic of
Indonesia reinstated in Yogyakarta. The diorama shows that General
Sudirman gives TNI soldiers a great moral support and strong conviction
that in whatever severe situation, he shall keep his promise and lead
the fight.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA
INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL
STRUGGLE), published in 1996.

Photo taken in 2020, by Ary “Jimged” Sendy, courtesy of Hyphen—. ;
’’‘[https://archive.org/details/39-pengakuan-kedaulatan-27-desember-1949-img-9620
PENGAKUAN KEDAULATAN, 27 DESEMBER 1949]’’’

*DIORAMA 39: PENGAKUAN KEDAULATAN (27 DESEMBER 1949) ::Perjuangan gigih
rakyat Indonesia melawan agresi militer kedua Belanda dan adanya desakan
Dewan Keamanan PBB memaksa Pemerintah Belanda untuk kembali ke meja
perundingan Perundingan tersebut diadakan di Jakarta yang menghasilkan
perjanjian Roem Van Royen pada tanggal 13 Mei 1949. Isinya adalah
pemulihan pemerintahan Republik Indonesia di Yogyakarta, persiapan untuk
mengadakan suatu Konferensi Meja Bundar dan penarikan tentara Belanda
dari Yogyakarta. Konferensi Meja Bundar dibuka pada tanggal 23 Agustus
1949 di Den Haag, berakhir 29 Oktober dan ketetapan terpentingnya adalah
Kerajaan Belanda mengakui kedaulatan atas Indonesia pada Republik
Indonesia Serikat. Upacara resmi pengakuan kedaulatan tersebut
berlangsung tanggal 27 Desember 1949 di Amsterdam dan pada hari yang
sama upacara serupa diadakan di Jakarta. Diorama ini menggambarkan
pengibaran bendera Merah Putih di Istana Merdeka Jakarta, dipimpin oleh
Sultan Hamengku Buwono pada upacara pengakuan kedaulatan Republik
Indonesia Serikat tanggal 27 Desember 1949.

*DIORAMA 39: RECOGNITION OF SOVEREIGNTY (27 DECEMBER 1949) ::The
unyielding struggle against the second Dutch military action and the
pressure of the United Nations Security Council forced the Dutch to
return to the conference table. The conference was held in Jakarta which
resulted in the Roem-Van Royen agreement on 13 May 1949. It contains
that the Republic of Indonesia should be reinstated in Yogyakarta, the
Round Table Conference should be conducted: and the Dutch army should be
withdrawn from Yogyakarta. The Round Table Conference was opened in The
Hague on 23 August 1949. It concluded on 29 October and its important
provision that the Kingdom of the Netherlands recognized sovereignty
over Indonesia to the Republic of the United States of Indonesia. The
formal ceremony transferring sovereignty over Indonesia was held in
Amsterdam, on 27 December 1949 On the same day a similar ceremony took
place in Jakarta. The diorama shows the red and white flag raises in the
Merdeka Palace in Jakarta at the recognition sovereignty ceremony led by
Sultan Hamengku Buwono on 27 December 1949

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA
INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL
STRUGGLE), published in 1996.

Photo taken in 2020, by Ary “Jimged” Sendy, courtesy of Hyphen—. ;
’’‘[https://archive.org/details/40-kembali-ke-negara-kesatuan-1950-img-9621
KEMBALI KE NEGARA KESATUAN, 1950]’’’

*DIORAMA 40: KEMBALI KE NEGARA KESATUAN (1950) ::Pengakuan kedaulatan
terhadap Republik Indonesia Serikat diberikan pada tanggal 27 Desember
1949 oleh Kerajaan Belanda. Bentuk negara Serikat bukan tujuan bangsa
Indonesia melainkan terpaksa diterima sebagai hasil kompromi dengan
Belanda. Rakyat di setiap daerah menuntut agar bentuk negara federal
dihapuskan dan diberlakukan kembali bentuk negara kesatuan. Beberapa
negara bagian secara spontan menyatakan bergabung dengan Republik
Indonesia yang pada waktu itu merupakan bagian dan Republik Indonesia
Serikat. Puncak dan perjuangan itu adalah perundingan antara RIS dengan
negara bagian Republik Indonesia yang menghasilkan keputusan tentang
penghapusan bentuk negara Serikat dan pembentukan lærmbali negara
kesatuan Republik Indonesia pada tanggal 17 Agustus 1950. Diorama ini
menggambarkan Soepomo berpidato di hadapan massa menandai kembali
terbentuknya Negara Kesatuan Republik Indonesia

*DIORAMA 40: RETURN TO THE UNITARY STATE (1950) ::The recognition of the
sovereignty over Indonesia to the Republic of the United States of
Indonesia was given by the Kingdom of the Netherlands on 27 December
1949. The Federation States was not the main purpose of the Indonesian
people but was forced upon them and was only tolerated as a result of
compromise. The people in the regions had rejected to have the form of a
federal states and they demanded the return to the Unitary State
Consequently, several members of the United States of Indonesia
spontaneously declared unification in the Republic of Indonesia. The
struggle to return to the Unitary State reached its peak with the
abolishment of the Federal States and the declaration of return to the
Unitary State of the Republic of Indonesia on 17 August 1950 as the
result of the Interstate Conference. The diorama shows Soepomo gives his
speeches before the mass meeting signifying the return to the Unitary
State of the Republic of Indonesia

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA
INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL
STRUGGLE), published in 1996.

Photo taken in 2020, by Ary “Jimged” Sendy, courtesy of Hyphen—. ;
’’‘[https://archive.org/details/41-indonesia-menjadi-anggota-pbb-28-sepetember-1950-img-9625
INDONESIA MENJADI ANGGOTA PBB, 28 SEPETEMBER 1950]’’’

*DIORAMA 41: INDONESIA MENJADI ANGGOTA PERSERIKATAN BANGSA-BANGSA (28
SEPTEMBER 1950) ::Perserikatan Bangsa-Bangsa memainkan peranan penting
dalam memelihara perdamaian dunia serta mengatasi perbedaan diantara
negara-negara di dunia, dan membantu mempercepat proses dekolonisasi.
PBB serta organisasi bawahannya membantu menyelesaikan sengketa
Indonesia-Belanda, maka Indonesia cenderung menjadi anggota badan dunia
tersebut. Pada tanggal 28 September 1950, dalam Sidang Umum PBB di
Flushing Meadow, Lake Success, Indonesia dengan suara bulat resmi
diterima menjadi anggota PBB. Diorama ini menggambarkan upacara
pengibaran bendera Merah Putih di PBB, New York yang menandai masuknya
Indonesia menjadi anggota PBB

*DIORAMA 41: THE UNITED NATION MEMBERSHIP (28 SEPTEMBER 1950) ::The
United Nations Organization plays an important role in maintaining world
peace and overcoming differences among nations. It also helps in
accelerating the process of decolonization in the world. It was already
known that the United Nations and its subordinate agencies had assisted
in settling the dispute between Indonesia and the Dutch. Therefore,
Indo-nesia felt the urgency to become member of the world body. On 28
September 1950 the United Nation Gen-eral Assembly held in Flushing,
Lake Success unani-mously approved Indonesia as its sixtieth member. The
diorama shows on 28 September 1950 the Red and White flag raises at the
ceremony admitting the membership of Indonesia to the United Nations.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA
INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL
STRUGGLE), published in 1996.

Photo taken in 2020, by Ary “Jimged” Sendy, courtesy of Hyphen—. ;
’’‘[https://archive.org/details/42-konferensi-asia-afrika-18-24-april-1955-img-9627
KONFERENSI ASIA AFRIKA, 18-24 APRIL 1955]’’’

*DIORAMA 42: KONPERENSI ASIA-AFRIKA (18 - 24 APRIL 1955) ::Sesudah
berakhirnya Perang Dunia II muncul Blok Barat dan Blok Timur. Sejak saat
itu dunia diliputi mendung ketidakpastian dan merasakan ketegangan
karena kedua Blok tersebut terlibat perebutan pengaruh serta perlombaan
persenjataan yang setiap saat dapat memicu perang nuklir. Menyadari akan
bahaya ini rakyat Asia-Afrika yang berbeda-beda sistim politiknya
mencari suatu persatuan untuk bersama-sama berusaha menyelamatkan dunia
dari kehancuran nuklir dan membentuk dunia baru yang damai dan sejahtera
bebas dari kolonialisme dan imperialisme. Melalui konperensi-konperensi
di Kolombo tanggal 28 April 2 Mei 1954 dan di Bogor tanggal 28 - 31
Desember 1954 lima negara sponsor konperensi Asia-Afrika, Indonesia,
India, Birma, Pakistan dan Srilanka menetapkan langkah-langkah yang
lebih konkrit untuk konperensi Asia-Afrika. Konperensi Asia-Afrika yang
kemudian dilaksanakan di Bandung tanggal 18-24 April 1955, dihadiri oleh
30 negara-negara Asia-Afrika dan menghasilkan suatu keputusan yang
terkenal dengan nama “Dasasila Bandung”. Diorama ini menggambarkan
Presiden Republik Indonesia menyampaikan pidato pada upacara pembukaan
Konperensi Asia-Afrika tanggal 18 April 1955 di Bandung.

*DIORAMA 42: AFRO-ASIAN CONFERENCE (18-24 APRIL 1955) ::After World War
II emerged two opposing forces, the West and the East Block. Since then
the world was wrapped in a mist of uncertainty and felt the strain,
because the two blocks fought for the supremacy in influence and
weaponry in a severe cold war, which at anytime threatened the start of
a nuclear warfare. Aware of this danger the Asian and African nations
which have several different political aspirations tried to wedge a way
to unite efforts to save the world from the disaster of nuclear warfare,
and form a new world, secure and peaceful free from colonialism and
imperialism. Through the preliminary conferences on 28 April -2 May 1954
in Colombo and on 28-31 December 1954 in Bogor five nations that
sponsored the Afro-Asian Conference, Indonesia, India, Myanmar, Pakistan
and Srilangka set up a concrete platform to hold the conference. On 18
April 1955 in Bandung the Afro-Asian Conference was opened, attended by
30 delegates. It concluded on 24 April and its result was already known
as the Declaration of Ten Principles of Bandung. The diorama shows
President of the Republic of Indonesia gives his speeches at the opening
ceremony of the conference on 18 April 1955 in Bandung.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA
INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL
STRUGGLE), published in 1996.

Photo taken in 2020, by Ary “Jimged” Sendy, courtesy of Hyphen—. ;
’’‘[https://archive.org/details/43-pemilihan-umum-pertama-1955-img-9629
PEMILIHAN UMUM PERTAMA, 1955]’’’

*DIORAMA 43: PEMILIHAN UMUM PERTAΜΑ (1955) ::Sejak semula Pemerintah
Republik Indonesia menyadari bahwa pemilihan umum harus dilaksanakan
sebagai salah satu sarana demokrasi. Akan tetapi pada tahun-tahun
pertama berdirinya. Republik Indonesia harus menghadapi musuh dari luar,
sehingga pemilihan umum sulit dilaksanakan. Barulah sesudah tahun 1950
usaha untuk menyelenggarakan pemilihan umum digiatkan kembali dengan
pembuatan Undang-Undang Pemilihan Umum. Keinginan untuk melaksanakan
pemilihan umum dapat menstabilkan keadaan politik waktu itu dan
pembangunan dapat dilaksanakan dengan sebaik-baiknya. Akhirnya semasa
kabinet Burhanuddin Harahap. pemilihan umum dapat dilaksanakan, tanggal
29 September 1955 untuk wakil-wakil rakyat di Dewan Perwakilan Rakyat
dan tanggal 15 Desember 1955 untuk wakil-wakil rakyat di Dewan
Konstituante. Diorama ini menggambarkan peristiwa pemilihan umum pertama
di Indonesia tahun 1955.

*DIORAMA 43: THE FIRST GENERAL ELECTION (1955) ::From the very
beginning, the Government of the Republic of Indonesia has been aware
that there had to be an election in order to implement the principle of
democracy. But, since beginning of her existence the Republic of
Indonesia had to face enemies from outside, so that it was very
difficult to accomplish elections In 1950, efforts to accomplish a
general election took a concrete form with the legislation of the law of
general election. The desire to act was very great, with the hope that
the result of the elections would stabilize the political situation,
enabling the building up of the country with the most desirable effect.
Finally, under the cabinet of Burhanuddin Harahap administration the
election was carried out on 29 September 1955 and on 15 December 1955
respectively for the people’s representatives in Legislative Assembly
and Constituent Assembly. The diorama shows the atmosphere of the first
general election in 1955.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA
INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL
STRUGGLE), published in 1996.

Photo taken in 2020, by Ary “Jimged” Sendy, courtesy of Hyphen—. ;
’’‘[https://archive.org/details/44-pembebasan-irian-jaya-1-mei-1963-img-9631
PEMBEBASAN IRIAN JAYA, 1 MEI 1963]’’’

*DIORAMA 44: PEMBEBASAN IRIAN JAYA (Ι ΜΕΙ 1963) ::Dengan dasar pemikiran
bahwa wilayah kekuasaan Republik Indonesia meliputi seluruh wilayah
bekas jajahan Hindia Belanda, maka segala upaya pembebasan Irian Jaya
terus dijalankan. Usaha-usaha pengembalian Irian Jaya yang masih
dikuasai Belanda ke dalam wilayah kekuasaan Republik Indonesia melalui
meja perundingan selalu gagal. Begitupun melalui sidang-sidang Majelis
Umum Perserikatan Bangsa-Bangsa. Ketika Belanda bermaksud memberikan hak
menentukan nasib sendiri pada rakyat Irian Jaya yang menjurus untuk
melepaskan dari Republik Indonesia dan membentuk pemerintah boneka,
Indonesia memutuskan untuk membebaskan Irian Jaya dengan kekuatan
senjata. Dalam rapat umum tanggal 19 Desember 1961 di Yogyakarta,
Presiden mengumumkan Tri Komando Rakyat (Trikora), yang meliputi:
Gagalkan pembentukan negara Papua bikinan kolonialis Belanda, Kibarkan
Sang Merah Putih di Irian Jaya, dan Bersiaplah untuk mobilisasi umum.
Satuan tugas dengan nama Komando Mandala dibentuk yang dipimpin oleh
Mayor Jenderal Soeharto, dan dengan demikian dimulailah operasi militer
ke Irian Jaya. Dalam keadaan demikian pada tanggal 15 Agustus 1962
tercapai Persetujuan New York antara Indonesia-Belanda. Pada tanggal 1
Mei 1963 secara resmi Belanda melalui PBB menyerahkan kekuasaan atas
Irian Jaya kepada Indonesia. Diorama ini menggambarkan Sudjarwo
Tjondronegoro mewakili Indonesia pada upacara resmi penyerahan
kedaulatan Irian kepada Republik Indonesia pada tanggal | Mei 1963 di
Jayapura. Bendera Belanda diturunkan dan bendera Indonesia dinaikkan.

*DIORAMA 44: THE LIBERATION OF IRIAN JAYA (1 MAY 1963) ::Based on the
conception that the Republic of Indonesia teritory of sovereignty
consists of the entire former the Netherlands Indies Territory, the
Republic kept on taking all necessary measures to liberate Irian. Effort
to reclaim Irian back in the unity from the Dutch authority to Indonesia
by means of negotiations as well as through the General Assembly of the
United Nations Organization had never been successful, When the Dutch
intended to give the Irian people the right of self determination which
had the tendency to make it an independent state, Indonesia lost its
patience which she had been trying to endeavour for 12 years and decided
to take Irian by force. On 19 December 1961 at a mass meeting in
Yogyakarta President declared The People’s Three Commands: Foiling the
establishment of the Papua State setting up by the Dutch, Raising the
Red and White flag in Irian, and Getting ready for general mobilization.
The special task force, known as Mandala Com-mand was set up led by
Major General Soeharto and so began the military operations to Irian.
Under such circumstances on 15 August 1962 Indonesia and the Dutch
reached the New York agree-ment. On May 1963 the Dutch through the good
offices of the United Nations officially transferred the sovereignty
over Irian to the Republic of Indonesia. The diorama shows Soedjarwo
Tjondronegoro, Indonesia’s representative, at the ceremony transferring
sovereignty over Irian to the Republic of Indonesia on May 1963 in
Jayapura. The Dutch flag is lowered and the Indonesian flag raised.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA
INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL
STRUGGLE), published in 1996.

Photo taken in 2020, by Ary “Jimged” Sendy, courtesy of Hyphen—. ;
’’‘[https://archive.org/details/45-hari-kesaktian-pancasila-1-oktober-1965-img-9637
HARI KESAKTIAN PANCASILA, 1 OKTOBER 1965]’’’

*DIORAMA 45: HARI KESAKTIAN PANCASILA (1 OKTOBER 1965) ::Pada masa
pemerintahan Orde Lama, PKI meningkatkan serangannya terhadap kekuatan
Pancasila. Karena menurunnya kesehatan Presiden Soekarno saat itu. PKI
merasa adanya bahaya yang akan mengancam eksistensinya. Yang dianggap
bahaya terbesar adalah pihak TNI-Angkatan Darat, karena Pemimpinnya
bersikap waspada terhadap kegiatan PKI yang hendak menyelewengkan
Pancasila. Untuk mendiskreditkan lawannya itu, PKI membuat fitnah
terhadap Pimpinan TNI Angkatan Darat seolah-olah mereka membentuk Dewan
Jenderal yang akan merebut kekuasaan negara. Dengan dalih mendahului
coup Dewan Jenderal itu maka pada tanggal | Oktober 1965 PKI, dibantu
oleh oknum-oknum ABRI, melancarkan Gerakan 30 September dan melakukan
pembunuhan terhadap pimpinan TNI-Angkatan Darat di Lubang Buaya, Jakarta
Timur. Tetapi rakyat yang berjiwa Pancasila sejati segera sadar bahwa
gerakan itu bertujuan untuk melenyapkan Pancasila dan UUD 45. Dibawah
pimpinan Mayor Jenderal Soeharto. Panglima Kostrad, usaha perebutan
kekuasaan oleh Gerakan 30 September/PKI berhasil digagalkan dan
gerakannya ditumpas dalam waktu singkat. Peristiwa ini merupakan
kemenangan dari Pancasila yang telah benar-benar dihayati oleh seluruh
rakyat. Diorama ini menggambarkan jenazah para Pahlawan Revolusi
diangkat dari sumur di Lubang Buaya dipimpin langsung oleh Mayor
Jenderal Soeharto.

*DIORAMA 45: PANCASILA SANCTITY DAY (1 OCTOBER 1965) ::During the Old
Order regime, the Indonesian Communist Party increased its offensive
against the forces of Pancasila. Because of the decline of Presi-dent
Soekarno’s health, who was its ally and protec-tor, the Indonesian
Communist Party felt the danger that threatened its existence. The
biggest danger they considered was the Indonesian Army (TNI-AD), because
TNI-AD commander were very much alert of the Indonesian Communist Party
activities that had the aim of diverting the Pancasila. To bring
discredit to his opponent, they slandered the TNI-AD leaders accusing
them of forming a Council of General with which to carry out a coup
d’etat. With the excuse of intercepting the coup d’etat of the Council
of Generals, on October 1, 1965, the In-donesian Communist Party with
several officers from the Armed Forces, launched the 30 September
Move-ment by killing the top leaders of the army in Lubang Buaya, East
Jakarta. But the Indonesian people who are true Pancasialists were
immediately aware that the Indonesian Communist Party movement was aimed
at destroying the Pancasila state philosophy and the 1945 Constitution.
Under the command of Major General Soeharto the effort for a coup d’etat
by the Indonesian Commu-nist Party were thwarted, and the movement was
destroyed within a very short time. This event proved of the
invulnerability of the Pancasila as it is in the soul of the people. The
diorama shows on 4 October 1965 the corpses of the Revolution Heroes are
lifted from the well in Lubang Buaya led by Major General Soeharto.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA
INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL
STRUGGLE), published in 1996.

Photo taken in 2020, by Ary “Jimged” Sendy, courtesy of Hyphen—. ;
’’‘[https://archive.org/details/46-aksi-aksi-tri-tuntutan-rakyat-1966-img-9640
AKSI-AKSI TRI TUNTUTAN RAKYAT, 1966]’’’

*DIORAMA 46: AKSI-AKSI TRI TUNTUTAN RAKYAT (1966) ::Semenjak gagalnya
coup berdarah yang dilakukan oleh Partai Komunis Indonesia, pemerintahan
Orde Lama menjadi goyah. Di samping itu krisis politik dan ekonomi
semakin parah. Mahasiswa sebagai generasi muda yang tergabung dalam
Kesatuan Aksi Mahasiswa Indonesia (KAMI) mengajukan Tri Tuntutan Rakyat
(Tritura), meliputi1. Bubarkan PKI2. Bersihkan Kabinet dari unsur-unsur
G-30-S/PKI3. Turunkan harga-harga. Diorama ini menggambarkan suasana
gelombang demonstrasi yang pada saat itu diadakan di area Taman Medan
Merdeka Utara, Jakarta.

*DIORAMA 46: THE PEOPLE’S THREE DEMAND ACTION (1966) ::Since the failure
of the bloody coup d’etat of the Indonesian Communist Party, the Old
Order regime became unstable. Besides, political and economical crisis
apparent. Throughout the country, universities and high schools students
with the support of the Pancasila forces and the Armed Forces, demanded:
1 Banning the Indonesian Communist Party2. Purging communist elements
from the Dwikora Cabinet3. Lowering prices of basic commodities.The
diorama shows the demonstration to voice the people’s Three Demands held
in northern area of Medan Merdeka Square, Jakarta.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA
INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL
STRUGGLE), published in 1996.

Photo taken in 2020, by Ary “Jimged” Sendy, courtesy of Hyphen—. ;
’’‘[https://archive.org/details/47-surat-perintah-11-maret-1966-img-9645
SURAT PERINTAH 11 MARET 1966]’’’

*DIORAMA 47: SURAT PERINTAH SEBELAS MARET (1966) ::Situasi negara
Indonesia sesudah digagalkannya kudeta Gerakan 30 September/PKI
merupakan masa kritis yang menggoncangkan sendi-sendi negara. Presiden
Soekarno beserta pemerintahannya yang penuh dengan oknum-oknum Gerakan
30 September/PKI sama sekali kehilangan kepercayaan rakyat. Pada tanggal
11 Maret 1966 Presiden Soekarno mengeluarkan Surat Perintah kepada
Jenderal Soeharto untuk memulihkan kewibawaan Pemerintah dengan jalan
mengambil semua tindakan yang dianggap perlu. Jenderal Soeharto dengan
cepat melaksanakan Surat Perintah | Maret 1966 itu dengan memenuhi dua
diantara. Tri Tuntutan Rakyat, yakni membubarkan Partai Komunis
Indonesia dan membersihkan kabinet dari menteri-menteri yang ada
indikasi terlibat Gerakan 30 September/PKI atau memperlihatkan itikad
kurang baik terhadap usaha-usaha pemulihan keamanan dan ketertiban.
Dalam diorama ini digambarkan tiga Perwira Tinggi Angkatan Darat, yakni
Mayjen Basuki Rahmat. Brigjen M. Jusuf dan Brigjen Amir Machmud sedang
melaporkan Surat Perintah 11 Maret 1966 kepada Jenderal Soeharto, yang
sedang berbaring karena sakit.

*DIORAMA 47:DIORAMA 47: THE WRITTEN ORDER OF MARCH ELEVENTH (1966) ::The
time after the failure of the September 30 Movement/the Indonesian
Communist Party, a new crisis emerged which shook the foundation of the
country. On 11 March 1966 President Soekarno issued his mandate to
General Soeharto in order to reinstate the Government authority and
restore the national security by taking any necessary measures. General
Soeharto immediately executed the or-der by fulfilling two of the
People’s Three Demands. i.e. Banning the Indonesian Communist Party, and
purging the cabinet from the ministers who were involved in the
September 30 Movement/ Indonesian Communist Party or those who hampered
efforts to recovering security and order. The diorama shows General
Soeharto as he was very sick - lying on bed receives, from left to
right, army officers Brigadier General Amir Machmud, Major General
Basuki Rachmat and Brigadier General M. Jusuf who have come to report
the written order of March Eleventh.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA
INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL
STRUGGLE), published in 1996.

Photo taken in 2020, by Ary “Jimged” Sendy, courtesy of Hyphen—. ;
’’‘[https://archive.org/details/48-penentuan-pendapat-rakyat-irian-jaya-1969-img-9646
PENENTUAN PENDAPAT RAKYAT IRIAN JAYA, 1969]’’’

*DIORAMA 48: PENENTUAN PENDAPAT RAKYAT IRIAN BARAT (1969) ::Salah satu
isi persetujuan New York tanggal 15 Agustus 1962 mengenai penyerahan
Irian Barat kepada Indonesia adalah bahwa pada tahun 1969 harus diadakan
Penentuan Pendapat Rakyat (Pepera), apakah memilih Republik Indonesia
atau tidak. Pelaksanaannya akan diawasi oleh Perserikatan Bangsa-Bangsa.
Timbul masalah dalam pelaksanaannya, apakah setiap orang memberikan
suara langsung sebagaimana usul wakil PBB, Duta Besar Bolivia Ortin
Sede, atau perwakilan setiap kelompok melalui pemilihan secara
bertingkat seperti usul Indonesia. Karena usul wakil PBB adalah amat
sulit untuk dilaksanakan dalam kondisi seperti di Irian Barat, usul
Indonesia yang diterima. Dengan disaksikan oleh wakil-wakil PBB, pers
dalam dan luar negeri serta peninjau-peninjau dari beberapa kedutaan
asing di Jakarta, dimulailah Pepera tersebut dari bulan April - Juni
1969, untuk pemilihan anggota Dewan Musyawarah Kabupaten (Regency
Consultative Assemblies) di mana terpilih 1026 anggota mewakili 8
kabupaten, diantaranya 43 wanita. Keputusan Dewan Musyawarah Pepera
dengan suara bulat memilih Irian Barat tetap merupakan bagian dari
Negara Kesatuan Republik Indonesia. Padá tanggal 19 November 1969, PBB
mensahkan hasil Pepera tersebut dengan 84 suara setuju, 6 menolak dan 30
suara abstain (terutama negara Afrika). Diorama ini menggambarkan
suasana Sidang Musyawarah Penentuan Pendapat Rakyaat Irian Barat pada
bulan Juli 1969.

*DIORAMA 48: REFERENDUM OF THE PEOPLE OF WEST IRIAN (1969) ::The
contents of the agreement of New York on August 15, 1962, concerning the
transfer of sovereignty of West Irian to Indonesia, said that in 1969,
the people of Irian should be given the right of self-determination in
order to choose whether they would consent to be a part of Indonesia or
otherwise. The execution would be under supervision of the United
Nations. Complication arose concerning the procedure of execution
whether every voter would directly give his vote, as was suggested by
the delegation of the United Nations, Bolivian Ambassador Ortin Sede, or
repre-sentatives of each group and so voting in stages (Indonesia’s
proposal). Based on the geographical con-dition in Irian, finally
Indonesia’s proposal was accepted. From April to June 1969, the
Indonesia’s govern-ment held a United Nations’ supervised referendum in
West Irian, witnessed by United Nations representatives, local and
foreign journalists and observers from several embassies in Jakarta in
which 1026 delegates were elected representing 8 regencies, among them
43 were women. The result was a unanimous option for joining the
Republic of Indonesia as an integral part of the Republic. On 19
November the United Nations approved the result of the referendum after
taking of a vote, 84 in favor, 6 opposed and 30 abstain (mostly African
States). The diorama shows the atmosphere of the People’s Referendum
Assembly in Irian in July 1969.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA
INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL
STRUGGLE), published in 1996.

Photo taken in 2020, by Ary “Jimged” Sendy, courtesy of Hyphen—.

; ’’‘(The museum)’’’ ; ’’‘[https://archive.org/details/img-9384_202601
IMG_9384]’’’

*Interior of Museum Sejarah Nasional (National History Museum), located
in the basement of Monas.

Photo taken in 2020, by Ary “Jimged” Sendy, courtesy of Hyphen—.

; ’’‘[https://archive.org/details/img-9391a IMG_9391a]’’’

*Interior of Museum Sejarah Nasional (National History Museum), located
in the basement of Monas.

Photo taken in 2020, by Ary “Jimged” Sendy, courtesy of Hyphen—.

; ’’‘[https://archive.org/details/img-9402_202601 IMG_9402]’’’

*Interior of Museum Sejarah Nasional (National History Museum), located
in the basement of Monas.

Photo taken in 2020, by Ary “Jimged” Sendy, courtesy of Hyphen—.

; ’’‘[https://archive.org/details/img-9415_202601 IMG_9415]’’’

*Interior of Museum Sejarah Nasional (National History Museum), located
in the basement of Monas.

Photo taken in 2020, by Ary “Jimged” Sendy, courtesy of Hyphen—.

; ’’‘[https://archive.org/details/img-9436_202601 IMG_9436]’’’

*Interior of Museum Sejarah Nasional (National History Museum), located
in the basement of Monas.

Photo taken in 2020, by Ary “Jimged” Sendy, courtesy of Hyphen—.

; ’’‘[https://archive.org/details/img-9439_202602 IMG_9439]’’’

*Interior of Museum Sejarah Nasional (National History Museum), located
in the basement of Monas.

Photo taken in 2020, by Ary “Jimged” Sendy, courtesy of Hyphen—.

; ’’‘[https://archive.org/details/img-9614_202601 IMG_9614]’’’

*Interior of Museum Sejarah Nasional (National History Museum), located
in the basement of Monas.

Photo taken in 2020, by Ary “Jimged” Sendy, courtesy of Hyphen—.

; ’’‘[https://archive.org/details/img-9384_202601 IMG_9384]’’’

*Interior of Museum Sejarah Nasional (National History Museum), located
in the basement of Monas.

Photo taken in 2020, by Ary “Jimged” Sendy, courtesy of Hyphen—.

; ’’‘[https://archive.org/details/img-9391a IMG_9391a]’’’

*Interior of Museum Sejarah Nasional (National History Museum), located
in the basement of Monas.

Photo taken in 2020, by Ary “Jimged” Sendy, courtesy of Hyphen—.

; ’’‘[https://archive.org/details/img-9402_202601 IMG_9402]’’’

*Interior of Museum Sejarah Nasional (National History Museum), located
in the basement of Monas.

Photo taken in 2020, by Ary “Jimged” Sendy, courtesy of Hyphen—.

; ’’‘[https://archive.org/details/img-9415_202601 IMG_9415]’’’

*Interior of Museum Sejarah Nasional (National History Museum), located
in the basement of Monas.

Photo taken in 2020, by Ary “Jimged” Sendy, courtesy of Hyphen—.

; ’’‘[https://archive.org/details/img-9436_202601 IMG_9436]’’’

*Interior of Museum Sejarah Nasional (National History Museum), located
in the basement of Monas.

Photo taken in 2020, by Ary “Jimged” Sendy, courtesy of Hyphen—.

; ’’‘[https://archive.org/details/img-9439_202602 IMG_9439]’’’

*Interior of Museum Sejarah Nasional (National History Museum), located
in the basement of Monas.

Photo taken in 2020, by Ary “Jimged” Sendy, courtesy of Hyphen—.

; ’’‘[https://archive.org/details/img-9614_202601 IMG_9614]’’’

*Interior of Museum Sejarah Nasional (National History Museum), located
in the basement of Monas.

Photo taken in 2020, by Ary “Jimged” Sendy, courtesy of Hyphen—.

; ’‘’Hasil Jadi’’’ ; ’’‘[https://archive.org/details/mon-jam-00001
MON_JAM_00001]’’’ *Photo of the installation of diorama number 29, which
was carried out by Edhi Sunarso and the Keluarga Arca sculptor team at
the National Monument, with the title Youth Pledge.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-jam-00002 MON_JAM_00002]’’’ *Photo
of the installation of diorama number 29, which was carried out by Edhi
Sunarso and the Keluarga Arca sculptor team at the National Monument,
with the title Youth Pledge.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-jam-00003 MON_JAM_00003]’’’ *Photo
of the installation of diorama number 29, which was carried out by Edhi
Sunarso and the Keluarga Arca sculptor team at the National Monument,
with the title Youth Pledge.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-jam-00004 MON_JAM_00004]’’’ *Photo
of the installation of diorama number 17, commissioned by Edhi Sunarso
and the Keluarga Arca sculptor team at the National Monument, titled The
Aceh War, shows a miniature building resembling the Baiturrahman Mosque
in Aceh, which was later abandoned.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-jam-00005 MON_JAM_00005]’’’ *Photo
of the installation of diorama number 17, commissioned by Edhi Sunarso
and the Keluarga Arca sculptor team at the National Monument, titled The
Aceh War, shows a miniature building resembling the Baiturrahman Mosque
in Aceh, which was later abandoned.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-jam-00006 MON_JAM_00006]’’’ *Photo
of the installation of diorama number 17, commissioned by Edhi Sunarso
and the Keluarga Arca sculptor team at the National Monument, titled The
Aceh War, shows a miniature building resembling the Baiturrahman Mosque
in Aceh, which was later abandoned.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-jam-00007 MON_JAM_00007]’’’ *Photo
of the installation of diorama number 37, which was carried out by Edhi
Sunarso and the Keluarga Arca sculptor team at the National Monument,
with the title Guerrilla in the War of Independence.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-jam-00008 MON_JAM_00008]’’’ *Photo
of the installation of diorama number 37, which was carried out by Edhi
Sunarso and the Keluarga Arca sculptor team at the National Monument,
with the title Guerrilla in the War of Independence.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-jam-00009 MON_JAM_00009]’’’ *Photo
of the installation of diorama number 30, which was done by Edhi Sunarso
and the Keluarga Arca sculptor team, at the National Monument, with the
title Romusha.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-jam-00010 MON_JAM_00010]’’’ *Photo
of the installation of diorama number 33, which was carried out by Edhi
Sunarso and the Keluarga Arca sculptor team at the National Monument,
with the title Ratification of Pancasila as the Philosophical Foundation
of the State and the 1945 Constitution.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-jam-00011 MON_JAM_00011]’’’ *Photo
of the installation of diorama number 33, which was carried out by Edhi
Sunarso and the Keluarga Arca sculptor team at the National Monument,
with the title Ratification of Pancasila as the Philosophical Foundation
of the State and the 1945 Constitution.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-jam-00012 MON_JAM_00012]’’’ *Photo
of one of the artists in front of diorama number 33 with the title
Ratification of Pancasila as the State Foundation and the 1945
Constitution, which was done by Edhi Sunarso and the Keluarga Arca
sculptor team at the National Monument

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-jam-00013 MON_JAM_00013]’’’ *Photo
of the installation of diorama number 20, which was carried out by Edhi
Sunarso and the Keluarga Arca sculptor team at the National Monument,
with the title Cultivation Forced Planting.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-jam-00014 MON_JAM_00014]’’’ *Photo
of the installation of diorama number 20, which was carried out by Edhi
Sunarso and the Keluarga Arca sculptor team at the National Monument,
with the title Cultivation Forced Planting.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-jam-00015 MON_JAM_00015]’’’ *Photo
of the installation of diorama number 20, which was carried out by Edhi
Sunarso and the Keluarga Arca sculptor team at the National Monument,
with the title Cultivation Forced Planting.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-jam-00016 MON_JAM_00016]’’’ *Photo
of the installation of diorama number 20, which was carried out by Edhi
Sunarso and the Keluarga Arca sculptor team at the National Monument,
with the title Cultivation Forced Planting.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-jam-00017 MON_JAM_00017]’’’ *Photo
of the installation of diorama number 30, which was carried out by Edhi
Sunarso and the Keluarga Arca sculptor team, at the National Monument,
with the title Romusha.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-jam-00018 MON_JAM_00018]’’’ *Photo
of the installation of diorama number 23, which was carried out by Edhi
Sunarso and the Keluarga Arca sculptor team, at the National Monument,
with the title National Awakening.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-jam-00019 MON_JAM_00019]’’’ *Photo
of one of the Keluarga Arca artists in front of diorama number 6
entitled Palapa Oath, which was done by Edhi Sunarso and the Keluarga
Arca sculptor team at the National Monument

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-jam-00020 MON_JAM_00020]’’’ *Photo
of an artist from the Keluarga Arca sculptor team working on installing
diorama number 14 entitled The Diponegoro War, at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-jam-00021 MON_JAM_00021]’’’ *Photo
of the installation of diorama number 14, which was carried out by Edhi
Sunarso and the Keluarga Arca sculptor team,at the National Monument,
with the title Diponegoro War.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-jam-00022 MON_JAM_00022]’’’ *Photo
of artists from the Keluarga Arca sculptor team preparing statues for a
diorama at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-mer-00001 MON_MER_00001]’’’ *Photo
of the installation of diorama number 2, which was carried out by Edhi
Sunarso and the Keluarga Arca sculptor team at the National Monument,
with the title Sriwijaya seaport.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-mer-00002 MON_MER_00002]’’’ *Photo
of the finished product from the installation of diorama number 3, which
was carried out by Edhi Sunarso and the Keluarga Arca sculptor team at
the National Monument, with the title Borobudur Temple Under
Construction

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-mer-00003 MON_MER_00003]’’’ *Photo
of the installation of diorama number 7, which was carried out by Edhi
Sunarso and the Keluarga Arca sculptor team, at the National Monument,
with the title Majapahit War Fleet.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-mer-00004 MON_MER_00004]’’’ *Photo
of the installation of diorama number 44, which was carried out by Edhi
Sunarso and the Keluarga Arca sculptor team, at the National Monument,
with the title Liberation of West Irian.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-mer-00005 MON_MER_00005]’’’ *Photo
of the installation of diorama number 15, which was carried out by Edhi
Sunarso and the Keluarga Arca sculptor team at the National Monument,
with the title Imam Bonjol War

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-mer-00006 MON_MER_00006]’’’ *Photo
of the installation of diorama number 12, which was carried out by Edhi
Sunarso and the keluarga Arca sculptor team,at the National Monument,
with the title Makassar War.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-mer-00007 MON_MER_00007]’’’ *Photo
of the installation of diorama number 10, which was carried out by Edhi
Sunarso and the Keluarga Arca sculptor team , at the National Monument,
with the title The War for the Formation of Jayakarta.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-mer-00008 MON_MER_00008]’’’ *Photo
of the installation of diorama number 30, which was carried out by Edhi
Sunarso and the Keluarga Arca sculptor team , at the National Monument,
with the title Romusha.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-mer-00009 MON_MER_00009]’’’ *Photo
of the installation of diorama number 11, which was carried out by Edhi
Sunarso and the Keluarga Arca sculptor team, at the National Monument,
with the title Bugis Trading Fleet.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-mer-00010 MON_MER_00010]’’’ *Photo
of the installation of diorama number 8, which was done by Edhi Sunarso
and the Keluarga Arca sculptor team, at the National Monument, with the
title Chinese Envoy to Majapahit.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-mer-00011 MON_MER_00011]’’’ *Photo
of the installation of diorama number 9, which was carried out by Edhi
Sunarso and the Keluarga Arca sculptor team, at the National Monument,
with the title Pesantren as a Uniter of the Indonesian Nation.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-mer-00012 MON_MER_00012]’’’ *Photo
of the installation of diorama number 25, which was carried out by Edhi
Sunarso and the Keluarga Arca sculptor team, at the National Monument,
with the title Muhammadiyah.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-mer-00013 MON_MER_00013]’’’ *Photo
of the installation of diorama number 42, which was carried out by Edhi
Sunarso and the Keluarga Arca sculptor team, at the National Monument,
with the title Asia-Africa Conference.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-mer-00014 MON_MER_00014]’’’ *Photo
of the installation of diorama number 37, which was carried out by Edhi
Sunarso and the Keluarga Arca sculptor team at the National Monument,
with the title Guerrilla in the War of Independence.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-mer-00015 MON_MER_00015]’’’ *Photo
from one corner of the diorama room at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-mer-00016 MON_MER_00016]’’’ *Photo
of the installation of diorama number 38, which was carried out by Edhi
Sunarso and the Keluarga Arca sculptor team, at the National Monument,
with the title General Soedirman.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-mer-00017 MON_MER_00017]’’’ *Photo
of the installation of diorama number 5, which was carried out by Edhi
Sunarso and the Keluarga Arca sculptor team at the National Monument,
with the title Jawi Temple: A Combination of Shivaism and Buddhism

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-mer-00018 MON_MER_00018]’’’ *Photo
of the installation of diorama number 26, which was carried out by Edhi
Sunarso and the Keluarga Arca sculptor team at the National Monument,
with the title Indonesian Association.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-mer-00019 MON_MER_00019]’’’ *Photo
of the installation of diorama number 27, which was carried out by Edhi
Sunarso and the Keluarga Arca sculptor team at the National Monument,
with the title STOVIA

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-mer-00020 MON_MER_00020]’’’ *Photo
of the installation of diorama number 6, which was carried out by Edhi
Sunarso and the Keluarga Arca sculptor team at the National Monument,
with the title Palapa Oath.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-mer-00021 MON_MER_00021]’’’ *Photo
of the installation of diorama number 39, which was carried out by Edhi
Sunarso and the Keluarga Arca sculptor team at the National Monument,
with the title Recognition of Sovereignty.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-mer-00022 MON_MER_00022]’’’ *Photo
of the finished product from the installation of diorama number 4, which
was carried out by Edhi Sunarso and the Keluarga Arca sculptor team at
the National Monument, with the title Waringin Sapta Dam.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-mer-00023 MON_MER_00023]’’’ *photo
documentation of one of the dioramas

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-mer-00024 MON_MER_00024]’’’ *Photo
of the installation of diorama number 4, which was carried out by Edhi
Sunarso and the Keluarga Arca sculptor team at the National Monument,
with the title Diponegoro War.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-mer-00025 MON_MER_00025]’’’ *Photo
of the installation of diorama number 46, which was carried out by Edhi
Sunarso and the Keluarga Arca sculptor team at the National Monument,
with the title Three Demands of the People’s Action

