Tugas 3, Me and lil' Stuart

The M3 Stuart, formally Light Tank M3, was an American light tank of World War II and supplied to British and Commonwealth forces underlend-lease prior to the entry of the U.S. into the war—and used thereafter by U.S. and Allied forces until the end of the war.

The name General Stuart or Stuart given by the British comes from the American Civil War Confederate General J.E.B. Stuart and was used for both the M3 and the derivative M5 Light Tank

Observing events in Europe, American tank designers realized that the Light Tank M2 was becoming obsolete and set about improving it. The upgraded design, with thicker armor, modified suspension and new gun recoil system was called "Light Tank M3". Production of the vehicle started in March 1941 and continued until October 1943. Like its direct predecessor, the M2A4, the M3 was armed with a 37 mm M5 gun and five .30-06 Browning M1919A4 machine guns: coaxial with the gun, on top of the turret in an M20 anti-aircraft mount, in a ball mount in right bow, in the right and left hull sponsons.

Internally, the radial engine was at the rear and the transmission to the driving sprockets at the front. The prop shaft connecting the two ran through the middle of the fighting compartment. The radial engine compounded the problem having its crankshaft high off the hull bottom.^[4]When a turret floor was introduced the crew had less room.

To relieve the demand for the radial aero-engines used in the M3, a new version was developed using twin Cadillac V-8 automobile engines and twin Hydra-Matic transmissions operating through a transfer case. Such installation produced a quieter, cooler and roomier variant and was easier to train on the automatic version. The new model (initially called M4 but redesignated M5 to avoid confusion with the M4 Sherman^[5]) also featured a redesigned hull with sloped glacis plate and driver's hatches moved to the top. Although the main criticism from the units using it was that the Stuarts lacked firepower, the improved M5 series kept the same 37 mm gun. The M5 gradually replaced the M3 in production from 1942 and was in turn succeeded by the Light Tank M24 in 1944.

Satria Mandala's M3A1 Stuart Data

Country of origin    : Amerika Serikat

Engine                    : Continental, 7 silinder, 250 tenaga kuda

Weight                   : 13 ton (dengan perlengkapan)

Size                        : Panjang 4,52m

                                Lebar 2,24m

                                Tinggi 2,64m

Max speed              : 50 km/jam

Crew                      : 4 orang

Armament               : 1 pucuk meriam caliber 37mm

                                1 pucuk mitraliur 7,62mm coaxial

                                1 pucuk mitraliur 7,62mm haluan

                                1 pucuk mitraliur 7,62mm penangkis serangan udara

                                1 pucuk pistol mitraliur, dipasang di belakang pengemudi sebelah kiri

Armour                    :

	Turret	Body	Base
Front	10 mm	8 mm	10 mm
		10 mm
Back		10 mm	2 mm
Top		10 mm
Side		10 mm
Pole		10 mm
Other		10 mm

History:

Sejarah Singkat

1949   : Received from Dutch

1950   : Take part in war with RMS

1950   : Take part in war with DI/TII in Aceh, West Java, Central Java, and South Celebes until 1965

1958   : Take part in war PRRI and permesta

1965   : Take part in war G30S/PKI

1976   : Displayed in Satia Mandala Museum

La Versaille

amaIt was October 2010 the sky was clear blue and i can felt the autumn breeze touched my skin, it was the second day in Paris with Nolan my friend from USA who also went to France for AFS exchange program, we both went to Paris for four days with Nolan's host family they were so kind to asked me to come along in this trip, so we stayed in Nolan's host brother's apartment who studied in Paris.