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-mer-00026 MON_MER_00026]’’’ *Photo
of the installation of diorama number 45, which was carried out by Edhi
Sunarso and the Keluarga Arca sculptor team at the National Monument,
with the title Pancasila Sanctity Day.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-mer-00027 MON_MER_00027]’’’ *Photo
of the installation of diorama number 45, which was carried out by Edhi
Sunarso and the Keluarga Arca sculptor team at the National Monument,
with the title Pancasila Sanctity Day.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-mer-00028 MON_MER_00028]’’’ *Photo
of the installation of diorama number 47, which was carried out by Edhi
Sunarso and the Keluarga Arca sculptor team at the National Monument,
with the title 11th March 1966 Order Letter

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-post-00001 MON_POST_00001]’’’ *Photo
of one of the artists from the Keluarga Arca sculptor team on one side
of the National Monument building.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-post-00002 MON_POST_00002]’’’ *Photo
of artists from the Keluarga Arca sculptor team creating sculptures in
the studio

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-post-00003 MON_POST_00003]’’’ *Photo
of the installation of diorama number 45, which was carried out by Edhi
Sunarso and the Keluarga Arca sculptor team at the National Monument,
with the title Pancasila Sanctity Day.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-post-00004 MON_POST_00004]’’’ *Photo
of the installation of diorama number 7, which was carried out by Edhi
Sunarso and the Keluarga Arca sculptor team at the National Monument,
with the title Majapahit War Fleet.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-post-00005 MON_POST_00005]’’’ *Photo
of the installation of diorama number 45, which was carried out by Edhi
Sunarso and the Keluarga Arca sculptor team at the National Monument,
with the title Pancasila Sanctity Day.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-post-00006 MON_POST_00006]’’’ *Photo
of the installation of diorama number 40, which was carried out by Edhi
Sunarso and the Keluarga Arca sculptor team at the National Monument,
with the title Returning to the Unitary State.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-post-00007 MON_POST_00007]’’’ *Photo
of the installation of diorama number 46, which was carried out by Edhi
Sunarso and the Keluarga Arca sculptor team at the National Monument,
with the title Three Demands of the People’s Action

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-post-00008 MON_POST_00008]’’’ *Photo
of the installation of diorama number 7, which was carried out by Edhi
Sunarso and the Keluarga Arca sculptor team at the National Monument,
with the title Majapahit War Fleet.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

; ’‘’Pemasangan Diorama’’’ ;
’’‘[https://archive.org/details/mon-bwf-00001 MON_BWF_00001]’’’ *Photo
of the base of the Monas building

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-bwf-00002 MON_BWF_00002]’’’ *Photo
of Edhi Sunarso with his colleagues on the steps of the National
Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-bwf-00003 MON_BWF_00003]’’’

*Photo of artists from the Keluarga Arca sculptor team preparing one of
the dioramas at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-bwf-00004 MON_BWF_00004]’’’

*Photo of artists from the Keluarga Arca sculptor team in the process of
coloring the statues for the diorama at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-bwf-00005 MON_BWF_00005]’’’

*Photo of artists from the Keluarga Arca sculptor team in the process of
coloring the statues for the diorama at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-bwf-00006 MON_BWF_00006]’’’

*Photo of the artist preparing diorama room number 39 at the National
Monument entitled Recognition of Sovereignty.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-bwf-00007 MON_BWF_00007]’’’

*Photo of one of the artists preparing a scene in diorama number 14 at
the National Monument entitled The Diponegoro War.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-bwf-00008 MON_BWF_00008]’’’

*Photo of artists from the Keluarga Arca sculptor team in the process of
coloring the statues for the diorama at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-bwf-00009 MON_BWF_00009]’’’

*Photo of one of the scenes in the diorama arrangement process at the
National Monument, possibly in diorama number 18 with the title
Sisingamagaraja’s Resistance.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-bwf-00010 MON_BWF_00010]’’’

*Photo of one of the scenes in the diorama arrangement process at the
National Monument, possibly in diorama number 18 with the title
Sisingamagaraja’s Resistance.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-bwf-00011 MON_BWF_00011]’’’

*Photo of one of the scenes in the diorama arrangement process at the
National Monument, possibly in diorama number 18 with the title
Sisingamagaraja’s Resistance.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-bwf-00012 MON_BWF_00012]’’’

*Photo of one of the scenes in the process of arranging the diorama at
the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-bwf-00013 MON_BWF_00013]’’’

*Photo of one of the scenes in the process of arranging diorama number
14 entitled Diponegoro War at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-bwf-00014 MON_BWF_00014]’’’

*Photo of one of the scenes in the process of arranging diorama number
14 entitled Diponegoro War at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-bwf-00015 MON_BWF_00015]’’’

*Photo of one of the scenes in the diorama arrangement process at the
National Monument in diorama number 18 with the title Sisingamagaraja’s
Resistance.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-bwf-00016 MON_BWF_00016]’’’

*Photo of one of the artists while arranging the statues in the diorama
room for diorama scene number 39 at the National Monument with the title
Recognition of Sovereignty

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-bwf-00017 MON_BWF_00017]’’’

*Photo of an artist preparing a miniature building as one of the
elements in diorama number 17 at the National Monument entitled The Aceh
War

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-bwf-00018 MON_BWF_00018]’’’

*Photo of an artist preparing a miniature building as one of the
elements in diorama number 17 at the National Monument entitled The Aceh
War

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-bwf-00019 MON_BWF_00019]’’’

*Photo of artists from the Keluarga Arca sculptor team in the process of
coloring the statues for the diorama at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-bwf-00020 MON_BWF_00020]’’’

*Photo of artists from the Keluarga Arca sculptor team in the process of
coloring the statues for the diorama at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-bwf-00021 MON_BWF_00021]’’’

*Photo of one of the scenes in diorama number 20 at the National
Monument entitled Forced Cultivation.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-bwf-00022 MON_BWF_00022]’’’

*Photo of one of the scenes in diorama number 20 at the National
Monument entitled Forced Cultivation.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-bwf-00023 MON_BWF_00023]’’’

*Photo of one of the scenes in diorama number 20 at the National
Monument entitled Forced Cultivation.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-bwf-00024 MON_BWF_00024]’’’

*Photo of the artist painting the background of diorama number 6 at the
National Monument entitled Palapa Oath.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-bwf-00025 MON_BWF_00025]’’’

*Photo of the artist arranging the statues in diorama number 6 at the
National Monument with the title Palapa Oath.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-bwf-00026 MON_BWF_00026]’’’

*Photo of Edhi Sunarso sleeping and the other artists preparing statues
for a diorama at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-bwf-00027 MON_BWF_00027]’’’

*Photo of artists preparing statues to be installed in a diorama at the
National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-bwf-00028 MON_BWF_00028]’’’

*Photo of artists preparing statues to be installed in a diorama at the
National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-bwf-00029 MON_BWF_00029]’’’

*Photo of artists preparing statues to be installed in a diorama at the
National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-bwf-00030 MON_BWF_00030]’’’

*Photo of artists from the Keluarga Arca sculptor team in the process of
coloring the statues for the diorama at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-bwf-00031 MON_BWF_00031]’’’

*A photo of artists from the Keluarga Arca sculptor team in the process
of coloring the statues for the diorama at the National Monument. The
photo is shown behind the space prepared for diorama number 33 at the
National Monument, titled “The Ratification of Pancasila, the
Philosophical Foundation of the State and the 1945 Constitution.”

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-bwf-00032 MON_BWF_00032]’’’

*Photo of an artists from the Keluarga Arca sculptor team painting a
background on a diorama

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-bwf-00033 MON_BWF_00033]’’’

*Photo of artists from the Keluarga Arca sculptor team artist installing
the contents of diorama number 46 at the National Monument with the
title Three Demands of the People’s Action.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-mon-kun-00001 MON_MON_KUN_00001]’’’

*Photo of Kustiyah Edhi Sunarso standing in front of a diorama at the
National Monument entitled Ancient Indonesian Society.entitled Ancient
Indonesian Society.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-mon-kun-00002 MON_MON_KUN_00002]’’’

*Photo of the artists in front of the diorama room which is currently
being installed at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-mon-kun-00003 MON_MON_KUN_00003]’’’

*Photo of an artist painting the background of one of the dioramas at
the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-mon-kun-00004 MON_MON_KUN_00004]’’’

*Photo of an artist observing diorama number 1 at the National Monument
entitled Ancient Indonesian Society.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-mon-kun-00005 MON_MON_KUN_00005]’’’

*Photo of Edhi Sunarso and Kustiyah Edhi Sunarso with fellow artists in
front of the diorama room which is currently being installed at the
National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-mon-kun-00006 MON_MON_KUN_00006]’’’

*Photo of the artist working on installing a statue for diorama number
30 at the National Monument entitled Romusha.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-mon-mer-00001 MON_MON_MER_00001]’’’

*Photo of artists from the Keluarga Arca sculptor team preparing statues
to be installed in a diorama

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-mon-mer-00002 MON_MON_MER_00002]’’’

*Photo of artists from the Keluarga Arca sculptor team preparing statues
to be installed in a diorama

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-mon-mer-00003 MON_MON_MER_00003]’’’

*Photo of an artist from the Keluarga Arca sculptor team preparing a
diorama space

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-mon-mer-00004 MON_MON_MER_00004]’’’

*Photo of artists from the Keluarga Arca sculptor team preparing statues
to be installed in one of the diorama rooms

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-mon-mer-00005 MON_MON_MER_00005]’’’

*Photo of an artist from the Keluarga Arca sculptor team preparing one
of the diorama rooms at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/pro-mon-jak-00001 PRO_MON_JAK_00001]’’’

*Photo of peoples reviewing one of the dioramas at the National Monument
with the title Romusha.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/pro-mon-jak-00002 PRO_MON_JAK_00002]’’’

*Photo of the artists of Keluarga Arca Sculptor team during the
installation process of diorama number 45 at the National Monument with
the title Pancasila Sanctity Day.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/pro-mon-jak-00003 PRO_MON_JAK_00003]’’’

*Photo of Edhi Sunarso during the installation process of diorama number
45 at the National Monument with the title Pancasila Sanctity Day.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/pro-mon-jak-00004 PRO_MON_JAK_00004]’’’

*Photo of artists from the Keluarga Arca sculptor team installing a
statue for one of the dioramas at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/pro-mon-jak-00005 PRO_MON_JAK_00005]’’’

*Photo of the artist working on installing a statue for diorama number
30 at the National Monument entitled Romusha.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/pro-mon-jak-00006 PRO_MON_JAK_00006]’’’

*Photo of artists from the Keluarga Arca sculptor team in the process of
installing diorama number 45 at the National Monument with the title
Pancasila Sanctity Day.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/pro-mon-jak-00007 PRO_MON_JAK_00007]’’’

*Photo of Kustiyah Edhi Sunarso in front of the artists from Keluarga
Arca Sculptor team, in the process of installing diorama number 45 at
the National Monument with the title Pancasila Sanctity Day.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/pro-mon-jak-00008 PRO_MON_JAK_00008]’’’

*A photograph of an artist from Keluarga Arca Sculptor team coloring the
background of one of the dioramas at the National Monument, possibly
diorama number 1, titled Ancient Indonesian Society.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/pro-mon-jak-00009 PRO_MON_JAK_00009]’’’

*Photo of the artists in front of one of the dioramas at the National
Monument

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/pro-mon-jak-00010 PRO_MON_JAK_00010]’’’

*Photo of Edhi Sunarso with his colleagues in front of diorama number 20
at the National Monument with the title Romusha.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/pro-mon-jak-00011 PRO_MON_JAK_00011]’’’

*Photo of Edhi Sunarso with local people during a visit to an area in
Central Indonesia.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

; ’’‘[https://archive.org/details/pro-mon-jak-00012
PRO_MON_JAK_00012]’’’

*Photo of Edhi Sunarso and Kustiyah Edhi Sunarso playing with their son

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/pro-mon-jak-00013 PRO_MON_JAK_00013]’’’

*Photo of Kustiyah Edhi Sunarso and her fellow artist in front of
diorama number 1 entitled Ancient Indonesian Society which is located at
the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/pro-mon-jak-00014 PRO_MON_JAK_00014]’’’

*Photo of the artist from Keluarga Arca Sculptor team providing color
for the background of diorama number 1 entitled Ancient Indonesian
Society which is located at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/pro-mon-jak-00015 PRO_MON_JAK_00015]’’’

*Photo of an artist from Keluarga Arca Sculptor team working on a relief

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/pro-mon-jak-00016 PRO_MON_JAK_00016]’’’

*Photo of an artist from Keluarga Arca Sculptor team creating a
sculpture for a diorama.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/pro-mon-jak-00017 PRO_MON_JAK_00017]’’’
*Photo of Edhi Sunarso and Kustiyah Edhi Sunarso in front of the
National Monument, in Jakarta

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/pro-mon-jak-00018 PRO_MON_JAK_00018]’’’
*Photo of fellow artists from Keluarga Arca Sculptor team in front of
the National Monument. in Jakarta

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/pro-mon-jak-00019 PRO_MON_JAK_00019]’’’
*Photo of artists from Keluarga Arca Sculptor team in the process of
installing diorama number 45 at the National Monument with the title
Pancasila Sanctity Day.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/pro-mon-jak-00020 PRO_MON_JAK_00020]’’’
*Photo of the artist from Keluarga Arca Sculptor team on one side of the
National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/pro-mon-jak-00021 PRO_MON_JAK_00021]’’’
*Photo of artists from the Keluarga Arca sculptor team in the process of
installing one of the dioramas at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

; ’‘’Pembuatan Diorama’’’ ;
’’‘[https://archive.org/details/pro-mon-jog-00001 PRO_MON_JOG_00001]’’’

*Photo of clay statues at the Keluarga Arca sculpture studio,
Yogyakarta, for diorama number 6 entitled The Palapa Oath at the
National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/pro-mon-jog-00002 PRO_MON_JOG_00002]’’’

*Photo of the process of creating one of the dioramas at the National
Monument, carried out by an artist at the Keluarga Arca sculpture studio
in Yogyakarta.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/pro-mon-jog-00003_202602
PRO_MON_JOG_00003]’’’

*Photo of clay statues at the Keluarga Arca sculpture studio,
Yogyakarta, which were prepared to fill diorama number 18 at the
National Monument with the title Sisingamangaraja’s Resistance.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/pro-mon-jog-00004 PRO_MON_JOG_00004]’’’

*Photo of a group of statues in the Keluarga Arca sculpture studio being
prepared to fill one of the dioramas at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/pro-mon-jog-00005 PRO_MON_JOG_00005]’’’

*Photo of clay statues at the Keluarga Arca sculpture studio,
Yogyakarta, which were prepared to fill diorama number 18 at the
National Monument with the title Sisingamangaraja’s Resistance.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/pro-mon-jog-00006 PRO_MON_JOG_00006]’’’

*Photo of clay statues at the Keluarga Arca sculpture studio,
Yogyakarta, which were prepared for diorama number 33 at the National
Monument entitled Ratification of Pancasila as the Philosophical
Foundation of the State and the 1945 Constitution.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/pro-mon-jog-00007 PRO_MON_JOG_00007]’’’

*Photo of artists at the Keluarga Arca sculpture studio, Yogyakarta,
working on statues for the dioramas at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/pro-mon-jog-00008 PRO_MON_JOG_00008]’’’

*Photo of clay statues at the Keluarga Arca sculpture studio,
Yogyakarta, which were prepared for diorama number 33 at the National
Monument entitled Ratification of Pancasila as the Philosophical
Foundation of the State and the 1945 Constitution.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/pro-mon-jog-00009 PRO_MON_JOG_00009]’’’

*Photo of artists at the Keluarga Arca sculpture studio, Yogyakarta,
working on statues for the dioramas at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/pro-mon-jog-00010 PRO_MON_JOG_00010]’’’

*Photo of clay statues at the Keluarga Arca sculpture studio,
Yogyakarta, for diorama number 6 entitled The Palapa Oath at the
National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/pro-mon-jog-00011 PRO_MON_JOG_00011]’’’

*Photo of artists at the Keluarga Arca sculpture studio, Yogyakarta,
working on statues for the dioramas at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/pro-mon-jog-00012 PRO_MON_JOG_00012]’’’

*Photo of clay statues at the Keluarga Arca sculpture studio,
Yogyakarta, which were prepared to fill diorama number 18 at the
National Monument with the title Sisingamangaraja’s Resistance.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/pro-mon-jog-00013 PRO_MON_JOG_00013]’’’

*Photo of clay statues at the Keluarga Arca sculpture studio,
Yogyakarta, for diorama number 6 entitled The Palapa Oath at the
National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/pro-mon-jog-00014 PRO_MON_JOG_00014]’’’

*Photo of artists at the Keluarga Arca sculpture studio, Yogyakarta,
working on statues for the dioramas at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/pro-mon-jog-00015 PRO_MON_JOG_00015]’’’

*Photo of clay statues at the Keluarga Arca sculpture studio,
Yogyakarta, for diorama number 6 entitled The Palapa Oath at the
National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/pro-mon-jog-00016 PRO_MON_JOG_00016]’’’

*Photo of clay statues at the Keluarga Arca sculpture studio,
Yogyakarta, which were prepared to fill diorama number 29 at the
National Monument with the title Youth Pledge.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/pro-mon-jog-00017 PRO_MON_JOG_00017]’’’

*Photo of clay statues at the Keluarga Arca sculpture studio,
Yogyakarta, which were prepared to fill diorama number 18 at the
National Monument with the title Sisingamangaraja’s Resistance.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/pro-mon-jog-00018 PRO_MON_JOG_00018]’’’

*Photo of one of the statues for diorama number 18 at the National
Monument with the title Sisingamangaraja’s Resistance.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/pro-mon-jog-00019 PRO_MON_JOG_00019]’’’

*Photo of a group of statues in the Keluarga Arca sculpture studio,
Yogyakarta,, which are being prepared to fill the diorama at the
National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/pro-mon-jog-00020 PRO_MON_JOG_00020]’’’

*Photo of clay statues at the Keluarga Arca sculpture studio,
Yogyakarta, which were prepared to fill diorama number 29 at the
National Monument with the title Youth Pledge.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/pro-mon-jog-00021 PRO_MON_JOG_00021]’’’

*Photo of artists at the Keluarga Arca sculpture studio, Yogyakarta,
working on statues for the dioramas at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/pro-mon-jog-00022 PRO_MON_JOG_00022]’’’

*Photo of one of the statues for diorama number 18 at the National
Monument with the title Sisingamangaraja’s Resistance.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/pro-mon-jog-00023 PRO_MON_JOG_00023]’’’

*Photo of artists at the Keluarga Arca sculpture studio, Yogyakarta,
working on statues for the diorama at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/pro-mon-jog-00024 PRO_MON_JOG_00024]’’’

*Photo of artists at the Keluarga Arca sculpture studio, Yogyakarta,
working on statues for the diorama at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/pro-mon-jog-00025 PRO_MON_JOG_00025]’’’

*Photo of artists at the Keluarga Arca sculpture studio, Yogyakarta,
working on statues for the diorama at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/pro-mon-jog-00026 PRO_MON_JOG_00026]’’’

*Photo of clay statues at the Keluarga Arca sculpture studio,
Yogyakarta, for diorama number 6 entitled The Palapa Oath at the
National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/pro-mon-jog-00027 PRO_MON_JOG_00027]’’’

*Photo of artists at the Keluarga Arca sculpture studio, Yogyakarta,
working on statues for the diorama at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/pro-mon-jog-00028 PRO_MON_JOG_00028]’’’

*Photo of artists at the Keluarga Arca sculpture studio, Yogyakarta,
working on statues for the diorama at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/pro-mon-jog-00029_20260208
PRO_MON_JOG_00029]’’’

*Photo of clay statues at the Keluarga Arca sculpture studio,
Yogyakarta, which were prepared for diorama number 33 at the National
Monument entitled Ratification of Pancasila as the Philosophical
Foundation of the State and the 1945 Constitution.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/pro-mon-jog-00030 PRO_MON_JOG_00030]’’’

*Photo of artists at the Keluarga Arca sculpture studio, Yogyakarta,
working on statues for the diorama at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/pro-mon-jog-00031 PRO_MON_JOG_00031]’’’

*Photo of clay statues at the Keluarga Arca sculpture studio,
Yogyakarta, which were prepared for diorama number 33 at the National
Monument entitled Ratification of Pancasila as the Philosophical
Foundation of the State and the 1945 Constitution.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/scan-27_202602 Scan 27]’’’

*Photo of one of the artists in front of diorama number 1 at the
National Monument entitled Ancient Indonesian Society.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

; ’‘’Kliping’’’ ; ’’‘[https://archive.org/details/image-0_202602 Tabloid
Selecta No. 796]’’’ *The article “Edhi Sunarso, Creator of Major Statues
in Jakarta” in Tabloid Selecta No. 796 summarizes Edhi Sunarso’s journey
as an important Indonesian sculptor, starting from his role in creating
major monuments such as the Welcome Monument, the West Irian Liberation
Monument, and the Dirgantara Monument, his role as Head of the ASRI
Sculpture Department, his international achievements in London and
India, as well as an explanation of the technical process of making
bronze statues and dioramas, to his personal life story full of
struggles since childhood, his involvement in the war of independence,
his experience of being arrested and tortured by the Dutch, the process
of searching for his identity and family, and his determination to
pursue art education in Yogyakarta which ultimately led him to become a
great artist with works that are recognized and collected nationally and
internationally.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

; ’‘’Patung 4 Sisi (tidak jadi dibuat)’’’ ; ’‘’Amplop Patung Banteng’’’
; ’’‘[https://archive.org/details/img-002_202602 IMG_002]’’’

*Above: Photo of Edhi Sunarso and artists from the Keluarga Arca group
working on one of the 4-sided statue models for the National
Monument.Below Left: Front view of one of the 4-sided statue models for
the National Monument.Below Right: Side view of one of the 4-sided
statue models for the National Monument.These three photographs document
the process of creating the four-sided statues for the National
Monument, which President Soekarno requested from Edhi Sunarso and the
Keluarga Arca group, but which ultimately were not completed. This
collection of three photographs is titled Monas Study Package 1
(Collective).

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/img-003_202602 IMG_003]’’’

*Three photographs of a model of one of the 4-sided statues for the
National Monument, taken from various angles, with the stamp of the
Keluarga Arca Sculpture Team on the sheet where the photographs are
attached. These three photographs document the process of creating the
4-sided statue for Monas, which President Sukarno requested from Edhi
Sunarso and the Keluarga Arca group, but which ultimately was not
completed.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/img-004_202602 IMG_004]’’’

*Four photographs of a model of one of the 4-sided statues for the
National Monument, taken from various angles. These four photographs
document the process of creating the four-sided statue for Monas, a
project requested by President Sukarno from Edhi Sunarso and the
Keluarga Arca Group, but ultimately abandoned. This collection of four
photographs is titled Monas Model Study III (Collective).

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/img-005_202602 IMG_005]’’’

*Three photographs of a model of one of the 4-sided statues for the
National Monument, taken from various angles. These three photographs
document the process of creating the four-sided statue for Monas, which
President Sukarno commissioned from Edhi Sunarso and the Keluarga Arca
group, but which ultimately was not completed.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/img-006_202602 IMG_006]’’’

*A collection of photos of statues of people holding anchors from
various angles

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/img-007_202602 IMG_007]’’’

*A collection of two photographs of a model of an elephant statue
created by Edhi Sunarso and the Keluarga Arca group for the Musi River
Monument. President Sukarno’s signature is on the sheet of paper where
the photographs are attached.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/img-008_202602 IMG_008]’’’

*A collection of two photographs of a model of an elephant statue
created by Edhi Sunarso and the Keluarga Arca group for the Musi River
Monument. President Sukarno’s signature is on the sheet of paper where
the photographs are attached.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/img-009_202602 IMG_009]’’’

*Three photographs depict the creation of the statue for the Musi River
Monument, created by Edhi Sunarso and the Keluarga Arca group. This
collection of three photographs is titled Musi River Monument
(Collective).

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/img-011_202602 IMG_011]’’’

*Above: Photo of Edhi Sunarso and the Keluarga Arca group with the
statue being constructed.Bottom-left: Photo of a model of the statue
created by Edhi Sunarso and the Keluarga Arca group.Bottom-right: Photo
of a group of people sitting in a room.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/img-012_202602 IMG_012]’’’

*Above: A photo of two artists sitting on the steps of the Monas
building, with a bull statue behind them.Middle: A photo of a group of
people dressed smartly, as if welcoming an important guest.Below: A
photo of one of the artists from the Keluarga Arca group.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/img-013 IMG_013]’’’

*Above: Photo of a bull statue in one corner of Monas.Below: Photo of a
group of people in a room.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

; ’‘’MONAS - Patung 4 Sisi’’’ ;
’’‘[https://archive.org/details/mon-pat-4-si-00001 MON_PAT_4SI_00001]’’’

*A photo of one of the clay statue models at the Keluarga Arca sculpture
studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was
requested by President Soekarno to Edhi Sunarso and the Keluarga Arca
group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-pat-4-si-00002 MON_PAT_4SI_00002]’’’

*A photo of one of the clay statue models at the Keluarga Arca sculpture
studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was
requested by President Soekarno to Edhi Sunarso and the Keluarga Arca
group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-pat-4-si-00003 MON_PAT_4SI_00003]’’’

*A photo of one of the clay statue models at the Keluarga Arca sculpture
studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was
requested by President Soekarno to Edhi Sunarso and the Keluarga Arca
group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-pat-4-si-00004 MON_PAT_4SI_00004]’’’

*A photo of one of the clay statue models at the Keluarga Arca sculpture
studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was
requested by President Soekarno to Edhi Sunarso and the Keluarga Arca
group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-pat-4-si-00005 MON_PAT_4SI_00005]’’’

*A photo of one of the clay statue models at the Keluarga Arca sculpture
studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was
requested by President Soekarno to Edhi Sunarso and the Keluarga Arca
group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-pat-4-si-00006 MON_PAT_4SI_00006]’’’

*A photo of one of the clay statue models at the Keluarga Arca sculpture
studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was
requested by President Soekarno to Edhi Sunarso and the Keluarga Arca
group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-pat-4-si-00007 MON_PAT_4SI_00007]’’’

*A photo of one of the clay statue models at the Keluarga Arca sculpture
studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was
requested by President Soekarno to Edhi Sunarso and the Keluarga Arca
group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-pat-4-si-00008 MON_PAT_4SI_00008]’’’

*A photo of one of the clay statue models at the Keluarga Arca sculpture
studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was
requested by President Soekarno to Edhi Sunarso and the Keluarga Arca
group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-pat-4-si-00009 MON_PAT_4SI_00009]’’’

*A photo of one of the clay statue models at the Keluarga Arca sculpture
studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was
requested by President Soekarno to Edhi Sunarso and the Keluarga Arca
group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-pat-4-si-00010 MON_PAT_4SI_00010]’’’

*A photo of one of the clay statue models at the Keluarga Arca sculpture
studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was
requested by President Soekarno to Edhi Sunarso and the Keluarga Arca
group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-pat-4-si-00011 MON_PAT_4SI_00011]’’’

*A photo of one of the clay statue models at the Keluarga Arca sculpture
studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was
requested by President Soekarno to Edhi Sunarso and the Keluarga Arca
group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-pat-4-si-00012 MON_PAT_4SI_00012]’’’

*Photo of a clay sculpture of a woman’s face.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-pat-4-si-00013 MON_PAT_4SI_00013]’’’

*A photo of one of the clay statue models at the Keluarga Arca sculpture
studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was
requested by President Soekarno to Edhi Sunarso and the Keluarga Arca
group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-pat-4-si-00014 MON_PAT_4SI_00014]’’’

*A photo of one of the clay statue models at the Keluarga Arca sculpture
studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was
requested by President Soekarno to Edhi Sunarso and the Keluarga Arca
group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-pat-4-si-00015 MON_PAT_4SI_00015]’’’

*A photo of one of the clay statue models at the Keluarga Arca sculpture
studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was
requested by President Soekarno to Edhi Sunarso and the Keluarga Arca
group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-pat-4-si-00016 MON_PAT_4SI_00016]’’’

*A photo of one of the clay statue models at the Keluarga Arca sculpture
studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was
requested by President Soekarno to Edhi Sunarso and the Keluarga Arca
group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-pat-4-si-00017 MON_PAT_4SI_00017]’’’

*A photo of one of the clay statue models at the Keluarga Arca sculpture
studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was
requested by President Soekarno to Edhi Sunarso and the Keluarga Arca
group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-pat-4-si-00018 MON_PAT_4SI_00018]’’’

*A photo of one of the clay statue models at the Keluarga Arca sculpture
studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was
requested by President Soekarno to Edhi Sunarso and the Keluarga Arca
group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-pat-4-si-00019 MON_PAT_4SI_00019]’’’

*A photo of one of the clay statue models at the Keluarga Arca sculpture
studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was
requested by President Soekarno to Edhi Sunarso and the Keluarga Arca
group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-pat-4-si-00020 MON_PAT_4SI_00020]’’’

*A photo of one of the clay statue models at the Keluarga Arca sculpture
studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was
requested by President Soekarno to Edhi Sunarso and the Keluarga Arca
group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-pat-4-si-00021 MON_PAT_4SI_00021]’’’

*A photo of one of the clay statue models at the Keluarga Arca sculpture
studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was
requested by President Soekarno to Edhi Sunarso and the Keluarga Arca
group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-pat-4-si-00022 MON_PAT_4SI_00022]’’’

*A photo of one of the clay statue models at the Keluarga Arca sculpture
studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was
requested by President Soekarno to Edhi Sunarso and the Keluarga Arca
group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-pat-4-si-00023_202602
MON_PAT_4SI_00023]’’’

*A photo of one of the clay statue models at the Keluarga Arca sculpture
studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was
requested by President Soekarno to Edhi Sunarso and the Keluarga Arca
group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-pat-4-si-00024 MON_PAT_4SI_00024]’’’

*Photo of Edhi Sunarso making a clay statue with a woman as his model.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-pat-4-si-00025 MON_PAT_4SI_00025]’’’

*A photo of one of the clay statue models at the Keluarga Arca sculpture
studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was
requested by President Soekarno to Edhi Sunarso and the Keluarga Arca
group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-pat-4-si-00026 MON_PAT_4SI_00026]’’’

*A photo of one of the clay statue models at the Keluarga Arca sculpture
studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was
requested by President Soekarno to Edhi Sunarso and the Keluarga Arca
group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-pat-4-si-00027 MON_PAT_4SI_00027]’’’

*A photo of one of the clay statue models at the Keluarga Arca sculpture
studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was
requested by President Soekarno to Edhi Sunarso and the Keluarga Arca
group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-pat-4-si-00028 MON_PAT_4SI_00028]’’’

*Photos of the statue and relief models made by Edhi Sunarso and the
Keluarga Arca group.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-pat-4-si-00029 MON_PAT_4SI_00029]’’’

*Photos of the statue and relief models made by Edhi Sunarso and the
Keluarga Arca group.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-pat-4-si-00030 MON_PAT_4SI_00030]’’’

*A photo of one of the clay statue models at the Keluarga Arca sculpture
studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was
requested by President Soekarno to Edhi Sunarso and the Keluarga Arca
group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-pat-4-si-00031 MON_PAT_4SI_00031]’’’

*Photo of one of the artists from the Family Arca group arranging a
model consisting of a warrior statue and relief.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-pat-4-si-00032 MON_PAT_4SI_00032]’’’

*Photo of Edhi Sunarso and artists from the Keluarga Arca group with
models of warrior statues and reliefs they made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-pat-4-si-00033 MON_PAT_4SI_00033]’’’

*A photo of one of the clay statue models at the Keluarga Arca sculpture
studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was
requested by President Soekarno to Edhi Sunarso and the Keluarga Arca
group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-pat-4-si-00034 MON_PAT_4SI_00034]’’’

*Photo of one of the fighter statue models made by Edhi Sunarso and the
Keluarga Arca group

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-pat-4-si-00035 MON_PAT_4SI_00035]’’’

*Photo of a model of three warriors in bronze, made by Edhi Sunarso and
the Keluarga Arca group.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-pat-4-si-00036 MON_PAT_4SI_00036]’’’

*Photo of one of the statue models made by Edhi Sunarso and the Keluarga
Arca group, made of clay.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-pat-4-si-00037 MON_PAT_4SI_00037]’’’

*Photo of one of the models of the warrior statues made by Edhi Sunarso
and the Keluarga Arca group, made of clay.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-pat-4-si-00038 MON_PAT_4SI_00038]’’’

*Photo of Edhi Sunarso making a statue at the Keluarga Arca studio.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-pat-4-si-00039 MON_PAT_4SI_00039]’’’

*A photo of one of the clay statue models at the Keluarga Arca sculpture
studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was
requested by President Soekarno to Edhi Sunarso and the Keluarga Arca
group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-pat-4-si-00040 MON_PAT_4SI_00040]’’’

*A photo of one of the clay statue models at the Keluarga Arca sculpture
studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was
requested by President Soekarno to Edhi Sunarso and the Keluarga Arca
group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-pat-4-si-00041 MON_PAT_4SI_00041]’’’

*A photo of one of the clay statue models at the Keluarga Arca sculpture
studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was
requested by President Soekarno to Edhi Sunarso and the Keluarga Arca
group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-pat-4-si-00042 MON_PAT_4SI_00042]’’’

*A photo of one of the clay statue models at the Keluarga Arca sculpture
studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was
requested by President Soekarno to Edhi Sunarso and the Keluarga Arca
group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-pat-4-si-00043 MON_PAT_4SI_00043]’’’

*A photo of one of the clay statue models at the Keluarga Arca sculpture
studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was
requested by President Soekarno to Edhi Sunarso and the Keluarga Arca
group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-pat-4-si-00044 MON_PAT_4SI_00044]’’’

*A photo of one of the clay statue models at the Keluarga Arca sculpture
studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was
requested by President Soekarno to Edhi Sunarso and the Keluarga Arca
group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-pat-4-si-00045 MON_PAT_4SI_00045]’’’

*A photo of one of the clay statue models at the Keluarga Arca sculpture
studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was
requested by President Soekarno to Edhi Sunarso and the Keluarga Arca
group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-pat-4-si-00046 MON_PAT_4SI_00046]’’’

*A photo of one of the clay statue models at the Keluarga Arca sculpture
studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was
requested by President Soekarno to Edhi Sunarso and the Keluarga Arca
group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-pat-4-si-00047 MON_PAT_4SI_00047]’’’

*A photo of one of the clay statue models at the Keluarga Arca sculpture
studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was
requested by President Soekarno to Edhi Sunarso and the Keluarga Arca
group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-pat-4-si-00048 MON_PAT_4SI_00048]’’’

*A photo of one of the clay statue models at the Keluarga Arca sculpture
studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was
requested by President Soekarno to Edhi Sunarso and the Keluarga Arca
group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-pat-4-si-00049 MON_PAT_4SI_00049]’’’

*A photo of one of the clay statue models at the Keluarga Arca sculpture
studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was
requested by President Soekarno to Edhi Sunarso and the Keluarga Arca
group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-pat-4-si-00050 MON_PAT_4SI_00050]’’’

*A photo of one of the clay statue models at the Keluarga Arca sculpture
studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was
requested by President Soekarno to Edhi Sunarso and the Keluarga Arca
group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-pat-4-si-00051 MON_PAT_4SI_00051]’’’

*A photo of one of the clay statue models at the Keluarga Arca sculpture
studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was
requested by President Soekarno to Edhi Sunarso and the Keluarga Arca
group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

; ’‘’Studi Patung Banteng Monas’’’ ;
’’‘[https://archive.org/details/20260210_20260210_1346 Studi Patung
Banteng Monas____]’’’

*Three documentary photos of a clay bull statue model from various
angles made by Edhi Sunarso and the Keluarga Arca group.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/20260210_20260210_1346 Studi Patung
Banteng Monas___]’’’

*Three documentary photographs of a clay bull statue model created by
Edhi Sunarso and the Keluarga Arca group. It bears President Soekarno’s
signature on 7th January 1966, confirming the model’s approval.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/a-1_20260210 Studi Patung Banteng Monas
A1]’’’

*Three documentary photos of a clay bull statue model made by Edhi
Sunarso and the Keluarga Arca group, entitled First Study.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/a-2_20260210 Studi Patung Banteng Monas
A2]’’’

*Documentation photo of a clay bull statue model, part of the
documentation entitled First Study, made by Edhi Sunarso and the
Keluarga Arca group.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/b_20260210 Studi Patung Banteng Monas
B]’’’

*Three documentary photos of a clay bull statue model made by Edhi
Sunarso and the Keluarga Arca group entitled Second Study.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/c-1_20260210 Studi Patung Banteng Monas
C1]’’’

*Documentation photo of a clay bull statue model made by Edhi Sunarso
and the Keluarga Arca group entitled Third Study.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/c-2_20260210 Studi Patung Banteng Monas
C2]’’’

*Documentation photo of a clay bull statue model, part of the
documentation entitled Third Study, made by Edhi Sunarso and the
Keluarga Arca group

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/d_20260210 Studi Patung Banteng Monas
D]’’’

*Three documentary photos of a clay bull statue model made by Edhi
Sunarso and the Keluarga Arca group entitled Forth Study.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/e_20260210 Studi Patung Banteng Monas
E]’’’

*Two documentary photos of a clay bull statue model made by Edhi Sunarso
and the Keluarga Arca group entitled Fifth Study.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/f-acc-bk Studi Patung Banteng Monas F -
ACC BK]’’’

*Three documentary photographs of a clay bull statue model created by
Edhi Sunarso and the Keluarga Arca group, entitled Sixth Study. It bears
President Soekarno’s signature on 7th January 1966, signifying the
model’s approval.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/g-acc-bk Studi Patung Banteng Monas G -
ACC BK]’’’

*Three documentary photographs of a clay bull model created by Edhi
Sunarso and the Keluarga Arca group, entitled Seventh Study. It bears
President Soekarno’s signature on 7th January 1966, signifying the
model’s approval.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/h-1_20260210 Studi Patung Banteng Monas
H1]’’’

*Documentation photo of a clay bull statue model made by Edhi Sunarso
and the Keluarga Arca group entitled Eghth Study.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/h-2_20260210 Studi Patung Banteng Monas
H2]’’’

*Documentation photo of a clay bull statue model, part of the
documentation entitled Eighth Study made by Edhi Sunarso and the
Keluarga Arca group.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/h-3_20260210 Studi Patung Banteng Monas
H3]’’’

*Documentation photo of a clay bull statue model, part of the
documentation entitled Eighth Study made by Edhi Sunarso and the
keluarga Arca group.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/i_20260210 Studi Patung Banteng Monas
I]’’’

*Three documentary photos of a clay bull statue model made by Edhi
Sunarso and the Keluarga Arca group entitled Ninth Study.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/j_20260210 Studi Patung Banteng Monas
J]’’’

*Two documentary photographs of a clay bull statue model created by Edhi
Sunarso and the Keluarga Arca group, entitled Tenth Study. It bears
President Soekarno’s signature on 7th January 1966, signifying the
model’s approval.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/l_20260210 Studi Patung Banteng Monas
L]’’’

*Three documentary photos of a clay bull statue model made by Edhi
Sunarso and the Keluarga Arca group entitled Twelfth Study.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/m_20260210 Studi Patung Banteng Monas
M]’’’

*Three documentary photos of a clay bull statue model made by Edhi
Sunarso and the Keluarga Arca group entitled Fourteenth Study.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

; ’‘’Penerbitan seputar Monas’’’ ;
’’‘[https://archive.org/details/katalog-museum-sejarah-nasional-1977
Katalog Museum Sejarah Nasional, 1977]’’’ *The National History Museum
Catalogue (1978) documents the presentation of dioramas of Indonesian
history chronologically, from prehistoric times to the struggle to
maintain independence, with explanations of events, important figures,
and the visual concept of the diorama as a medium for historical
education.

;
’’‘[https://archive.org/details/keagungan-perjuangan-bangsa-indonesia-1996
Keagungan Perjuangan Bangsa Indonesia, 1996]’’’ *The book entitled
“National Monument: Monument to the Greatness of the Indonesian Nation’s
Struggle” (1996) is a reference work that documents the history and
philosophical meaning of the National Monument (Monas) as an eternal
symbol of the Proclamation of Indonesian Independence on 17th August
1945. The contents of this book include the history of its
establishment, the aims and objectives of its construction, as well as
the technical details of its construction implementation, which were
divided into three main stages from 1961 to 1975. In addition, this book
describes the physical parts of Monas, such as the History Museum Room,
the Independence Room, and the Flame of Independence.

;
’’‘[https://archive.org/details/rencana-penyempuranaan-diorama-museum-sejarah-di-tugu-nasional
Rencana Penyempuranaan Diorama Museum Sejarah di Tugu Nasional, 2007]’’’
*The book of plans for improving the diorama of the history museum at
the National Monument (MONAS) which is based on the decision of the
Minister of State Secretary number 6 of 2007 concerning the formation of
a committee for improving the diorama of the national history museum at
the National Monument, which will be implemented by the Indonesian
Historians Society, the Faculty of Cultural Sciences, University of
Indonesia, Architects, and previous Diorama Designers. The diorama
improvement plan comes from the results of a study by the diorama
improvement team with considerations from the side of historical
philosophy, historical facts, technical and aesthetic aspects.