We traveled to Paris with Nolans'We planned to go visit the Palace of Versaille on the second day, i got so excited by the idea, i've seen a lot of pictures and tv shows that showings parts of the palace. Nolan's host parents told me a little bit of a history about the castle and so about Paris. Versailles, is a royal château in Versailles in the Île-de-France region of France. In French it is the Château de Versailles. When the château was built, Versailles was a country village; today, however, it is a suburb of Paris, some 20 kilometres southwest of the French capital. The court of Versailles was the centre of political power in France from 1682, when Louis XIV moved from Paris, until the royal family was forced to return to the capital in October 1789 after the beginning of theFrench Revolution. Versailles is therefore famous not only as a building, but as a symbol of the system of absolute monarchy of the Ancien Régime 

Louis XIII's successor, Louis XIV, had a great interest in Versailles. He settled on the royal hunting lodge at Versailles and over the following decades had it expanded into one of the largest palaces in the world (Félibien, 1703; Marie, 1972; Verlet, 1985). Beginning in 1661, the architect Louis Le Vau, landscape architect André Le Nôtre, and painter-decorator Charles Le Brun began a detailed renovation and expansion of the château.As a result of Le Vau’s enveloppe of Louis XIII’s château, the king and the queen had new apartments in the new addition, known at the time as the château neuf. Thegrands appartements, which are known respectively as the grand appartement du roi and the grand appartement de la reine, occupied the main or principal floor of thechâteau neuf 

The original arrangement of the enfilade of rooms was:

• Salon de Diane (Diana, Roman goddess of the hunt; associated with the moon)
• Salon de Mars (Mars, Roman god of war; associated with the planet Mars)
• Salon de Mercure (Mercury, Roman god of trade, commerce, and the Liberal Arts; associated with the planet mercury)
• Salon d’Apollon (Apollo, Roman god of the Fine Arts; associated with the Sun)
• Salon de Jupiter (Jupiter, Roman god of law and order; associated with the planet Jupiter)
• Salon de Saturne (Saturn, Roman god of agriculture and harvest; associated with the planet Saturn)
• Salon de Vénus (Venus, Roman goddess of love and beauty; associated with the planet Venus

Forming a parallel enfilade with that of the grand appartement du roi, the grand appartement de la reine served as the residence of three queens of France – Marie-Thérèse d’Autriche, wife of Louis XIV, Marie Leczinska, wife of Louis XV, and Marie-Antoinette, wife of Louis XVI. Additionally, Louis XIV's granddaughter-in-law, Princess Marie-Adélaïde of Savoy, as duchesse de Bourgogne, occupied these rooms from 1697 (the year of her marriage) to her death in 1712

The appartement du roi is a suite of rooms set aside for the private use of the king. Originally arranged and used by Louis XIV in 1683, these rooms were used by his successors, Louis XV and Louis XVI for such ceremonies as the lever and the coucher. Then what became of my favorite part of the palace is the Hall of mirrors, The galerie des glaces (Hall of Mirrors in English), is perhaps the most celebrated room in the château of Versailles. Setting for many of the ceremonies of the French Court during the Ancien Régime. The room is so big with mirrors all over the walls, decorated with humongous crystal lamps above, and the paintings on the ceilings. it was so beautiful to be insed and seeing what the palace had to offer

Museum of Ceramic

Porcelain production began in Japan in the early seventeenth century, several hundred years after it had first been made in China during the Tang dynasty (618–906). This refined white ceramic requires more advanced technology than other ceramic types. The vessels are fired at very high temperatures so that they are strong and vitrified, as opposed to low-fired earthenware, which is porous and easily breakable. Unlike stoneware, which is high-fired but can be made from many different types of clay, porcelain is made from a specific clay mixture that includes a soft, white variety called kaolin. The smooth, semi-translucent surface of porcelain is ideal for painting delicate designs, and has been prized in both the East and West.

The Japanese porcelain industry was actually pioneered by Korean potters living in Japan. Many of them came to Japan during two invasions of Korea led by Toyotomi Hideyoshi in the 1590s. An appreciation of Korean ceramics had recently developed in Japan, and many of the feudal lords who accompanied Hideyoshi brought back Korean potters to build up the ceramic industry in their territories. The Nabeshima lord took Korean potters back to his province of Hizen on Kyushu, the southernmost of Japan's main islands. These potters would eventually become the first producers of porcelain in Japan, but they started out by reviving the production of a type of stoneware called Karatsu ware. This type of ceramic is usually simple, inexpensive, and made rapidly but skillfully on the potter's wheel. The potters also introduced a new type of kiln to Japan, the noborigama, or climbing kiln, which allows for greater precision during firing. Therefore, when in the early seventeenth century the Korean potters living in the Arita district of Hizen found suitable clay for the manufacture of porcelain, the infrastructure for its production was already in place. The Hizen region thus became the major center of porcelain production in Japan.