;
’’‘[https://archive.org/details/tugu-nasional-laporan-pembangunan-1978_202602
Tugu Nasional - Laporan Pembangunan, 1978]’’’ *The National Monument
Book: Construction Report (1978) is an official report that documents in
detail the planning, construction process, and completion of the
National Monument (Monas) as a monument commemorating the Proclamation
of Independence on 17th August 1945, including the background to the
idea of establishing Monas, the symbolic architectural concept that
represents the spirit of independence and the personality of the nation,
the stages of construction from the beginning to completion, the
involvement of various parties and experts, the use of technology and
building materials, to the filling of Monas spaces such as the National
History Museum and the top of the monument.This book was produced under
the direction of the Deputy Governor/Regional Head of DKI Jakarta for
Development, Ir. Prayogo, compiled by the DKI Jakarta Office of Building
Design and Conservation led by Ir. W. Pragantha as Head of Office with
Soedarmadji and J. H. Damais as advisers, with text written by Architect
Soedarsono, Ir. Imron Sugiono, and Drs. Wahjudiono, documentation
prepared by the Office of Building Design and Conservation as the
implementing authority for the National Monument, graphic design by
Didit Chris, Purnomo M., and Guruh Sulawat, and printed by P.T.
Jayakarta Agung Offset.

; ’‘’Relief dan Benteng Monas’’’ ;
’’‘[https://archive.org/details/mon-relief-00001 MON_RELIEF_00001]’’’

*Documentation photo of an artist working on a relief at the National
Monument complex in Jakarta.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-relief-00002 MON_RELIEF_00002]’’’

*Documentation photo of one of the reliefs in the National Monument
complex in Jakarta.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-relief-00003 MON_RELIEF_00003]’’’

*Documentation photo of one of the reliefs in the National Monument
complex in Jakarta.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-relief-00004 MON_RELIEF_00004]’’’

*Documentation photo of one of the reliefs in the National Monument
complex in Jakarta.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-relief-00005 MON_RELIEF_00005]’’’

*Documentation photo of one of the reliefs in the National Monument
complex in Jakarta.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-relief-00006 MON_RELIEF_00006]’’’

*Documentation photo of one of the reliefs in the National Monument
complex in Jakarta.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-relief-00007 MON_RELIEF_00007]’’’

*Documentation photo of an artist working on a relief at the National
Monument building complex in Jakarta.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-relief-00008 MON_RELIEF_00008]’’’

*Documentation photo from Edhi Sunarso at the National Monument complex
in Jakarta

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-relief-00009 MON_RELIEF_00009]’’’

*Documentation photo of one of the reliefs in the National Monument
complex in Jakarta

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-relief-00010 MON_RELIEF_00010]’’’

*Documentation photo of an artist working on a relief at the National
Monument complex in Jakarta.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-relief-00011 MON_RELIEF_00011]’’’

*Documentation photo of one of the reliefs in the National Monument
complex in Jakarta

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-relief-00012 MON_RELIEF_00012]’’’

*Documentation photo of one of the reliefs in the National Monument
complex in Jakarta

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-relief-00013 MON_RELIEF_00013]’’’

*Documentation photo of one of the reliefs in the National Monument
complex in Jakarta

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-relief-00014 MON_RELIEF_00014]’’’

*Documentation photos of the artists taking a break.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-relief-00015 MON_RELIEF_00015]’’’

*Documentation photo of one of the reliefs in the National Monument
complex in Jakarta

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-relief-00016 MON_RELIEF_00016]’’’

*Documentation photo of one of the reliefs in the National Monument
complex in Jakarta

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-relief-00017 MON_RELIEF_00017]’’’

*Documentation photo of one of the reliefs in the National Monument
complex in Jakarta

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-relief-00018 MON_RELIEF_00018]’’’

*Documentation photo of an artist working on a relief at the National
Monument complex in Jakarta.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-relief-00019 MON_RELIEF_00019]’’’

*Documentation photo of Edhi Sunarso and his group resting.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-relief-00020 MON_RELIEF_00020]’’’

*Documentation photo of Edhi Sunarso supervising an artist working on
one of the reliefs at the National Monument complex in Jakarta.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-relief-00021 MON_RELIEF_00021]’’’

*Documentation photo of one of the reliefs in the National Monument
complex in Jakarta

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-relief-00022 MON_RELIEF_00022]’’’

*Documentation photo of an artist working on a relief at the National
Monument complex in Jakarta.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-relief-00023 MON_RELIEF_00023]’’’

*Documentation photo of an artist working on a relief

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-relief-00024 MON_RELIEF_00024]’’’

*Documentation photo of Edhi Sunarso and his group resting.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-relief-00025 MON_RELIEF_00025]’’’

*A documentary photograph of one of the reliefs at the National Monument
complex in Jakarta. W.R. Soepratman is seen on the relief.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-relief-00026 MON_RELIEF_00026]’’’

*Documentation photo of the artist in front of a building

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/editxml/mon-relief-00027 MON_RELIEF_00027]’’’

*Documentation photo of an artist working on a relief

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-relief-00028 MON_RELIEF_00028]’’’

*Documentation photo of one of the reliefs in the National Monument
complex in Jakarta

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-relief-00029 MON_RELIEF_00029]’’’

*Documentation photo of one of the reliefs

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-relief-00030 MON_RELIEF_00030]’’’

*Documentation photo of one of the reliefs

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-relief-00031 MON_RELIEF_00031]’’’

*A documentary photograph of one of the reliefs in the National Monument
complex in Jakarta. The relief depicts Ki Hadjar Dewantoro, Dr. Tjipto
Mangunkusumo, and Douwes Dekker.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-relief-00032 MON_RELIEF_00032]’’’

*A documentary photo of one of the reliefs in the National Monument
complex in Jakarta. One of the figures depicted is Muhammad Hatta.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-relief-00033 MON_RELIEF_00033]’’’

*Documentation photo of one of the reliefs in the National Monument
complex in Jakarta

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-relief-00034 MON_RELIEF_00034]’’’

*Documentation photo of one of the reliefs in the National Monument
complex in Jakarta

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-relief-00035 MON_RELIEF_00035]’’’

*Documentation photo of one of the reliefs in the National Monument
complex in Jakarta

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-relief-00036 MON_RELIEF_00036]’’’

*Documentation photo of an artist working on a relief for the National
Monument complex in Jakarta.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-relief-00037 MON_RELIEF_00037]’’’

*Documentation photo of an artist working on a relief for the National
Monument complex in Jakarta.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-relief-00038 MON_RELIEF_00038]’’’

*Documentation photo of an artist working on a relief for the National
Monument complex in Jakarta.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-relief-00039 MON_RELIEF_00039]’’’

*Documentation photo of an artist working on a relief for the National
Monument complex in Jakarta.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-relief-00040 MON_RELIEF_00040]’’’

*A documentary photograph of one of the reliefs at the National Monument
complex in Jakarta. W.R. Soepratman is seen on the relief.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-relief-00041 MON_RELIEF_00041]’’’

*A documentary photo of an artist working on a relief for the National
Monument complex in Jakarta. The figure of Ir. Soekarno is visible on
the relief.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-relief-00042 MON_RELIEF_00042]’’’

*Documentation photo of one of the reliefs in the National Monument
complex in Jakarta

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-relief-00043 MON_RELIEF_00043]’’’

*Documentation photo of one of the reliefs

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-relief-00044 MON_RELIEF_00044]’’’

*Documentation photo of an artist working on a relief at the National
Monument complex in Jakarta.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-relief-00045 MON_RELIEF_00045]’’’

*Documentation photo of one of the reliefs in the National Monument
complex in Jakarta

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-relief-00046 MON_RELIEF_00046]’’’

*Documentation photo of one of the reliefs in the National Monument
complex in Jakarta

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-relief-00047 MON_RELIEF_00047]’’’

*Documentation photo of one of the reliefs in the National Monument
complex in Jakarta

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-relief-00048 MON_RELIEF_00048]’’’

*Documentation photo of one of the reliefs in the National Monument
complex in Jakarta

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-relief-00049 MON_RELIEF_00049]’’’

*Documentation photo of one of the reliefs in the National Monument
complex in Jakarta

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-relief-00050 MON_RELIEF_00050]’’’

*Documentation photo of one of the reliefs in the National Monument
complex in Jakarta

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-relief-00051 MON_RELIEF_00051]’’’

*Documentation photo of an artist working on a relief at the National
Monument complex in Jakarta.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-relief-00052 MON_RELIEF_00052]’’’

*Documentation photo of Edhi Sunarso supervising the relief-making work
at the National Monument complex in Jakarta.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-relief-00053 MON_RELIEF_00053]’’’

*Documentation photo of one of the reliefs in the National Monument
complex in Jakarta

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-relief-00054 MON_RELIEF_00054]’’’

*A documentary photo of one of the reliefs in the National Monument
complex in Jakarta. The relief depicts Ir. Soekarno and Mohammad Hatta.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-relief-00055 MON_RELIEF_00055]’’’

*Documentation photo of a group of officials who will inspect the
project at the National Monument complex in Jakarta.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-relief-00056 MON_RELIEF_00056]’’’

*Documentation photo of one of the reliefs in the National Monument
complex in Jakarta

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-relief-00057 MON_RELIEF_00057]’’’

*Documentation photo of one of the reliefs in the National Monument
complex in Jakarta

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/mon-relief-00058 MON_RELIEF_00058]’’’

*Documentation photo of one of the reliefs in the National Monument
complex in Jakarta

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

; ’‘’Riset diorama’’’ ;
’’‘[https://archive.org/details/adegan-pepera-irian-barat Adegan Pepera
Irian Barat]’’’

*A collection of documentary photographs from the PEPERA (Determination
of the People’s Opinion) incident in several locations in West Irian in
1969, to determine whether West Irian would join the Republic of
Indonesia or become independent. These photographs were used for
research into dioramas depicting scenes from the PEPERA in West Irian.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

; ’’‘[https://archive.org/details/adegan-tanam-paksa Adegan Tanam
Paksa]’’’

*A collection of sketches and documentary photographs were used for
research into dioramas depicting scenes from the forced cultivation of
plants.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

; ’‘’Amplop Potret’’’ ; ’’‘[https://archive.org/details/amp-pot-01
AMP_POT_01]’’’

*Above : Photo documentation of a group of people standing in front of
the Hollandia building in Jayapura. The photo was used for diorama
research.Below : Photo documentation of a group of people standing in
front of a building.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/amp-pot-02 AMP_POT_02]’’’

*Left : Photo of K.H. Ahmad Dahlan, founder of Muhammadiyah. Right :
Photo of K.H. Mas Mansur, one of Muhammadiyah figures.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/amp-pot-03 AMP_POT_03]’’’

*Above : Photo of a soldiers of the Republic of Indonesia. Below : Photo
documentation of the ceremony in front of the Hollandia building, in
Jayapura, which was used for diorama research

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/amp-pot-04 AMP_POT_04]’’’

*Left: One of Indonesia’s judicial figures, possibly a photo of Kusumah
Atmaja. Right: A sketch of Tuanku Imam Bonjol.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/amp-pot-05 AMP_POT_05]’’’

*Left: Photo of an Indonesian figure. Right: Photo of K.H. Abdul Wahid
Hasjim.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/amp-pot-06 AMP_POT_06]’’’

*Left: Photo of Mohammad Yamin. Right: Photo of Wage Rudolf Soepratman.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/amp-pot-07 AMP_POT_07]’’’

*Left: Photo of Djuanda Kartawidjaja. Right: Photo of an Indonesian
figure

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/amp-pot-08 AMP_POT_08]’’’

*Left: Photo of an Indonesian figure. Right: Photo of Ernest Douwes
Dekker, also known as Danudirja Setiabudi.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/amp-pot-09 AMP_POT_09]’’’

*Left: Photo of Abdul Muis. Right: Photo of Sutan Syahrir.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/amp-pot-10 AMP_POT_10]’’’

*Left: Painting by Sam Ratulangi. Right: Photo by Pierre Tendean.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/amp-pot-11 AMP_POT_11]’’’

*Photo of an Indonesian figures.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/amp-pot-12 AMP_POT_12]’’’

*Left: Photo of an Indonesian figure. Right: Photo of Ki Hadjar
Dewantara.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/amp-pot-13 AMP_POT_13]’’’

*Left: Photo of Supeno. Right: Photo of Ferdinand Lumban Tobing.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/amp-pot-14 AMP_POT_14]’’’

*Left: Photo of an Indonesian figure. Right: Photo of Prof. Dr. Raden
Soepomo.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/amp-pot-15 AMP_POT_15]’’’

*Documentation photo fromLeft: H.O.S. CokroaminotoRight: Cipto
Mangunkusumo.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/amp-pot-16 AMP_POT_16]’’’

*Left: Photo of Raden Mas Soerjopranoto. Right: Painting by H. Samanhudi

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/amp-pot-17 AMP_POT_17]’’’

*Left: Photo of Albertus Soegijapranata. Right: Photo of Haji Agus Salim

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/amp-pot-18 AMP_POT_18]’’’

*Documentation photo of Indonesian figures being welcomed by Swiss Guard
troops.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/amp-pot-19 AMP_POT_19]’’’

*Documentation photo shows a group of children in traditional clothing
playing foos balll.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

; ’‘’Amplop Sketsa Diorama Monas’’’ ;
’’‘[https://archive.org/details/ske-dio-mon-01 SKE_DIO_MON_01]’’’

*Photo of a sketch for one of the diorama scenes at the National
Monument (Monas), titled “Youth Pledge.”

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/ske-dio-mon-02 SKE_DIO_MON_02]’’’

*Photo of a sketch for one of the diorama scenes at the Monas, titled
“Youth Pledge.”

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/ske-dio-mon-03 SKE_DIO_MON_03]’’’

*Photo of a sketch for one of the diorama scenes at the Monas, titled
“The Aceh War.”

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/ske-dio-mon-04 SKE_DIO_MON_04]’’’

*Photo of a sketch for one of the diorama scenes at the Monas, titled
“The Battle of Surabaya.”

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/ske-dio-mon-05 SKE_DIO_MON_05]’’’

*Photo of a sketch for one of the diorama scenes at the Monas, titled
“Indonesian Association”

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/ske-dio-mon-06 SKE_DIO_MON_06]’’’

*Photo of a sketch for one of the diorama scenes at the Monas, titled
“The Palapa Oath.”

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/ske-dio-mon-07 SKE_DIO_MON_07]’’’

*Photo of a sketch for one of the diorama scenes at the Monas, titled
“National Awakening.”

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/ske-dio-mon-08 SKE_DIO_MON_08]’’’

*Photo of a sketch for one of the diorama scenes at the Monas, titled
“The Struggle to Return to the Unitary State.”

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/ske-dio-mon-09 SKE_DIO_MON_09]’’’

*Photo of a sketch for one of the diorama scenes at the Monas, titled
“The Battle of Jagaraga.”

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/ske-dio-mon-10 SKE_DIO_MON_10]’’’

*Photo of a sketch for one of the diorama scenes at the National
Monument (Monas), titled “The Majapahit War Fleet.”

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/ske-dio-mon-11 SKE_DIO_MON_11]’’’

*Photo of a sketch for one of the diorama scenes at the Monas, titled
“Recognition of Sovereignty.”

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/ske-dio-mon-12 SKE_DIO_MON_12]’’’

*Photo of a sketch for one of the diorama scenes at the Monas, titled
“The Liberation of Irian.”

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/ske-dio-mon-13 SKE_DIO_MON_13]’’’

*Photo of a sketch for one of the diorama scenes at the Monas, titled
“The Resistance of Sisingamangaraja.”

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/ske-dio-mon-14 SKE_DIO_MON_14]’’’

*Photo of a sketch for one of the diorama scenes at the Monas, titled
“Indonesia Becomes a Member of the United Nations.”

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/ske-dio-mon-15 SKE_DIO_MON_15]’’’

*Photo of a sketch for one of the diorama scenes at the Monas, titled
“The Diponegoro War.”

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

; ’’‘[https://archive.org/details/dari-buku-gambar Dari Buku Gambar]’’’

*A collection of documentary photographs from a sketchbook were used as
research material for dioramas depicting the Bugis Incident, the Battle
of Bogor, the Battle of Tjibadak, the Three Regions Incident, the
Five-Day Battle of Palembang, the Expedition to Maluku, and the Seaborne
Operation from Banyuwangi to Bali.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

; ’’‘[https://archive.org/details/draaiboek-monas-879pgs-2 Draaiboek
Monas - 879pgs 2]’’’

*A guideline for creating a diorama at Monas, entitled 1. TRIKORA AND/OR
THE RETURN OF WEST IRIAN (The Return of West Irian to the Territory of
the Republic of Indonesia).2. GANEFO (The Opening Ceremony of Ganefo on
October 10, 1963).This guide provides details for the diorama scenes,
such as miniature figures, building elements, and paintings on the left
and right walls of the diorama. The script also includes historical
research, key events that formed the background to the events depicted
in the diorama, and sources used for the historical research.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

; ’‘’Gambar-gambar perjuangan indonesia’’’ ;
’’‘[https://archive.org/details/alb-gam-per-idn-01 ALB_GAM_PER_IDN01]’’’

*Documentation photo of the Indonesian flag flying on the North Field of
the Yogyakarta Palace.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/alb-gam-per-idn-02 ALB_GAM_PER_IDN02]’’’

*Documentation photo of the fighters marching in ceremonial formation.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/alb-gam-per-idn-03 ALB_GAM_PER_IDN03]’’’

*Documentation photo of President Soekarno giving a salute.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/alb-gam-per-idn-04 ALB_GAM_PER_IDN04]’’’

*Documentation photo of a line of fighters welcoming a group of state
officials in the northern square of the Yogyakarta palace.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/alb-gam-per-idn-05 ALB_GAM_PER_IDN05]’’’

*Documentation photo of a ceremony in the northern square of the
Yogyakarta palace.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/alb-gam-per-idn-06 ALB_GAM_PER_IDN06]’’’

*Documentation photo of a ceremony in the northern square of the
Yogyakarta palace.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/alb-gam-per-idn-07 ALB_GAM_PER_IDN07]’’’

*Documentation photo of President Soekarno, Vice President Mohammad
Hatta, General Soedirman, and Sri Sultan Hamengku Buwono IX with a group
of state officials at an event on the podium of the northern square of
the Yogyakarta palace.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/alb-gam-per-idn-08 ALB_GAM_PER_IDN08]’’’

*Documentation photo of a fighter, possibly Raden Said Soekanto
Tjokrodiatmodjo, as the Chief of the National Police, reading a speech

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/alb-gam-per-idn-09 ALB_GAM_PER_IDN09]’’’

*Documentation photo of General Soedirman, Vice President Mohammad
Hatta, President Soekarno, and National Police Chief Raden Said Soekanto
Tjokrodiatmodjo, together with a group of state officials.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/alb-gam-per-idn-10 ALB_GAM_PER_IDN10]’’’

*Documentation photo of President Soekarno reading a speech, also
showing General Soedirman, Vice President Mohammad Hatta, and National
Police Chief Raden Said Soekanto Tjokrodiatmodjo, along with a group of
state officials.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/alb-gam-per-idn-11 ALB_GAM_PER_IDN11]’’’

*Documentation photo of President Soekarno, Vice President Mohammad
Hatta, and National Police Chief Raden Said Soekanto Tjokrodiatmodjo,
together with a group of state officials.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/alb-gam-per-idn-12 ALB_GAM_PER_IDN12]’’’

*Documentary photo of a woman being trained to shoot with a rifle.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/alb-gam-per-idn-13 ALB_GAM_PER_IDN13]’’’

*Documentation photo of President Soekarno giving a speech in front of
the ceremony participants in the north square of the Yogyakarta palace

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/alb-gam-per-idn-14 ALB_GAM_PER_IDN14]’’’

*Documentation photo of Vice President Mohammad Hatta giving a speech,
also seen in the photo are President Soekarno, National Police Chief
Raden Said Soekanto Tjokrodiatmodjo, and a group of state officials.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/alb-gam-per-idn-15 ALB_GAM_PER_IDN15]’’’

*Documentation photo of a line of soldiers in the north square of the
Yogyakarta Palace

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/alb-gam-per-idn-16 ALB_GAM_PER_IDN16]’’’

*Documentation photo of a line of soldiers in the north square of the
Yogyakarta Palace

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/alb-gam-per-idn-17 ALB_GAM_PER_IDN17]’’’

*Documentation photo of a line of soldiers in the north square of the
Yogyakarta Palace

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/alb-gam-per-idn-18 ALB_GAM_PER_IDN18]’’’

*Documentation photo of a line of soldiers in the north square of the
Yogyakarta Palace

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/alb-gam-per-idn-19 ALB_GAM_PER_IDN19]’’’

*Documentation photo of a line of soldiers with a respectful attitude in
the north square of the Yogyakarta Palace

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/alb-gam-per-idn-20 ALB_GAM_PER_IDN20]’’’

*Documentation photo of a line of soldiers in the north square of the
Yogyakarta Palace

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/alb-gam-per-idn-21 ALB_GAM_PER_IDN21]’’’

*Documentation photo of a line of soldiers in the north square of the
Yogyakarta Palace

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/alb-gam-per-idn-22 ALB_GAM_PER_IDN22]’’’

*Documentation photo of Vice President Mohammad Hatta giving a speech in
the north square of the Yogyakarta Palace.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/alb-gam-per-idn-23_202602
ALB_GAM_PER_IDN23]’’’

*Documentation photo of the line of soldiers in the north square of the
Yogyakarta Palace, also seen are people watching the ceremony.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/alb-gam-per-idn-24 ALB_GAM_PER_IDN24]’’’

*Documentation photo of a line of soldiers in the north square of the
Yogyakarta Palace

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/alb-gam-per-idn-25 ALB_GAM_PER_IDN25]’’’

*Documentation photo of President Soekarno, Vice President Mohammad
Hatta, and National Police Chief Raden Said Soekanto Tjokrodiatmodjo,
inspecting the ranks of soldiers in the northern square of the
Yogyakarta Palace.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/alb-gam-per-idn-26 ALB_GAM_PER_IDN26]’’’

*Documentation photo of President Soekarno, Vice President Mohammad
Hatta, and National Police Chief Raden Said Soekanto Tjokrodiatmodjo,
inspecting the ranks of soldiers in the northern square of the
Yogyakarta Palace.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/alb-gam-per-idn-27 ALB_GAM_PER_IDN27]’’’

*Documentation photo of President Soekarno, Vice President Mohammad
Hatta, and National Police Chief Raden Said Soekanto Tjokrodiatmodjo,
inspecting the ranks of soldiers in the northern square of the
Yogyakarta Palace.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/alb-gam-per-idn-28 ALB_GAM_PER_IDN28]’’’

*Documentation photo of President Soekarno, Vice President Mohammad
Hatta, and National Police Chief Raden Said Soekanto Tjokrodiatmodjo,
inspecting the ranks of soldiers in the northern square of the
Yogyakarta Palace.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/alb-gam-per-idn-29 ALB_GAM_PER_IDN29]’’’

*Documentation photo of President Soekarno, Vice President Mohammad
Hatta, and National Police Chief Raden Said Soekanto Tjokrodiatmodjo,
inspecting the ranks of soldiers in the northern square of the
Yogyakarta Palace.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/alb-gam-per-idn-30 ALB_GAM_PER_IDN30]’’’

*Documentation photo of President Soekarno, Vice President Mohammad
Hatta, and National Police Chief Raden Said Soekanto Tjokrodiatmodjo,
inspecting the ranks of soldiers in the northern square of the
Yogyakarta Palace.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/alb-gam-per-idn-31 ALB_GAM_PER_IDN31]’’’

*Documentation photo of President Soekarno inspecting the ranks of
soldiers in the northern square of the Yogyakarta Palace.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/alb-gam-per-idn-32 ALB_GAM_PER_IDN32]’’’

*Photo of a group of soldiers from the National Police Agency

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/alb-gam-per-idn-33 ALB_GAM_PER_IDN33]’’’

*Documentation photo of Vice President Mohammad Hatta, and National
Police Chief Raden Said Soekanto Tjokrodiatmodjo, inspecting the ranks
of soldiers in the northern square of the Yogyakarta Palace.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/alb-gam-per-idn-34 ALB_GAM_PER_IDN34]’’’

*Documentation photo of the marching band from the Indonesian National
Police at a ceremony.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/alb-gam-per-idn-35 ALB_GAM_PER_IDN35]’’’

*Documentation photo of President Soekarno tidying up the attributes of
one of the soldier on the north field of the Yogyakarta Palace.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/alb-gam-per-idn-36 ALB_GAM_PER_IDN36]’’’

*Documentation photo of President Soekarno, Vice President Mohammad
Hatta, and National Police Chief Raden Said Soekanto Tjokrodiatmodjo,
inspecting the ranks of soldiers in the northern square of the
Yogyakarta Palace.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/alb-gam-per-idn-37 ALB_GAM_PER_IDN37]’’’

*Documentation photo of President Soekarno giving his respects, seen
next to him is Vice President Mohammad Hatta.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/alb-gam-per-idn-38 ALB_GAM_PER_IDN38]’’’

*Documentary photo of a line of soldiers saluting.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/alb-gam-per-idn-39 ALB_GAM_PER_IDN39]’’’

*Documentation photo of soldiers carrying weapons.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/alb-gam-per-idn-40 ALB_GAM_PER_IDN40]’’’

*Documentation photo of a line of soldiers in the north square of the
Yogyakarta palace

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/alb-gam-per-idn-41 ALB_GAM_PER_IDN41]’’’

*Documentation photo of a line of soldiers in the north square of the
Yogyakarta palace

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/alb-gam-per-idn-42 ALB_GAM_PER_IDN42]’’’

*Documentation photo of a line of soldiers in the north square of the
Yogyakarta palace

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/alb-gam-per-idn-43 ALB_GAM_PER_IDN43]’’’

*Documentation photo of a line of soldiers in the north square of the
Yogyakarta palace

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/alb-gam-per-idn-44 ALB_GAM_PER_IDN44]’’’

*Documentation photo of a line of soldiers in the north square of the
Yogyakarta palace

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/alb-gam-per-idn-45 ALB_GAM_PER_IDN45]’’’

*Documentation photo of a line of soldiers in the north square of the
Yogyakarta palace

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/alb-gam-per-idn-46 ALB_GAM_PER_IDN46]’’’

*Documentation photo of Soeharto’s swearing-in when he became president
of Indonesia

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/alb-gam-per-idn-47 ALB_GAM_PER_IDN47]’’’

*Documentation photo of a line of soldiers in the north square of the
Yogyakarta palace

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/alb-gam-per-idn-48 ALB_GAM_PER_IDN48]’’’

*Documentation photo of a line of soldiers in the north square of the
Yogyakarta palace

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/alb-gam-per-idn-49 ALB_GAM_PER_IDN49]’’’

*Documentation photo of a line of soldiers in the north square of the
Yogyakarta palace

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/alb-gam-per-idn-50 ALB_GAM_PER_IDN50]’’’

*Documentation photo of a line of soldiers in the north square of the
Yogyakarta palace

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/alb-gam-per-idn-51 ALB_GAM_PER_IDN51]’’’

*Documentation photo of a line of soldiers in the north square of the
Yogyakarta Palace, giving a salute

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/alb-gam-per-idn-52 ALB_GAM_PER_IDN52]’’’

*Documentation photo of soldiers carrying weapons, in the north square
of the Yogyakarta Palace

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/alb-gam-per-idn-53 ALB_GAM_PER_IDN53]’’’

*Documentation photo of a line of soldiers in the north square of the
Yogyakarta palace

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/alb-gam-per-idn-54 ALB_GAM_PER_IDN54]’’’

*Documentation photo of a line of soldiers in the north square of the
Yogyakarta Palace, giving a salute

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/alb-gam-per-idn-55 ALB_GAM_PER_IDN55]’’’

*Documentation photo of a line of soldiers in the north square of the
Yogyakarta palace

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/alb-gam-per-idn-56 ALB_GAM_PER_IDN56]’’’

*Documentation photo of a line of soldiers in the north square of the
Yogyakarta palace

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/alb-gam-per-idn-57 ALB_GAM_PER_IDN57]’’’

*Documentation photo of a line of soldiers in the north square of the
Yogyakarta palace

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/alb-gam-per-idn-58 ALB_GAM_PER_IDN58]’’’

*Documentation photo of a line of soldiers in the north square of the
Yogyakarta palace

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/alb-gam-per-idn-59 ALB_GAM_PER_IDN59]’’’

*Documentation photo of a dog among a line of soldiers.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/alb-gam-per-idn-60 ALB_GAM_PER_IDN60]’’’

*Documentation photo of a line of soldiers in the north square of the
Yogyakarta palace

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/alb-gam-per-idn-61 ALB_GAM_PER_IDN61]’’’

*Documentation photo of the demonstration of skills from the Kedoe
Police Mobile Brigade unit, in the north square of the Yogyakarta palace

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/alb-gam-per-idn-62 ALB_GAM_PER_IDN62]’’’

*Documentation photo of the demonstration of skills from the Kedoe
Police Mobile Brigade unit, in the north square of the Yogyakarta palace

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/alb-gam-per-idn-63 ALB_GAM_PER_IDN63]’’’

*Documentation photo of a soldiers’ meeting

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/alb-gam-per-idn-64 ALB_GAM_PER_IDN64]’’’

*Documentation photo of a military meeting, showing National Police
Chief Raden Said Soekanto Tjokrodiatmodjo standing, and Vice President
Mohammad Hatta sitting next to him.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/alb-gam-per-idn-65 ALB_GAM_PER_IDN65]’’’

*Documentation photo of soldiers carrying weapons, in the north square
of the Yogyakarta palace

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/alb-gam-per-idn-66 ALB_GAM_PER_IDN66]’’’

*Documentation photo of soldiers carrying weapons, in the north square
of the Yogyakarta palace

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/alb-gam-per-idn-67 ALB_GAM_PER_IDN67]’’’

*Documentation photo of a line of soldiers from behind, in the northern
square of the Yogyakarta Palace.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/alb-gam-per-idn-68 ALB_GAM_PER_IDN68]’’’

*Documentation photo of a line of soldiers in the north square of the
Yogyakarta palace

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

; ’’‘[https://archive.org/details/img-029_202602 IMG_029]’’’

*Above: Documentation photo of the clay miniatures used for the
Singamangaraja Resistance diorama at Monas.Below: Documentation photo of
the clay miniatures used for one of the dioramas at Monas.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

; ’‘’Peristiwa Tanjung Morawa 16 Maret 1953’’’ ;
’’‘[https://archive.org/details/map-ris-tjg-mor-00001
MAP_RIS_TJG_MOR_00001]’’’

*Documentation photo of land belonging to the Department of Agriculture,
Tanjung Morawa District, Deli Serdang Regency, North Sumatra.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/map-ris-tjg-mor-00002
MAP_RIS_TJG_MOR_00002]’’’

*Documentation photo of a heavy machine.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/map-ris-tjg-mor-00003
MAP_RIS_TJG_MOR_00003]’’’

*Documentation photo of a community group.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

==Museum Satriamandala, Jakarta== Lorem ipsum dolor sit amet,
consectetur adipiscing elit. Nunc porttitor mauris metus, vitae
venenatis lacus gravida sit amet. Suspendisse cursus lectus eu leo
varius, at auctor nibh imperdiet. Nunc consectetur metus eu venenatis
commodo.

===[https://archive.org/details/sik-corps-al Album Beberapa Sikap Corps
Marinir AL (Jakarta, 22-8-1978)]===

*This photo presents a systematic documentation of standard military
drill and parade positions, both armed and unarmed, shown from multiple
perspectives (front, rear, right, and left), including formations such
as the perfect armed stance, armed salute, armed rest, normal rest
unarmed, parade armed rest/guard stance, perfect armed shoulder stance,
perfect unarmed stance, and parade rest unarmed, serving as a structured
visual reference to ensure accuracy of posture, alignment, and formal
disciplinary standards.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

===Album Diorama Proklamasi Museum Eka Ekstrim Kanan Satria Mandala
#1=== Quisque ut ex convallis, congue urna egestas, ornare eros. Etiam
feugiat nunc eu suscipit sagittis. Maecenas ullamcorper lacus nisi, in
viverra urna pharetra et. Morbi accumsan auctor egestas. Quisque velit
lectus, finibus a mauris et, dapibus auctor sapien.

===Album Diorama Proklamasi Museum Eka Ekstrim Kanan Satria Mandala
#2=== Pellentesque suscipit, nibh nec luctus molestie, dui nunc gravida
dolor, non condimentum elit ligula et turpis.

===[https://archive.org/details/gar-mat-mak-00000 Album Foto Perjuangan
Indonesia]===

*Documentation of the activities of the X Garuda Mataram Brigade in
Makassar under the leadership of Lieutenant Colonel Suharto in military
operations to overcome the Makassar Uprising, also known as the Andi
Aziz rebellion, in Makassar, South Sulawesi, 1950

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

===[https://archive.org/details/alb-rpkad Album RPKAD]===

*A collection of photo documentation of a series of technical
instructions regarding the RPKAD soldiers’ marching regulations, which
include various basic positions such as perfect stance, normal rest, to
armed rest parade in guard position, which are systematically documented
from the front, rear, and left and right side perspectives, for diorama
research purposes.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

===Buku Panduan Museum Satriamandala=== ;
’’‘[https://archive.org/details/central-museum-of-the-armed-forces-satria-mandala
Central Museum Of The Armed Forces SATRIA MANDALA]’’’

*An operational guidebook for visitors to the ABRI Satriamandala Central
Museum in English, which includes information on visiting hours,
descriptions of the main exhibition spaces in the First and Second
Buildings, supporting facilities, floor plans, location maps, and
descriptions of the reliefs.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/museum-satria-mandala-buku-panduan
Museum Satria Mandala - Buku Panduan]’’’

*An operational guidebook for visitors to the ABRI Satriamandala Central
Museum in Indonesian, which includes information on visiting hours,
descriptions of the main exhibition spaces in the First and Second
Buildings, supporting facilities, floor plans, location maps, and
descriptions of reliefs.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

===Dokumen dan Surat=== ;
’’‘[https://archive.org/details/surat-perintah-kerja-museum-pusat-abri
Surat Perintah Kerja Museum Pusat ABRI, 1973]’’’

*The Work Order Letter with letter number PRINT/1110/PUSJARAH/VIII/73
issued on 25th August 1973 in Jakarta is an official instruction from
the ABRI (Armed Forces of the Republic of Indonesia) History Center to
artist Edhi Sunarso to carry out the construction of the ABRI Central
Museum phase III. Based on a series of Decrees of the Minister of
Defense/Commander of the Armed Forces regarding the formation of the
project committee and budget allocation for 1973/1974, this order
includes the construction of 24 diorama dome units along with supporting
installations (frames, windows, and glass) with a total work value of
Rp11,947,000. The document was signed by Colonel Inf. Soepardijo, as
Deputy Head of the ABRI History Center and stamped

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/surat-perintah-kerja-diorama-museum-pusat-abri
Surat Perintah Kerja Diorama Museum Pusat ABRI, 1974]’’’

*The Work Order Letter with the letter number SPRIN/161/PUSJARAH/XII/74
issued in Jakarta on 19th December 1974, was an official instruction
from the ABRI History Center to a team of artists led by Edhi Sunarso
(along with Saptoto, Ratmoyo, Heri Wibowo, and Ramelan). Based on the
legal basis for the formation of the ABRI Central Museum Project
Committee, this team was assigned to conduct field research on
historical objects in the regions of Java, Bali, Sumatra, and Sulawesi.
This research aimed to ensure historical accuracy in filling the
dioramas at the ABRI Satriamandala Museum. The document was signed by
Colonel Inf. Soepardijo, as Deputy Head of the ABRI History Center and
stamped

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/19750107-surat-perintah-kerja-diorama-museum-pusat-abri
Surat Perintah Kerja Diorama Museum Pusat ABRI, 1975]’’’

*This Work Order with letter number PRIN/02/PUSJARAH/I/73 issued on
January 7, 1975 in Jakarta was an official instruction from the ABRI
History Center to an artist, Edhi Sunarso, assigned to produce 29
dioramas, including one large-scale diorama measuring 3x3 meters, with a
total contract value of Rp52,000,000. The document was signed by Colonel
Inf. Soepardijo, as Deputy Head of the ABRI History Center and stamped

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/19750823-surat-perintah-kerja-diorama-museum-pusat-abri
Surat Perintah Kerja Diorama Museum Pusat ABRI, 1975]’’’

*The Work Order with letter number SPRIN/167/PUSJARAH/VIII/75 issued on
23rd August 1975 in Jakarta is an official instruction from the ABRI
History Center to Edhi Sunarso (diorama artist) and Ratmoyo (member of
the museum contents team). Based on the legal basis for the construction
of the ABRI Central Museum Phase III, the team was assigned to carry out
in-depth historical research on the Red and White Incident in Manado, as
well as the Andi Azis Rebellion and Westerling’s brutality in South
Sulawesi. The document was signed by Colonel Inf. Soepardijo, as Deputy
Head of the ABRI History Center and stamped

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/19750922-kwitansi-museum-pusat-sejarah-abri
Kwitansi Museum Pusat Sejarah ABRI, 1975]’’’

*Proof of receipt of money by Edhi Sunarso from the ABRI (Indonesian
Armed Forces) History Center Museum Development Project, “Satria
Mandala” Jakarta, for the fifth installment payment of diorama filling
costs in accordance with contract agreement number 08/PUSJARAH/I/75,
amounting to Rp.7,800,000 (seven million eight hundred thousand rupiah).
The proof of receipt was made on 22nd September 1975

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/19751002-berita-acara-pemeriksaan-diorama-museum-pusat-abri
Berita Acara Pemeriksaan Diorama Museum Pusat ABRI, 1975]’’’

*The Minutes of Inspection of the Diorama Making Work for the ABRI
Central Museum, letter number BA/1307/PUSJARAH/IX/1975, records the
results of the official verification conducted on 30th September 1975,
on the completion of 29 dioramas for the ABRI Central Museum
Satriamandala by artist Edhi Sunarso. The inspection team consisting of
Colonel Inf. Soepardjijo, Drs. Sukardi SHH, and Sri Suko stated that all
work had been completed correctly in accordance with the provisions of
the agreement letter dated 3rd January 1975. Based on the inspection
results, the contractor was entitled to receive the fifth installment
payment of 15% of the contract value (Rp.7,800,000,-), with the
obligation to maintain and improve for three months until 22nd December
1975. This document was signed by Colonel Inf. Soepardijo, Drs. Sukardi
SHH, and Sri Suko in Jakarta on 2nd October 1975.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/19751002-berita-acara-penyerahan-pertama-diorama-museum-pusat-abri
Berita Acara Penyerahan Pertama Diorama Museum Pusat ABRI, 1975]’’’

*The Minutes of First Handover of ABRI Central Museum Dioramas with
letter number. BA/308/PUSJARAH/X/1975 issued on 2nd October 1975
regulates the first handover of the results of the diorama filling work
of the ABRI Satriamandala Central Museum. In this document, the 2nd
Party (Edhi Sunarso) officially handed over 29 diorama units to the 1st
Party (ABRI History Center) in accordance with the terms of the contract
dated 3rd January 1975. This handover was declared in good condition by
Colonel Inf. Soepardijo with the clause that the responsibility for
improvement and maintenance remains with the 2nd Party during the
three-month warranty period until 22nd December 1975. This
administrative validation became the basis for the payment of the fifth
installment of 15% of the total contract value (Rp.7,800,000,-). This
document was signed by Edhi Sunarso, as the 2nd Party
(Contractor/Executor) and Colonel Inf. Soepardijo as the 1st Party
(Deputy Head of the ABRI History Center), and stamped

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/19751002-kwitansi-diorama-museum-abri
Kwitansi Diorama Museum ABRI, 1975]’’’

*This document is proof of an official financial transaction for the
fifth installment of the diorama project for the ABRI Satriamandala
Museum. In the payment receipt, Marine Major (A) Drs. A. Kusaeri, as
Treasurer of the Wisma Yaso Project, transferred Rp7,800,000 (seven
million eight hundred thousand rupiah) to artist Edhi Sunarso, the
contractor. This document was signed by Marine Major (A) Drs. A. Kusaeri
and Edhi Sunarso on October 2, 1975.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/19751200-berita-acara-penyerahan-kedua-diorama-museum-pusat-abri
Berita Acara Penyerahan Kedua Diorama Museum Pusat ABRI, 1975]’’’

*Minutes of the Second Handover of the Filling of the ABRI Central
Museum Diorama signed by Drs. Nugroho Notosusanto, with the rank of
Brigadier General of the Indonesian National Army, who serves as the
Head of the ABRI History Center as the Head of the ABRI Museum Project,
hereinafter referred to as the First Party, and Edhi Sunarso as the
contractor of the ABRI Museum diorama, hereinafter referred to as the
Second Party. In the minutes it is explained that the second party has
been able to be paid the sixth (final) wholesale price of 5% of the
total wholesale price or Rp.2,600,000 (two million six hundred thousand
rupiah). The minutes were made in Jakarta, and signed by Drs. Nugroho
Notosusanto and Edhi Sunarso in December 1975

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen— ;
’’‘[https://archive.org/details/19760624-kwitansi-sewa-bus Kwitansi Sewa
Bus, 1976]’’’

*Proof of receipt of money by Johnny from ASRI (Indonesian Fine Arts
Academy) Yogyakarta for payment of bus rental for 5 days from 24th June
1976 to 28th June 1976 to Jakarta, amounting to Rp. 200,000 (two hundred
thousand rupiah). The proof of receipt of money was made in Yogyakarta
on 24th June 1976, affixed with a stamp and signed by Johnny.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

===EKA===

===Eka Ekstrem Kanan Satya Mandala_(dari meja)===

===Laporan Diorama Museum ABRI===

===MAP BIRU_Museum Satria Mandala===

===Map Hijau EKA #2===

===MAP HIJAU_Angkatan Udara RI===

===Pembuatan Diorama “Eka-Ekstrimkanan” Satria Mandala Jakarta Tahun
1976===

===Potret Jendral-Jendral===

===Proses revisi=== ;
’’‘[https://archive.org/details/19750522-pakaian-dinas-upacara-abri
Pakaian Dinas Upacara ABRI]’’’

*This document serves as an official guideline or regulation for the use
of uniforms (attributes) of the Indonesian Armed Forces Ceremonial
Service Uniform I (PDU-I) which displays illustrations of official
ceremonial uniforms for the four branches, namely the Indonesian Army
(AD), the Indonesian Navy (AL), the Indonesian Air Force (AU), and the
Indonesian National Police (POLRI), then the Indonesian Armed Forces
Ceremonial Service Uniform II (PDU-II) which displays illustrations of
other versions of the ceremonial uniforms used in the military and
police environment of the Republic of Indonesia during that period.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

;
’’‘[https://archive.org/details/19780731-surat-perintah-kerja-museum-abri-satria-manda
Surat Perintah Kerja_Museum ABRI Satria Mandala]’’’

*Work Order Letter with letter number SPK/105/PUSJARAH/III/78 issued by
the Department of Defense and Security in Jakarta on 31st July 1978 to
Edhi Sunarso, to carry out the work of making ABRI uniform mannequins,
to be installed at the ABRI Satriamandala Museum. The letter also
explains the number of mannequins complete with their bases, the uniform
period, the wholesale price, and the deadline for the work. This letter
was signed by Brigadier General TNI Drs. Nugroho Notosusanto, as Head of
the ABRI History Center, and stamped

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

===[https://archive.org/details/ris-ser-tni-al Riset seragam TNI AL]===

*Photo documentation of Indonesian uniforms from the era of the Maritime
Homeland Defense Forces (PETA Laut, 1946) to standardization in 1975.
The scope includes various categories of service clothing (Daily,
Ceremonial, and Servant) as well as special uniforms for the Navy
Women’s Corps and Military Police. This information includes technical
details of materials (drill, gabardine, tetoron), colors (white, gray,
Navy green), and specifications for the front and back of the clothing
pieces stored at the Indonesian Navy National Armed Forces Museum,
Morokrembangan, Surabaya. contains 34 photos (only 26 found, ed. Hyphen
—)

===[https://archive.org/details/sejarah-singkat-hakekat-museum-sejarah-dan-perpustakaan
Sejarah Singkat, Hakekat Museum, Sejarah, dan Perpustakaan, 1978]===

*This book details the history of the founding of the Indonesian Air
Force Central Museum “Dirgantara Mandala”, which began with the idea of
the AURI leadership in 1960 to immortalize the historical events of the
air force, until its inauguration in Jakarta in 1969 and its relocation
to Yogyakarta in 1978 due to the historical value of the city as the
birthplace of the Indonesian Air Force.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

Sketches, stitches, and negotiations: Data catalogue

2026-03-02T08:53:49Z

Wikihyphen:

<div style="float:right; margin-left:1.5em;">__TOC__</div>

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==Museum Sejarah Nasional (National History Museum)==
Located in the basement of Monumen Nasional (National Monument), Jakarta, popularly known as Monas. Colloquially, the museum is dubbed as "Museum Monas".

===Dokumen dan Surat===
====[https://archive.org/details/19651228-surat-idzin-djalan-menemui-pjm-soekarno Surat Idzin Djalan - Menemui PJM Soekarno]====
*Travel Permit with letter number 023/Djl./I.J./12/65 issued by the Yogyakarta Palace Household for Edhi Sunarso, A.S.R.I. (Indonesian Academy of Fine Arts) Lecturer in Yogjakarta, with address at A.S.R.I. Gampingan Yogyakarta, to meet with His Majesty the President in Jakarta, by train, on 29th December 1965 until it is completed, with one person accompanying him. The Travel Permit was issued in Yogyakarta, on 28th December 1965, at 12.00 West Indonesian Time, signed by Alip Parintono, as Supervisor of the Yogyakarta Palace Household, and stamped.

====[https://archive.org/details/19660108-surat-keterangan-monas-auri-musi Surat Keterangan Monas, AURI, Musi]====
*Statement letter with letter number 7/Ktr./U.P./66.-, which explains that Edhi Sunarso, with a job as a Lecturer at the Indonesian Academy of Fine Arts R.I. (Republic of Indonesia)/Head of the Keluarga Arca Sculptor Team in Yogjakarta, received an assignment from His Majesty the President, as the executor/coordinator of the A.U.R.I. (Indonesian Air Force) Monument Statue project, Musi Bridge Decoration Statue, Hotel Decoration, National Monument, and others. The letter was issued in Jakarta, on 8th January, 1966, and signed by Djamin, as Presidential Secretary-Head of the Presidential Cabinet, and stamped.

====[https://archive.org/details/19660114-susunan-personalia-patung-banteng-monas Susunan Personalia Patung Banteng Monas]====
*The composition of the personnel of the Jakarta National Museum Bull Statue Implementation Team, consisting of Soedarsono as the National Monument Executive Director, Edhi Sunarso and I. Gardono as the Personnel in Charge of the Implementation, Drs. Soepardjo and A. Singgih as the Implementation Staff, the Keluarga Arca Sculptor Team as the Planning Team, and Sarpomo, Soewardi, Boediani, Mon Moedjiman, Herjana Iskandar, Askabul, and Harri Djauharuddin as the Core Team of Sculptors. The composition of the personnel was signed by Edhi Sunarso as the sculptor on 14th January 1966 in Jakarta.

====[https://archive.org/details/19660707-surat-keterangan-monas Surat Keterangan MONAS]====
*This certificate was issued by the National Monument Implementation Command in Jakarta on July 7, 1966, providing official identification and details of the work of Edhi Sunarso, aged 33, who was assigned as an artist in the National Monument (Monas) Project at Merdeka Square, Jakarta, and lived in the National Monument Project Housing in Medan Merdeka. This document serves as an official assignment letter authorizing the holder to carry out daily duties in the National Monument Project area and serves as official identification when dealing with military or police authorities, who are requested to contact the Security Division of the National Monument Implementation Command. The certificate is valid for a period of one month from the date of issuance and is signed by Kunto Sudarsono, Lieutenant Colonel of the Military Police Corps (CPM), service number 12687, in his capacity as Deputy Commander and Special Assistant for Security Affairs of the National Monument Implementation Command.

====[https://archive.org/details/surat-dinas-project-monas-1 Surat Dinas Project Monas_1]====
*A statement letter issued by the State Secretariat of the Presidential Cabinet stating that Edhi Sunarso, a sculptor/lecturer at the Indonesian Fine Arts Academy (A.S.R.I.) in Yogyakarta, was assigned by His Majesty the President to carry out the following projects: 1. The Air Force Monument Statue. 2. Decoration of the Musi River Bridge Project. 3. Coordinator of Special Projects Ordered by the His Majesty the President. The letter was drawn up in Jakarta on 29th January 1965, signed by Djamin, the Presidential Secretary/Head of the Presidential Cabinet, and stamped.

====[https://archive.org/details/surat-dinas-project-monas-2 Surat Dinas Project Monas_2]====
*Official duty order issued by the Indonesian Fine Arts Academy of Yogyakarta for Edy Sunarso (another name from Edhi Sunarso), who serving as a Lecturer at the Indonesian Fine Arts Academy, with a basic salary of Rp.1,764, located in Yogyakarta, with the destination being Jakarta, for official purposes to accompany the Director of A.S.R.I. (Indonesian Fine Arts Academy) to the National Monument Project, which departed on 11th February 1966, until it is completed. The official duty order was made in Yogyakarta on 10th February 1966 signed by Alibasjah as Director of the Indonesian Fine Arts Academy and Edhi Sunarso as the letter holder.

===Foto===
====Foto diorama MONAS oleh Ary "Jimged" Sendy====
=====[https://archive.org/details/01-masyarakat-indonesia-purba-3000-2000-sm-img-9473 MASYARAKAT INDONESIA PURBA, 3000-2000 SM]=====
*DIORAMA 1: MASYARAKAT INDONESIA PURBA (3.000 - 2.000 SM)
::Nenek moyang Bangsa Indonesia (Paleo-Mongoloid) pada Zaman Megalithikum sudah hidup dalam masyarakat teratur. Mereka sudah mempunyai tempat tinggal tetap, sebagian sudah jadi pelaut dan sebagian lagi hidup sebagai petani. Selain pakaian dari kulit kayu sudah dikenal juga pakaian dari tenunan. Hasil budaya Megalithikum yang terpenting diantaranya adalah alat-alat serpih (flakes, pebbles dan bones), menhir (tiang batu), dolmen (meja batu), sarcophagus, kubur batu (peti mayat batu), punden berundak-undak (bangunan pemujaan) dan arca. Benda-benda peninggalan budaya Megalithikum it tersebar di seluruh Indonesia, tetapi yang terpenting terdapat di Pasemah (daerah pegunungan yang terletak antara wilayah Palembang dan Bengkulu) dan Besuki (Pulau Jawa). Diorama in menggambarkan kehidupan nenek moyang bangsa Indonesia.

*DIORAMA 1: THE PREHISTORIC INDONESIAN SOCIETY (3.000 - 2.000 BC)
::The Indonesian forefathers (Paleo-Mongoloid) in the Neolithic age had already a sort of ordered society. They had permanent homes making a living as fisher-men or farmers. They knew clothing either woven besides clothing made from the bark of trees. The most important instruments of the Neolithi-cum culture are flakes, pebbles and bones, stone coffin, little houses of worship and even statues. These remains are scattered over the whole of Indonesia, but the most important things are found at the Pasemah plain (between Palembang and Bengkulu) and at Besuki (East Java). The diorama shows the life-style of Indonesian prehistoric society.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

=====[https://archive.org/details/02-bandar-sriwijaya-abad-viii-xiii-img-9469https://archive.org/details/02-bandar-sriwijaya-abad-viii-xiii-img-9469, BANDAR SRIWIJAYA, ABAD VIII-XIII]=====
*DIORAMA 2: BANDAR SRIWIJAYA (ABAD KE 8 - 13)
::Bandar Sriwijaya terletak di persimpangan tiga jalur pelayaran antara Indonesia, Cina dan India. Posisi ini sangat menguntungkan bagi Kerajaan Sriwijaya, sehingga dengan sendirinya memegang peranan penting pula dalam perjalanan perdagangan selama berabad-abad. Kapal-kapal dari negeri Cina yang membawa pendeta-pendeta Budha banyak berlabuh dan sering menetap untuk waktu yang lama. Bandar tersebut akhirnya menjadi pusat perdagangan dan budaya pada waktu itu. Letak Bandar Sriwijaya berada di muara sungai di daerah pertemuan sungai Kampar Kanan dan Kampar Kiri kira-kira 2.5 derajat sebelah Utara Palembang. Diorama ini menggambarkan kegiatan perdagangan di Bandar Sriwijaya.

*DIORAMA 2: THE PORT OF SRIWIJAYA (8TH - 13TH CENTURY)
::The Port of Sriwijaya was very favorably located for the Kingdom as it used to be the crossroad of the prominent trade routes among Indonesia - China - India and brought many windfalls to the Sriwijaya dynasty. Automatically it had a prominent part and influenced the international trade. Strange and foreign vessels fre-quented the Port, moreover, many Buddhist priests from China stopped over, so that finally it became the center of trade and culture. The Port of Sriwijaya is located in mouth of the river Kampar Kanan and Kampar Kiri, about 2,5 degree of the northern of Palembang, South Sumatra. The diorama shows the atmosphere of trading ac-tivities among the merchants.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

=====[https://archive.org/details/03-candi-borobudur-824-img-9480 CANDI BOROBUDUR (824)]=====
*DIORAMA 3: CANDI BOROBUDUR (824)
::Candi Borobudur didirikan pada sekitar tahun 824 M oleh Raja Samaratungga dari keluarga Sailendra. Bangunan candi berbentuk pyramid dan mencerminkan alam semesta. Bangunan ini dibuat dari batu sumbangan para menganut agama Budha dan dibangun dengan cara gotong-royong. Dalam pembangunan Candi Borobudur, hampir dua ratus ribu kaki kubik batu dipergunakan, lebih dari empat puluh ribu kaki kubik masuk dalam tingkat-tingkat terbuat dari batu. Pada candi ini terdapat 505 buah patung Budha dan 1.555 Stupa ukuran besar dan kecil yang melengkapi monumen Budha yang megah ini. Dari pendirian bangunan ini terbukti bahwa kemampuan bangsa Indonesia di bidang teknik dan organisasi sudah baik. Diorama ini menggambarkan tahap akhir pembangunan Candi Borobudur.

*DIORAMA 3: THE BOROBUDUR TEMPLE (824)
::Candi Borobudur was founded by King Samaratungga of the Cailendra dynasty in the year 824 and is a reflection of the universe. It was built by means of contributions from the Buddhist population and mu-tual cooperation of the people. The construction of the Candi has indicated that time the nation had already achieved a high technical knowledge and organization. Candi Borobudur is regarded to be one of the wonders of the world. On the temple founded 505 Buddhist statues and 1.555 large and little "Stupa" which completed the great Buddhist monument. On the temple construction was proved the ability of the Indonesian people in technical and organization. The diorama shows the last stage of the construction

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

=====[https://archive.org/details/04-bendungan-waringin-sapta-abad-xi-img-9482 BENDUNGAN WARINGIN SAPTA ABAD XI]=====
*DIORAMA 4: BENDUNGAN WARINGIN SAPTA (ABAD KE 11)
::Setelah Raja Airlangga memperoleh wilayah yang menjadi haknya, kemudian ia berusaha memakmurkan rakyatnya. Sungai Brantas yang sering meluap dan selalu menimbulkan kerusakan-kerusakan pada tanah-tanah persawahan dibendung dengan mendirikan tanggul di Waringin Sapta. Untuk menjaga supaya tanggul tidak rusak, Raja Airlangga menunjuk rakjat setempat untuk memeliharanya, dan sebagai imbalan daerah tersebut dibebaskan dari kewajibannya membayar pajak. Akibatnya, rakyat makmur, pelayaran di Sungai Brantas bertambah ramai dan Pelabuhan Hujung Galuh menjadi pusat perdagangan antar pulau. Diorama ini menggambarkan ketika sungai Brantas sedang dibendung dekat Kelagen dan diawasi oleh Raja Airlangga.

*DIORAMA 4: WARINGIN SAPTA DAM (11TH CENTURY)
::After King Airlangga obtained his right domain, he endeavored to promote the prosperity and welfare of his people. The Brantas River which frequently over-flowed its bank caused much damage to large areas of the people's rice fields, was dammed up by rearing dike in order to control the flood and provide irrigation. To guard the dike against harm and damage, he ordered the local people to maintain it, and as a compensation he decreed them free from taxes and as a result the people prospered, the trip increased in Brantas river, and Hujung Galuh became the center of inter island trading. The diorama shows the Brantas River being dammed up near the village of Kelagen and King Airlangga supervising.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

=====[https://archive.org/details/05-candi-jawi-perpaduan-sivaisme-dan-buddhisme-1292-img-9488 CANDI JAWI PERPADUAN SIVAISME DAN BUDDHISME, 1292]=====
*DIORAMA 5: CANDI JAWI PERPADUAN SIVAISME-BUDHISME (1292)
::Candi Jawi terletak di Gunung Welirang, sebelah barat daya Pandakan di tepi jalan ke Prigen dan didirikan untuk makam Raja Kertanegara, raja terakhir kerajaan Singasari yang meninggal pada tahun 1292. Dibagian atas candi terdapat arca Budha Aksobhya sedangkan di bagian bawah caridi terdapat arca Siva-Mahadewa. Dari bangunan ini dapat diketahui bahwa pada jaman Singasari dan Majapahit terjadi perpaduan Sivaisme-Budhisme. Diorama ini menggambarkan ketika pemimpin agama Budha serta pengikut-pengikutnya sedang mengadakan upacara keagamaan di Candi Jawi

*DIORAMA 5: JAWI TEMPLE, A BLEND OF SIVAISM-BUDDHISM (1292)
::Candi Jawi is located at Gunung Welirang. South-west of Pandaan along side the road to Prigen, East Java and founded as the grave of King Kartanegara, the last King of the Singasari Dynasty, who died in 1292. It features Buddha statue at its upper part and statue of Siva-Mahadewa at its lower part. From the Candi can be deducted that at time a merging of Sivaism and Buddhism occurred in the era of Singosari and Majapahit dynasties. The diorama shows a Buddhist priest and monks conducting a religious ceremony at Candi Jawi.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

=====[https://archive.org/details/06-sumpah-palapa-1331-img-9490 SUMPAH PALAPA 1331]=====
*DIORAMA 6: SUMPAH PALAPA (1331)
::Dalam rangka membela integrasi Negara Majapahit, Gajah Mada seorang Patih dari Kerajaan Majapahit yang terkenal, bersumpah tidak akan makan Palapa sebelum Nusantara dapat dipersatukan di bawah mahkota Majapahit. Peristiwa ini dikenal dengan nama Sumpah Palapa. Sumpah itu dilakukan di Panangkilan, suatu tempat yang terletak di sebelah selatan alun-alun Majapahit. Pada saat itu banyak rekan-rekan Gajah Mada yang menertawakan dan mencemoohkannya. Namun Gajah Mada tejap teguh pada pendiriannya dan akhirnya berhasil menepati janji itu. Diorama ini menggambarkan Patih Gajah Mada dengan menggenggam sebilah keris mengucapkan Sumpah Palapa di hadapan prajurit-prajurit kerajaan Majapahit.

*DIORAMA 6: THE PLEDGE OF PALAPA (1331)
::In his effort to maintain the integration of Nusantara, Gajah Mada, the famous Vice-regent of the Majapahit Kingdom, pledged not to eat Palapa (rice with side dishes) before Nusantara (the Indonesian Archipelago) has been united under the reign of Majapahit. The pledge took place at Penangkilan, a certain place south of the Alun-alun of Majapahit. Many of his contemporaries laughed and ridiculed him. Gajah Mada. however, held firmly and eventually fulfilled his promise. The diorama shows Gajah Mada being pledged in front of the Gajah Mada troops.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

=====[https://archive.org/details/07-armada-perang-majapahit-abad-ke-14-img-9500 ARMADA PERANG MAJAPAHIT ABAD KE-14]=====
*DIORAMA 7: ARMADA PERANG MAJAPAHIT (ABAD KE 14)

::Setelah Gajah Mada meninggal, timbul kesulitan dalam pemerintahan Raja Hayam Wuruk. Pemerintah yang baru berusaha mengekalkan keutuhan negara. Maka tindakan-tindakan ditujukan kepada kemakmuran rakyat dan keamanan daerah-daerah mendapat prioritas utama. Upaya tersebut dilakukan dengan memperkuat armada Majapahit dengan tujuan untuk menjaga keutuhan Nusantara dan mengatasi tindakan pengacauan yang dilakukan oleh Cina. Diorama ini menggambarkan armada Majapahit sedang menghadang kapal-kapal Cina di perairan Nusantara.

*DIORAMA 7: THE FLEET OF MAJAPAHIT (14TH CENTURY)
::After the death of the prominent figure Gajah Mada. disturbances arose under the reign of King Hayam Wuruk. The new sovereign strove to enforce the unity of Majapahit Kingdom. So, efforts for the people's pros-perity and the defence of all territory were given high priority. This was proved by strengthening the Majapahit's fleet with the aim to safeguard Nusantara's unity and resist attempts to create disorders by Chinese fleet, among other things. The diorama shows the Majapahit's fleet succeeds in driving away the Chinese fleet.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

=====[https://archive.org/details/08-utusan-china-ke-majapahit-1405-img-9503 UTUSAN CHINA KE MAJAPAHIT 1405]=====
*DIORAMA 8: UTUSAN CINA KE MAJAPАНІТ (1405)
::Semasa pemerintahan raja Wikrama-wardhana, hubungan persahabatan dengan negara-negara tetangga berlangsung baik. Hal ini terbukti dengan kedatangan Cheng Ho, utusan kerajaan Kaisar Cina ke Majapahit sebagai pengakuan kedaulatan Kerajaan oleh Cina. Diorama ini menggambarkan Cheng Ho sedang membawa hadiah dari Kaisar Cina sedang menghadap raja Wikramawardhana.

*DIORAMA 8: THE CHINESE ENVOY TO MAJAPAHIT (1405)
::In the reign of king Wikramawardhana friendly relations with neighboring states and kingdoms were main-tained in good order. This was confirmed with the com-ing of Cheng Ho, the Emperor of China delegation visiting Majapahit as recognition of the Kingdom's sover-eignty by China. The diorama shows Cheng Ho with presents from the Emperor of China makes a formal appearance before King Wikramawardhana.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

=====[https://archive.org/details/09-peranan-pesantren-dalam-penyatuan-bangsa-abad-ke-14-img-9507 PERANAN PESANTREN DALAM PENYATUAN BANGSA, ABAD KE-14]=====
*DIORAMA 9: PESANTREN SEBAGAI PEMERSATU BANGSA INDONESIA (ABAD KE 14)
::Salah satu cara untuk menyebarkan Agama Islam di Indonesia adalah melalui pendidikan di pesantren atau pondok yang diselenggarakan oleh guru-guru agama, kyai-kyai atau ulama. Pesantren merupakan lembaga penting dalam penyebaran agama Islam. Di tempat ini dilakukan pembinaan calon-calon guru agama, kyai-kyai atau ulama. Setelah keluar dari pesantren itu mereka akan kembali ke daerah asal masing-masing. Pesantren-pesantren beserta kyai-kyai mempunyai peranan yang penting dalam proses pengembangan pendidikan masyarakat. Semakin terkenal kyai yang mengajar itu semakin terkenal pesantrennya dan pengaruhnya akan mencapai radius yang lebih jauh lagi. Dengan cara ini integrasi nasional berdasarkan Islam meliputi wilayah yang makin lama makin luas. Diorama ini menggambarkan suasana pengajaran di Pondok Pesantren yang dipimpin oleh Sunan Giri di Jawa Timur.

*DIORAMA 9: MOSLEM BOARDING SCHOOLS IN UNITING THE NATION (14TH CENTURY)
::One of the methods of spreading the Islam in Indonesia is education conducted in the Pesantren (Moslem Boarding Schools) by religious teachers, scholars or kiaies. Pesantrens are significant institution in the spreading of Islam. After graduation, the students return to their homestead or villages. At their homestead they become prominent religious figures and establish their own Pesantrens. The Pesantren and Muslim religious leaders rep-resent an important element in the propagation of Is-lam and the spread of education. The more well-known the kiaies the more well-known his Pesantren and his influence will be widespread. This way the longer the wider the area of integration based on Islam. The diorama shows the atmosphere of Islamic teaching at a pesantren led by Sunan Giri in East Java

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

=====[https://archive.org/details/10-pertempuran-pembentukan-jayakarta-22-juni-1527-img-9511 PERTEMPURAN PEMBENTUKAN JAYAKARTA, 22 JUNI 1527]=====
*DIORAMA 10: PERTEMPURAN SUNDA KELAPA (1527)
::Dalam usaha menyerang Malaka yang diduduki Portugis, Sultan Trenggono dari Demak tidak melakukannya secara langsung melainkan dengan jalan mengisolasi daerahnya dari pengaruh Portugis, terutama daerah-daerah yang pendukungnya belum masuk Islam. Setelah diketahui bahwa Portugis berhubungan dengan Raja Samian yang saat itu menguasai Pelabuhan Sunda Kelapa, Sultan Trenggono segera memerintahkan menantunya, yakni Pangeran Fatahillah, untuk segera menduduki Banten, Sunda Kelapa dan Cirebon. Pada tahun 1522 Penguasa daerah Sunda Kelapa. Raja Samian, mengadakan perjanjian dengan wakil Portugis. Henrique Leme, yang memberikan izin mendirikan benteng bagi Portugis. Ekspedisi Demak yang dipimpin Fatahillah pada tahun 1527 berhasil menduduki Banten, Sunda Kelapa dan Cirebon. Untuk menagih janji Raja Samian, pada tahun 1527 Portugis mengirim ekspedisi terdiri dari 6 buah kapal yang dipimpin oleh Francisco de Sa. Ternyata Portugis tidak lagi berhadapan dengan kerajaan Hindu melainkan dengan kerajaan Islam. Setelah tuntutan mereka ditolak oleh Fatahillah mereka mencoba mendaratkan tentaranya. Usaha tersebut dilawan oleh Fatahillah sehingga terjadilah pertempuran yang berlangsung di Teluk Sunda Kelapa. Armada Portugis akhirnya berhasil dipukul mundur. Peristiwa ini diabadikan dengan mengganti nama Sunda Kelapa menjadi Jayakarta. Diorama ini menggambarkan pertempuran yang berlangsung di Teluk Sunda Kelapa pada tanggal 22 Juni 1527.

*DIORAMA 10: THE BATTLE OF SUNDA KELAPA (1527)
::In the effort to attack Malacca which was ruled by the Portuguese, Sultan Trenggono of Demak did not carry it out directly but he isolated his area from the influence of the Portuguese, especially the area whose inhabitants were not converted yet to Islam. When he realized that the Portuguese was in contact with King Samian, the authority of Sunda Kelapa, Sultan Trenggono immediately ordered his son-in-law to occupy Banten. Sunda Kelapa and Cirebon. In 1522, King Samian signed an agreement with the Portuguese, represented by Henrique Leme which gave the Portuguese the right to build a fortress for his trade interest in Sunda Kelapa. Early in 1522 Demak expedition led by Fatahillah succeeded in occupying Banten, Sunda Kelapa and Cirebon. To press his claim further on King Samian, on 1527, the Portuguese sent an expedition of six ships led by Francisco de Sa. But evidently they did not oppose, a Hindu kingdom anymore, but an Islamic monarch. When their demand were rejected by Fatahillah, they tried to embark with force and so began the siege of the Bay of Sunda Kelapa. The Portuguese was then successfully by Fatahillah's troops. This event is immortalized by changing the name of Sunda Kelapa to Jayakarta (Glorious City). The diorama shows the battle of Sunda Kelapa on A June 22, 1527 when the Prince Fatahillah and his troops defeated the Portuguese fleet off Sunda Kelapa Bay

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.
=====[https://archive.org/details/11-armada-perang-bugis-abad-ke-15-img-9515 ARMADA PERANG BUGIS, ABAD KE-15]=====
*DIORAMA 11: ARMADA DAGANG BUGIS (ABAD KE 15)
::Pelayaran orang Makasar dan Bugis dengan pinisi mulai abad ke 15 atau sebelumnya sudah meliputi hampir seluruh perairan Nusantara. Cerita tentang pengembaraan Sawerigading bisa memberi petunjuk tentang luasnya daerah-daerah yang dikunjungi. Gambaran lebih jelas baru diperoleh dari catatan pada masa sesudahnya. Misalnya dalam tulisan tentang hukum laut Amanna Gappa dan juga dari peta laut Bugis. Dari bukti-bukti ini kita melihat bahwa pelayaran mereka sampai ke Aceh. Kedah, Kamboja. ke Timur sampai ke Kei dan Teluk Ternate dan ke Utara sampai ke pulau-pulau Filipina (Sulu) dan Kalimantan Utara (Berau). Selanjutnya, menurut kisah Daeng Saro dari kampung Bontoranu, pelayaran penangkap-penangkap teripang dari Sulawesi Selatan sampai ke Marege, yaitu nama penduduk asli Australia dalam bahasa Bugis dan Makasar mengambil rute Ujung Pandang, Selayar, Wetar, Kisar. Leti dan Moa, selajutnya ke arah Tenggara ke pelabuhan Darwin. Diorama ini menggambarkan pelayaran armada dagang Bugis.

*DIORAMA 11: THE BUGINESE MERCANTILE FLEET (15TH CENTURY)
::The voyages of the Makassarese and Buginese using pinisi (Bugis traditional cargo boat) in the 15th cen-tury and before reached almost all the outskirts of the Indonesian archipelago and beyond. The story of Sawerigading adventures showed how wide was their visitation area. The figure became cleaner when the new evidence was obtained from the sea law Amanna Gappa and the Buginese nautical chart. From these evidences we could see that their voy-ages reached Aceh, Kedah, Cambodia, and east to Kei islands and Ternate Bay, and north to the Philippines archipelago (Sulu) and northern Kalimantan (Borneo). Furthermore, according to Daeng Saro story of the Bontoranu village, the voyages of fishermen from South Sulawesi to Marega took the route Ujung Pandang, Selayar, Wetar, Kisar, Leti and Moa, and then to south-east heading for Darwin sea port. The diorama shows a number of the Buginese mercantile fleet being ready to sail away.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.
=====[https://archive.org/details/12-perang-makassar-1654-1668-img-9517 PERANG MAKASSAR, 1654-1668]=====
*DIORAMA 12: PERANG MAKASAR (1654 - 1668)
::Saingan V.O.C. dalam perdagangan abad ke 17 adalah Makasar. Sultan Makasar, Hasanuddin, membuka pelabuhannya untuk negara asing yang mau berhubungan dagang dengan Makasar. Melihat perkembangan Makasar dan sikap Sultan yang menjalankan politik bebas dalam perdagangan itu. Kompeni kemudian menggunakan politik pecah belah dan kuasai dengan menunggangi Aru Palaka. Sultan Hasanuddin terpaksa menerima perjanjian Bonggaya yang ditandatangani tanggal 18 November 1667. Dalam perjanjian ini V.O.C. diberi hak untuk membuat benteng di Makasar yang akhirnya mengurangi ruang gerat bagi pelaut Makasar. Diorama ini mnggambarkan Sultan Hasanuddin memimpin pertempuran mempertahankan benteng Sombaopu dari serbuan Belanda pada tnggal 8-9 Agustus 1668.

*DIORAMA 12: MAKASSAR WAR (1654-1668)
::The V.O.C. trading competitor on 17th century was Makassar. Sultan Hasanuddin of Makassar adopted a policy of free trade with all nations, he opened his Port for foreign traders who desired to trade with Makassar. Observing the growth and development of Sultan's policy, the V.O.C. (the Dutch East Indies Com-pany that held a monopoly in Indonesia 1602-1799) decided to use its 'the divide and rule' policy by using Aru Palaka. Sultan Hasanuddin was forced to accept the Bonggaya treaty which was signed on 18 Novem-ber 1667. The V.O.C. was given the right to build a fortress in Makassar and afterwards was able to decrease the space of activities of the Makassar fleet. The diorama shows Sultan Hasanuddin personally leads the fight defending Sombaopu fortress against the Dutch attack on 8-9 August 1668.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

=====[https://archive.org/details/13-perlawanan-pattimura-1817-img-9519 PERLAWANAN PATTIMURA, 1817]=====
*DIORAMA 13: PERLAWANAN PATTIMURA (1817)
::Berdasarkan Konvensi London tahun 1814, Belanda berkuasa kembali di Indonesia serta mengulangi menjalankan monopolinya di mana segala sesuatu yang bersifat eksploitasi dilaksanakan kembali. Rakyat Maluku dipimpin oleh Pattimura dan dibantu oleh Christina Martha Tiahahu menolak politik monopoli tersebut kemudian memberontak terhadap Belanda. Diorama ini menggambarkan serbuan rakyat Maluku di bawah pimpinan Pattimura pada tanggal 15 Mei 1817 berhasil merebut benteng Duurstede di Pulau Saparua di mana hampir seluruh tentara Belanda di dalam benteng ini terbunuh.

*DIORAMA 13: PATTIMURA UPRISING (1817)
::Based on the London Convention in 1814, the Dutch Government reclaimed their sovereignty in Indonesia and re-established their policy of monopoly in trade by reinforcing their method o f exploitation. The people of the Mollucas led by Pattimura and assisted by Christina Martha Tiahahu rejected the monopoly policy and then revolted against the Dutch. The diorama shows Pattimura and his troops succeeding i n capturing the Dutch fortress Duurstede. The uprising broke out on May 15th, 1817, on Saparua island whereby most of the Dutch soldiers were killed in the fortress.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.
=====[https://archive.org/details/14-perang-diponegoro-1825-1830-img-9521 PERANG DIPONEGORO, 1825-1830]=====
*DIORAMA 14: PERANG DIPONEGORO (1825 - 1830)
::Perang yang dicetuskan pada tahun 1825 oleh Pangeran Diponegoro merupakan suatu perlawanan rakyat semesta. Perang selama 5 tahun itu (1825-1830) berlangsung secara terus menerus sehingga Belanda menderita kerugian sebanyak 15.000 tentara dan biaya sekitar 20 juta gulden. Diponegoro beserta para pembantunya seperti Mangkubumi. Kyai Modjo, Sentot Prawirodiredjo dan pahlawan-pahlawan lainnya hingga tahun 1828 menguasai medan perang. Untuk mengakhiri perang. jerideral de Kock menggunakan siasat benteng stelsel dengan tujuan mempersempit daerah operasi Diponegoro dan mendesaknya ke daerah selatan. namun tidak berhasil. Dengan perangkap berkedok perundingan, akhirnya Diponegoro pada tanggal 28 Maret 1830 ditangkap di Magelang. Diponegoro meninggal dunia dalam benteng Belanda Ujung Pandang di Makasar pada tanggal 8 Januari 1855. Diorama ini menggambarkan pertempuran di tepi sungai Bogowonto di mana Diponegoro berhasil mengalahkan pasukan Kavaleri Belanda.

*DIORAMA 14: THE DIPONEGORO WAR (1825-1830)
::The war ignited in 1825 by Prince Diponegoro constituted a total war involving the whole population. That five-year war in Central Java went on continuously caused the Dutch lost 15,000 soldiers and 20 million guilders. In 1825 Diponegoro and his assistants such as Mangkubumi, Kyai Mojo, Sentot Prawirodirjo and other heroes dominated the battle field. In his effort to win the war, General de Kock applied the benteng stelsel (Fortress System) with the aim to decrease Prince Diponegoro's operational areas and drive him south-ward, but without success. Pretending that they were willing to negotiate, the Dutch lured the Prince into cap-tivity on 28 March 1830 in Magelang. Prince Diponegoro died on 8 January 1855 in the Dutch fortress in Ujung Pandang. The diorama shows the battle near the Bogowonto River where Prince Diponegoro and his troops defeated the Dutch troops.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.
=====[https://archive.org/details/15-perang-imam-bonjol-1821-1837-img-9524 PERANG IMAM BONJOL, 1821-1837]=====

*DIORAMA 15: PERANG IMAM BONJOL (1821 - 1837)
::Perang yang berlangsung dari tahun 1821 - 1837 itu dapat dibagi dalam 3 tahap. Tahap pertama, perang antara kaum adat dengan kaum agama. Hal ini terjadi setelah kembalinya 3 orang ulama dari tanah suci. Mereka melihat keadaan kehidupan di tanah airnya jauh dari pada kesesuaian dengan ajaran-ajaran Islam. Oleh karena itu, mereka bermaksud hendak mengadakan pembaruan-pembaruan, tetapi ditentang oleh kaum adat. Pemimpin kaum ulama yang menjadi terkenal dalam perang ini ialah Tuanku Imam Bonjol. Tahap kedua: Kaum adat dibantu Belanda melawan kaum ulama. Pertempuran-pertempuran yang terjadi antara tahun 1821 1825 di Sulit Air, Para Palam dan Sawah Tengah. Tahap ketiga: Setelah Perang Diponegoro berakhir, perlawanan terhadap Belanda dilakukan oleh kaum ulama bersama kaum adat. Barulah dengan kekuatan militer yang besar pada tahun 1837 Belanda berhasil merebut Bonjol, daerah pertahanan terakhir Tuanku Imam Bonjol. Diorama ini menggambarkan tatkala Tuanku Imam Bonjol memimpin perlawanan terhadap Belanda.

*DIORAMA 15: THE IMAM BONJOL WAR (1821 - 1837)
::The war which took place in 1821 - 1837 could be divided into three phases. The first phase: the war between the traditionalists against the religious group from Mecca. They were observing the backward way of life a far cry from the Islamic teachings. They tried to bring upon innovations which the traditionalists rejected. A leading prominent figure who became famous in this war was Tuanku Imam Bonjol. The second phase: After the Dutch government decided to take side with the traditionalists against the religious group. The battle broke out in Sulit Air, Para Palam and Sawah Tengah in 1821-1825. The third phase: After the Diponegoro war ended, both opponents came together and opened the resis-tance struggle against the Dutch. Eventually with large military force in 1837, the Dutch was able to seize Bonjol, the last resistance stronghold of Tuanku Imam Bonjol. The diorama shows Tuanku Imam Bonjol who per-sonally leads the fighting against the Dutch

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.
=====[https://archive.org/details/20-tanam-paksa-1830-1870-img-9548 PERANG BANJAR, 1859-1905]=====
*DIORAMA 16: PERANG BANJAR (1859-1905)
::Sudah sejak beberapa waktu Belanda memperoleh hak ikut campur tangan mengatur penggantian Sultan Banjar. Pada tahun 1824 timbul persoalan penggantian Sultan dimana Belanda memaksakan kehendaknya untuk menempatkan calon pilihannya. Hal ini ditentang oleh Sultan dan rakyatnya. Putra Mahkota yang ditunjuk oleh Sultan yaitu Prabu Anom ditawan oleh Belanda di Banjarmasin. Calon lainnya, Pangeran Hidayatullah, juga ditawan oleh Belanda dan dibawa ke Jawa. Inilah yang menyebabkan Pangeran Antasari dan rakyat Banjar mengangkat senjata melawan Belanda pada tahun 1859. Pada tanggal 9 -10 Mei 1859 Pangeran Antasari melakukan pengepungan dan penyerangan terhadap tambang batu bara Belanda di Pengaron. Diorama ini menggambarkan rakyat Banjar dipimpin oleh Pangeran Suropati menyerang kapal Belanda di Lontartur, sungai Kapuas.

*DIORAMA 16: THE BANJAR WAR (1859-1905)
::From some period of time, the Dutch government created a right to have a say in choosing the crown suc-cessor of the Sultan of Banjarmasin and eventually in 1824 arose the matter to replace the Crown Prince in which the Dutch forced their decision to place their nominee. This was opposed by the Sultan and his people. The Crown Prince of the Sultan's choice, Prabu Anom, was captured by the Dutch in Banjarmasin. An-other successor, Prince Hidayatullah, was also captured and exiled to Java. This caused Prince Antasari and his people opposed the Dutch intervention in the adminis-tration affairs of the Sultanate of Banjar in South of Kalimantan in 1859. On 9-10 May 1859 Prince Antasari and the Banjar people encircled and attacked the Dutch coal mine in Pengaron. The diorama shows the people of Banjar led by Prince Suropati attack the Dutch sailing vessel in Lontartur, Kapuas river.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.
=====[https://archive.org/details/17-perang-aceh-1873-1904-img-9532 PERANG ACEH, 1873-1904]=====

*DIORAMA 17: PERANG ACЕН (1873 - 1904)
::Pada tahun 1871 Belanda dan Inggris mengadakan perubahan Traktat London sebagai rangkaian dari Konvensi London tahun 1814. Pembaruan terakhir bernama Traktat Sumatra yang memberikan kepada Belanda kekuasaan atas Sumatra. Perjanjian ini membuka jalan kepada Belanda untuk menduduki Aceh. Perang Aceh pecah akibat konflik yang semakin meruncing ketika pada tahun 1873 Belanda menuntut agar Aceh menghentikan hubungannya dengan negara-negara lain ditolak. Belanda segera mengirimkan ekspedisi militer ke Aceh, tetapi merekadikalahkan, bahkan panglimanya JHR Kohler tewas dalam pertempuran tanggal 13-14 April 1973 di depan Masjid Agung Baiturrahim. Diorama ini menggambarkan pertempuran sengit di halaman Masjid Agung Baiturrahim ketika JHR Kohler menjadi korban penembak jitu Aceh.

*DIORAMA 17: THE ACEH WAR (1873 - 1904)
::In 1871 the Dutch and the British amended the London Treaty as an attachment to the London Con-vention 1814. The last renewal was the Sumatra Treaty which gave the Dutch sovereignty over Sumatra. This treaty opened the way for the Dutch to occupy Aceh. The Aceh war broke out as a result of mounting conflicts when in 1873 the Dutch demanded the de-crease of Aceh's relation with foreign countries but it was rejected by the Aceh authority. The Dutch immediately sent in a military expedi-tion to Aceh, but they were defeated, more over the army commander JHR Kohler was killed in a battle near the grand Mosque Baiturrahim. The diorama shows the fierce fighting on 13 April 1973 around the Baiturrahim grand Mosque when JHR Kohler was hit by Acehnese sniper.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.
=====[https://archive.org/details/18-perlawanan-sisimangaraja-1877-1907-img-9536 PERLAWANAN SISIMANGARAJA, 1877-1907]=====

*DIORAMA 18: PERLAWANAN SI SINGAMANGARAJA (1877 - 1907)
::Dengan dalih bahwa zending sering diganggu oleh pasukan Si Singamangaraja, Belanda mendapatkan kesempatan melakukan ekspedisi ke Tanah Batak, Tapanuli. Bentrokan pertama dengan Belanda terjadi pada tanggal 15 Februari 1878, setelah terlebih dahulu Si Singamangaraja memberi peringatan kepada pasukan Belanda supaya meninggalkan Tapanuli. Perlawanan terhadap kolonialis Belanda ternyata mendapat bantuan dari rakyat Aceh dan Minangkabau. Penyerangan besar-besaran terhadap markas Belanda dengan bantuan rakyat kedua daerah tersebut dilakukan pada tahun 1887. Perjuangan Si Singamangaraja berlangsung hingga awal abad ke dua puluh. Si Singamangaraja gugur dalam pertempuran di Pearaja Diri pada tanggal 17 Juni 1907. Diorama ini menggambarkan pertempuran di Tanggabatu dekat kota Balige pada tahun 1884 ketika Si Singamangaraja berhasil memukul mundur pasukan Belanda.