The first porcelain made in Japan by these Korean potters is known as early Imari. "Imari" refers to a port near the Arita kilns, from which these wares were shipped to the rest of the country. Since these porcelains were primarily for domestic consumption, the term "early" is added to distinguish them from later wares also classified as "Imari" which were typically for export. Most early Imari pieces feature designs painted in cobalt blue on a white ground, then coated in a transparent glaze, in the style known as underglaze blue. The porcelain has a coarse, grainy texture and the designs are generally carried out by a free, fluid hand. The technique of painting pictoral designs under a clear glaze was sometimes employed on Karatsu ware, so early Imari may have in part stemmed from this earlier tradition.

Early Imari was probably also inspired by underglaze blue porcelain manufactured at kilns in the south of China. These heavy, rough wares with flowing blue brushstrokes were exported to Japan around the beginning of the seventeenth century. They differ significantly from the varieties of Chinese underglaze blue that were exported to the West from the Jingdezhen kiln, which have structured, stylized patterns. The less formal wares from the southern kilns conformed more to Japanese taste of the time, which was inspired by the tea ceremony and favored a rustic, simple appearance.

By the mid-seventeenth century, Chinese porcelain production, which had dominated the international market up to that point, went into decline due to social unrest and accompanying dynastic change. There was therefore a demand for porcelain in the international market shortly after the industry had begun to develop in Japan. This coincided with the early Edo Period (1615–1868), during which time the country was unified under the strict control of the Tokugawa shogunate. In 1639, less than a century after Europeans had first found their way to Japan, the shogun instituted a policy of national isolation. The Dutch and Chinese, however, were partially exempted from this policy. Dutch merchants were permitted to maintain residences on the small man-made island of Deshima, near Nagasaki, and continue trade with Japan. Responding to European demand, the Dutch encouraged the fledgling Japanese porcelain industry to fill the gap left by China. This Japanese export porcelain is commonly referred to as Arita ware, for the district in which the kilns were located. From the nearby port of Imari, the Japanese would transport the goods to Nagasaki, where the Dutch or Chinese could pick them up and reship them to their final destination. They are therefore sometimes also identified as Imari ware.

The porcelain the Dutch brought to Europe in the seventeenth and eighteenth centuries was some of the first Japanese art to which Europeans were exposed. However, these ceramics were not a direct reflection of indigenous styles because they were consciously designed to cater to Western tastes. To ensure that they would find a ready market, the Dutch often made wooden or earthenware models of designs they believed would be appealing to Europeans, and sent those to Japan to be copied. Therefore, some Japanese ceramics are decorated with designs credited to Dutch artists, such as the draughtsman Cornelis Pronk. Models were also used to demonstrate European vessel shapes for the Japanese potters, who would have been unfamiliar with those forms.

The Dutch also exposed the Arita potters to Chinese underglaze blue porcelain, which was popular in Europe, so that they could use it as an example in their own work. There were two varieties of underglaze blue that became models for Japanese export porcelain. The type known as kraak was commonly used for plates, while the Transitional style, also popular on Chinese export wares, was employed for closed shapes like jars and tureens. Kraak ware is identified by a paneled border around a central scene, and is generally quite regimented and complex. Vessels modeled on Transitional wares usually depict stylized landscapes. Over time, there was a departure from this strict copying, and elements common in early Imari ware were incorporated into the export wares, giving them a more spontaneous feel.

Though Japan's premodern porcelain history is rather short in comparison to its mainland neighbors, the industry had a vigorous life. Founded by Korean potters, inspired by Chinese styles, and encouraged by Dutch traders, Japanese porcelain absorbed foreign influence while also incorporating uniquely Japanese elements.

Tugas-3: Pithecanthropus erectus, Nekara, and Talang Tuwo Inscription

One of the historical sights in Jakarta that would have been visited by the whole society in this city is the National Museum. Because of its strategic place as well, I along with another classmate visited the museum  a few month ago. Unfortunately when we got there, the museum is going to be close, so only a few sectors of the museum that can be tracked.