*DIORAMA 18: SI SINGAMANGARAJA REVOLT (1877 - 1907)
::With the excuse that the missionaries were frequently assaulted by Si Singamangaraja, the Dutch government seized at the opportunity to expand their territory to land of Batak People, Tapanuli. The first con-tact took place on February 15, 1878, after Si Singamangaraja reminded the Dutch to leave Tapanuli. The resistance movement against the Dutch was aided by the people of Aceh and Minangkabau. The large scale offensive to the Dutch headquarter with the assistance of both neighboring people took place in 1887. Si Singamangaraja's struggle went on until the beginning of the twentieth century. He was killed in a battle in Pearaja Diri on June 15, 1907. The diorama shows the battle at Tanggabatu near Balige in 1884 where Si Singamangaraja repulsed the Dutch troops.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.
=====[https://archive.org/details/19-pertempuran-jagaraga-1848-1849-img-9544 PERTEMPURAN JAGARAGA, 1848-1849]=====

*DIORAMA 19: PERTEMPURAN JAGARAGA (1848-1849)
::Pada tahun 1841 Belanda memaksakan penghapusan peraturan tawan karang yang diakui sebagai lembaga hukum adat di Bali. Menurut peraturan tawan-karang semua muatan kapal yang kandas menjadi milik raja dan penduduk pantai, sedang penumpangnya dijadikan budak. Beberapa kerajaan di Bali menerima peraturan Belanda itu, kecuali Buleleng dan Karangasem. Dua kali Buleleng mengenakan tawan-karang terhadap kapal-kapal Belanda yang terdampar di daerahnya. Belanda menuntut agar muatan dan isi kapal itu dikembalikan, tetapi ditolak oleh Raja Buleleng sehingga perang tidak dapat dihindarkan lagi. Meskipun dalam serangan Belanda tahun 1846 Buleleng dan Karangasem dapat diduduki namun semangat juang rakyat tetap berkobar dan mereka menyiapkan pertahanan di jagaraga. Diorama ini menggambarkan pertempuran yang terjadi di muka Pura Dalem Jagaraga yang berakhir dengan gugurnya seisi Pura.

*DIORAMA 19: THE BATTLE OF JAGARAGA (1848-1849)
::In 1841 the Dutch government tried to enforce the abolition of the Balinese customary law of Tawan Karang. According to the rule of Tawan Karang, the people and his King had the right to appropriate the goods of stranded ships and to enslave all passengers and crew alike. Several Kingdoms in Bali accepted this rule, except the Kingdoms of Buleleng and Karangasem. Twice the King of Buleleng applied the customary law to the Dutch stranded ship in his domain. The Dutch demanded the return of all merchandises and personnels but this was rejected by King of Buleleng caused the war could not be avoided. Although in the Dutch attack in 1846 Buleleng and Karangasem was occupied, the fighting spirit of the people was constantly exuberant and they developed a stronghold in Jagaraga. The diorama shows the tremendous battle in front of the Pura Dalem of Jagaraga, which ends with the fall of all Pura's occupants.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.
=====[https://archive.org/details/20-tanam-paksa-1830-1870-img-9548 TANAM PAKSA, 1830-1870]=====

*DIORAMA 20: TANAM PAKSA (CULTUUR STELSEL) (1830-1870)
::Perang Diponegoro yang berlangsung selama lima tahun (1825-1830) mengakibatkan krisis keuangan bagi kerajaan Belanda. Tetapi di daerah kerajaan Mataram, Belanda berhasil menduduki wilayah seluas 3000 km persegi yang terdiri dari tanah yang subur. Untuk mengatasi keadaan krisis itu muncul gagasan Gubernur Jenderal Van Den Bosch untuk menjadikan tanah Jawa sebagai perkebunan yang besar atas dasar perjanjian antara pemerintah Hindia Belanda dan petani. Pemerintah Belanda akan menjadi pedagang dan tuan kebun, Tanaman yang akan ditanam di Jawa haruslah tanaman yang sangat laku di pasar Eropa, seperti nila, gula, teh, lada, kopi dan kayumanis. Gagasan Van Den Bosch disetujui oleh Raja Belanda dan realisasi di Jawa dimulai tahun 1830. Dalam kenyataannya tidak terdapat kontrak antara pemerintah kolonial dengan rakyat petani, melainkan hubungan paksa. Sejak inilah dimulai periode eksploitasi tenaga rakyat secara besar-besaran. Bagi rakyat yang tidak memiliki tanah diharuskan bekerja pada perkebunan nila (indigo) seperti yang terjadi di Jawa Barat. Mereka tidak diperkenankan pulang dari tempat bekerja yang letaknya puluhan kilometer dari kampung halamannya. Mereka yang dianggap malas dikenai hukuman cambuk dan siksaan lainnya. Tanam paksa ini memberikan keuntungan luar biasa bagi pemerintah Belanda, sedangkan bagi rakyat Indo-nesia mengakibatkan penderitaan yang sangat berat. Rakyat kelaparan karena mereka tidak berkesempatan menggarap sawah dan ladangnya. Diorama ini menggambarkan penderitaan rakyat In-donesia yang dipaksa untuk bekerja keras di daerah perkebunan disertai dengan siksaan fisik.

*DIORAMA 20: THE FORCED CULTURE SYSTEM (1830-1870)
::The Diponegoro War which had lasted for a term of five years (1825-1830) caused a financial crisis for the Dutch Crown. But in Mataram Kingdom area, the Dutch succeeded in controlling a 3000 km square land comprising of fertile soil. To overcome this crisis Governor General Van Den Bosch conceived the idea of making the land of Java into a big plantation on the basis of an agreement between the Dutch Indies government and the farmers. The Dutch Indies government would be the trader as well as land-lord. The plants which would be cultivated in Java ought to produce commodities being much in demand in Europe, such as indigo, sugar, tea, pepper and cinnamon. Bosch's idea was approved by the King of Netherlands and its implementation was started in 1830 in Java. In fact the work contract had never been made between the colonial government and the farmers, rather it was a forced relation. So began the extortion and the oppression of the people. Those who did not own land were forced to work in the indigo plantation for free as was known in West Java. They were forbidden to go home as they worked tens kilometers away from home. Those who were thought lazy were imposed whipping punishment and other physical torture. This system was indeed very profitable for the Dutch, on the contrary it was a misery for the Javanese people. The farmers died of starvation as they had no time at all to cultivate their own land. The diorama shows how cruelly the people are forced to work under physical torture and other punishment.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.
=====[https://archive.org/details/21-peranan-gereja-protestan-dalam-penyatuan-bangsa-1930-img-9552 PERANAN GEREJA PROTESTAN DALAM PENYATUAN BANGSA, 1930]=====

*DIORAMA 21: KEGIATAN GEREJA PROTESTAN DALAM PROSES PENYATUAN BANGSA (Abad ke 20)
::Gereja Protestan dengan zendingnya giat mengadakan propaganda terutama di daerah-daerah yang masih terbelakang. Selain bergerak dalam bidang keagamaan, gereja Protestan giat bergerak dalam bidang pendidikan sehingga secara langsung telah membantu menyatukan bangsa Indonesia dari berbagai suku yang sedang mengalami proses penyatuan. Selain di beberapa daerah dan kota-kota di Jawa. pusat-pusat agama Kristen terutama terdapat di Ambon. Minahasa dan Tapanuli. Pada tahun 1930 berdiri Perserikatan Kaum Christen (PKC) dan Partai Kaum Masehi Indonesia, keduanya merupakan bagian dari gerakan nasional untuk Indonesia merdeka. Diorama ini menggambarkan kegiatan umat Kristen Protestan dalam bidang sosial, pendidikan dan keagamaan.

*DIORAMA 21: THE ACTIVITIES OF THE PROTESTANT CHURCH IN UNITING THE NATION (20TH CENTURY)
::The activities of the Protestant church in the field of propagation of the Protestant faith were of great sig-nificance, especially in backward areas. Apart from that, the Protestant church were active in the educational field so that it directly gave contribution in process of unification of several ethnics groups in Indonesia. Besides several regions and cities in Java, Protes-tant centers are mostly found in Ambon, Minahasa and Tapanuli. In 1930 Perserikatan Kaum Christen (Christian Association) and Partai Masehi Indonesia (Indonesian Christian Party) were set up, both were part of the national movement for the independence of Indonesia. The diorama shows the activities of the Protestant in the social and educational fields and religious affairs.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.
=====[https://archive.org/details/22-ra-kartini-1879-1904-img-9554 RA KARTINI, 1879-1904]=====

*DIORAMA 22: PERJUANGAN KARTINI (1879-1904)
::Gerakan mengejar kemajuan pada akhir abad ke 19 terbukti dari kebutuhan akan pendidikan dan pengajaran yang semakin besar Tetapi pandangan umum masih dihinggapi konservatisme yang kuat bagi anak perempuan. Lahir di Jepara pada tanggal 21 April 1879 Kartını berjuang untuk memperoleh persamaan hak bagi kaum wanita dan melepaskan diri darı kungkungan dan prasangka tradisi dan adat. Kumpulan surat-surat yang dikirimkan kepada sahabat-sahabatnya di mana dia mengungkapkan buah pikiran dan cita-citanya telah diterbitkan dalam sebuah buku yang menarik berjudul Habis Gelap Terbitlah Terang (aslinya Door Duisternis tot Licht). Diorama ini menggambarkan Kartini menyelenggarakan sekolah untuk pendidikan anak-anak perempuan

*DIORAMA 22: THE STRUGGLE OF KARTINI (1879-1904)
::The movement to achieve progress at the end of the 19th century was confirmed by the increasing de mands for education and studies, but the public opinion was still under great influence of the prevailing tradi tion, especially for women. Born in Jepara on 21 April1879, Kartini fought for equal rights for the Indonesian women and her libera-tion from the shackles and prejudice of the customary law and tradition. A collection of her letters to friends in which she express her thoughts and opinion were subsequently published as an interesting book entitled Letters of A Javanese Princess (onginally Door Duisternis tot Licht). The diorama shows Kartini personally conducting a class of girls students.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.
=====[https://archive.org/details/23-kebangkitan-nasional-20-mei-1908-img-9556 KEBANGKITAN NASIONAL, 20 MEI 1908]=====

*DIORAMA 23: KEBANGKITAN NASIONAL (20 MEI 1908)
::Menjelang akhir abad ke 19 masyarakat Indonesia masih terbelakang baik di bidang politik, ekonomi, maupun sosial budaya termasuk pendidikan. Keadaan ini adalah akibat langsung dari politik kolonial Belanda yang tidak menghendaki rakyat Indonesia menjadi cerdas, karena hal itu akan membahayakan kedudukannya. Tetapi kemudian kaum kolonialis terpaksa juga memberikan pendidikan modern kepada pemuda-pemuda Indonesia, pertama untuk memenuhi kebutuhannya akan tenaga-tenaga terdidik di perusahaan-perusahaannya dan kedua untuk meningkatkan potensi masyarakat Indonesia sebagai pasar bagi industrinya. Sebagai hasil dari pendidikan itu timbul suatu generasi pemuda Indonesia yang terkena gagasan-gagasan nasionalisme dan modernisasi yang menyebar dani Eropa. Pemuda-pemuda itulah yang kemudian mengorganisir pergerakan Nasional sebagai perwujudan dan Kebangkitan Nasional rakyat Indonesia. Yang dianggap manifestasi pertama dan Kebangkitan Nasional tu adalah pembentukan organisasi modern yang pertama oleh orang Indonesia, yakni Budi Utomo. Budi Utomo dibentuk atas prakarsa beberapa mahasiswa Sekolah Dokter Jawa (School Tot Opleiding Van Indische Artsen STOVIA), seperti Sutomo, Gunawan Mangunkusumo, dan lain-lain dengan Dokter Wahidin Sudirohusodo sebagai penasehatnya. Kemudian lahirlah organisasi lain seperti Sarikat Is-lam, Indische Party, Muhammadiyah, dan lain-lain yang dalam perkembangan selanjutnya bertujuan Indonesia Merdeka. Diorama ini menggambarkan suasana Kongres Budi Utomo Pertama yang diadakan di Yogyakarta.

*DIORAMA 23: The National Resurgence (20 May 1908)
::By the end of 19th century, Indonesian people were still backward politically, economically and socio-cultural including education. This was a direct result of the Dutch colonialism policy that did not want to see Indonesia become smart and intelligent as these would endanger their position. Finally, however, the colonialist had to give modern education to Indonesian youth to meet the needs for educated people at their enterprises and secondly to increase Indonesia's potentials for their market. As a result of the modern education, a younger generation of people were born who had nationalism and modernization ideals that came from Europe. Those young people who then organized the National Move-ment as the realizations of the Indonesian people's national resurgence. The first manifestation of the national resurgence was the establishment of the first modern organization by the Indonesian, Budi Utomo. Budi Utomo was established by students of native Medical College (STOVIA: School Tot Opleiding Van Indische Artsen) such as Sutomo, Gunawan Mangunkusumo etc. and Dr. Wahidin Sudirohusodo as the adviser. Afterward other organizations were established such as Sarikat Islam (Islamic Association), Indische Party (Indies Party), Muhammadiyah (an important Islamic modernist organization), and others which in their fur-ther development wanted an Independent Indonesia. This diorama shows the first congress of Budi Utomo (High Endeavor) held in Yogyakarta.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.
=====[https://archive.org/details/24-taman-siswa-3-juli-1922-img-9558 TAMAN SISWA, 3 JULI 1922]=====

*DIORAMA 24: TAMAN SISWA (3 JULI 1922)
::Politik pendidikan pada jaman penjajahan tidak dapat dipisahkan dari kepentingan kolonial. Sebagai suatu reaksi politik, pada tanggal 3 Juli 1922 Ki Hajar Dewantara mendinkan perguruan Taman Siswa di Yogyakarta. Perkembangan perguruan ini sangat pesat sehingga pemerintah merasa khawatir. Pada tahun 1922 pemerintah mengeluarkan Ordonansi Sekolah Liar hingga praktis sekolah-sekolah swasta kehilangan identitasnya. Protes timbul dari berbagai pihak, sehingga ordonansi tersebut dicabut kembali. Semangat nasionalisme sangat menjiwai kehidupan Perguruan Taman Siswa. Pada tahun 1935 berlangsung Kongres Pendidikan Nasional yang pertama dengan tujuan hendak menggalang persatuan nasional dan mencari perumusan tentang pendidikan dan pengajaran yang bersifat nasional. Diorama ini menggambarkan Ki Hajar Dewantara yang pada tahun 1921 mendirikan organisasi nasionalis kebudayaan Indonesia yang sangat penting menyambut orang tua murid di perguruan Taman Siswa

*DIORAMA 24: TAMAN SISWA (3 JULY 1922)
::The educational policy under colonial regime was inseparable from its interest. As a political reaction, on 3 July 1922 Ki Hajar Dewantara set up Taman Siswa Institution in Yogyakarta. This institution expanded rap-idly caused apprehension among the Dutch authorities In 1932 the Dutch government issued an ordinance on regulating the activities of non governmental schools. known as ordinance of illegal school. Practically it made private school lost its identity. Protest sprang up from everywhere caused the revocation of the ordinance. The spint of nationalisms inspired the existence of Taman Siswa. In 1935 the first National Education Congress took place which had the insistence on giving national unity a firm platform and setting the platform for national education and teaching. The diorama shows Ki Hajar Dewantara who in 1921 founded the very important Indonesian cultural nationalist organization Taman Siswa welcoming the students parents at Taman Siswa.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.
=====[https://archive.org/details/25-muhammadiyah-18-november-1912-img-9572 MUHAMMADIYAH, 18 NOVEMBER 1912]=====

*DIORAMA 25: MUHAMMADIYAH (18 NOVEMBER 1912)
::Keadaan masyarakat Islam Indonesia pada abad sembilan belas dan permulaan abad dua puluh sangat menyedihkan. KH. Ahmad Dahlan tampil ke depan dengan mendirikan Muhammadiyah pada tanggal 18 November 1912 di Yogyakarta dengan tujuan untuk mengembalikan kemurnian ajaran Islam dan memperbaiki kesejahteraan masyarakat. Di dalam kegiatannya Muhammadiyah mendinkan sekolah, rumah yatim piatu, rumah-rumah sakit, pelatihan bag juru dakwah, dan organisasi kepanduan. Saat ini organisasi tersebut merupakan salah satu lembaga Islam terbesar di Indonesia. Diorama menggambarkan salah satu kegiatan kepanduan Hizbul Wathan disaksikan oleh K.H. Ahmad Dahlan

*DIORAMA 25: MUHAMMADIYAH (18 NOVEMBER 1912)
::In the nineteenth century and the beginning of the twentieth century the situation of the community of Islam in Indonesia was very saddening indeed. K.H. Ahmad Dahlan came forward by setting up Muhammadiyah on 18 November 1912 in Yogyakarta. The objective of Muhammadiyah was to rejuvenate the teaching of Islam and improve the people's welfare. In its activities. Muhammadiyah established a large number of schools, orphanages, hospitals, a training course for missionaries, and scout club. Today the organization is still one of the largest Muslim bodies in the country. The diorama shows one of the activities of the Hizbul Wathan Scout Club, witnessed by K.H. Ahmad Dahlan.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.
=====[https://archive.org/details/26-perhimpunan-indonesia-1922-img-9575 PERHIMPUNAN INDONESIA, 1922]=====

*DIORAMA 26: PERHIMPUNAN INDONESIA (1925)
::Perjuangan mencapai Indonesia Merdeka di luar negeri dipelopori oleh mahasiswa-mahasiswa Indonesia yang belajar di Negeri Belanda. Pada tahun 1908 berdiri Indische Vereeniging (Perhimpunan Hindia) yang pada mulanya bersifat sosial degan tujuan sebagai forum tempat bertemu orang-orang termasuk para pelajar yang merantau ke negeri Belanda. Pada tanggal 19 Februari 1922 perhimpunan ini mengadakan pertemuan di Den Haag dan salah satu keputusan penting yang diambil dalam pertemuan tersebut adalah penggantian nama dari Indische Vereeniging menjadi Indonesisch Vereeniging. Kemudian pada tanggal 8 Februari 1925 nama tersebut berganti menjadi Perhimpunan Indonesia. Mereka menuntut agar pemerintah Hindia Belanda bertanggung. jawab kepada rakyat Indonesia dan bukan kepada pemerintah Belanda. Akhirnya mereka menuntut kemerdekaan Indonesia yang berdasarkan kepada kekuatan din sendiri. Dibandingkan dengan rekan-rekan mereka di Indonesia, mereka lebih banyak memperoleh kebebasan bergerak. Pada bulan Februan 1927 Perhimpunan Indonesia berjuang di forum internasional dengan mengambil bagian dalam Kongres Menentang Imperialisme dan Penindasan Kolonial yang diadakan oleh Liga Anti Imperialisme dan Bagi Kemerdekaan Nasional di Brussels. Selanjutnya, propagada Perhimpunan Indonesia, semakin berani dan tajam sehingga pemerintah Belanda mengadakan penangkapan terhadap pimpinannya, yaitu Mohammad Hatta, Abdul Majid Joyohadiningrat, Ali Sastroamidjojo dan Nasir Pamuncak dengan tuduhan menjadi anggota perkumpulan terlarang, terlibat dalam pemberontakan dan menghasut untuk menentang kerajaan Belanda. Tetapi, pengadilan membebaskan mereka dari semua tuduhan. Diorama ini menggambarkan suasana pertemuan perhimpunan Indonesia yang dipimpin oleh Mohammad Hatta.

*DIORAMA 26: THE INDONESIAN ASSOCIATION (1925)
::The struggle for national independence abroad was spearheaded by the Indonesian students in the Netherlands. In 1908 The Indische Vereeniging (Indies Association) was established which at first had a societal function as a meeting forum for the people included the Indonesian students who went overseas in the Netherlan's. On February 1922. the association held a meeting in The Hague and an important decision taken at this meeting was a change of the name from Indische Vereeniging to Indonesische Vereeniging. Then, on 8 February 1925 the later name was changed into the new name Perhimpunan Indonesia (Indonesian Association). They demanded that the Netherlands Indies government to be responsible to the people of Indonesia not to the Dutch government. Finally they demanded the independence of Indonesia on the basis of their own power. In comparison with their colleagues in Indonesia, they had more freedom of action. In February 1927 the Indonesian Association brought their struggle to the international forum by taking part in the Congress of Anti Colonialism and Colonial Oppression held by the League Against Imperialism and for National Inde-pendence in Brussels. Furthermore, the propaganda of Perhimpunan Indonesia became brave and sharp that its leaders Mohammad Hatta, Ali Sastroamidjojo. Nasir Pamuncak and Abdul Majid Joyohadiningrat were arrested on charges: being a member of prohibited organization, being involved in a rebellion, and instigating opposition to the Dutch crown. But then they were acquitted of all charges. The diorama shows Mohammad Hatta chairing the meeting of the association.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.
=====[https://archive.org/details/27-the-stovia-1898-1926-img-9577 THE STOVIA, 1898-1926]=====

*DIORAMA 27: STOVIA SEBAGAI TEMPAT PERSEMAIAN PERGERAKAN PEMUDA INDONESIA (1926)
::Kemiskinan bangsa Indonesia dalam arti lahir dan batin yang juga dirasakan oleh beberapa orang terpelajar, telah menggerakkan hati mereka untuk mempertinggi derajat bangsa Usaha dr. Wahidin Sudirohusodo mendirikan dana belajar tidak berjalan sebagaimana yang diharapkan. Namun cita-cita luhur yang terkandung di dalamnya telah menggugah semangat pelajar-pelajar STOVIA (School Tot Opleiding Van Indische Artsen -Sekolah Dokter Bumi Putera) di Jakarta. Pada hari bersejarah tanggal 8 Mei 1908 mereka mendirikan perserikatan bernama Budi Utomo. Kenyataannya, para lulusan dan mahasiswa STOVIA memainkan peranan penting dalam pertumbuhan gerakan nasional Indonesia modern. Diorama ini menggambarkan pertemuan yang diadakan oleh pelajar-pelajar STOVIA di gedung STOVIA yang lebih dikenal sekarang sebagai gedung Museum Kebangkitan Nasional, Jakarta. Pertemuan pertemuan semacam ini sering kali dilakukan yang merupakan kegiatan para pelajar STOVIA untuk membebaskan negerinya dari penjajahan dan keterbelakangan.

*DIORAMA 27: STOVIA AS THE PLACE FOR SEEDBED OF INDONESIA'S YOUTH MOVEMENT(1926)
::The poverty of body and mind of the little men in Indonesia which strongly felt by several educated men arose their anxiety to bring enlightenment. Dr. Wahidin Sudirohusodo's effort to establish study fund did not meet the expectations, but his aspiration had awaken the STOVIA (School Tot Opleiding Van Indische Artsen) student's sprint. On the historical day, May 8, 1908 they founded Budi Utomo (High Endeavour). It was al ready known that the graduates and students of the STOVIA (a medical training college) played an impor ant role in the genesis of the modern Indonesian nationalist movement. The diorama shows the meeting of STOVIA held in STOVIA building which is known as The Museum of National Resurrection, Jakarta. Such meetings were held frequently as their activities to liberate their country from colonialism and backwardness.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.
=====[https://archive.org/details/28-digul-1926-1927-img-9580 DIGUL, 1926-1927]=====

*DIORAMA 28: DIGUL (1927)
::Pada tahun 1926 di Pulau Jawa timbul pemberontakan melawan pemerintahkolonial Pemberontakan ini merupakan puncak dari gerakan tani yang mula-mula pecah di Banten kemudian menjalar ke Jawa Barat dan Jawa Tengah. Pada Januari 1927 pecah pula pemberontakan serupa di Sumatra Barat, akan tetapi dapat ditumpas dengan kejam. 13.000 orang ditangkap, diantaranya 4.500 dijatuhi hukuman dan 1.300 dibuang ke Tanah Merah, Digul Atas, Irian Jaya. Kemudian Digul Atas menjadi tempat pengasingan bagi tokoh-tokoh pergerakan nasional. Sebagai tawanan, di samping harus mencukupi kebutuhannya sendiri, mereka harus tahan melawan hawa panas dan penyakit malaria yang ganas. Diantara semua penderitaan itu yang sangat berat adalah penderitaan tekanan jiwa, sehingga di tempat pengasingan ini tercapailah puncak, penderitaan lahir dan batin. Hingga kini Digul Atas menjadi lambang pengorbanan pemimpin-pemimpin nasional kita dari generasi sebelum Perang Dunia II. Diorama ini menggambarkan sebagian tokoh-tokoh pergerakan nasional di tempat pengasingan Digul Atas. antara lain Mohammad Hatta dan Sutan Syahrir.

*DIORAMA 28: DIGUL (1927)
::In the year 1926, a rebellion rose in Java against the colonial government. This rebellion was the culmination of the farmers' movement in Banten, West Java that spread through Central Java. In January 1927, in West Sumatra the same uprising broke out. Within short time both up risings were cruelly suppressed. 13.000 men were ar rested among which 4.500 were imprisoned and 1.300 exiled to Tanah Merah, Upper Digul in West Irian. Afterwards the swampy forest of Digul, in West Irian served as a home for Indonesian nationalists exiled by the Dutch colonial regime. As prisoners besides having to sustain themselves they had to stand the heat and over bearing malaria, but uppermost and culminating point of body and mental suffering. Up to the present time Digul is the symbol of sacrifice for national leaders of the generation before the second World War. The diorama shows a number of prominent figures in the national movement organizations being in exile in Upper Digul, Inan, among others. Mohammad Hatta and Sutan Syahrir.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.
=====[https://archive.org/details/29-sumpah-pemuda-28-oktober-1928-img-9582 SUMPAH PEMUDA, 28 OKTOBER 1928]=====

*DIORAMA 29: SUMPAH PEMUDA (28 OCTOBER 1928)
::Dalam lingkungan pergerakan nasional Indonesia para pemuda telah melahirkan berbagai ragam organisasi pemuda, seperti Jong Ambon, Jong Bataks, Jong Celebes, Jong Islamiten Bond, jong Java and Jong Sumatranen Bond. Organisasi-organisasi ini pada umumnya bersifat kedaerahan dan masing-masing tidak mempunyai hubungan dengan yang lain. Lama-kelamaan iklim persatuan Indonesia mempengaruhi meseka pula dan terasa dorongan untuk membina suatu pergerakan pemuda Indonesia yang berjiwa nasional kesatuan. Usaha ke arah itu dilakukan dalam serangkaian kongres pemuda. Pada Kongres Pemuda kedua tanggal 28 Oktober 1928 di Jakarta dicetuskan Sumpah Pemuda 1. Kami putra dan putri Indonesia mengaku berbangsa yang satu. Bangsa Indonesia.2. Kami putra dan putri Indonesia mengaku bertanah air yang satu. Tumpah Darah Indonesia.3. Kami putra dan putri Indonesia menjunjung bahasa persatuan, Bahasa Indonesia. Diorama ini menggambarkan suasana Kongres Pemuda Kedua pada tanggal 28 Oktober 1928 di Jakarta.

*DIORAMA 29: THE YOUTH PLEDGE (28 OCTOBER 1928)
::In the circle of national movement the Indonesian youth gave birth to heterogeneous youth organizations. such as: Jong Ambon, Jong Bataks, Jong Celebes, Jong Islamiten Bond, Jong Java and Jong Sumatranen Bond. Most of these organizations had the nature of regional ism and each had no relation to others. Eventually the climate of Indonesia's unity had influenced each other and felt the willpower to found a unifying youth move-ment in the spirit of national unity. In a senes of youth congress they managed to make concrete efforts towards the youth unity. In the Second Youth Congress held on 28 October 1928 in Jakarta the youth proclaimed the Youth Pledge 1. We the Indonesia's youth admit to having one nation, Indonesia. 2. We the Indonesia's youth admit to having one motherland, Indonesia 3. We the Indonesia's youth have respect for unity language, Indonesian language.The diorama shows the atmosphere of the Second Youth Congress on 28 October 1928 in Jakarta.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.
=====[https://archive.org/details/30-romusha-1942-1945-img-9585 ROMUSHA, 1942-1945]=====

*DIORAMA 30: ROMUSHA, 1942-1945
::Pada tanggal 8 Maret 1942, Panglima Tentera Hindia Belanda menyerah kepada Jenderal Hitoshi Imamura Panglima tentara ekspedisi Jepang di Kalijati. Jawa Barat. Dalam upaya memenangkan Perang Pasifik. Jepang mengerahkan seluruh tenaga dan kekayaan bumi Indonesia tanpa pembatasan apapun. Dengan meningkatya situasi perang. Jepang mengerahkan secara paksa orang Indonesia untuk dipekerjakan pada objek-objek vital dan bangunan-bangunan militer. Sebelum diangkut ke tempat-tempat yang dituju, mereka dibujuk dan diberi predikat muluk sebagai prajurit pekerja atau romusya. Dalam prakteknya mereka melaksanakan kerja-paksa dengan mengalami siksaan-siksaan tanpa diberi makan dan minum yang cukup menyebabkan puluhan ribu romusya Indonesia menemui ajalnya. Diorama ini menggambarkan bagaimana para romusya dalam keadaan kurus kering dan lemah lunglai dipaksa bekerja berat di bawah pengawasan tentara Jepang.

*DIORAMA 30: THE JAPANESE FORCED LABOUR, 1942-1945
::On 8 March 1942 the Commander of the Netherlands East Indies army General Ter Poorten surrendered to General Hitoshi Imamura, the japanese expedition army commander in Kalijati, West Java. In its effort to win the Pacific War, the Japanese occupational army exploited Indonesia's human and natural resources. Since the intensity of the Pacific War increased the Japanese army conscripted Indonesian workers to forced labour to vital Japanese military installations and buildings. Before leaving for the destination places they were urged and given pomposity predicate as militia workers or romushas. in actual practice, they were sent to do forced labour under torture without enough food and drink caused tens of thousand Indonesia's romushas met their end. The diorama shows how hard the weak and emaciated labours are forced to work under the Japanese army supervision.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.
=====[https://archive.org/details/31-pemberontakan-tentara-peta-di-blitar-14-februari-1945-img-9586 PEMBERONTAKAN TENTARA PETA DI BLITAR, 14 FEBRUARI 1945]=====

*DIORAMA 31: PEMBERONTAKAN TENTARA PETA DI BLITAR (14 FEBRUARI 1945)
::Pada bulan Oktober 1943 Pemerintah Pendudukan Jepang mengeluarkan Osamu Seiroi No. 44/1943 tentang pembentukan pasukan sukarela untuk membela Tanah Jawa. Peraturan ini mendapat sambutan hangat dari kalangan masyarakat Indonesia, khususnya para pemuda yang benar-benar berhasrat untuk membela tanah air. Dengan berbondong-bondong mereka. mendaftarkan diri menjadi anggota Tentara Pembela Tanah Air (PETA). Tentara PETA dibagi atas daidan-daidan (batalyon) yang tidak ada hubungan organisatoris satu sama lainnya. Segenap Perwira. Bintara dan Tamtama Tentara PETA adalah orang Indonesia, akan tetapi mereka didampingi orang Jepang sebagai pelatih merangkap pengawas. Di Blitar terdapat pula suatu batalyon yang seperti batalyon-batalyon lainnya juga melaksanakan tugas membangun kubu-kubu pertahanan dengan memakai romusya sebagai tenaga kasar. Perasaan benci terhadap Jepang yang sudah timbul di kalangan mereka menjadi semakin mendalam setelah mengetahui keadaan keluarga mereka yang menderita sebagai akibat tindakan-tindakan Jepang ketika mereka bertugas bersama para romusya. Mereka tidak tahan menyaksikan bangsanya diperas tenaganya dan mati kelaparan. Ditambah dengan faktor aspirasi kemerdekaan, pelbagai faktor itu menyebabkan tekad bulat di kalangan mereka untuk memberontak. Dengan dipimpin oleh Suprijadi, Muradi and mendapat nasehat dari dr. Ismangil, mereka mengadakan serangkaian rapat-rapat persiapan. Dan pada tanggal 14 Pebruari 1945 pukul 03.30 dinihari mulailah pemberontakan. Mereka membunuh beberapa orang Jepang lalu mengingkir ke luar kota. Pemberontakan berhasil ditumpas oleh pihak Jepang. Suprijadi, pemimpin pemberontakan menghilang. Pemimpin-pemimpin lainnya seperti dr. Ismangil, Muradi, Sunanto, Halir dan kawan-kawannya tertangkap lalu dibawa di Jakarta pada tanggal 8 Maret 1945. Selanjutnya pada tanggal 14-16 Maret 1945 dihadapkan ke Mahkamah Militer. 6 orang dijatuhi hukuman mati, 3 orang dijatuhi hukuman seumur hidup. dan yang lainnya dijatuhi hukuman antara dua sampai limabelas tahun. Diorama ini menggambarkan serangan tentara PETA terhadap markas militer Jepang di Blitar pada tanggal 14 Februari 1945.

*DIORAMA 31: THE MUTINY OF JAPANESE TRAINED PETA ARMY IN BLITAR (14 FEBRUARY 1945)
::In October 1943, the Government of the Japanese occupational army issued the Osamu Seiro No.44/1943 on the forming of the volunteer troops to defend Java. This ordinance was received with enthu-siasm by youth movements, who were very eager to defend their country. In hordes they came to enlist as soldier of the PETA (The Defenders of The Mother land). PETA was divided into several Daidans (battalions) which had no organizational connections with each other. Every private, subaltern, officer and commanding officer was an Indonesian with Japanese as instructor who also held position as supervisor. In Blitar, East Java, there was also a daidan with the same formations and construction with romushas as the main labour force which had orders to set up fortifications. A hatred feeling that had already emerged among the PETA soldiers was growing more and more when they discovered their relatives who worked with them as romusha suffered from Japanese action Obviously they could not stand seeing the people were exploited and died of starvation. All of those factors and spir ited by their aspiration for national independence caused a great deal willpower to stage a mutiny. Led by Suprijadi and Muradi, after getting dr. Ismangil's advice, they held a series of preparation meetings. On 14 February 1945 at 03.00 am the revolt against Japa-nese broke out in Blitar. They killed a number of Japa-nese and then moved to a safe place out of the city. The revolt was annihilated by Japanese. Suprijadi, the leader disappeared. Other leaders such as dr. Ismangil, Muradi, Sunanto, Halir and their compan-ions were captured and then brought to Jakarta on 8 March 1945. In 14-16 March 1945 they were brought to military court. 6 were sentenced to death, 3 were sentenced for life, and the others got two to fifteen years. This diorama shows the PETA soldiers attack the Japanese army post on 14 February 1945 in Blitar.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.
=====[https://archive.org/details/32-proklamasi-kemerdekaan-indonesia-17-agustus-1945-img-9593 PROKLAMASI KEMERDEKAAN INDONESIA, 17 AGUSTUS 1945]=====

*DIORAMA 32: PROKLAMASI (17 AGUSTUS 1945)
::Pada tanggal 17 Agustus 1945 dinihari teks Proklamasi: selesai dirumuskan oleh Ir. Soekarno. Drs. Mohammad Hatta dan Mr. Ahmad Subardjo. Beberapa jam kemudian, yaitu pada pukul 10.00 Proklamasi Kemerdekaan dibacakan oleh Ir. Soekarno yang didampingi oleh Drs. Mohammad Hatta bertempat di Jalan Pegangsaan Timur Nomor 56 Jakarta.Hadir pada saat pengucapan teks Proklamasi itu adalah: 1. Abikusno Tjokrosujoso, Sukardjo Wirja-pranoto. Sukardjo Kartohadikusumo, KHA Wahid Hasjim dan Dr. Radjiman Widiodiningrat. 2. Wakil Walikota, Suwirjo. 3. Ibu Fatmawati. 4. Ny. SK. Trimurti. 5. Para perwira PETA: Abdul Kadir, Latif Hendraningrat. dan dr. Soetjipto, Kemal Idris, Daan Jahja, Arifin Abdurrachman dan Singgih. 6. Barisan Pelopor: Dr. Muwardi dan Asmarahadi. 7. Barisan Pelopor Istimewa: Soediro, Soehoed Sastro Koesoemo, Djohar Nur dan Soepeno. 8. Pers: Soeroto, S.F. Mendoer dan Sjahruddin.Diorama ini menggambarkan peristiwa detik-detik Proklamasi Kemerdekaan Indonesia 17 Agustus 1945.

*DIORAMA 32: PROCLAMATION OF INDEPENDENCE (17 AUGUST 1945)
::Early at dawn on 17 August 1945, the text for Proclamation of Indonesian Independence was drafted by Soekamo, Mohammad Hatta and Ahmad Subardjo. A few hours later, at ten o'clock in the morning the Proclamation of Indonesia's Independence was read out by Soekarno in the company of Mohammad Hatta at Pegangsaan Timur 56 Jakarta. Present at the reading out the text of Proclamation were: 1. Abikusno Tjokrosujoso. Sukardjo Wirjopranoto. Sukardjo Kartohadikusumo, KHA Wahid Hasyim and dr. Radjiman Widiodiningrat. 2. Vice Mayor Suwirjo. 3. Ms. Fatmawati. 4. Ms. SK. Trimurti. 5. PETA officers: Abdul Kadir, Latif Hendraningrat. dr. Soetjipto, Kemal Idris. Daan Jahja, Arifin Abdurrachman and Singgih. 6. Pioneer Troops: Dr. Muwardi and Asmarahadi. 7. Special Pioneer Troops: Soediro, Soehoed Sastro Koesoemo, Djohar Nur and Soepeno. 8. Press: Soerato, S.F. Mendoer and Sjahruddin.The diorama shows the very moment of the Proclamation of Indonesia's Independence 17 August 1945.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

=====[https://archive.org/details/33-pengesahan-pancasila-dan-undang-undang-dasar-1945-18-agustus-1945-img-9600 PENGESAHAN PANCASILA DAN UNDANG-UNDANG DASAR 1945, 18 AGUSTUS 1945]=====
*DIORAMA 33: PENGESAHAN PANCASILA SEBAGAI LANDASAN FALSAFAH NEGARA DAN U.U.D. 1945
::Sebelum kemerdekaan Indonesia diproklamasikan tanggal 17 Agustus 1945, Badan Penyelidik Usaha-usaha Persiapan Kemerdekaan Indonesia membahas berbagai konsep falsafah negara. Diantara konsep yang terpenting adalah konsep Mr. Muhammad Yamin yang diajukan tanggal 29 Mei 1945, konsep Ir. Soekamo yang diajukan tanggal I juni 1945, lengkap dengan namanya, yakni PANCASILA dan konsep Panitia Sembilan yang biasa disebut Piagam Jakarta disusun tanggal 22 Juni 1945. Dalam sidang PPPKI tanggal 10-16 Juli 1945. disusunlah konsep Undang-Undang Dasar negara Indonesia beserta mukadimahnya. Mukadimah itu ada dalam Piagam Jakarta yang mengandung pula dasar falsafah negara. Konsep tersebut, setelah diperbaiki, disahkan oleh sidang pertama Panitia Persiapan Kemerdekaan Indonesia tanggal 18 Agustus 1945 di Jakarta sebagai Undang-Undang Dasar Negara Republik Indonesia yang kemudian dikenal sebagai Undang-Undang Dasar 1945. Diorama ini menggambarkan suasana sidang Panitia Persiapan Kemerdekaan Indonesia yang berakhir dengan disahkannya Pancasila Landasan (Dasar) Falsafah Negara dan Undang-Undang Dasar 1945.

*DIORAMA 33: THE RATIFICATION OF PANCASILA AND THE 1945 CONSTITUTION
::Before the Independence of Indonesia was pro claimed, the Committee to Investigate Preparations for Indonesian Independence had studied several concepts for the state philosophy, particularly Mr. Muhammad Yamin's concept. Ir. Soekarno's concept, which outlined the Pancasila, the Five Principles. Concept of the Committee of Nine, known as the Jakarta Charter, which was drawn up on 22 June 1945. In July 10-16 1945 the Committee to Investigate Preparations for indonesian Independence composed the draft of the Constitution of the Republic of Indonesia along with its Preambule. The preambule to the Constitution was found in the Jakarta Charter which also contained the philosophy of the state. The concept, after revised, was legalized by the Indonesian Independence Preparatory Committee at its first meeting on 18 August 1945 in Jakarta as the Constitution of the Republic of Indonesia, known as the 1945 Constitution. The diorama shows the atmosphere of the meeting of the Indonesian Independence Preparatory Committee, which afterwards ratifies the Pancasila as the State Philosophy and the 1945 Constitution as the Constitution of the Republic of Indonesia.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

=====[https://archive.org/details/34-hari-abri-5-oktober-1945-img-9603 HARI ABRI, 5 OKTOBER 1945]=====

*DIORAMA 34: HARI LAHIR ABRI (5 OKTOBER 1945)
::Dalam Sidang Panitia Persiapan Kemerdekaan Indonesia (PPKI) tanggal 22 Agustus 1945 ditetapkan pembentukan Badan Keamanan Rakyat (BKR) yang bertugas memelihara keamanan dan ketertiban umum di daerahnya masing-masing. Untuk memperkuat perasaan keamanan umum maka pada tanggal 5 Oktober 1945 dibentuk Tentara Keamanan Rakyat. Peristiwa ini diperingati sebagai Hari Angkatan Bersenjata Republik Indonesia. Diorama ini menggambarkan Jenderal Sudirman sedang memeriksa pasukan Tentara Nasional Indone sia yang pada waktu itu anggota-anggotanya masih belum memiliki peralatan lengkap.

*DIORAMA 34: ARMED FORCES DAY (5 OCTOBER 1945)
::At the meeting of the Indonesian Independence Preparatory Committee, on August 22, 1945, it was decided to set up the organization of the Badan Keamanan Rakyat (People's Security Body) with the task of maintaining the security in their territory. To strengthen public confidence and order, on 5 October 1945 the People's Security Army was formed. This event is subsequently commemorated as the Republic of Indonesia Armed Forces Day. The diorama shows General Sudirman inspecting Indonesian National Army troops the members of which, at that time, were not well equipped yet.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.
=====[https://archive.org/details/35-pertempuran-surabaya-10-november-1945-img-9608 PERTEMPURAN SURABAYA, 10 NOVEMBER 1945]=====
*DIORAMA 35: PERTEMPURAN SURABAYA (10 NOPEMBER 1945)
::Pada bulan Oktober 1945 Tentara Sekutu (Inggris) mendarat di Surabaya untuk melaksnakan tugas melucuti pasukan-pasukan Jepang dan membebaskan orang-orang Sekutu yang ditawan oleh Jepang. Mereka berjanji tidak mencampuri urusan dalam negeri Republik Indonesia. Ternyata Sekutu tidak menepati janjinya, sehingga menimbulkan beberapa insiden yang kemudian meningkat menjadi pertempuran. Campur tangan Pemerintah Republik Indonesia untuk menciptakan keadaan yang tenang tidak berhasil. Dalam salah satu insiden, komandan Brigade Inggris Brigjen Mallaby tertembak mati. Panglima Sekutu untuk daerah Jawa Timur, Mayjen Mansergh, mengultimatum agar rakyat Surabaya termasuk para pejabatnya menyerahkan senjatanya masing-masing sebelum pukul 06.00 tanggal 10 Nopember 1945. Ultimatum itu tidak dihiraukan rakyat Surabaya, mereka sama sekali tidak mengakui wewenang pihak Sekutu (Inggris) untuk memerintah Surabaya. Mereka hanya tunduk dan taat kepada Republik Indonesia. Pada tanggal 10 Nopember 1945 Sekutu mengerahkan segala kekuatannya di darat, laut dan udara dalam usaha membinasakan pejuang-pejuang di Surabaya. Serangan tersebut disambut dengan tekad pantang mundur oleh para pejuang sehingga beribu mereka gugur sebagai pahlawan kusuma bangsa. Diorama ini menggambarkan Pertempuran Surabaya, 10 Nopember 1945 yang kemudian diperingati secara resmi sebagai Hari Pahlawan.

*DIORAMA 35: BATTLE OF SURABAYA (10 NOVEMBER 1945)
::In October 1945, the Allied Forces (British Troops) landed in Surabaya to disarm Japanese forces and to set free Allied prisoners of war arrested by Japanese. The Allied Forces promised not to interfere in the domestic affairs of the Republic of Indonesia. As a matter of fact, the Allied Forces did not keep their words and some minor incidents occurred which finally broke out in battle. The government of the Republic of Indonesia endeavored to mediate but was unsuccessful. In one of the incidents, the British Brigade Com-mander, Brigadier General Mallaby, was assassinated. Major General Mansergh, the Allied Commander in East Java, issued an ultimatum calling the Surabaya people, including their leaders to surrender all their firearms to the Allied Forces before 06.00 a.m. on November 10, 1945. The people of Surabaya ignored the ultimatum as they did not recognize the Allied (British) to govern them. They only adhered to the government of the Republic of Indonesia. On November 10, 1945 the Allied land, sea and air forces attacked the Surabaya freedom fighters. The attack was met with bravery by the freedom fighters and a great many of them died in the battle as national heroes. The diorama shows the Battle of Surabaya 10 November 1945 which is then officially comтето-rated as National Heroes Day.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.
=====[https://archive.org/details/36-peranan-gereja-katolik-roma-dalam-proses-penyatuan-bangsa-img-9610 PERANAN GEREJA KATOLIK ROMA DALAM PROSES PENYATUAN BANGSA]=====
*DIORAMA 36: KEGIATAN GEREJA KATHOLIK ROMA DALAM PROSES PENYATUAN BANGSA (1947)
::Gereja Katholik-Roma melalui misinya mengumpulkan pemuda-pemuda dari berbagai suku dan daerah di bawah naungan agamanya Dengan demikian terbentuk suatu masyarakat Katholik-Roma yang di dalamnya bersemi pula semangat nasioalisme Indonesia. Mereka giat mendirikan rumah sakit dan sekolah. Terhadap cita Gita Indonesia Merdeka Perhimpunan Politik Katolik Indonesia ikut menandatangani petisi Soetardjo tahun 1936 yang menuntut kepada pemerintah kolonial untuk memberikan kemerdekaan kepada bangsa Indonesia Demikian pula dalam masa perang kemerdekaan 1945-1949 mereka bersatu dengan segenap lapisan dan golongan untuk mengusir penjajah dan memper tahankan kemerdekaan. Diorama ini menggambarkan suasana perayaan Natal yang diadakan di Semarang dan dihadiri oleh hampir segenap lapisan masyarakat

*DIORAMA 36: THE ACTIVITY OF THE CATHOLIC CHURCH IN UNITING THE NATION (1947)
::The role of the Roman Catholic Church in the propagation of the Christian faith and the promotion of educational activities by the Roman Catholic missionaries contributed significantly to the unification of the nation. Besides, they were very active in building hospitals and schools. Having the Independence of Indonesia as its ideal. the Political Association of the Indonesian Catholic jointly signed the Soetardjo Petition in 1936 demand-ing the colonial government to give independence to the people of Indonesia. During the war defending the independence 19456 1949, the Roman Catholic Church united with other social groups and strata firmly to drive out the colonizer and defend freedom and independence. The diorama shows the atmosphere of the celebration of Christmas in Semarang Central Java, in the year 1947

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.
=====[https://archive.org/details/37-gerilya-mempertahankan-kemerdekaan-1945-1949-img-9616 GERILYA MEMPERTAHANKAN KEMERDEKAAN, 1945-1949]=====
*DIORAMA 37: GERILYA DALAM PERANG KEMERDEKAAN (1945-1949)
::Pada masa perang kemerdekaan Angkatan Bersenjata Republik Indonesia masih memiliki peralatan yang sederhana untuk melawan musuh yang memiliki perlengkapan modern Perang Dunia II Angkatan bersenjata kita menggunakan taktik geniya, menyerang secara mendadak lalu menghilang. Gerilya ini kemudian dilaksanakan sebagai Perang Rakyat Semesta Di daerah-daerah yang dikuasai musuh disusun kantong kantong gerilya untuk menegakkan kekuasaan Republik Indonesia. Sistim tersebut berkembang menjadi sistim Wehrkreise dengan menyusun daerah pertempuran dalam lingkaran lingkaran yang dapat melaksanakan pertahanan secara berdiri sendiri dengan integrasi segenap kekuatan politik, ekonomi sosial budaya dan militer. Diorama ini menggambarkan keberhasilan sejumlah kecil pasukan gerilya menghadang serta menghancurkan iring iringan pasukan Belanda di Ambarawa

*DIORAMA 37: GEURRILLA IN INDEPENDENCE WAR (1945-1949)
::With the aid of obsolete weapons, the Indonesian Armed Forces and the civilian population conducted a guerrilla warfare against the Allied Forces who were trying to reinstall the Dutch colonial regime. Our troops applied the guerrilla tactics which were then camed out as a total war involving the whole population. In the region occupied by the enemy, pockets of the guerrillas were formed to establish the authority of the Republic of Indonesia. This system was developed into the Wehrinese system with the forming of operational areas in self Sustaining penmeters with the thoroughly integrated forces in the economic social, political and military elements. The diorama shows the Indonesian Armed Forces succeeding in attacking the Dutch Military convoy in Ambarawa

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.
=====[https://archive.org/details/38-jenderal-soedirman-1948-img-9617 JENDERAL SOEDIRMAN, 1948]=====

*DIORAMA 38: JENDERAL SUDIRMAN MEMIMPIN PERJUANGAN GERILYA (1948-1949)
::Pada tanggal 19 Desember 1948 Belanda melancarkan aksı militer kedua dengan menyerang Yogyakarta. Ibukota Republik Indonesia. Pemerintah menunjuk Syafruddin Prawiranegara membentuk Pemerintah Darurat di Bukittinggi untuk mengambil alih sementara fungsi Pemerintah Pusat. Pada waktu itu Panglima Besar Jenderal Sudirman memutuskan untuk memimpin sendiri perjuangan gerilya. Walaupun penyakit beliau bertambah parah. nyala semangat juang beliau untuk memimpin gerilya tidak pernah terpadamkan Beliau baru kembali ke Yogyakarta pada bulan Juli 1949 setelah pemulihan kembali Ibukota Republik Indonesia di Yogyakarta. Diorama ini menggambarkan Jenderal Sudirman. memberikan dorongan semangat kepada prajurit TNI bahwa dalam keadaan sulit sekalipun pemimpin mereka tetap setia untuk memimpin perjuangan gerilya mempertahankan kemerdekaan

*DIORAMA 38: GENERAL SUDIRMAN LED A GUERRILLA STRUGGLE (1948-1949)
::On 19 December 1948 the Dutch launched the second military action by attacking Yogyakarta, the capital city of the Republic of Indonesia The government authorized Syafruddin Prawiranegara in Bukittinggi to form an emergency government to take over temporarily the function of the central government. At that time it was already known that the Com mander in Chief of the army, General Sudirman, who was being very sick, had decided that he himself would lead the guerrilla struggle. Eventhough he was be coming very ill, he never gave up and his sprint to lead the guernila forces was not extinguishable. He returned to Yogyakarta in July 1949 only after the capital city of the Republic of Indonesia reinstated in Yogyakarta. The diorama shows that General Sudirman gives TNI soldiers a great moral support and strong conviction that in whatever severe situation, he shall keep his promise and lead the fight.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.
=====[https://archive.org/details/39-pengakuan-kedaulatan-27-desember-1949-img-9620 PENGAKUAN KEDAULATAN, 27 DESEMBER 1949]=====

*DIORAMA 39: PENGAKUAN KEDAULATAN (27 DESEMBER 1949)
::Perjuangan gigih rakyat Indonesia melawan agresi militer kedua Belanda dan adanya desakan Dewan Keamanan PBB memaksa Pemerintah Belanda untuk kembali ke meja perundingan Perundingan tersebut diadakan di Jakarta yang menghasilkan perjanjian Roem Van Royen pada tanggal 13 Mei 1949. Isinya adalah pemulihan pemerintahan Republik Indonesia di Yogyakarta, persiapan untuk mengadakan suatu Konferensi Meja Bundar dan penarikan tentara Belanda dari Yogyakarta. Konferensi Meja Bundar dibuka pada tanggal 23 Agustus 1949 di Den Haag, berakhir 29 Oktober dan ketetapan terpentingnya adalah Kerajaan Belanda mengakui kedaulatan atas Indonesia pada Republik Indonesia Serikat. Upacara resmi pengakuan kedaulatan tersebut berlangsung tanggal 27 Desember 1949 di Amsterdam dan pada hari yang sama upacara serupa diadakan di Jakarta. Diorama ini menggambarkan pengibaran bendera Merah Putih di Istana Merdeka Jakarta, dipimpin oleh Sultan Hamengku Buwono pada upacara pengakuan kedaulatan Republik Indonesia Serikat tanggal 27 Desember 1949.

*DIORAMA 39: RECOGNITION OF SOVEREIGNTY (27 DECEMBER 1949)
::The unyielding struggle against the second Dutch military action and the pressure of the United Nations Security Council forced the Dutch to return to the conference table. The conference was held in Jakarta which resulted in the Roem-Van Royen agreement on 13 May 1949. It contains that the Republic of Indonesia should be reinstated in Yogyakarta, the Round Table Conference should be conducted: and the Dutch army should be withdrawn from Yogyakarta. The Round Table Conference was opened in The Hague on 23 August 1949. It concluded on 29 October and its important provision that the Kingdom of the Netherlands recognized sovereignty over Indonesia to the Republic of the United States of Indonesia. The formal ceremony transferring sovereignty over Indonesia was held in Amsterdam, on 27 December 1949 On the same day a similar ceremony took place in Jakarta. The diorama shows the red and white flag raises in the Merdeka Palace in Jakarta at the recognition sovereignty ceremony led by Sultan Hamengku Buwono on 27 December 1949

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.
=====[https://archive.org/details/40-kembali-ke-negara-kesatuan-1950-img-9621 KEMBALI KE NEGARA KESATUAN, 1950]=====

*DIORAMA 40: KEMBALI KE NEGARA KESATUAN (1950)
::Pengakuan kedaulatan terhadap Republik Indonesia Serikat diberikan pada tanggal 27 Desember 1949 oleh Kerajaan Belanda. Bentuk negara Serikat bukan tujuan bangsa Indonesia melainkan terpaksa diterima sebagai hasil kompromi dengan Belanda. Rakyat di setiap daerah menuntut agar bentuk negara federal dihapuskan dan diberlakukan kembali bentuk negara kesatuan. Beberapa negara bagian secara spontan menyatakan bergabung dengan Republik Indonesia yang pada waktu itu merupakan bagian dan Republik Indonesia Serikat. Puncak dan perjuangan itu adalah perundingan antara RIS dengan negara bagian Republik Indonesia yang menghasilkan keputusan tentang penghapusan bentuk negara Serikat dan pembentukan lærmbali negara kesatuan Republik Indonesia pada tanggal 17 Agustus 1950. Diorama ini menggambarkan Soepomo berpidato di hadapan massa menandai kembali terbentuknya Negara Kesatuan Republik Indonesia

*DIORAMA 40: RETURN TO THE UNITARY STATE (1950)
::The recognition of the sovereignty over Indonesia to the Republic of the United States of Indonesia was given by the Kingdom of the Netherlands on 27 December 1949. The Federation States was not the main purpose of the Indonesian people but was forced upon them and was only tolerated as a result of compromise. The people in the regions had rejected to have the form of a federal states and they demanded the return to the Unitary State Consequently, several members of the United States of Indonesia spontaneously declared unification in the Republic of Indonesia. The struggle to return to the Unitary State reached its peak with the abolishment of the Federal States and the declaration of return to the Unitary State of the Republic of Indonesia on 17 August 1950 as the result of the Interstate Conference. The diorama shows Soepomo gives his speeches before the mass meeting signifying the return to the Unitary State of the Republic of Indonesia

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.
=====[https://archive.org/details/41-indonesia-menjadi-anggota-pbb-28-sepetember-1950-img-9625 INDONESIA MENJADI ANGGOTA PBB, 28 SEPETEMBER 1950]=====

*DIORAMA 41: INDONESIA MENJADI ANGGOTA PERSERIKATAN BANGSA-BANGSA (28 SEPTEMBER 1950)
::Perserikatan Bangsa-Bangsa memainkan peranan penting dalam memelihara perdamaian dunia serta mengatasi perbedaan diantara negara-negara di dunia, dan membantu mempercepat proses dekolonisasi. PBB serta organisasi bawahannya membantu menyelesaikan sengketa Indonesia-Belanda, maka Indonesia cenderung menjadi anggota badan dunia tersebut. Pada tanggal 28 September 1950, dalam Sidang Umum PBB di Flushing Meadow, Lake Success, Indonesia dengan suara bulat resmi diterima menjadi anggota PBB. Diorama ini menggambarkan upacara pengibaran bendera Merah Putih di PBB, New York yang menandai masuknya Indonesia menjadi anggota PBB

*DIORAMA 41: THE UNITED NATION MEMBERSHIP (28 SEPTEMBER 1950)
::The United Nations Organization plays an important role in maintaining world peace and overcoming differences among nations. It also helps in accelerating the process of decolonization in the world. It was already known that the United Nations and its subordinate agencies had assisted in settling the dispute between Indonesia and the Dutch. Therefore, Indo-nesia felt the urgency to become member of the world body. On 28 September 1950 the United Nation Gen-eral Assembly held in Flushing, Lake Success unani-mously approved Indonesia as its sixtieth member. The diorama shows on 28 September 1950 the Red and White flag raises at the ceremony admitting the membership of Indonesia to the United Nations.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.
=====[https://archive.org/details/42-konferensi-asia-afrika-18-24-april-1955-img-9627 KONFERENSI ASIA AFRIKA, 18-24 APRIL 1955]=====

*DIORAMA 42: KONPERENSI ASIA-AFRIKA (18 - 24 APRIL 1955)
::Sesudah berakhirnya Perang Dunia II muncul Blok Barat dan Blok Timur. Sejak saat itu dunia diliputi mendung ketidakpastian dan merasakan ketegangan karena kedua Blok tersebut terlibat perebutan pengaruh serta perlombaan persenjataan yang setiap saat dapat memicu perang nuklir. Menyadari akan bahaya ini rakyat Asia-Afrika yang berbeda-beda sistim politiknya mencari suatu persatuan untuk bersama-sama berusaha menyelamatkan dunia dari kehancuran nuklir dan membentuk dunia baru yang damai dan sejahtera bebas dari kolonialisme dan imperialisme. Melalui konperensi-konperensi di Kolombo tanggal 28 April 2 Mei 1954 dan di Bogor tanggal 28 - 31 Desember 1954 lima negara sponsor konperensi Asia-Afrika, Indonesia, India, Birma, Pakistan dan Srilanka menetapkan langkah-langkah yang lebih konkrit untuk konperensi Asia-Afrika. Konperensi Asia-Afrika yang kemudian dilaksanakan di Bandung tanggal 18-24 April 1955, dihadiri oleh 30 negara-negara Asia-Afrika dan menghasilkan suatu keputusan yang terkenal dengan nama "Dasasila Bandung". Diorama ini menggambarkan Presiden Republik Indonesia menyampaikan pidato pada upacara pembukaan Konperensi Asia-Afrika tanggal 18 April 1955 di Bandung.

*DIORAMA 42: AFRO-ASIAN CONFERENCE (18-24 APRIL 1955)
::After World War II emerged two opposing forces, the West and the East Block. Since then the world was wrapped in a mist of uncertainty and felt the strain, because the two blocks fought for the supremacy in influence and weaponry in a severe cold war, which at anytime threatened the start of a nuclear warfare. Aware of this danger the Asian and African nations which have several different political aspirations tried to wedge a way to unite efforts to save the world from the disaster of nuclear warfare, and form a new world, secure and peaceful free from colonialism and imperialism. Through the preliminary conferences on 28 April -2 May 1954 in Colombo and on 28-31 December 1954 in Bogor five nations that sponsored the Afro-Asian Conference, Indonesia, India, Myanmar, Pakistan and Srilangka set up a concrete platform to hold the conference. On 18 April 1955 in Bandung the Afro-Asian Conference was opened, attended by 30 delegates. It concluded on 24 April and its result was already known as the Declaration of Ten Principles of Bandung. The diorama shows President of the Republic of Indonesia gives his speeches at the opening ceremony of the conference on 18 April 1955 in Bandung.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.
=====[https://archive.org/details/43-pemilihan-umum-pertama-1955-img-9629 PEMILIHAN UMUM PERTAMA, 1955]=====

*DIORAMA 43: PEMILIHAN UMUM PERTAΜΑ (1955)
::Sejak semula Pemerintah Republik Indonesia menyadari bahwa pemilihan umum harus dilaksanakan sebagai salah satu sarana demokrasi. Akan tetapi pada tahun-tahun pertama berdirinya. Republik Indonesia harus menghadapi musuh dari luar, sehingga pemilihan umum sulit dilaksanakan. Barulah sesudah tahun 1950 usaha untuk menyelenggarakan pemilihan umum digiatkan kembali dengan pembuatan Undang-Undang Pemilihan Umum. Keinginan untuk melaksanakan pemilihan umum dapat menstabilkan keadaan politik waktu itu dan pembangunan dapat dilaksanakan dengan sebaik-baiknya. Akhirnya semasa kabinet Burhanuddin Harahap. pemilihan umum dapat dilaksanakan, tanggal 29 September 1955 untuk wakil-wakil rakyat di Dewan Perwakilan Rakyat dan tanggal 15 Desember 1955 untuk wakil-wakil rakyat di Dewan Konstituante. Diorama ini menggambarkan peristiwa pemilihan umum pertama di Indonesia tahun 1955.

*DIORAMA 43: THE FIRST GENERAL ELECTION (1955)
::From the very beginning, the Government of the Republic of Indonesia has been aware that there had to be an election in order to implement the principle of democracy. But, since beginning of her existence the Republic of Indonesia had to face enemies from outside, so that it was very difficult to accomplish elections In 1950, efforts to accomplish a general election took a concrete form with the legislation of the law of general election. The desire to act was very great, with the hope that the result of the elections would stabilize the political situation, enabling the building up of the country with the most desirable effect. Finally, under the cabinet of Burhanuddin Harahap administration the election was carried out on 29 September 1955 and on 15 December 1955 respectively for the people's representatives in Legislative Assembly and Constituent Assembly. The diorama shows the atmosphere of the first general election in 1955.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.
=====[https://archive.org/details/44-pembebasan-irian-jaya-1-mei-1963-img-9631 PEMBEBASAN IRIAN JAYA, 1 MEI 1963]=====

*DIORAMA 44: PEMBEBASAN IRIAN JAYA (Ι ΜΕΙ 1963)
::Dengan dasar pemikiran bahwa wilayah kekuasaan Republik Indonesia meliputi seluruh wilayah bekas jajahan Hindia Belanda, maka segala upaya pembebasan Irian Jaya terus dijalankan. Usaha-usaha pengembalian Irian Jaya yang masih dikuasai Belanda ke dalam wilayah kekuasaan Republik Indonesia melalui meja perundingan selalu gagal. Begitupun melalui sidang-sidang Majelis Umum Perserikatan Bangsa-Bangsa. Ketika Belanda bermaksud memberikan hak menentukan nasib sendiri pada rakyat Irian Jaya yang menjurus untuk melepaskan dari Republik Indonesia dan membentuk pemerintah boneka, Indonesia memutuskan untuk membebaskan Irian Jaya dengan kekuatan senjata. Dalam rapat umum tanggal 19 Desember 1961 di Yogyakarta, Presiden mengumumkan Tri Komando Rakyat (Trikora), yang meliputi: Gagalkan pembentukan negara Papua bikinan kolonialis Belanda, Kibarkan Sang Merah Putih di Irian Jaya, dan Bersiaplah untuk mobilisasi umum. Satuan tugas dengan nama Komando Mandala dibentuk yang dipimpin oleh Mayor Jenderal Soeharto, dan dengan demikian dimulailah operasi militer ke Irian Jaya. Dalam keadaan demikian pada tanggal 15 Agustus 1962 tercapai Persetujuan New York antara Indonesia-Belanda. Pada tanggal 1 Mei 1963 secara resmi Belanda melalui PBB menyerahkan kekuasaan atas Irian Jaya kepada Indonesia. Diorama ini menggambarkan Sudjarwo Tjondronegoro mewakili Indonesia pada upacara resmi penyerahan kedaulatan Irian kepada Republik Indonesia pada tanggal | Mei 1963 di Jayapura. Bendera Belanda diturunkan dan bendera Indonesia dinaikkan.

*DIORAMA 44: THE LIBERATION OF IRIAN JAYA (1 MAY 1963)
::Based on the conception that the Republic of Indonesia teritory of sovereignty consists of the entire former the Netherlands Indies Territory, the Republic kept on taking all necessary measures to liberate Irian. Effort to reclaim Irian back in the unity from the Dutch authority to Indonesia by means of negotiations as well as through the General Assembly of the United Nations Organization had never been successful, When the Dutch intended to give the Irian people the right of self determination which had the tendency to make it an independent state, Indonesia lost its patience which she had been trying to endeavour for 12 years and decided to take Irian by force. On 19 December 1961 at a mass meeting in Yogyakarta President declared The People's Three Commands: Foiling the establishment of the Papua State setting up by the Dutch, Raising the Red and White flag in Irian, and Getting ready for general mobilization. The special task force, known as Mandala Com-mand was set up led by Major General Soeharto and so began the military operations to Irian. Under such circumstances on 15 August 1962 Indonesia and the Dutch reached the New York agree-ment. On May 1963 the Dutch through the good offices of the United Nations officially transferred the sovereignty over Irian to the Republic of Indonesia. The diorama shows Soedjarwo Tjondronegoro, Indonesia's representative, at the ceremony transferring sovereignty over Irian to the Republic of Indonesia on May 1963 in Jayapura. The Dutch flag is lowered and the Indonesian flag raised.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.
=====[https://archive.org/details/45-hari-kesaktian-pancasila-1-oktober-1965-img-9637 HARI KESAKTIAN PANCASILA, 1 OKTOBER 1965]=====

*DIORAMA 45: HARI KESAKTIAN PANCASILA (1 OKTOBER 1965)
::Pada masa pemerintahan Orde Lama, PKI meningkatkan serangannya terhadap kekuatan Pancasila. Karena menurunnya kesehatan Presiden Soekarno saat itu. PKI merasa adanya bahaya yang akan mengancam eksistensinya. Yang dianggap bahaya terbesar adalah pihak TNI-Angkatan Darat, karena Pemimpinnya bersikap waspada terhadap kegiatan PKI yang hendak menyelewengkan Pancasila. Untuk mendiskreditkan lawannya itu, PKI membuat fitnah terhadap Pimpinan TNI Angkatan Darat seolah-olah mereka membentuk Dewan Jenderal yang akan merebut kekuasaan negara. Dengan dalih mendahului coup Dewan Jenderal itu maka pada tanggal | Oktober 1965 PKI, dibantu oleh oknum-oknum ABRI, melancarkan Gerakan 30 September dan melakukan pembunuhan terhadap pimpinan TNI-Angkatan Darat di Lubang Buaya, Jakarta Timur. Tetapi rakyat yang berjiwa Pancasila sejati segera sadar bahwa gerakan itu bertujuan untuk melenyapkan Pancasila dan UUD 45. Dibawah pimpinan Mayor Jenderal Soeharto. Panglima Kostrad, usaha perebutan kekuasaan oleh Gerakan 30 September/PKI berhasil digagalkan dan gerakannya ditumpas dalam waktu singkat. Peristiwa ini merupakan kemenangan dari Pancasila yang telah benar-benar dihayati oleh seluruh rakyat. Diorama ini menggambarkan jenazah para Pahlawan Revolusi diangkat dari sumur di Lubang Buaya dipimpin langsung oleh Mayor Jenderal Soeharto.

*DIORAMA 45: PANCASILA SANCTITY DAY (1 OCTOBER 1965)
::During the Old Order regime, the Indonesian Communist Party increased its offensive against the forces of Pancasila. Because of the decline of Presi-dent Soekarno's health, who was its ally and protec-tor, the Indonesian Communist Party felt the danger that threatened its existence. The biggest danger they considered was the Indonesian Army (TNI-AD), because TNI-AD commander were very much alert of the Indonesian Communist Party activities that had the aim of diverting the Pancasila. To bring discredit to his opponent, they slandered the TNI-AD leaders accusing them of forming a Council of General with which to carry out a coup d'etat. With the excuse of intercepting the coup d'etat of the Council of Generals, on October 1, 1965, the In-donesian Communist Party with several officers from the Armed Forces, launched the 30 September Move-ment by killing the top leaders of the army in Lubang Buaya, East Jakarta. But the Indonesian people who are true Pancasialists were immediately aware that the Indonesian Communist Party movement was aimed at destroying the Pancasila state philosophy and the 1945 Constitution. Under the command of Major General Soeharto the effort for a coup d'etat by the Indonesian Commu-nist Party were thwarted, and the movement was destroyed within a very short time. This event proved of the invulnerability of the Pancasila as it is in the soul of the people. The diorama shows on 4 October 1965 the corpses of the Revolution Heroes are lifted from the well in Lubang Buaya led by Major General Soeharto.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.
=====[https://archive.org/details/46-aksi-aksi-tri-tuntutan-rakyat-1966-img-9640 AKSI-AKSI TRI TUNTUTAN RAKYAT, 1966]=====

*DIORAMA 46: AKSI-AKSI TRI TUNTUTAN RAKYAT (1966)
::Semenjak gagalnya coup berdarah yang dilakukan oleh Partai Komunis Indonesia, pemerintahan Orde Lama menjadi goyah. Di samping itu krisis politik dan ekonomi semakin parah. Mahasiswa sebagai generasi muda yang tergabung dalam Kesatuan Aksi Mahasiswa Indonesia (KAMI) mengajukan Tri Tuntutan Rakyat (Tritura), meliputi 1. Bubarkan PKI 2. Bersihkan Kabinet dari unsur-unsur G-30-S/PKI 3. Turunkan harga-harga. Diorama ini menggambarkan suasana gelombang demonstrasi yang pada saat itu diadakan di area Taman Medan Merdeka Utara, Jakarta.

*DIORAMA 46: THE PEOPLE'S THREE DEMAND ACTION (1966)
::Since the failure of the bloody coup d'etat of the Indonesian Communist Party, the Old Order regime became unstable. Besides, political and economical crisis apparent. Throughout the country, universities and high schools students with the support of the Pancasila forces and the Armed Forces, demanded: 1 Banning the Indonesian Communist Party 2. Purging communist elements from the Dwikora Cabinet 3. Lowering prices of basic commodities.The diorama shows the demonstration to voice the people's Three Demands held in northern area of Medan Merdeka Square, Jakarta.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.
=====[https://archive.org/details/47-surat-perintah-11-maret-1966-img-9645 SURAT PERINTAH 11 MARET 1966]=====

*DIORAMA 47: SURAT PERINTAH SEBELAS MARET (1966)
::Situasi negara Indonesia sesudah digagalkannya kudeta Gerakan 30 September/PKI merupakan masa kritis yang menggoncangkan sendi-sendi negara. Presiden Soekarno beserta pemerintahannya yang penuh dengan oknum-oknum Gerakan 30 September/PKI sama sekali kehilangan kepercayaan rakyat. Pada tanggal 11 Maret 1966 Presiden Soekarno mengeluarkan Surat Perintah kepada Jenderal Soeharto untuk memulihkan kewibawaan Pemerintah dengan jalan mengambil semua tindakan yang dianggap perlu. Jenderal Soeharto dengan cepat melaksanakan Surat Perintah | Maret 1966 itu dengan memenuhi dua diantara. Tri Tuntutan Rakyat, yakni membubarkan Partai Komunis Indonesia dan membersihkan kabinet dari menteri-menteri yang ada indikasi terlibat Gerakan 30 September/PKI atau memperlihatkan itikad kurang baik terhadap usaha-usaha pemulihan keamanan dan ketertiban. Dalam diorama ini digambarkan tiga Perwira Tinggi Angkatan Darat, yakni Mayjen Basuki Rahmat. Brigjen M. Jusuf dan Brigjen Amir Machmud sedang melaporkan Surat Perintah 11 Maret 1966 kepada Jenderal Soeharto, yang sedang berbaring karena sakit.

*DIORAMA 47:DIORAMA 47: THE WRITTEN ORDER OF MARCH ELEVENTH (1966)
::The time after the failure of the September 30 Movement/the Indonesian Communist Party, a new crisis emerged which shook the foundation of the country. On 11 March 1966 President Soekarno issued his mandate to General Soeharto in order to reinstate the Government authority and restore the national security by taking any necessary measures. General Soeharto immediately executed the or-der by fulfilling two of the People's Three Demands. i.e. Banning the Indonesian Communist Party, and purging the cabinet from the ministers who were involved in the September 30 Movement/ Indonesian Communist Party or those who hampered efforts to recovering security and order. The diorama shows General Soeharto as he was very sick - lying on bed receives, from left to right, army officers Brigadier General Amir Machmud, Major General Basuki Rachmat and Brigadier General M. Jusuf who have come to report the written order of March Eleventh.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.
=====[https://archive.org/details/48-penentuan-pendapat-rakyat-irian-jaya-1969-img-9646 PENENTUAN PENDAPAT RAKYAT IRIAN JAYA, 1969]=====

*DIORAMA 48: PENENTUAN PENDAPAT RAKYAT IRIAN BARAT (1969)
::Salah satu isi persetujuan New York tanggal 15 Agustus 1962 mengenai penyerahan Irian Barat kepada Indonesia adalah bahwa pada tahun 1969 harus diadakan Penentuan Pendapat Rakyat (Pepera), apakah memilih Republik Indonesia atau tidak. Pelaksanaannya akan diawasi oleh Perserikatan Bangsa-Bangsa. Timbul masalah dalam pelaksanaannya, apakah setiap orang memberikan suara langsung sebagaimana usul wakil PBB, Duta Besar Bolivia Ortin Sede, atau perwakilan setiap kelompok melalui pemilihan secara bertingkat seperti usul Indonesia. Karena usul wakil PBB adalah amat sulit untuk dilaksanakan dalam kondisi seperti di Irian Barat, usul Indonesia yang diterima. Dengan disaksikan oleh wakil-wakil PBB, pers dalam dan luar negeri serta peninjau-peninjau dari beberapa kedutaan asing di Jakarta, dimulailah Pepera tersebut dari bulan April - Juni 1969, untuk pemilihan anggota Dewan Musyawarah Kabupaten (Regency Consultative Assemblies) di mana terpilih 1026 anggota mewakili 8 kabupaten, diantaranya 43 wanita. Keputusan Dewan Musyawarah Pepera dengan suara bulat memilih Irian Barat tetap merupakan bagian dari Negara Kesatuan Republik Indonesia. Padá tanggal 19 November 1969, PBB mensahkan hasil Pepera tersebut dengan 84 suara setuju, 6 menolak dan 30 suara abstain (terutama negara Afrika). Diorama ini menggambarkan suasana Sidang Musyawarah Penentuan Pendapat Rakyaat Irian Barat pada bulan Juli 1969.

*DIORAMA 48: REFERENDUM OF THE PEOPLE OF WEST IRIAN (1969)
::The contents of the agreement of New York on August 15, 1962, concerning the transfer of sovereignty of West Irian to Indonesia, said that in 1969, the people of Irian should be given the right of self-determination in order to choose whether they would consent to be a part of Indonesia or otherwise. The execution would be under supervision of the United Nations. Complication arose concerning the procedure of execution whether every voter would directly give his vote, as was suggested by the delegation of the United Nations, Bolivian Ambassador Ortin Sede, or repre-sentatives of each group and so voting in stages (Indonesia's proposal). Based on the geographical con-dition in Irian, finally Indonesia's proposal was accepted. From April to June 1969, the Indonesia's govern-ment held a United Nations' supervised referendum in West Irian, witnessed by United Nations representatives, local and foreign journalists and observers from several embassies in Jakarta in which 1026 delegates were elected representing 8 regencies, among them 43 were women. The result was a unanimous option for joining the Republic of Indonesia as an integral part of the Republic. On 19 November the United Nations approved the result of the referendum after taking of a vote, 84 in favor, 6 opposed and 30 abstain (mostly African States). The diorama shows the atmosphere of the People's Referendum Assembly in Irian in July 1969.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

=====(The museum)=====
======[https://archive.org/details/img-9384_202601 IMG_9384]======

*Interior of Museum Sejarah Nasional (National History Museum), located in the basement of Monas.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

======[https://archive.org/details/img-9391a IMG_9391a]======

*Interior of Museum Sejarah Nasional (National History Museum), located in the basement of Monas.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

======[https://archive.org/details/img-9402_202601 IMG_9402]======

*Interior of Museum Sejarah Nasional (National History Museum), located in the basement of Monas.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

======[https://archive.org/details/img-9415_202601 IMG_9415]======

*Interior of Museum Sejarah Nasional (National History Museum), located in the basement of Monas.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

======[https://archive.org/details/img-9436_202601 IMG_9436]======

*Interior of Museum Sejarah Nasional (National History Museum), located in the basement of Monas.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

======[https://archive.org/details/img-9439_202602 IMG_9439]======

*Interior of Museum Sejarah Nasional (National History Museum), located in the basement of Monas.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

======[https://archive.org/details/img-9614_202601 IMG_9614]======

*Interior of Museum Sejarah Nasional (National History Museum), located in the basement of Monas.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

======[https://archive.org/details/img-9384_202601 IMG_9384]======

*Interior of Museum Sejarah Nasional (National History Museum), located in the basement of Monas.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

======[https://archive.org/details/img-9391a IMG_9391a]======

*Interior of Museum Sejarah Nasional (National History Museum), located in the basement of Monas.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

======[https://archive.org/details/img-9402_202601 IMG_9402]======

*Interior of Museum Sejarah Nasional (National History Museum), located in the basement of Monas.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

======[https://archive.org/details/img-9415_202601 IMG_9415]======

*Interior of Museum Sejarah Nasional (National History Museum), located in the basement of Monas.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

======[https://archive.org/details/img-9436_202601 IMG_9436]======

*Interior of Museum Sejarah Nasional (National History Museum), located in the basement of Monas.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

======[https://archive.org/details/img-9439_202602 IMG_9439]======

*Interior of Museum Sejarah Nasional (National History Museum), located in the basement of Monas.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

======[https://archive.org/details/img-9614_202601 IMG_9614]======

*Interior of Museum Sejarah Nasional (National History Museum), located in the basement of Monas.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

====Hasil Jadi====
=====[https://archive.org/details/mon-jam-00001 MON_JAM_00001]=====
*Photo of the installation of diorama number 29, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team at the National Monument, with the title Youth Pledge.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-jam-00002 MON_JAM_00002]=====
*Photo of the installation of diorama number 29, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team at the National Monument, with the title Youth Pledge.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-jam-00003 MON_JAM_00003]=====
*Photo of the installation of diorama number 29, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team at the National Monument, with the title Youth Pledge.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-jam-00004 MON_JAM_00004]=====
*Photo of the installation of diorama number 17, commissioned by Edhi Sunarso and the Keluarga Arca sculptor team at the National Monument, titled The Aceh War, shows a miniature building resembling the Baiturrahman Mosque in Aceh, which was later abandoned.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-jam-00005 MON_JAM_00005]=====
*Photo of the installation of diorama number 17, commissioned by Edhi Sunarso and the Keluarga Arca sculptor team at the National Monument, titled The Aceh War, shows a miniature building resembling the Baiturrahman Mosque in Aceh, which was later abandoned.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-jam-00006 MON_JAM_00006]=====
*Photo of the installation of diorama number 17, commissioned by Edhi Sunarso and the Keluarga Arca sculptor team at the National Monument, titled The Aceh War, shows a miniature building resembling the Baiturrahman Mosque in Aceh, which was later abandoned.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-jam-00007 MON_JAM_00007]=====
*Photo of the installation of diorama number 37, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team at the National Monument, with the title Guerrilla in the War of Independence.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-jam-00008 MON_JAM_00008]=====
*Photo of the installation of diorama number 37, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team at the National Monument, with the title Guerrilla in the War of Independence.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-jam-00009 MON_JAM_00009]=====
*Photo of the installation of diorama number 30, which was done by Edhi Sunarso and the Keluarga Arca sculptor team, at the National Monument, with the title Romusha.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-jam-00010 MON_JAM_00010]=====
*Photo of the installation of diorama number 33, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team at the National Monument, with the title Ratification of Pancasila as the Philosophical Foundation of the State and the 1945 Constitution.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-jam-00011 MON_JAM_00011]=====
*Photo of the installation of diorama number 33, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team at the National Monument, with the title Ratification of Pancasila as the Philosophical Foundation of the State and the 1945 Constitution.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-jam-00012 MON_JAM_00012]=====
*Photo of one of the artists in front of diorama number 33 with the title Ratification of Pancasila as the State Foundation and the 1945 Constitution, which was done by Edhi Sunarso and the Keluarga Arca sculptor team at the National Monument

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-jam-00013 MON_JAM_00013]=====
*Photo of the installation of diorama number 20, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team at the National Monument, with the title Cultivation Forced Planting.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-jam-00014 MON_JAM_00014]=====
*Photo of the installation of diorama number 20, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team at the National Monument, with the title Cultivation Forced Planting.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-jam-00015 MON_JAM_00015]=====
*Photo of the installation of diorama number 20, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team at the National Monument, with the title Cultivation Forced Planting.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-jam-00016 MON_JAM_00016]=====
*Photo of the installation of diorama number 20, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team at the National Monument, with the title Cultivation Forced Planting.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-jam-00017 MON_JAM_00017]=====
*Photo of the installation of diorama number 30, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team, at the National Monument, with the title Romusha.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-jam-00018 MON_JAM_00018]=====
*Photo of the installation of diorama number 23, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team, at the National Monument, with the title National Awakening.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-jam-00019 MON_JAM_00019]=====
*Photo of one of the Keluarga Arca artists in front of diorama number 6 entitled Palapa Oath, which was done by Edhi Sunarso and the Keluarga Arca sculptor team at the National Monument

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-jam-00020 MON_JAM_00020]=====
*Photo of an artist from the Keluarga Arca sculptor team working on installing diorama number 14 entitled The Diponegoro War, at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-jam-00021 MON_JAM_00021]=====
*Photo of the installation of diorama number 14, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team,at the National Monument, with the title Diponegoro War.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-jam-00022 MON_JAM_00022]=====
*Photo of artists from the Keluarga Arca sculptor team preparing statues for a diorama at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-mer-00001 MON_MER_00001]=====
*Photo of the installation of diorama number 2, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team at the National Monument, with the title Sriwijaya seaport.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-mer-00002 MON_MER_00002]=====
*Photo of the finished product from the installation of diorama number 3, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team at the National Monument, with the title Borobudur Temple Under Construction

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-mer-00003 MON_MER_00003]=====
*Photo of the installation of diorama number 7, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team, at the National Monument, with the title Majapahit War Fleet.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-mer-00004 MON_MER_00004]=====
*Photo of the installation of diorama number 44, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team, at the National Monument, with the title Liberation of West Irian.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-mer-00005 MON_MER_00005]=====
*Photo of the installation of diorama number 15, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team at the National Monument, with the title Imam Bonjol War

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-mer-00006 MON_MER_00006]=====
*Photo of the installation of diorama number 12, which was carried out by Edhi Sunarso and the keluarga Arca sculptor team,at the National Monument, with the title Makassar War.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-mer-00007 MON_MER_00007]=====
*Photo of the installation of diorama number 10, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team , at the National Monument, with the title The War for the Formation of Jayakarta.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-mer-00008 MON_MER_00008]=====
*Photo of the installation of diorama number 30, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team , at the National Monument, with the title Romusha.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-mer-00009 MON_MER_00009]=====
*Photo of the installation of diorama number 11, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team, at the National Monument, with the title Bugis Trading Fleet.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-mer-00010 MON_MER_00010]=====
*Photo of the installation of diorama number 8, which was done by Edhi Sunarso and the Keluarga Arca sculptor team, at the National Monument, with the title Chinese Envoy to Majapahit.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-mer-00011 MON_MER_00011]=====
*Photo of the installation of diorama number 9, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team, at the National Monument, with the title Pesantren as a Uniter of the Indonesian Nation.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-mer-00012 MON_MER_00012]=====
*Photo of the installation of diorama number 25, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team, at the National Monument, with the title Muhammadiyah.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-mer-00013 MON_MER_00013]=====
*Photo of the installation of diorama number 42, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team, at the National Monument, with the title Asia-Africa Conference.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-mer-00014 MON_MER_00014]=====
*Photo of the installation of diorama number 37, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team at the National Monument, with the title Guerrilla in the War of Independence.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-mer-00015 MON_MER_00015]=====
*Photo from one corner of the diorama room at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-mer-00016 MON_MER_00016]=====
*Photo of the installation of diorama number 38, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team, at the National Monument, with the title General Soedirman.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-mer-00017 MON_MER_00017]=====
*Photo of the installation of diorama number 5, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team at the National Monument, with the title Jawi Temple: A Combination of Shivaism and Buddhism