The National Museum, better known by the common people with the name of Elephant Museum, a museum with a collection of the highest in Indonesia. In 2006, the number of collections of the museum's 140,000 units.

National Museum of Indonesia

Historically, this building was originally built because the building Societeit de Harmonie is situated on the road Majapahit can not accommodate another historic collections. Then in 1862 the building was inaugurated by the Dutch Government as a scientific research center of the Dutch in Indonesia. New in 1868 the museum opened to the public.

The museum is located on the road this Medan Merdeka Barat, have a collection of artifacts including human Hindu-Buddhist kingdoms in Indonesia, archaeological and ethnographic collections, human ceramics, prehistoric, as well as the colonial era. These collections are divided in two areas, in new buildings and old buildings. Because in the old building power fails, I and others decided to go to the new building is equipped with a generator. In this new building there is a collection that focuses on artifacts and prehistoric human artifacts Hindu-Buddhist kingdoms in Indonesia. Precisely on the ground floor, I found an artifact that attracted my attention, fossil of femur and skull Pithecanthropus erectus.

PITHECANTHROPUS ERECTUS 

 

Pithecanthropus erectus or Java man is a fossil hominid of the most tumultuous in the history of the world paleantology. Precisely in 1891 at Trinil, Ngawi, fossil thigh bone (femur) shows that the owner was able to walk upright, according to the Latin name. Eugène Dubois, managed to find them, femur, skull, and several teeth.

Me and The Fossils of Pithecanthropus Erectus

Compared with its predecessor, they have a more slender body posture. Bony forehead has begun to diminish with the forehead is a bit elevated. Left cheek and right are no longer going forth excessively. In the group of early humans are classified as Homo erectus or tipik this classic, diminution jaw and seems to happen on his teeth. These attributes is a fundamental human characteristic of this type of Homo erectus, a species of people have walked upright. Developments scrambled and erectness posture, are two important attributes in human evolution.

Their lives are still very dependent on the resources available in nature, both plants and animals that exist in surrounding areas. They hunt and gather food.

They nomadic odyssey to follow prey animals, or to find food sources elsewhere. In daily life, they have started to make simple tools of stone, such as axes “perimbas” (chopper), “penetak” axe (chopping tool), or “penyerpih” (flake). They apparently also have started to develop a simple procedure society. Men work together to hunt animals, and the women collect herbs or fruits.

Based on its physical form as well as his ability level that was slightly more advanced, Homo erectus “tipik” it may be a successor to Homo erectus “tipik” this may be the successor of archaic Homo erectus in human evolutionary history. And with its predecessor's, perhaps they are descended from Homo erectus groups beginning the first out of Africa, at 1.8 million years ago, then spread, exploring various places, and arrived at the island of Java. At that time the migration of hominids is very possible, because the formation of land bridges during glaciations, have linked several regions on earth.

In 1895, Eugène Dubois returned to Europe and around the continent again to convince the anthropologist that he found the missing link. However, not all anthropologists Dubois initially received interpretation, so he refused others to examine the fossil, although finally in 1923 he was forced to submit.

Pithecanthropus Erectus

In 1897, the University of Amsterdam Dubois granted an honorary doctorate in botany and zoology, and in 1899 he holds a professor of geology and keep in touch with the anatomy, a field that he wrestled. From 1897 to 1928 he was keeper of paleontology, geology and mineralogy at Teylers Museum, Harleem, Netherlands where he also keeps the fossil H. erectus. Although the scientific debate slowly begins to turn it around 1920 to 1930, he died in 1940 due to liver disease suffered. Eugene Dubois was buried in Venlo, The Netherlands.
And until now, have not found clear evidence that these three bones are found by Dubois came from the same species. A report contains 342 pages were written at that time about people doubt the validity of those findings. Nonetheless Java man can still be found in textbooks today. A more complete fossils were later found in the village of Sangiran, Central Java, about 18km to the north of Solo. Fossil shell of a human skull was discovered by Gustav Heinrich Ralph von Koenigswald, a paleoanthropologist from Berlin, in 1936. In addition to fossils, many other discoveries at Sangiran site.