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-mer-00018 MON_MER_00018]=====
*Photo of the installation of diorama number 26, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team at the National Monument, with the title Indonesian Association.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-mer-00019 MON_MER_00019]=====
*Photo of the installation of diorama number 27, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team at the National Monument, with the title STOVIA

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-mer-00020 MON_MER_00020]=====
*Photo of the installation of diorama number 6, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team at the National Monument, with the title Palapa Oath.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-mer-00021 MON_MER_00021]=====
*Photo of the installation of diorama number 39, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team at the National Monument, with the title Recognition of Sovereignty.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-mer-00022 MON_MER_00022]=====
*Photo of the finished product from the installation of diorama number 4, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team at the National Monument, with the title Waringin Sapta Dam.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-mer-00023 MON_MER_00023]=====
*photo documentation of one of the dioramas

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-mer-00024 MON_MER_00024]=====
*Photo of the installation of diorama number 4, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team at the National Monument, with the title Diponegoro War.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-mer-00025 MON_MER_00025]=====
*Photo of the installation of diorama number 46, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team at the National Monument, with the title Three Demands of the People's Action

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-mer-00026 MON_MER_00026]=====
*Photo of the installation of diorama number 45, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team at the National Monument, with the title Pancasila Sanctity Day.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-mer-00027 MON_MER_00027]=====
*Photo of the installation of diorama number 45, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team at the National Monument, with the title Pancasila Sanctity Day.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-mer-00028 MON_MER_00028]=====
*Photo of the installation of diorama number 47, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team at the National Monument, with the title 11th March 1966 Order Letter

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-post-00001 MON_POST_00001]=====
*Photo of one of the artists from the Keluarga Arca sculptor team on one side of the National Monument building.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-post-00002 MON_POST_00002]=====
*Photo of artists from the Keluarga Arca sculptor team creating sculptures in the studio

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-post-00003 MON_POST_00003]=====
*Photo of the installation of diorama number 45, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team at the National Monument, with the title Pancasila Sanctity Day.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-post-00004 MON_POST_00004]=====
*Photo of the installation of diorama number 7, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team at the National Monument, with the title Majapahit War Fleet.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-post-00005 MON_POST_00005]=====
*Photo of the installation of diorama number 45, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team at the National Monument, with the title Pancasila Sanctity Day.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-post-00006 MON_POST_00006]=====
*Photo of the installation of diorama number 40, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team at the National Monument, with the title Returning to the Unitary State.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-post-00007 MON_POST_00007]=====
*Photo of the installation of diorama number 46, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team at the National Monument, with the title Three Demands of the People's Action

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-post-00008 MON_POST_00008]=====
*Photo of the installation of diorama number 7, which was carried out by Edhi Sunarso and the Keluarga Arca sculptor team at the National Monument, with the title Majapahit War Fleet.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

====Pemasangan Diorama====
=====[https://archive.org/details/mon-bwf-00001 MON_BWF_00001]=====
*Photo of the base of the Monas building

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-bwf-00002 MON_BWF_00002]=====
*Photo of Edhi Sunarso with his colleagues on the steps of the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-bwf-00003 MON_BWF_00003]=====

*Photo of artists from the Keluarga Arca sculptor team preparing one of the dioramas at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-bwf-00004 MON_BWF_00004]=====

*Photo of artists from the Keluarga Arca sculptor team in the process of coloring the statues for the diorama at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-bwf-00005 MON_BWF_00005]=====

*Photo of artists from the Keluarga Arca sculptor team in the process of coloring the statues for the diorama at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-bwf-00006 MON_BWF_00006]=====

*Photo of the artist preparing diorama room number 39 at the National Monument entitled Recognition of Sovereignty.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-bwf-00007 MON_BWF_00007]=====

*Photo of one of the artists preparing a scene in diorama number 14 at the National Monument entitled The Diponegoro War.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-bwf-00008 MON_BWF_00008]=====

*Photo of artists from the Keluarga Arca sculptor team in the process of coloring the statues for the diorama at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-bwf-00009 MON_BWF_00009]=====

*Photo of one of the scenes in the diorama arrangement process at the National Monument, possibly in diorama number 18 with the title Sisingamagaraja's Resistance.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-bwf-00010 MON_BWF_00010]=====

*Photo of one of the scenes in the diorama arrangement process at the National Monument, possibly in diorama number 18 with the title Sisingamagaraja's Resistance.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-bwf-00011 MON_BWF_00011]=====

*Photo of one of the scenes in the diorama arrangement process at the National Monument, possibly in diorama number 18 with the title Sisingamagaraja's Resistance.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-bwf-00012 MON_BWF_00012]=====

*Photo of one of the scenes in the process of arranging the diorama at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-bwf-00013 MON_BWF_00013]=====

*Photo of one of the scenes in the process of arranging diorama number 14 entitled Diponegoro War at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-bwf-00014 MON_BWF_00014]=====

*Photo of one of the scenes in the process of arranging diorama number 14 entitled Diponegoro War at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-bwf-00015 MON_BWF_00015]=====

*Photo of one of the scenes in the diorama arrangement process at the National Monument in diorama number 18 with the title Sisingamagaraja's Resistance.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-bwf-00016 MON_BWF_00016]=====

*Photo of one of the artists while arranging the statues in the diorama room for diorama scene number 39 at the National Monument with the title Recognition of Sovereignty

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-bwf-00017 MON_BWF_00017]=====

*Photo of an artist preparing a miniature building as one of the elements in diorama number 17 at the National Monument entitled The Aceh War

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-bwf-00018 MON_BWF_00018]=====

*Photo of an artist preparing a miniature building as one of the elements in diorama number 17 at the National Monument entitled The Aceh War

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-bwf-00019 MON_BWF_00019]=====

*Photo of artists from the Keluarga Arca sculptor team in the process of coloring the statues for the diorama at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-bwf-00020 MON_BWF_00020]=====

*Photo of artists from the Keluarga Arca sculptor team in the process of coloring the statues for the diorama at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-bwf-00021 MON_BWF_00021]=====

*Photo of one of the scenes in diorama number 20 at the National Monument entitled Forced Cultivation.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-bwf-00022 MON_BWF_00022]=====

*Photo of one of the scenes in diorama number 20 at the National Monument entitled Forced Cultivation.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-bwf-00023 MON_BWF_00023]=====

*Photo of one of the scenes in diorama number 20 at the National Monument entitled Forced Cultivation.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-bwf-00024 MON_BWF_00024]=====

*Photo of the artist painting the background of diorama number 6 at the National Monument entitled Palapa Oath.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-bwf-00025 MON_BWF_00025]=====

*Photo of the artist arranging the statues in diorama number 6 at the National Monument with the title Palapa Oath.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-bwf-00026 MON_BWF_00026]=====

*Photo of Edhi Sunarso sleeping and the other artists preparing statues for a diorama at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-bwf-00027 MON_BWF_00027]=====

*Photo of artists preparing statues to be installed in a diorama at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-bwf-00028 MON_BWF_00028]=====

*Photo of artists preparing statues to be installed in a diorama at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-bwf-00029 MON_BWF_00029]=====

*Photo of artists preparing statues to be installed in a diorama at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-bwf-00030 MON_BWF_00030]=====

*Photo of artists from the Keluarga Arca sculptor team in the process of coloring the statues for the diorama at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-bwf-00031 MON_BWF_00031]=====

*A photo of artists from the Keluarga Arca sculptor team in the process of coloring the statues for the diorama at the National Monument. The photo is shown behind the space prepared for diorama number 33 at the National Monument, titled "The Ratification of Pancasila, the Philosophical Foundation of the State and the 1945 Constitution."

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-bwf-00032 MON_BWF_00032]=====

*Photo of an artists from the Keluarga Arca sculptor team painting a background on a diorama

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-bwf-00033 MON_BWF_00033]=====

*Photo of artists from the Keluarga Arca sculptor team artist installing the contents of diorama number 46 at the National Monument with the title Three Demands of the People's Action.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-mon-kun-00001 MON_MON_KUN_00001]=====

*Photo of Kustiyah Edhi Sunarso standing in front of a diorama at the National Monument entitled Ancient Indonesian Society.entitled Ancient Indonesian Society.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-mon-kun-00002 MON_MON_KUN_00002]=====

*Photo of the artists in front of the diorama room which is currently being installed at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-mon-kun-00003 MON_MON_KUN_00003]=====

*Photo of an artist painting the background of one of the dioramas at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-mon-kun-00004 MON_MON_KUN_00004]=====

*Photo of an artist observing diorama number 1 at the National Monument entitled Ancient Indonesian Society.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-mon-kun-00005 MON_MON_KUN_00005]=====

*Photo of Edhi Sunarso and Kustiyah Edhi Sunarso with fellow artists in front of the diorama room which is currently being installed at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-mon-kun-00006 MON_MON_KUN_00006]=====

*Photo of the artist working on installing a statue for diorama number 30 at the National Monument entitled Romusha.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-mon-mer-00001 MON_MON_MER_00001]=====

*Photo of artists from the Keluarga Arca sculptor team preparing statues to be installed in a diorama

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-mon-mer-00002 MON_MON_MER_00002]=====

*Photo of artists from the Keluarga Arca sculptor team preparing statues to be installed in a diorama

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-mon-mer-00003 MON_MON_MER_00003]=====

*Photo of an artist from the Keluarga Arca sculptor team preparing a diorama space

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-mon-mer-00004 MON_MON_MER_00004]=====

*Photo of artists from the Keluarga Arca sculptor team preparing statues to be installed in one of the diorama rooms

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-mon-mer-00005 MON_MON_MER_00005]=====

*Photo of an artist from the Keluarga Arca sculptor team preparing one of the diorama rooms at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/pro-mon-jak-00001 PRO_MON_JAK_00001]=====

*Photo of peoples reviewing one of the dioramas at the National Monument with the title Romusha.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/pro-mon-jak-00002 PRO_MON_JAK_00002]=====

*Photo of the artists of Keluarga Arca Sculptor team during the installation process of diorama number 45 at the National Monument with the title Pancasila Sanctity Day.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/pro-mon-jak-00003 PRO_MON_JAK_00003]=====

*Photo of Edhi Sunarso during the installation process of diorama number 45 at the National Monument with the title Pancasila Sanctity Day.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/pro-mon-jak-00004 PRO_MON_JAK_00004]=====

*Photo of artists from the Keluarga Arca sculptor team installing a statue for one of the dioramas at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/pro-mon-jak-00005 PRO_MON_JAK_00005]=====

*Photo of the artist working on installing a statue for diorama number 30 at the National Monument entitled Romusha.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/pro-mon-jak-00006 PRO_MON_JAK_00006]=====

*Photo of artists from the Keluarga Arca sculptor team in the process of installing diorama number 45 at the National Monument with the title Pancasila Sanctity Day.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/pro-mon-jak-00007 PRO_MON_JAK_00007]=====

*Photo of Kustiyah Edhi Sunarso in front of the artists from Keluarga Arca Sculptor team, in the process of installing diorama number 45 at the National Monument with the title Pancasila Sanctity Day.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/pro-mon-jak-00008 PRO_MON_JAK_00008]=====

*A photograph of an artist from Keluarga Arca Sculptor team coloring the background of one of the dioramas at the National Monument, possibly diorama number 1, titled Ancient Indonesian Society.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/pro-mon-jak-00009 PRO_MON_JAK_00009]=====

*Photo of the artists in front of one of the dioramas at the National Monument

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/pro-mon-jak-00010 PRO_MON_JAK_00010]=====

*Photo of Edhi Sunarso with his colleagues in front of diorama number 20 at the National Monument with the title Romusha.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/pro-mon-jak-00011 PRO_MON_JAK_00011]=====

*Photo of Edhi Sunarso with local people during a visit to an area in Central Indonesia.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

=====[https://archive.org/details/pro-mon-jak-00012 PRO_MON_JAK_00012]=====

*Photo of Edhi Sunarso and Kustiyah Edhi Sunarso playing with their son

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/pro-mon-jak-00013 PRO_MON_JAK_00013]=====

*Photo of Kustiyah Edhi Sunarso and her fellow artist in front of diorama number 1 entitled Ancient Indonesian Society which is located at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/pro-mon-jak-00014 PRO_MON_JAK_00014]=====

*Photo of the artist from Keluarga Arca Sculptor team providing color for the background of diorama number 1 entitled Ancient Indonesian Society which is located at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/pro-mon-jak-00015 PRO_MON_JAK_00015]=====

*Photo of an artist from Keluarga Arca Sculptor team working on a relief

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/pro-mon-jak-00016 PRO_MON_JAK_00016]=====

*Photo of an artist from Keluarga Arca Sculptor team creating a sculpture for a diorama.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/pro-mon-jak-00017 PRO_MON_JAK_00017]=====
*Photo of Edhi Sunarso and Kustiyah Edhi Sunarso in front of the National Monument, in Jakarta

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/pro-mon-jak-00018 PRO_MON_JAK_00018]=====
*Photo of fellow artists from Keluarga Arca Sculptor team in front of the National Monument. in Jakarta

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/pro-mon-jak-00019 PRO_MON_JAK_00019]=====
*Photo of artists from Keluarga Arca Sculptor team in the process of installing diorama number 45 at the National Monument with the title Pancasila Sanctity Day.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/pro-mon-jak-00020 PRO_MON_JAK_00020]=====
*Photo of the artist from Keluarga Arca Sculptor team on one side of the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/pro-mon-jak-00021 PRO_MON_JAK_00021]=====
*Photo of artists from the Keluarga Arca sculptor team in the process of installing one of the dioramas at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

====Pembuatan Diorama====
=====[https://archive.org/details/pro-mon-jog-00001 PRO_MON_JOG_00001]=====

*Photo of clay statues at the Keluarga Arca sculpture studio, Yogyakarta, for diorama number 6 entitled The Palapa Oath at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/pro-mon-jog-00002 PRO_MON_JOG_00002]=====

*Photo of the process of creating one of the dioramas at the National Monument, carried out by an artist at the Keluarga Arca sculpture studio in Yogyakarta.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/pro-mon-jog-00003_202602 PRO_MON_JOG_00003]=====

*Photo of clay statues at the Keluarga Arca sculpture studio, Yogyakarta, which were prepared to fill diorama number 18 at the National Monument with the title Sisingamangaraja's Resistance.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/pro-mon-jog-00004 PRO_MON_JOG_00004]=====

*Photo of a group of statues in the Keluarga Arca sculpture studio being prepared to fill one of the dioramas at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/pro-mon-jog-00005 PRO_MON_JOG_00005]=====

*Photo of clay statues at the Keluarga Arca sculpture studio, Yogyakarta, which were prepared to fill diorama number 18 at the National Monument with the title Sisingamangaraja's Resistance.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/pro-mon-jog-00006 PRO_MON_JOG_00006]=====

*Photo of clay statues at the Keluarga Arca sculpture studio, Yogyakarta, which were prepared for diorama number 33 at the National Monument entitled Ratification of Pancasila as the Philosophical Foundation of the State and the 1945 Constitution.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/pro-mon-jog-00007 PRO_MON_JOG_00007]=====

*Photo of artists at the Keluarga Arca sculpture studio, Yogyakarta, working on statues for the dioramas at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/pro-mon-jog-00008 PRO_MON_JOG_00008]=====

*Photo of clay statues at the Keluarga Arca sculpture studio, Yogyakarta, which were prepared for diorama number 33 at the National Monument entitled Ratification of Pancasila as the Philosophical Foundation of the State and the 1945 Constitution.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/pro-mon-jog-00009 PRO_MON_JOG_00009]=====

*Photo of artists at the Keluarga Arca sculpture studio, Yogyakarta, working on statues for the dioramas at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/pro-mon-jog-00010 PRO_MON_JOG_00010]=====

*Photo of clay statues at the Keluarga Arca sculpture studio, Yogyakarta, for diorama number 6 entitled The Palapa Oath at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/pro-mon-jog-00011 PRO_MON_JOG_00011]=====

*Photo of artists at the Keluarga Arca sculpture studio, Yogyakarta, working on statues for the dioramas at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/pro-mon-jog-00012 PRO_MON_JOG_00012]=====

*Photo of clay statues at the Keluarga Arca sculpture studio, Yogyakarta, which were prepared to fill diorama number 18 at the National Monument with the title Sisingamangaraja's Resistance.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/pro-mon-jog-00013 PRO_MON_JOG_00013]=====

*Photo of clay statues at the Keluarga Arca sculpture studio, Yogyakarta, for diorama number 6 entitled The Palapa Oath at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/pro-mon-jog-00014 PRO_MON_JOG_00014]=====

*Photo of artists at the Keluarga Arca sculpture studio, Yogyakarta, working on statues for the dioramas at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/pro-mon-jog-00015 PRO_MON_JOG_00015]=====

*Photo of clay statues at the Keluarga Arca sculpture studio, Yogyakarta, for diorama number 6 entitled The Palapa Oath at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/pro-mon-jog-00016 PRO_MON_JOG_00016]=====

*Photo of clay statues at the Keluarga Arca sculpture studio, Yogyakarta, which were prepared to fill diorama number 29 at the National Monument with the title Youth Pledge.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/pro-mon-jog-00017 PRO_MON_JOG_00017]=====

*Photo of clay statues at the Keluarga Arca sculpture studio, Yogyakarta, which were prepared to fill diorama number 18 at the National Monument with the title Sisingamangaraja's Resistance.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/pro-mon-jog-00018 PRO_MON_JOG_00018]=====

*Photo of one of the statues for diorama number 18 at the National Monument with the title Sisingamangaraja's Resistance.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/pro-mon-jog-00019 PRO_MON_JOG_00019]=====

*Photo of a group of statues in the Keluarga Arca sculpture studio, Yogyakarta,, which are being prepared to fill the diorama at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/pro-mon-jog-00020 PRO_MON_JOG_00020]=====

*Photo of clay statues at the Keluarga Arca sculpture studio, Yogyakarta, which were prepared to fill diorama number 29 at the National Monument with the title Youth Pledge.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/pro-mon-jog-00021 PRO_MON_JOG_00021]=====

*Photo of artists at the Keluarga Arca sculpture studio, Yogyakarta, working on statues for the dioramas at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/pro-mon-jog-00022 PRO_MON_JOG_00022]=====

*Photo of one of the statues for diorama number 18 at the National Monument with the title Sisingamangaraja's Resistance.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/pro-mon-jog-00023 PRO_MON_JOG_00023]=====

*Photo of artists at the Keluarga Arca sculpture studio, Yogyakarta, working on statues for the diorama at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/pro-mon-jog-00024 PRO_MON_JOG_00024]=====

*Photo of artists at the Keluarga Arca sculpture studio, Yogyakarta, working on statues for the diorama at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/pro-mon-jog-00025 PRO_MON_JOG_00025]=====

*Photo of artists at the Keluarga Arca sculpture studio, Yogyakarta, working on statues for the diorama at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/pro-mon-jog-00026 PRO_MON_JOG_00026]=====

*Photo of clay statues at the Keluarga Arca sculpture studio, Yogyakarta, for diorama number 6 entitled The Palapa Oath at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/pro-mon-jog-00027 PRO_MON_JOG_00027]=====

*Photo of artists at the Keluarga Arca sculpture studio, Yogyakarta, working on statues for the diorama at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/pro-mon-jog-00028 PRO_MON_JOG_00028]=====

*Photo of artists at the Keluarga Arca sculpture studio, Yogyakarta, working on statues for the diorama at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/pro-mon-jog-00029_20260208 PRO_MON_JOG_00029]=====

*Photo of clay statues at the Keluarga Arca sculpture studio, Yogyakarta, which were prepared for diorama number 33 at the National Monument entitled Ratification of Pancasila as the Philosophical Foundation of the State and the 1945 Constitution.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/pro-mon-jog-00030 PRO_MON_JOG_00030]=====

*Photo of artists at the Keluarga Arca sculpture studio, Yogyakarta, working on statues for the diorama at the National Monument.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/pro-mon-jog-00031 PRO_MON_JOG_00031]=====

*Photo of clay statues at the Keluarga Arca sculpture studio, Yogyakarta, which were prepared for diorama number 33 at the National Monument entitled Ratification of Pancasila as the Philosophical Foundation of the State and the 1945 Constitution.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/scan-27_202602 Scan 27]=====

*Photo of one of the artists in front of diorama number 1 at the National Monument entitled Ancient Indonesian Society.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

====Kliping====
=====[https://archive.org/details/image-0_202602 Tabloid Selecta No. 796]=====
*The article “Edhi Sunarso, Creator of Major Statues in Jakarta” in Tabloid Selecta No. 796 summarizes Edhi Sunarso’s journey as an important Indonesian sculptor, starting from his role in creating major monuments such as the Welcome Monument, the West Irian Liberation Monument, and the Dirgantara Monument, his role as Head of the ASRI Sculpture Department, his international achievements in London and India, as well as an explanation of the technical process of making bronze statues and dioramas, to his personal life story full of struggles since childhood, his involvement in the war of independence, his experience of being arrested and tortured by the Dutch, the process of searching for his identity and family, and his determination to pursue art education in Yogyakarta which ultimately led him to become a great artist with works that are recognized and collected nationally and internationally.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

====Patung 4 Sisi (tidak jadi dibuat)====
=====Amplop Patung Banteng=====
======[https://archive.org/details/img-002_202602 IMG_002]======

*Above: Photo of Edhi Sunarso and artists from the Keluarga Arca group working on one of the 4-sided statue models for the National Monument. Below Left: Front view of one of the 4-sided statue models for the National Monument. Below Right: Side view of one of the 4-sided statue models for the National Monument. These three photographs document the process of creating the four-sided statues for the National Monument, which President Soekarno requested from Edhi Sunarso and the Keluarga Arca group, but which ultimately were not completed. This collection of three photographs is titled Monas Study Package 1 (Collective).

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/img-003_202602 IMG_003]======

*Three photographs of a model of one of the 4-sided statues for the National Monument, taken from various angles, with the stamp of the Keluarga Arca Sculpture Team on the sheet where the photographs are attached. These three photographs document the process of creating the 4-sided statue for Monas, which President Sukarno requested from Edhi Sunarso and the Keluarga Arca group, but which ultimately was not completed.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/img-004_202602 IMG_004]======

*Four photographs of a model of one of the 4-sided statues for the National Monument, taken from various angles. These four photographs document the process of creating the four-sided statue for Monas, a project requested by President Sukarno from Edhi Sunarso and the Keluarga Arca Group, but ultimately abandoned. This collection of four photographs is titled Monas Model Study III (Collective).

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/img-005_202602 IMG_005]======

*Three photographs of a model of one of the 4-sided statues for the National Monument, taken from various angles. These three photographs document the process of creating the four-sided statue for Monas, which President Sukarno commissioned from Edhi Sunarso and the Keluarga Arca group, but which ultimately was not completed.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/img-006_202602 IMG_006]======

*A collection of photos of statues of people holding anchors from various angles

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/img-007_202602 IMG_007]======

*A collection of two photographs of a model of an elephant statue created by Edhi Sunarso and the Keluarga Arca group for the Musi River Monument. President Sukarno's signature is on the sheet of paper where the photographs are attached.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/img-008_202602 IMG_008]======

*A collection of two photographs of a model of an elephant statue created by Edhi Sunarso and the Keluarga Arca group for the Musi River Monument. President Sukarno's signature is on the sheet of paper where the photographs are attached.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/img-009_202602 IMG_009]======

*Three photographs depict the creation of the statue for the Musi River Monument, created by Edhi Sunarso and the Keluarga Arca group. This collection of three photographs is titled Musi River Monument (Collective).

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/img-011_202602 IMG_011]======

*Above: Photo of Edhi Sunarso and the Keluarga Arca group with the statue being constructed. Bottom-left: Photo of a model of the statue created by Edhi Sunarso and the Keluarga Arca group. Bottom-right: Photo of a group of people sitting in a room.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/img-012_202602 IMG_012]======

*Above: A photo of two artists sitting on the steps of the Monas building, with a bull statue behind them. Middle: A photo of a group of people dressed smartly, as if welcoming an important guest. Below: A photo of one of the artists from the Keluarga Arca group.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/img-013 IMG_013]======

*Above: Photo of a bull statue in one corner of Monas. Below: Photo of a group of people in a room.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

=====MONAS - Patung 4 Sisi=====
======[https://archive.org/details/mon-pat-4-si-00001 MON_PAT_4SI_00001]======

*A photo of one of the clay statue models at the Keluarga Arca sculpture studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was requested by President Soekarno to Edhi Sunarso and the Keluarga Arca group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/mon-pat-4-si-00002 MON_PAT_4SI_00002]======

*A photo of one of the clay statue models at the Keluarga Arca sculpture studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was requested by President Soekarno to Edhi Sunarso and the Keluarga Arca group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/mon-pat-4-si-00003 MON_PAT_4SI_00003]======

*A photo of one of the clay statue models at the Keluarga Arca sculpture studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was requested by President Soekarno to Edhi Sunarso and the Keluarga Arca group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/mon-pat-4-si-00004 MON_PAT_4SI_00004]======

*A photo of one of the clay statue models at the Keluarga Arca sculpture studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was requested by President Soekarno to Edhi Sunarso and the Keluarga Arca group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/mon-pat-4-si-00005 MON_PAT_4SI_00005]======

*A photo of one of the clay statue models at the Keluarga Arca sculpture studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was requested by President Soekarno to Edhi Sunarso and the Keluarga Arca group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/mon-pat-4-si-00006 MON_PAT_4SI_00006]======

*A photo of one of the clay statue models at the Keluarga Arca sculpture studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was requested by President Soekarno to Edhi Sunarso and the Keluarga Arca group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/mon-pat-4-si-00007 MON_PAT_4SI_00007]======

*A photo of one of the clay statue models at the Keluarga Arca sculpture studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was requested by President Soekarno to Edhi Sunarso and the Keluarga Arca group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/mon-pat-4-si-00008 MON_PAT_4SI_00008]======

*A photo of one of the clay statue models at the Keluarga Arca sculpture studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was requested by President Soekarno to Edhi Sunarso and the Keluarga Arca group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/mon-pat-4-si-00009 MON_PAT_4SI_00009]======

*A photo of one of the clay statue models at the Keluarga Arca sculpture studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was requested by President Soekarno to Edhi Sunarso and the Keluarga Arca group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/mon-pat-4-si-00010 MON_PAT_4SI_00010]======

*A photo of one of the clay statue models at the Keluarga Arca sculpture studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was requested by President Soekarno to Edhi Sunarso and the Keluarga Arca group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/mon-pat-4-si-00011 MON_PAT_4SI_00011]======

*A photo of one of the clay statue models at the Keluarga Arca sculpture studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was requested by President Soekarno to Edhi Sunarso and the Keluarga Arca group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/mon-pat-4-si-00012 MON_PAT_4SI_00012]======

*Photo of a clay sculpture of a woman's face.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/mon-pat-4-si-00013 MON_PAT_4SI_00013]======

*A photo of one of the clay statue models at the Keluarga Arca sculpture studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was requested by President Soekarno to Edhi Sunarso and the Keluarga Arca group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/mon-pat-4-si-00014 MON_PAT_4SI_00014]======

*A photo of one of the clay statue models at the Keluarga Arca sculpture studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was requested by President Soekarno to Edhi Sunarso and the Keluarga Arca group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/mon-pat-4-si-00015 MON_PAT_4SI_00015]======

*A photo of one of the clay statue models at the Keluarga Arca sculpture studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was requested by President Soekarno to Edhi Sunarso and the Keluarga Arca group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/mon-pat-4-si-00016 MON_PAT_4SI_00016]======

*A photo of one of the clay statue models at the Keluarga Arca sculpture studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was requested by President Soekarno to Edhi Sunarso and the Keluarga Arca group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/mon-pat-4-si-00017 MON_PAT_4SI_00017]======

*A photo of one of the clay statue models at the Keluarga Arca sculpture studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was requested by President Soekarno to Edhi Sunarso and the Keluarga Arca group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/mon-pat-4-si-00018 MON_PAT_4SI_00018]======

*A photo of one of the clay statue models at the Keluarga Arca sculpture studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was requested by President Soekarno to Edhi Sunarso and the Keluarga Arca group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/mon-pat-4-si-00019 MON_PAT_4SI_00019]======

*A photo of one of the clay statue models at the Keluarga Arca sculpture studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was requested by President Soekarno to Edhi Sunarso and the Keluarga Arca group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/mon-pat-4-si-00020 MON_PAT_4SI_00020]======

*A photo of one of the clay statue models at the Keluarga Arca sculpture studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was requested by President Soekarno to Edhi Sunarso and the Keluarga Arca group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/mon-pat-4-si-00021 MON_PAT_4SI_00021]======

*A photo of one of the clay statue models at the Keluarga Arca sculpture studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was requested by President Soekarno to Edhi Sunarso and the Keluarga Arca group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/mon-pat-4-si-00022 MON_PAT_4SI_00022]======

*A photo of one of the clay statue models at the Keluarga Arca sculpture studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was requested by President Soekarno to Edhi Sunarso and the Keluarga Arca group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/mon-pat-4-si-00023_202602 MON_PAT_4SI_00023]======

*A photo of one of the clay statue models at the Keluarga Arca sculpture studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was requested by President Soekarno to Edhi Sunarso and the Keluarga Arca group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/mon-pat-4-si-00024 MON_PAT_4SI_00024]======

*Photo of Edhi Sunarso making a clay statue with a woman as his model.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/mon-pat-4-si-00025 MON_PAT_4SI_00025]======

*A photo of one of the clay statue models at the Keluarga Arca sculpture studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was requested by President Soekarno to Edhi Sunarso and the Keluarga Arca group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/mon-pat-4-si-00026 MON_PAT_4SI_00026]======

*A photo of one of the clay statue models at the Keluarga Arca sculpture studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was requested by President Soekarno to Edhi Sunarso and the Keluarga Arca group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/mon-pat-4-si-00027 MON_PAT_4SI_00027]======

*A photo of one of the clay statue models at the Keluarga Arca sculpture studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was requested by President Soekarno to Edhi Sunarso and the Keluarga Arca group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/mon-pat-4-si-00028 MON_PAT_4SI_00028]======

*Photos of the statue and relief models made by Edhi Sunarso and the Keluarga Arca group.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/mon-pat-4-si-00029 MON_PAT_4SI_00029]======

*Photos of the statue and relief models made by Edhi Sunarso and the Keluarga Arca group.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/mon-pat-4-si-00030 MON_PAT_4SI_00030]======

*A photo of one of the clay statue models at the Keluarga Arca sculpture studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was requested by President Soekarno to Edhi Sunarso and the Keluarga Arca group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/mon-pat-4-si-00031 MON_PAT_4SI_00031]======

*Photo of one of the artists from the Family Arca group arranging a model consisting of a warrior statue and relief.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/mon-pat-4-si-00032 MON_PAT_4SI_00032]======

*Photo of Edhi Sunarso and artists from the Keluarga Arca group with models of warrior statues and reliefs they made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/mon-pat-4-si-00033 MON_PAT_4SI_00033]======

*A photo of one of the clay statue models at the Keluarga Arca sculpture studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was requested by President Soekarno to Edhi Sunarso and the Keluarga Arca group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/mon-pat-4-si-00034 MON_PAT_4SI_00034]======

*Photo of one of the fighter statue models made by Edhi Sunarso and the Keluarga Arca group

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/mon-pat-4-si-00035 MON_PAT_4SI_00035]======

*Photo of a model of three warriors in bronze, made by Edhi Sunarso and the Keluarga Arca group.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/mon-pat-4-si-00036 MON_PAT_4SI_00036]======

*Photo of one of the statue models made by Edhi Sunarso and the Keluarga Arca group, made of clay.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/mon-pat-4-si-00037 MON_PAT_4SI_00037]======

*Photo of one of the models of the warrior statues made by Edhi Sunarso and the Keluarga Arca group, made of clay.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/mon-pat-4-si-00038 MON_PAT_4SI_00038]======

*Photo of Edhi Sunarso making a statue at the Keluarga Arca studio.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/mon-pat-4-si-00039 MON_PAT_4SI_00039]======

*A photo of one of the clay statue models at the Keluarga Arca sculpture studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was requested by President Soekarno to Edhi Sunarso and the Keluarga Arca group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/mon-pat-4-si-00040 MON_PAT_4SI_00040]======

*A photo of one of the clay statue models at the Keluarga Arca sculpture studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was requested by President Soekarno to Edhi Sunarso and the Keluarga Arca group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/mon-pat-4-si-00041 MON_PAT_4SI_00041]======

*A photo of one of the clay statue models at the Keluarga Arca sculpture studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was requested by President Soekarno to Edhi Sunarso and the Keluarga Arca group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/mon-pat-4-si-00042 MON_PAT_4SI_00042]======

*A photo of one of the clay statue models at the Keluarga Arca sculpture studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was requested by President Soekarno to Edhi Sunarso and the Keluarga Arca group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/mon-pat-4-si-00043 MON_PAT_4SI_00043]======

*A photo of one of the clay statue models at the Keluarga Arca sculpture studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was requested by President Soekarno to Edhi Sunarso and the Keluarga Arca group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/mon-pat-4-si-00044 MON_PAT_4SI_00044]======

*A photo of one of the clay statue models at the Keluarga Arca sculpture studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was requested by President Soekarno to Edhi Sunarso and the Keluarga Arca group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/mon-pat-4-si-00045 MON_PAT_4SI_00045]======

*A photo of one of the clay statue models at the Keluarga Arca sculpture studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was requested by President Soekarno to Edhi Sunarso and the Keluarga Arca group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/mon-pat-4-si-00046 MON_PAT_4SI_00046]======

*A photo of one of the clay statue models at the Keluarga Arca sculpture studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was requested by President Soekarno to Edhi Sunarso and the Keluarga Arca group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/mon-pat-4-si-00047 MON_PAT_4SI_00047]======

*A photo of one of the clay statue models at the Keluarga Arca sculpture studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was requested by President Soekarno to Edhi Sunarso and the Keluarga Arca group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/mon-pat-4-si-00048 MON_PAT_4SI_00048]======

*A photo of one of the clay statue models at the Keluarga Arca sculpture studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was requested by President Soekarno to Edhi Sunarso and the Keluarga Arca group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/mon-pat-4-si-00049 MON_PAT_4SI_00049]======

*A photo of one of the clay statue models at the Keluarga Arca sculpture studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was requested by President Soekarno to Edhi Sunarso and the Keluarga Arca group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/mon-pat-4-si-00050 MON_PAT_4SI_00050]======

*A photo of one of the clay statue models at the Keluarga Arca sculpture studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was requested by President Soekarno to Edhi Sunarso and the Keluarga Arca group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/mon-pat-4-si-00051 MON_PAT_4SI_00051]======

*A photo of one of the clay statue models at the Keluarga Arca sculpture studio, Yogyakarta, for the 4-Sided Statue project at Monas, which was requested by President Soekarno to Edhi Sunarso and the Keluarga Arca group, but in the end the statue was not made.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

=====Studi Patung Banteng Monas=====
======[https://archive.org/details/20260210_20260210_1346 Studi Patung Banteng Monas____]======

*Three documentary photos of a clay bull statue model from various angles made by Edhi Sunarso and the Keluarga Arca group.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/20260210_20260210_1346 Studi Patung Banteng Monas___]======

*Three documentary photographs of a clay bull statue model created by Edhi Sunarso and the Keluarga Arca group. It bears President Soekarno's signature on 7th January 1966, confirming the model's approval.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/a-1_20260210 Studi Patung Banteng Monas A1]======

*Three documentary photos of a clay bull statue model made by Edhi Sunarso and the Keluarga Arca group, entitled First Study.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/a-2_20260210 Studi Patung Banteng Monas A2]======

*Documentation photo of a clay bull statue model, part of the documentation entitled First Study, made by Edhi Sunarso and the Keluarga Arca group.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/b_20260210 Studi Patung Banteng Monas B]======

*Three documentary photos of a clay bull statue model made by Edhi Sunarso and the Keluarga Arca group entitled Second Study.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/c-1_20260210 Studi Patung Banteng Monas C1]======

*Documentation photo of a clay bull statue model made by Edhi Sunarso and the Keluarga Arca group entitled Third Study.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/c-2_20260210 Studi Patung Banteng Monas C2]======

*Documentation photo of a clay bull statue model, part of the documentation entitled Third Study, made by Edhi Sunarso and the Keluarga Arca group

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/d_20260210 Studi Patung Banteng Monas D]======

*Three documentary photos of a clay bull statue model made by Edhi Sunarso and the Keluarga Arca group entitled Forth Study.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/e_20260210 Studi Patung Banteng Monas E]======

*Two documentary photos of a clay bull statue model made by Edhi Sunarso and the Keluarga Arca group entitled Fifth Study.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/f-acc-bk Studi Patung Banteng Monas F - ACC BK]======

*Three documentary photographs of a clay bull statue model created by Edhi Sunarso and the Keluarga Arca group, entitled Sixth Study. It bears President Soekarno's signature on 7th January 1966, signifying the model's approval.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/g-acc-bk Studi Patung Banteng Monas G - ACC BK]======

*Three documentary photographs of a clay bull model created by Edhi Sunarso and the Keluarga Arca group, entitled Seventh Study. It bears President Soekarno's signature on 7th January 1966, signifying the model's approval.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/h-1_20260210 Studi Patung Banteng Monas H1]======

*Documentation photo of a clay bull statue model made by Edhi Sunarso and the Keluarga Arca group entitled Eghth Study.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/h-2_20260210 Studi Patung Banteng Monas H2]======

*Documentation photo of a clay bull statue model, part of the documentation entitled Eighth Study made by Edhi Sunarso and the Keluarga Arca group.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/h-3_20260210 Studi Patung Banteng Monas H3]======

*Documentation photo of a clay bull statue model, part of the documentation entitled Eighth Study made by Edhi Sunarso and the keluarga Arca group.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/i_20260210 Studi Patung Banteng Monas I]======

*Three documentary photos of a clay bull statue model made by Edhi Sunarso and the Keluarga Arca group entitled Ninth Study.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/j_20260210 Studi Patung Banteng Monas J]======

*Two documentary photographs of a clay bull statue model created by Edhi Sunarso and the Keluarga Arca group, entitled Tenth Study. It bears President Soekarno's signature on 7th January 1966, signifying the model's approval.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/l_20260210 Studi Patung Banteng Monas L]======

*Three documentary photos of a clay bull statue model made by Edhi Sunarso and the Keluarga Arca group entitled Twelfth Study.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/m_20260210 Studi Patung Banteng Monas M]======

*Three documentary photos of a clay bull statue model made by Edhi Sunarso and the Keluarga Arca group entitled Fourteenth Study.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

====Penerbitan seputar Monas====
=====[https://archive.org/details/katalog-museum-sejarah-nasional-1977 Katalog Museum Sejarah Nasional, 1977]=====
*The National History Museum Catalogue (1978) documents the presentation of dioramas of Indonesian history chronologically, from prehistoric times to the struggle to maintain independence, with explanations of events, important figures, and the visual concept of the diorama as a medium for historical education.

=====[https://archive.org/details/keagungan-perjuangan-bangsa-indonesia-1996 Keagungan Perjuangan Bangsa Indonesia, 1996]=====
*The book entitled "National Monument: Monument to the Greatness of the Indonesian Nation's Struggle" (1996) is a reference work that documents the history and philosophical meaning of the National Monument (Monas) as an eternal symbol of the Proclamation of Indonesian Independence on 17th August 1945. The contents of this book include the history of its establishment, the aims and objectives of its construction, as well as the technical details of its construction implementation, which were divided into three main stages from 1961 to 1975. In addition, this book describes the physical parts of Monas, such as the History Museum Room, the Independence Room, and the Flame of Independence.

=====[https://archive.org/details/rencana-penyempuranaan-diorama-museum-sejarah-di-tugu-nasional Rencana Penyempuranaan Diorama Museum Sejarah di Tugu Nasional, 2007]=====
*The book of plans for improving the diorama of the history museum at the National Monument (MONAS) which is based on the decision of the Minister of State Secretary number 6 of 2007 concerning the formation of a committee for improving the diorama of the national history museum at the National Monument, which will be implemented by the Indonesian Historians Society, the Faculty of Cultural Sciences, University of Indonesia, Architects, and previous Diorama Designers. The diorama improvement plan comes from the results of a study by the diorama improvement team with considerations from the side of historical philosophy, historical facts, technical and aesthetic aspects.

=====[https://archive.org/details/tugu-nasional-laporan-pembangunan-1978_202602 Tugu Nasional - Laporan Pembangunan, 1978]=====
*The National Monument Book: Construction Report (1978) is an official report that documents in detail the planning, construction process, and completion of the National Monument (Monas) as a monument commemorating the Proclamation of Independence on 17th August 1945, including the background to the idea of establishing Monas, the symbolic architectural concept that represents the spirit of independence and the personality of the nation, the stages of construction from the beginning to completion, the involvement of various parties and experts, the use of technology and building materials, to the filling of Monas spaces such as the National History Museum and the top of the monument. This book was produced under the direction of the Deputy Governor/Regional Head of DKI Jakarta for Development, Ir. Prayogo, compiled by the DKI Jakarta Office of Building Design and Conservation led by Ir. W. Pragantha as Head of Office with Soedarmadji and J. H. Damais as advisers, with text written by Architect Soedarsono, Ir. Imron Sugiono, and Drs. Wahjudiono, documentation prepared by the Office of Building Design and Conservation as the implementing authority for the National Monument, graphic design by Didit Chris, Purnomo M., and Guruh Sulawat, and printed by P.T. Jayakarta Agung Offset.

====Relief dan Benteng Monas====
=====[https://archive.org/details/mon-relief-00001 MON_RELIEF_00001]=====

*Documentation photo of an artist working on a relief at the National Monument complex in Jakarta.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-relief-00002 MON_RELIEF_00002]=====

*Documentation photo of one of the reliefs in the National Monument complex in Jakarta.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-relief-00003 MON_RELIEF_00003]=====

*Documentation photo of one of the reliefs in the National Monument complex in Jakarta.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-relief-00004 MON_RELIEF_00004]=====

*Documentation photo of one of the reliefs in the National Monument complex in Jakarta.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-relief-00005 MON_RELIEF_00005]=====

*Documentation photo of one of the reliefs in the National Monument complex in Jakarta.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-relief-00006 MON_RELIEF_00006]=====

*Documentation photo of one of the reliefs in the National Monument complex in Jakarta.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-relief-00007 MON_RELIEF_00007]=====

*Documentation photo of an artist working on a relief at the National Monument building complex in Jakarta.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-relief-00008 MON_RELIEF_00008]=====

*Documentation photo from Edhi Sunarso at the National Monument complex in Jakarta

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-relief-00009 MON_RELIEF_00009]=====

*Documentation photo of one of the reliefs in the National Monument complex in Jakarta

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-relief-00010 MON_RELIEF_00010]=====

*Documentation photo of an artist working on a relief at the National Monument complex in Jakarta.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-relief-00011 MON_RELIEF_00011]=====

*Documentation photo of one of the reliefs in the National Monument complex in Jakarta

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-relief-00012 MON_RELIEF_00012]=====

*Documentation photo of one of the reliefs in the National Monument complex in Jakarta

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-relief-00013 MON_RELIEF_00013]=====

*Documentation photo of one of the reliefs in the National Monument complex in Jakarta

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-relief-00014 MON_RELIEF_00014]=====

*Documentation photos of the artists taking a break.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-relief-00015 MON_RELIEF_00015]=====

*Documentation photo of one of the reliefs in the National Monument complex in Jakarta

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-relief-00016 MON_RELIEF_00016]=====

*Documentation photo of one of the reliefs in the National Monument complex in Jakarta

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-relief-00017 MON_RELIEF_00017]=====

*Documentation photo of one of the reliefs in the National Monument complex in Jakarta

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-relief-00018 MON_RELIEF_00018]=====

*Documentation photo of an artist working on a relief at the National Monument complex in Jakarta.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-relief-00019 MON_RELIEF_00019]=====

*Documentation photo of Edhi Sunarso and his group resting.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-relief-00020 MON_RELIEF_00020]=====

*Documentation photo of Edhi Sunarso supervising an artist working on one of the reliefs at the National Monument complex in Jakarta.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-relief-00021 MON_RELIEF_00021]=====

*Documentation photo of one of the reliefs in the National Monument complex in Jakarta

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-relief-00022 MON_RELIEF_00022]=====

*Documentation photo of an artist working on a relief at the National Monument complex in Jakarta.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-relief-00023 MON_RELIEF_00023]=====

*Documentation photo of an artist working on a relief

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-relief-00024 MON_RELIEF_00024]=====

*Documentation photo of Edhi Sunarso and his group resting.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-relief-00025 MON_RELIEF_00025]=====

*A documentary photograph of one of the reliefs at the National Monument complex in Jakarta. W.R. Soepratman is seen on the relief.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-relief-00026 MON_RELIEF_00026]=====

*Documentation photo of the artist in front of a building

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/editxml/mon-relief-00027 MON_RELIEF_00027]=====

*Documentation photo of an artist working on a relief

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-relief-00028 MON_RELIEF_00028]=====

*Documentation photo of one of the reliefs in the National Monument complex in Jakarta

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-relief-00029 MON_RELIEF_00029]=====

*Documentation photo of one of the reliefs

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-relief-00030 MON_RELIEF_00030]=====

*Documentation photo of one of the reliefs

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-relief-00031 MON_RELIEF_00031]=====

*A documentary photograph of one of the reliefs in the National Monument complex in Jakarta. The relief depicts Ki Hadjar Dewantoro, Dr. Tjipto Mangunkusumo, and Douwes Dekker.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-relief-00032 MON_RELIEF_00032]=====

*A documentary photo of one of the reliefs in the National Monument complex in Jakarta. One of the figures depicted is Muhammad Hatta.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-relief-00033 MON_RELIEF_00033]=====

*Documentation photo of one of the reliefs in the National Monument complex in Jakarta

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-relief-00034 MON_RELIEF_00034]=====

*Documentation photo of one of the reliefs in the National Monument complex in Jakarta

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-relief-00035 MON_RELIEF_00035]=====

*Documentation photo of one of the reliefs in the National Monument complex in Jakarta

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-relief-00036 MON_RELIEF_00036]=====

*Documentation photo of an artist working on a relief for the National Monument complex in Jakarta.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-relief-00037 MON_RELIEF_00037]=====

*Documentation photo of an artist working on a relief for the National Monument complex in Jakarta.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-relief-00038 MON_RELIEF_00038]=====

*Documentation photo of an artist working on a relief for the National Monument complex in Jakarta.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-relief-00039 MON_RELIEF_00039]=====

*Documentation photo of an artist working on a relief for the National Monument complex in Jakarta.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-relief-00040 MON_RELIEF_00040]=====

*A documentary photograph of one of the reliefs at the National Monument complex in Jakarta. W.R. Soepratman is seen on the relief.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-relief-00041 MON_RELIEF_00041]=====

*A documentary photo of an artist working on a relief for the National Monument complex in Jakarta. The figure of Ir. Soekarno is visible on the relief.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-relief-00042 MON_RELIEF_00042]=====

*Documentation photo of one of the reliefs in the National Monument complex in Jakarta

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-relief-00043 MON_RELIEF_00043]=====

*Documentation photo of one of the reliefs

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-relief-00044 MON_RELIEF_00044]=====

*Documentation photo of an artist working on a relief at the National Monument complex in Jakarta.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-relief-00045 MON_RELIEF_00045]=====

*Documentation photo of one of the reliefs in the National Monument complex in Jakarta

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-relief-00046 MON_RELIEF_00046]=====

*Documentation photo of one of the reliefs in the National Monument complex in Jakarta

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-relief-00047 MON_RELIEF_00047]=====

*Documentation photo of one of the reliefs in the National Monument complex in Jakarta

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-relief-00048 MON_RELIEF_00048]=====

*Documentation photo of one of the reliefs in the National Monument complex in Jakarta

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-relief-00049 MON_RELIEF_00049]=====

*Documentation photo of one of the reliefs in the National Monument complex in Jakarta

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-relief-00050 MON_RELIEF_00050]=====

*Documentation photo of one of the reliefs in the National Monument complex in Jakarta

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-relief-00051 MON_RELIEF_00051]=====

*Documentation photo of an artist working on a relief at the National Monument complex in Jakarta.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-relief-00052 MON_RELIEF_00052]=====

*Documentation photo of Edhi Sunarso supervising the relief-making work at the National Monument complex in Jakarta.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-relief-00053 MON_RELIEF_00053]=====

*Documentation photo of one of the reliefs in the National Monument complex in Jakarta

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-relief-00054 MON_RELIEF_00054]=====

*A documentary photo of one of the reliefs in the National Monument complex in Jakarta. The relief depicts Ir. Soekarno and Mohammad Hatta.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-relief-00055 MON_RELIEF_00055]=====

*Documentation photo of a group of officials who will inspect the project at the National Monument complex in Jakarta.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-relief-00056 MON_RELIEF_00056]=====

*Documentation photo of one of the reliefs in the National Monument complex in Jakarta

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-relief-00057 MON_RELIEF_00057]=====

*Documentation photo of one of the reliefs in the National Monument complex in Jakarta

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
=====[https://archive.org/details/mon-relief-00058 MON_RELIEF_00058]=====

*Documentation photo of one of the reliefs in the National Monument complex in Jakarta

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

====Riset diorama====
=====[https://archive.org/details/adegan-pepera-irian-barat Adegan Pepera Irian Barat]=====

*A collection of documentary photographs from the PEPERA (Determination of the People's Opinion) incident in several locations in West Irian in 1969, to determine whether West Irian would join the Republic of Indonesia or become independent. These photographs were used for research into dioramas depicting scenes from the PEPERA in West Irian.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

=====[https://archive.org/details/adegan-tanam-paksa Adegan Tanam Paksa]=====

*A collection of sketches and documentary photographs were used for research into dioramas depicting scenes from the forced cultivation of plants.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

=====Amplop Potret=====
======[https://archive.org/details/amp-pot-01 AMP_POT_01]======

*Above : Photo documentation of a group of people standing in front of the Hollandia building in Jayapura. The photo was used for diorama research. Below : Photo documentation of a group of people standing in front of a building.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/amp-pot-02 AMP_POT_02]======

*Left : Photo of K.H. Ahmad Dahlan, founder of Muhammadiyah. Right : Photo of K.H. Mas Mansur, one of Muhammadiyah figures.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/amp-pot-03 AMP_POT_03]======

*Above : Photo of a soldiers of the Republic of Indonesia. Below : Photo documentation of the ceremony in front of the Hollandia building, in Jayapura, which was used for diorama research

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/amp-pot-04 AMP_POT_04]======

*Left: One of Indonesia's judicial figures, possibly a photo of Kusumah Atmaja. Right: A sketch of Tuanku Imam Bonjol.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/amp-pot-05 AMP_POT_05]======

*Left: Photo of an Indonesian figure. Right: Photo of K.H. Abdul Wahid Hasjim.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/amp-pot-06 AMP_POT_06]======

*Left: Photo of Mohammad Yamin. Right: Photo of Wage Rudolf Soepratman.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/amp-pot-07 AMP_POT_07]======

*Left: Photo of Djuanda Kartawidjaja. Right: Photo of an Indonesian figure

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/amp-pot-08 AMP_POT_08]======

*Left: Photo of an Indonesian figure. Right: Photo of Ernest Douwes Dekker, also known as Danudirja Setiabudi.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/amp-pot-09 AMP_POT_09]======

*Left: Photo of Abdul Muis. Right: Photo of Sutan Syahrir.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/amp-pot-10 AMP_POT_10]======

*Left: Painting by Sam Ratulangi. Right: Photo by Pierre Tendean.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/amp-pot-11 AMP_POT_11]======

*Photo of an Indonesian figures.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/amp-pot-12 AMP_POT_12]======

*Left: Photo of an Indonesian figure. Right: Photo of Ki Hadjar Dewantara.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/amp-pot-13 AMP_POT_13]======

*Left: Photo of Supeno. Right: Photo of Ferdinand Lumban Tobing.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/amp-pot-14 AMP_POT_14]======

*Left: Photo of an Indonesian figure. Right: Photo of Prof. Dr. Raden Soepomo.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/amp-pot-15 AMP_POT_15]======

*Documentation photo from Left: H.O.S. Cokroaminoto Right: Cipto Mangunkusumo.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/amp-pot-16 AMP_POT_16]======

*Left: Photo of Raden Mas Soerjopranoto. Right: Painting by H. Samanhudi

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/amp-pot-17 AMP_POT_17]======

*Left: Photo of Albertus Soegijapranata. Right: Photo of Haji Agus Salim

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/amp-pot-18 AMP_POT_18]======

*Documentation photo of Indonesian figures being welcomed by Swiss Guard troops.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/amp-pot-19 AMP_POT_19]======

*Documentation photo shows a group of children in traditional clothing playing foos balll.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

=====Amplop Sketsa Diorama Monas=====
======[https://archive.org/details/ske-dio-mon-01 SKE_DIO_MON_01]======

*Photo of a sketch for one of the diorama scenes at the National Monument (Monas), titled "Youth Pledge."

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/ske-dio-mon-02 SKE_DIO_MON_02]======

*Photo of a sketch for one of the diorama scenes at the Monas, titled "Youth Pledge."

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/ske-dio-mon-03 SKE_DIO_MON_03]======

*Photo of a sketch for one of the diorama scenes at the Monas, titled "The Aceh War."

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/ske-dio-mon-04 SKE_DIO_MON_04]======

*Photo of a sketch for one of the diorama scenes at the Monas, titled "The Battle of Surabaya."

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/ske-dio-mon-05 SKE_DIO_MON_05]======

*Photo of a sketch for one of the diorama scenes at the Monas, titled "Indonesian Association"

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/ske-dio-mon-06 SKE_DIO_MON_06]======

*Photo of a sketch for one of the diorama scenes at the Monas, titled "The Palapa Oath."

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/ske-dio-mon-07 SKE_DIO_MON_07]======

*Photo of a sketch for one of the diorama scenes at the Monas, titled "National Awakening."

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/ske-dio-mon-08 SKE_DIO_MON_08]======

*Photo of a sketch for one of the diorama scenes at the Monas, titled "The Struggle to Return to the Unitary State."

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/ske-dio-mon-09 SKE_DIO_MON_09]======

*Photo of a sketch for one of the diorama scenes at the Monas, titled "The Battle of Jagaraga."

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/ske-dio-mon-10 SKE_DIO_MON_10]======

*Photo of a sketch for one of the diorama scenes at the National Monument (Monas), titled "The Majapahit War Fleet."

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/ske-dio-mon-11 SKE_DIO_MON_11]======

*Photo of a sketch for one of the diorama scenes at the Monas, titled "Recognition of Sovereignty."

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/ske-dio-mon-12 SKE_DIO_MON_12]======

*Photo of a sketch for one of the diorama scenes at the Monas, titled "The Liberation of Irian."

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/ske-dio-mon-13 SKE_DIO_MON_13]======

*Photo of a sketch for one of the diorama scenes at the Monas, titled "The Resistance of Sisingamangaraja."

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/ske-dio-mon-14 SKE_DIO_MON_14]======

*Photo of a sketch for one of the diorama scenes at the Monas, titled "Indonesia Becomes a Member of the United Nations."

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/ske-dio-mon-15 SKE_DIO_MON_15]======

*Photo of a sketch for one of the diorama scenes at the Monas, titled "The Diponegoro War."

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

=====[https://archive.org/details/dari-buku-gambar Dari Buku Gambar]=====

*A collection of documentary photographs from a sketchbook were used as research material for dioramas depicting the Bugis Incident, the Battle of Bogor, the Battle of Tjibadak, the Three Regions Incident, the Five-Day Battle of Palembang, the Expedition to Maluku, and the Seaborne Operation from Banyuwangi to Bali.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

=====[https://archive.org/details/draaiboek-monas-879pgs-2 Draaiboek Monas - 879pgs 2]=====

*A guideline for creating a diorama at Monas, entitled 1. TRIKORA AND/OR THE RETURN OF WEST IRIAN (The Return of West Irian to the Territory of the Republic of Indonesia). 2. GANEFO (The Opening Ceremony of Ganefo on October 10, 1963). This guide provides details for the diorama scenes, such as miniature figures, building elements, and paintings on the left and right walls of the diorama. The script also includes historical research, key events that formed the background to the events depicted in the diorama, and sources used for the historical research.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

=====Gambar-gambar perjuangan indonesia=====
======[https://archive.org/details/alb-gam-per-idn-01 ALB_GAM_PER_IDN01]======

*Documentation photo of the Indonesian flag flying on the North Field of the Yogyakarta Palace.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/alb-gam-per-idn-02 ALB_GAM_PER_IDN02]======

*Documentation photo of the fighters marching in ceremonial formation.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/alb-gam-per-idn-03 ALB_GAM_PER_IDN03]======

*Documentation photo of President Soekarno giving a salute.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/alb-gam-per-idn-04 ALB_GAM_PER_IDN04]======

*Documentation photo of a line of fighters welcoming a group of state officials in the northern square of the Yogyakarta palace.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/alb-gam-per-idn-05 ALB_GAM_PER_IDN05]======

*Documentation photo of a ceremony in the northern square of the Yogyakarta palace.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/alb-gam-per-idn-06 ALB_GAM_PER_IDN06]======

*Documentation photo of a ceremony in the northern square of the Yogyakarta palace.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/alb-gam-per-idn-07 ALB_GAM_PER_IDN07]======

*Documentation photo of President Soekarno, Vice President Mohammad Hatta, General Soedirman, and Sri Sultan Hamengku Buwono IX with a group of state officials at an event on the podium of the northern square of the Yogyakarta palace.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/alb-gam-per-idn-08 ALB_GAM_PER_IDN08]======

*Documentation photo of a fighter, possibly Raden Said Soekanto Tjokrodiatmodjo, as the Chief of the National Police, reading a speech

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/alb-gam-per-idn-09 ALB_GAM_PER_IDN09]======

*Documentation photo of General Soedirman, Vice President Mohammad Hatta, President Soekarno, and National Police Chief Raden Said Soekanto Tjokrodiatmodjo, together with a group of state officials.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/alb-gam-per-idn-10 ALB_GAM_PER_IDN10]======

*Documentation photo of President Soekarno reading a speech, also showing General Soedirman, Vice President Mohammad Hatta, and National Police Chief Raden Said Soekanto Tjokrodiatmodjo, along with a group of state officials.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/alb-gam-per-idn-11 ALB_GAM_PER_IDN11]======

*Documentation photo of President Soekarno, Vice President Mohammad Hatta, and National Police Chief Raden Said Soekanto Tjokrodiatmodjo, together with a group of state officials.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/alb-gam-per-idn-12 ALB_GAM_PER_IDN12]======

*Documentary photo of a woman being trained to shoot with a rifle.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/alb-gam-per-idn-13 ALB_GAM_PER_IDN13]======

*Documentation photo of President Soekarno giving a speech in front of the ceremony participants in the north square of the Yogyakarta palace

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/alb-gam-per-idn-14 ALB_GAM_PER_IDN14]======

*Documentation photo of Vice President Mohammad Hatta giving a speech, also seen in the photo are President Soekarno, National Police Chief Raden Said Soekanto Tjokrodiatmodjo, and a group of state officials.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/alb-gam-per-idn-15 ALB_GAM_PER_IDN15]======

*Documentation photo of a line of soldiers in the north square of the Yogyakarta Palace

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/alb-gam-per-idn-16 ALB_GAM_PER_IDN16]======

*Documentation photo of a line of soldiers in the north square of the Yogyakarta Palace

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/alb-gam-per-idn-17 ALB_GAM_PER_IDN17]======

*Documentation photo of a line of soldiers in the north square of the Yogyakarta Palace

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/alb-gam-per-idn-18 ALB_GAM_PER_IDN18]======

*Documentation photo of a line of soldiers in the north square of the Yogyakarta Palace

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/alb-gam-per-idn-19 ALB_GAM_PER_IDN19]======

*Documentation photo of a line of soldiers with a respectful attitude in the north square of the Yogyakarta Palace

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/alb-gam-per-idn-20 ALB_GAM_PER_IDN20]======

*Documentation photo of a line of soldiers in the north square of the Yogyakarta Palace

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/alb-gam-per-idn-21 ALB_GAM_PER_IDN21]======

*Documentation photo of a line of soldiers in the north square of the Yogyakarta Palace

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/alb-gam-per-idn-22 ALB_GAM_PER_IDN22]======

*Documentation photo of Vice President Mohammad Hatta giving a speech in the north square of the Yogyakarta Palace.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/alb-gam-per-idn-23_202602 ALB_GAM_PER_IDN23]======

*Documentation photo of the line of soldiers in the north square of the Yogyakarta Palace, also seen are people watching the ceremony.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/alb-gam-per-idn-24 ALB_GAM_PER_IDN24]======

*Documentation photo of a line of soldiers in the north square of the Yogyakarta Palace

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/alb-gam-per-idn-25 ALB_GAM_PER_IDN25]======

*Documentation photo of President Soekarno, Vice President Mohammad Hatta, and National Police Chief Raden Said Soekanto Tjokrodiatmodjo, inspecting the ranks of soldiers in the northern square of the Yogyakarta Palace.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/alb-gam-per-idn-26 ALB_GAM_PER_IDN26]======

*Documentation photo of President Soekarno, Vice President Mohammad Hatta, and National Police Chief Raden Said Soekanto Tjokrodiatmodjo, inspecting the ranks of soldiers in the northern square of the Yogyakarta Palace.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/alb-gam-per-idn-27 ALB_GAM_PER_IDN27]======

*Documentation photo of President Soekarno, Vice President Mohammad Hatta, and National Police Chief Raden Said Soekanto Tjokrodiatmodjo, inspecting the ranks of soldiers in the northern square of the Yogyakarta Palace.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/alb-gam-per-idn-28 ALB_GAM_PER_IDN28]======

*Documentation photo of President Soekarno, Vice President Mohammad Hatta, and National Police Chief Raden Said Soekanto Tjokrodiatmodjo, inspecting the ranks of soldiers in the northern square of the Yogyakarta Palace.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/alb-gam-per-idn-29 ALB_GAM_PER_IDN29]======

*Documentation photo of President Soekarno, Vice President Mohammad Hatta, and National Police Chief Raden Said Soekanto Tjokrodiatmodjo, inspecting the ranks of soldiers in the northern square of the Yogyakarta Palace.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/alb-gam-per-idn-30 ALB_GAM_PER_IDN30]======

*Documentation photo of President Soekarno, Vice President Mohammad Hatta, and National Police Chief Raden Said Soekanto Tjokrodiatmodjo, inspecting the ranks of soldiers in the northern square of the Yogyakarta Palace.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/alb-gam-per-idn-31 ALB_GAM_PER_IDN31]======

*Documentation photo of President Soekarno inspecting the ranks of soldiers in the northern square of the Yogyakarta Palace.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/alb-gam-per-idn-32 ALB_GAM_PER_IDN32]======

*Photo of a group of soldiers from the National Police Agency

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/alb-gam-per-idn-33 ALB_GAM_PER_IDN33]======

*Documentation photo of Vice President Mohammad Hatta, and National Police Chief Raden Said Soekanto Tjokrodiatmodjo, inspecting the ranks of soldiers in the northern square of the Yogyakarta Palace.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/alb-gam-per-idn-34 ALB_GAM_PER_IDN34]======

*Documentation photo of the marching band from the Indonesian National Police at a ceremony.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/alb-gam-per-idn-35 ALB_GAM_PER_IDN35]======

*Documentation photo of President Soekarno tidying up the attributes of one of the soldier on the north field of the Yogyakarta Palace.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/alb-gam-per-idn-36 ALB_GAM_PER_IDN36]======

*Documentation photo of President Soekarno, Vice President Mohammad Hatta, and National Police Chief Raden Said Soekanto Tjokrodiatmodjo, inspecting the ranks of soldiers in the northern square of the Yogyakarta Palace.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/alb-gam-per-idn-37 ALB_GAM_PER_IDN37]======

*Documentation photo of President Soekarno giving his respects, seen next to him is Vice President Mohammad Hatta.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/alb-gam-per-idn-38 ALB_GAM_PER_IDN38]======

*Documentary photo of a line of soldiers saluting.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/alb-gam-per-idn-39 ALB_GAM_PER_IDN39]======

*Documentation photo of soldiers carrying weapons.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/alb-gam-per-idn-40 ALB_GAM_PER_IDN40]======

*Documentation photo of a line of soldiers in the north square of the Yogyakarta palace

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/alb-gam-per-idn-41 ALB_GAM_PER_IDN41]======

*Documentation photo of a line of soldiers in the north square of the Yogyakarta palace

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/alb-gam-per-idn-42 ALB_GAM_PER_IDN42]======

*Documentation photo of a line of soldiers in the north square of the Yogyakarta palace

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/alb-gam-per-idn-43 ALB_GAM_PER_IDN43]======

*Documentation photo of a line of soldiers in the north square of the Yogyakarta palace

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/alb-gam-per-idn-44 ALB_GAM_PER_IDN44]======

*Documentation photo of a line of soldiers in the north square of the Yogyakarta palace

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/alb-gam-per-idn-45 ALB_GAM_PER_IDN45]======

*Documentation photo of a line of soldiers in the north square of the Yogyakarta palace

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/alb-gam-per-idn-46 ALB_GAM_PER_IDN46]======

*Documentation photo of Soeharto's swearing-in when he became president of Indonesia

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/alb-gam-per-idn-47 ALB_GAM_PER_IDN47]======

*Documentation photo of a line of soldiers in the north square of the Yogyakarta palace

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/alb-gam-per-idn-48 ALB_GAM_PER_IDN48]======

*Documentation photo of a line of soldiers in the north square of the Yogyakarta palace

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/alb-gam-per-idn-49 ALB_GAM_PER_IDN49]======

*Documentation photo of a line of soldiers in the north square of the Yogyakarta palace

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/alb-gam-per-idn-50 ALB_GAM_PER_IDN50]======

*Documentation photo of a line of soldiers in the north square of the Yogyakarta palace

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/alb-gam-per-idn-51 ALB_GAM_PER_IDN51]======

*Documentation photo of a line of soldiers in the north square of the Yogyakarta Palace, giving a salute

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/alb-gam-per-idn-52 ALB_GAM_PER_IDN52]======

*Documentation photo of soldiers carrying weapons, in the north square of the Yogyakarta Palace

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/alb-gam-per-idn-53 ALB_GAM_PER_IDN53]======

*Documentation photo of a line of soldiers in the north square of the Yogyakarta palace

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/alb-gam-per-idn-54 ALB_GAM_PER_IDN54]======

*Documentation photo of a line of soldiers in the north square of the Yogyakarta Palace, giving a salute

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/alb-gam-per-idn-55 ALB_GAM_PER_IDN55]======

*Documentation photo of a line of soldiers in the north square of the Yogyakarta palace

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/alb-gam-per-idn-56 ALB_GAM_PER_IDN56]======

*Documentation photo of a line of soldiers in the north square of the Yogyakarta palace

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/alb-gam-per-idn-57 ALB_GAM_PER_IDN57]======

*Documentation photo of a line of soldiers in the north square of the Yogyakarta palace

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/alb-gam-per-idn-58 ALB_GAM_PER_IDN58]======

*Documentation photo of a line of soldiers in the north square of the Yogyakarta palace

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/alb-gam-per-idn-59 ALB_GAM_PER_IDN59]======

*Documentation photo of a dog among a line of soldiers.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/alb-gam-per-idn-60 ALB_GAM_PER_IDN60]======

*Documentation photo of a line of soldiers in the north square of the Yogyakarta palace

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/alb-gam-per-idn-61 ALB_GAM_PER_IDN61]======

*Documentation photo of the demonstration of skills from the Kedoe Police Mobile Brigade unit, in the north square of the Yogyakarta palace

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/alb-gam-per-idn-62 ALB_GAM_PER_IDN62]======

*Documentation photo of the demonstration of skills from the Kedoe Police Mobile Brigade unit, in the north square of the Yogyakarta palace

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/alb-gam-per-idn-63 ALB_GAM_PER_IDN63]======

*Documentation photo of a soldiers' meeting

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/alb-gam-per-idn-64 ALB_GAM_PER_IDN64]======

*Documentation photo of a military meeting, showing National Police Chief Raden Said Soekanto Tjokrodiatmodjo standing, and Vice President Mohammad Hatta sitting next to him.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/alb-gam-per-idn-65 ALB_GAM_PER_IDN65]======

*Documentation photo of soldiers carrying weapons, in the north square of the Yogyakarta palace

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/alb-gam-per-idn-66 ALB_GAM_PER_IDN66]======

*Documentation photo of soldiers carrying weapons, in the north square of the Yogyakarta palace

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/alb-gam-per-idn-67 ALB_GAM_PER_IDN67]======

*Documentation photo of a line of soldiers from behind, in the northern square of the Yogyakarta Palace.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/alb-gam-per-idn-68 ALB_GAM_PER_IDN68]======

*Documentation photo of a line of soldiers in the north square of the Yogyakarta palace

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

=====[https://archive.org/details/img-029_202602 IMG_029]=====

*Above: Documentation photo of the clay miniatures used for the Singamangaraja Resistance diorama at Monas. Below: Documentation photo of the clay miniatures used for one of the dioramas at Monas.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

=====Peristiwa Tanjung Morawa 16 Maret 1953=====
======[https://archive.org/details/map-ris-tjg-mor-00001 MAP_RIS_TJG_MOR_00001]======

*Documentation photo of land belonging to the Department of Agriculture, Tanjung Morawa District, Deli Serdang Regency, North Sumatra.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/map-ris-tjg-mor-00002 MAP_RIS_TJG_MOR_00002]======

*Documentation photo of a heavy machine.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
======[https://archive.org/details/map-ris-tjg-mor-00003 MAP_RIS_TJG_MOR_00003]======

*Documentation photo of a community group.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

==Museum Satriamandala, Jakarta==
Lorem ipsum dolor sit amet, consectetur adipiscing elit. Nunc porttitor mauris metus, vitae venenatis lacus gravida sit amet. Suspendisse cursus lectus eu leo varius, at auctor nibh imperdiet. Nunc consectetur metus eu venenatis commodo.

===[https://archive.org/details/sik-corps-al Album Beberapa Sikap Corps Marinir AL (Jakarta, 22-8-1978)]===

*This photo presents a systematic documentation of standard military drill and parade positions, both armed and unarmed, shown from multiple perspectives (front, rear, right, and left), including formations such as the perfect armed stance, armed salute, armed rest, normal rest unarmed, parade armed rest/guard stance, perfect armed shoulder stance, perfect unarmed stance, and parade rest unarmed, serving as a structured visual reference to ensure accuracy of posture, alignment, and formal disciplinary standards.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

===Album Diorama Proklamasi Museum Eka Ekstrim Kanan Satria Mandala #1===
Quisque ut ex convallis, congue urna egestas, ornare eros. Etiam feugiat nunc eu suscipit sagittis. Maecenas ullamcorper lacus nisi, in viverra urna pharetra et. Morbi accumsan auctor egestas. Quisque velit lectus, finibus a mauris et, dapibus auctor sapien.

===Album Diorama Proklamasi Museum Eka Ekstrim Kanan Satria Mandala #2===
Pellentesque suscipit, nibh nec luctus molestie, dui nunc gravida dolor, non condimentum elit ligula et turpis.

===[https://archive.org/details/gar-mat-mak-00000 Album Foto Perjuangan Indonesia]===

*Documentation of the activities of the X Garuda Mataram Brigade in Makassar under the leadership of Lieutenant Colonel Suharto in military operations to overcome the Makassar Uprising, also known as the Andi Aziz rebellion, in Makassar, South Sulawesi, 1950

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

===[https://archive.org/details/alb-rpkad Album RPKAD]===

*A collection of photo documentation of a series of technical instructions regarding the RPKAD soldiers' marching regulations, which include various basic positions such as perfect stance, normal rest, to armed rest parade in guard position, which are systematically documented from the front, rear, and left and right side perspectives, for diorama research purposes.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

===Buku Panduan Museum Satriamandala===
====[https://archive.org/details/central-museum-of-the-armed-forces-satria-mandala Central Museum Of The Armed Forces SATRIA MANDALA]====

*An operational guidebook for visitors to the ABRI Satriamandala Central Museum in English, which includes information on visiting hours, descriptions of the main exhibition spaces in the First and Second Buildings, supporting facilities, floor plans, location maps, and descriptions of the reliefs.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
====[https://archive.org/details/museum-satria-mandala-buku-panduan Museum Satria Mandala - Buku Panduan]====

*An operational guidebook for visitors to the ABRI Satriamandala Central Museum in Indonesian, which includes information on visiting hours, descriptions of the main exhibition spaces in the First and Second Buildings, supporting facilities, floor plans, location maps, and descriptions of reliefs.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

===Dokumen dan Surat===
====[https://archive.org/details/surat-perintah-kerja-museum-pusat-abri Surat Perintah Kerja Museum Pusat ABRI, 1973]====

*The Work Order Letter with letter number PRINT/1110/PUSJARAH/VIII/73 issued on 25th August 1973 in Jakarta is an official instruction from the ABRI (Armed Forces of the Republic of Indonesia) History Center to artist Edhi Sunarso to carry out the construction of the ABRI Central Museum phase III. Based on a series of Decrees of the Minister of Defense/Commander of the Armed Forces regarding the formation of the project committee and budget allocation for 1973/1974, this order includes the construction of 24 diorama dome units along with supporting installations (frames, windows, and glass) with a total work value of Rp11,947,000. The document was signed by Colonel Inf. Soepardijo, as Deputy Head of the ABRI History Center and stamped

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
====[https://archive.org/details/surat-perintah-kerja-diorama-museum-pusat-abri Surat Perintah Kerja Diorama Museum Pusat ABRI, 1974]====

*The Work Order Letter with the letter number SPRIN/161/PUSJARAH/XII/74 issued in Jakarta on 19th December 1974, was an official instruction from the ABRI History Center to a team of artists led by Edhi Sunarso (along with Saptoto, Ratmoyo, Heri Wibowo, and Ramelan). Based on the legal basis for the formation of the ABRI Central Museum Project Committee, this team was assigned to conduct field research on historical objects in the regions of Java, Bali, Sumatra, and Sulawesi. This research aimed to ensure historical accuracy in filling the dioramas at the ABRI Satriamandala Museum. The document was signed by Colonel Inf. Soepardijo, as Deputy Head of the ABRI History Center and stamped

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
====[https://archive.org/details/19750107-surat-perintah-kerja-diorama-museum-pusat-abri Surat Perintah Kerja Diorama Museum Pusat ABRI, 1975]====

*This Work Order with letter number PRIN/02/PUSJARAH/I/73 issued on January 7, 1975 in Jakarta was an official instruction from the ABRI History Center to an artist, Edhi Sunarso, assigned to produce 29 dioramas, including one large-scale diorama measuring 3x3 meters, with a total contract value of Rp52,000,000. The document was signed by Colonel Inf. Soepardijo, as Deputy Head of the ABRI History Center and stamped

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
====[https://archive.org/details/19750823-surat-perintah-kerja-diorama-museum-pusat-abri Surat Perintah Kerja Diorama Museum Pusat ABRI, 1975]====

*The Work Order with letter number SPRIN/167/PUSJARAH/VIII/75 issued on 23rd August 1975 in Jakarta is an official instruction from the ABRI History Center to Edhi Sunarso (diorama artist) and Ratmoyo (member of the museum contents team). Based on the legal basis for the construction of the ABRI Central Museum Phase III, the team was assigned to carry out in-depth historical research on the Red and White Incident in Manado, as well as the Andi Azis Rebellion and Westerling's brutality in South Sulawesi. The document was signed by Colonel Inf. Soepardijo, as Deputy Head of the ABRI History Center and stamped

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
====[https://archive.org/details/19750922-kwitansi-museum-pusat-sejarah-abri Kwitansi Museum Pusat Sejarah ABRI, 1975]====

*Proof of receipt of money by Edhi Sunarso from the ABRI (Indonesian Armed Forces) History Center Museum Development Project, "Satria Mandala" Jakarta, for the fifth installment payment of diorama filling costs in accordance with contract agreement number 08/PUSJARAH/I/75, amounting to Rp.7,800,000 (seven million eight hundred thousand rupiah). The proof of receipt was made on 22nd September 1975

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
====[https://archive.org/details/19751002-berita-acara-pemeriksaan-diorama-museum-pusat-abri Berita Acara Pemeriksaan Diorama Museum Pusat ABRI, 1975]====

*The Minutes of Inspection of the Diorama Making Work for the ABRI Central Museum, letter number BA/1307/PUSJARAH/IX/1975, records the results of the official verification conducted on 30th September 1975, on the completion of 29 dioramas for the ABRI Central Museum Satriamandala by artist Edhi Sunarso. The inspection team consisting of Colonel Inf. Soepardjijo, Drs. Sukardi SHH, and Sri Suko stated that all work had been completed correctly in accordance with the provisions of the agreement letter dated 3rd January 1975. Based on the inspection results, the contractor was entitled to receive the fifth installment payment of 15% of the contract value (Rp.7,800,000,-), with the obligation to maintain and improve for three months until 22nd December 1975. This document was signed by Colonel Inf. Soepardijo, Drs. Sukardi SHH, and Sri Suko in Jakarta on 2nd October 1975.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
====[https://archive.org/details/19751002-berita-acara-penyerahan-pertama-diorama-museum-pusat-abri Berita Acara Penyerahan Pertama Diorama Museum Pusat ABRI, 1975]====

*The Minutes of First Handover of ABRI Central Museum Dioramas with letter number. BA/308/PUSJARAH/X/1975 issued on 2nd October 1975 regulates the first handover of the results of the diorama filling work of the ABRI Satriamandala Central Museum. In this document, the 2nd Party (Edhi Sunarso) officially handed over 29 diorama units to the 1st Party (ABRI History Center) in accordance with the terms of the contract dated 3rd January 1975. This handover was declared in good condition by Colonel Inf. Soepardijo with the clause that the responsibility for improvement and maintenance remains with the 2nd Party during the three-month warranty period until 22nd December 1975. This administrative validation became the basis for the payment of the fifth installment of 15% of the total contract value (Rp.7,800,000,-). This document was signed by Edhi Sunarso, as the 2nd Party (Contractor/Executor) and Colonel Inf. Soepardijo as the 1st Party (Deputy Head of the ABRI History Center), and stamped

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
====[https://archive.org/details/19751002-kwitansi-diorama-museum-abri Kwitansi Diorama Museum ABRI, 1975]====

*This document is proof of an official financial transaction for the fifth installment of the diorama project for the ABRI Satriamandala Museum. In the payment receipt, Marine Major (A) Drs. A. Kusaeri, as Treasurer of the Wisma Yaso Project, transferred Rp7,800,000 (seven million eight hundred thousand rupiah) to artist Edhi Sunarso, the contractor. This document was signed by Marine Major (A) Drs. A. Kusaeri and Edhi Sunarso on October 2, 1975.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
====[https://archive.org/details/19751200-berita-acara-penyerahan-kedua-diorama-museum-pusat-abri Berita Acara Penyerahan Kedua Diorama Museum Pusat ABRI, 1975]====

*Minutes of the Second Handover of the Filling of the ABRI Central Museum Diorama signed by Drs. Nugroho Notosusanto, with the rank of Brigadier General of the Indonesian National Army, who serves as the Head of the ABRI History Center as the Head of the ABRI Museum Project, hereinafter referred to as the First Party, and Edhi Sunarso as the contractor of the ABRI Museum diorama, hereinafter referred to as the Second Party. In the minutes it is explained that the second party has been able to be paid the sixth (final) wholesale price of 5% of the total wholesale price or Rp.2,600,000 (two million six hundred thousand rupiah). The minutes were made in Jakarta, and signed by Drs. Nugroho Notosusanto and Edhi Sunarso in December 1975

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—
====[https://archive.org/details/19760624-kwitansi-sewa-bus Kwitansi Sewa Bus, 1976]====

*Proof of receipt of money by Johnny from ASRI (Indonesian Fine Arts Academy) Yogyakarta for payment of bus rental for 5 days from 24th June 1976 to 28th June 1976 to Jakarta, amounting to Rp. 200,000 (two hundred thousand rupiah). The proof of receipt of money was made in Yogyakarta on 24th June 1976, affixed with a stamp and signed by Johnny.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

===EKA===

===Eka Ekstrem Kanan Satya Mandala_(dari meja)===

===Laporan Diorama Museum ABRI===

===MAP BIRU_Museum Satria Mandala===

===Map Hijau EKA #2===

===MAP HIJAU_Angkatan Udara RI===

===Pembuatan Diorama "Eka-Ekstrimkanan" Satria Mandala Jakarta Tahun 1976===

===Potret Jendral-Jendral===

===Proses revisi===
====[https://archive.org/details/19750522-pakaian-dinas-upacara-abri Pakaian Dinas Upacara ABRI]====

*This document serves as an official guideline or regulation for the use of uniforms (attributes) of the Indonesian Armed Forces Ceremonial Service Uniform I (PDU-I) which displays illustrations of official ceremonial uniforms for the four branches, namely the Indonesian Army (AD), the Indonesian Navy (AL), the Indonesian Air Force (AU), and the Indonesian National Police (POLRI), then the Indonesian Armed Forces Ceremonial Service Uniform II (PDU-II) which displays illustrations of other versions of the ceremonial uniforms used in the military and police environment of the Republic of Indonesia during that period.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

====[https://archive.org/details/19780731-surat-perintah-kerja-museum-abri-satria-manda Surat Perintah Kerja_Museum ABRI Satria Mandala]====

*Work Order Letter with letter number SPK/105/PUSJARAH/III/78 issued by the Department of Defense and Security in Jakarta on 31st July 1978 to Edhi Sunarso, to carry out the work of making ABRI uniform mannequins, to be installed at the ABRI Satriamandala Museum. The letter also explains the number of mannequins complete with their bases, the uniform period, the wholesale price, and the deadline for the work. This letter was signed by Brigadier General TNI Drs. Nugroho Notosusanto, as Head of the ABRI History Center, and stamped

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

===[https://archive.org/details/ris-ser-tni-al Riset seragam TNI AL]===

*Photo documentation of Indonesian uniforms from the era of the Maritime Homeland Defense Forces (PETA Laut, 1946) to standardization in 1975. The scope includes various categories of service clothing (Daily, Ceremonial, and Servant) as well as special uniforms for the Navy Women's Corps and Military Police. This information includes technical details of materials (drill, gabardine, tetoron), colors (white, gray, Navy green), and specifications for the front and back of the clothing pieces stored at the Indonesian Navy National Armed Forces Museum, Morokrembangan, Surabaya. contains 34 photos (only 26 found, ed. Hyphen —)

===[https://archive.org/details/sejarah-singkat-hakekat-museum-sejarah-dan-perpustakaan Sejarah Singkat, Hakekat Museum, Sejarah, dan Perpustakaan, 1978]===

*This book details the history of the founding of the Indonesian Air Force Central Museum "Dirgantara Mandala", which began with the idea of the AURI leadership in 1960 to immortalize the historical events of the air force, until its inauguration in Jakarta in 1969 and its relocation to Yogyakarta in 1978 due to the historical value of the city as the birthplace of the Indonesian Air Force.

Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—