Until the findings of other older people are found in the Great Rift Valley, Kenya, the findings of Dubois and von Koenigswald is the oldest known human. These findings are also used as a reference to support the theory of evolution Charles Darwin and Alfred Russel Wallace. Many scientists at that time who also proposed the theory that the Java Man may be the missing link between man and ape man and modern man today. Today, anthropologists agree that the current human ancestor Homo erectus was living in Africa (also known as Homo ergaster).

NEKARA 

Me and Nekara

The museum has a collection of 61,600 prehistoric and anthropological artifacts, and 5,000 archeological artifacts from all over Indonesia and Asia. The museum collections is among the richest, the most complete, and the best of its kind in Indonesia and one of the finest in Southeast Asia. Beside prehistory collection, national museum also has collections of bronze. One of them is “nekara”.

Nekara is a large drum made ​​of bronze, waisted in the middle and closed at the top. Nekara found in Sumatra, Java, Bali, Roti, Selayar, and the Kei Islands. Nekara the largest found in the village Penataran Sasih Intaran Pejeng area, Bali. In Alor found a kind of small and slender nekara called Moko or Mako.

Nekara is generally made on the prehistoric Dong Son culture, especially that grown in South China and Southeast Asia, 1000 to 500 years BC. On nekara often found in the form of geometric ornaments, zoomorfic, human, boats, masks, animal motology, and others. As a tool, nekara used for drum during religious ceremonies and is associated with other musical instrument.

TALANG TUWO INSCRIPTION

Talang Tuwo inscription is a 7th century Srivijaya inscription discovered by Louis Constant Westenenk on 17 November 1920 on the foot of Bukit Seguntang near Palembang.
The inscription was discovered in good condition with clear inscribed scripts. Its size is 50cm × 80 cm stone block and dated from 606 Saka (corresponds to 23 March 684), written Pallava script in Old Malay, consists of 14 lines. Van Ronkel and Bosch are the first scholars that translated th inscription, their works was published in Acta Orientalia.Since 1920 the inscription is stored in National Museum of Indonesia, Jakarta, under inventory number D.145.

The translation according to George Cœdès.

On 23 March 684, on that day the park named Śrīksetra was created under the order of Sri Baginda Śrī Jayanāśa. his majesty intention is: May all (plants) planted here, coconut tree, catechu, Arenga pinnata, sagoo, and all kinds of trees, the fruits are edible, as well as haur bamboo, waluh, and pattum, et cetera; and may all other plants with the dams and ponds, and all of good deed that I've gave (contributed) can be enjoyed for the benefit of all creatures; the one that can moved around and ones that can not, and may this would be the best path to achieve happiness. If they were hungry, or need a rest during their journey, may they find foods and drinks. May all the orchard that they have opened be abundance (the harvest). May all kinds of animals that they have kept were fertile, and also their slaves. May the misfortunes would not befell upon them, not being tortured because can not sleep. What ever they done, may all the planets and stars favour their fortunes, and may they be spared from sickness and old age during their efforts. And may all their subjects are loyal and devoted, also may all their friend would not betrayed them, and may their wive are faithful. Moreover, may wherever they were, there will be no thieves, or people that using violences, killers and adulterers. Next to all those (good wishes), may they have a (faithful) friends; may from themselves born the tought of Boddhi and friendship (...) from three Ratnas.  And may they always (acted) generous, following the rules, and be patience; may from themselves grew strength, diligence, knowledge of all kinds of arts; may their attention be focused, have knowledge, good memory and intelligence. May they have tenacious tought, with diamond body just like the Mahāsattvas with uncomparable power, glorious, and remembering their previous lifes, with complete senses, fully (beautiful) formed, happy, smiling, calm, have pleasant voice, the voice of Brahmā. May they be (born as) man, with very existence were (a blessing) because of themselves; may they become the vessel of Cintamani sacred stone, have power of (cycle of) births, power upon karma, power upon stains, and may they finally achieved the perfect and grand (spiritual) enlightenment.

Me and Talang Tuwo Inscription