In the Year 2016 Collection Garudeya have been defined as objects of Cultural Heritage ranking of the East Java Province with the Decision of the Governor of East Java, No : 188 / 145 /KPTS/013/2016 February 20, 2016.
Decoration Garudeya it is an object of the findings by the sdr Seger in 1989. The discovery process happens at a time when Seger as a laborer and cattle that are fixing the rice fields. The location of the findings in the Villages of Plaosan, Kecamatan Wates Kabupaten Kediri. Objects findings Ornaments Garudeya subsequently given remuneration for the services by the Field Muskala regional Office of the Ministry of Education and Culture of East Java Province through the Project of Historical and Archaeological East Java (P2SK).
One of the data most of the artifacts Garuda is the presence of the relief of the story Garudeya. Depicted Garuda flying brings the Urn Amrta in order to free her mother (vinata) from the bondage of the Dragon (Kadru). The story Garudeya that marks the Hindu influence on the Classical civilizations in Indonesia, this becomes very important when the then associated with the original culture of the elements release in the religion of universal at the time. Even this belief is still held and used in the elements of the culture of the next.
Other important Data that the presence of the inscription which reads “Sri” on the motif of the palm of the hand contained in the slab first. Next is the figures of Ghana, gigantic and that is no less important is the presence of a decoration Surya Majapahit in the artifact. From the data-the data is then supported by the presence of ornate klintingan canals, then the assumption that arises is that the artifact is a sacred object of religious commonly worn by the leader of the ceremony or the central figure in religious ceremonies and used since the days of the Singasari to the Majapahit.
Garudeya made of 22-carat gold, the overall weight of the 1.163 grams. And decorated with 64 gemstones which have mostly been lost. The number of gems that are still remaining current is 48 pieces. Gemstones are arranged symmetrically in the right and left. Ornaments hiasnya can be separated into 3 (Three) parts :
- The first part has the form of a three-pointed cymbar with a base. At the end of the two peaks of the cymbar there is a kind of square-shaped wire that used to function as a link. On the right and left edges of the simbar there are circles that function as klintingans. This klintingan is decorated with a four-pointed star with a light purple gemstone in the center. On the right and left sides of the simbar, decorated with purplish gemstones, small pink or purplish stones, paired with large blue stones, small dark blue stones paired with yellow stones. Each pair of stones is decorated with vines. In the center of the base of the simbar is a large dark blue gem flanked by a small pink gem. The first frame is decorated with a relief of the palm of the left hand as far as the wrist, the fingers are open with scratches of the Old Javanese letter reading (Sri?) on the surface of the palm. This hand is surrounded by the Surya Majapahit decoration. This hand is erect on the lotus flower and flanked by tongues of fire. Under the palm relief there is a Garuda decoration with a flying attitude, the right leg is squatting while the left leg is bent back. Garuda is depicted with an open beak with an upward curved tongue and curly hair. The right hand acts as a vitarka mudra, the left hand carries the air of Amrta gan which is based on lotus. Around Garuda is depicted a hermitage with natural views of plants and rocks. The symbol of the Garuda bird carrying a jug (Kamandalu) filled with Amrta (Water of Life) water, is an excerpt from the Adiparwa story (a part of the Mahabharata) which describes the story of Garudeya. On it there is a picture of the left palm equipped with a flame motif, which is a symbol of the power of Lord Shiva as the god of destruction (destructive).
- The second part is connected to the first part through cylindrical hinges. The second part is in the form of an inverted trapezoid with a size smaller than the size of the first part. The right and left sides of this section also have klintingan decorations. Right at the top of the middle of this second section there are three gems of the same color as those at the bottom of the first. The main relief of the second part is a giant depicted as alidhasana, namely the right leg is bent while the left leg is straight to the side. This giant has long curly hair, grinning mouth and bulging eyes. The symbol of a giant carrying a mace, possibly a depiction of the giant as Amrta's water guardian.
- The third part is also connected to the hinge system, it is smaller in size and looks like a funnel. The relief in this third part is a winged human (monster) wearing a crown, with both hands supporting the vines. A giant with both hands as if to be supporting, is a depiction of Gana (a demigod giant) who is in charge of guarding the sacred building.
Judging from the reliefs, the possibility of this decoration is a relic from the X-XI century AD. There are several opinions about Garudeya's jewelry, according to Prof. Edi Sedyawati this object comes from the Erlangga era in the XI century AD because there is an garuda decoration as a characteristic of the Erlangga era and this jewelry is worn in front of the chest and which is considered a ceremonial tool on the basis of the klintingan attached to the decoration. As we know klintingan is believed to open the realm of the Gods and this object is almost in every ceremony. This object is estimated to have been made in 1212 Saka or 1290 AD. This calendar is based on Candra Sengkala attached to hand jewelry: 2 pepsi, Indra number 1, Giant (Hangraksa) number 2 and Dewi number 1. Based on the reading of Candra Sengkala above it can be assumed that this jewelry was made during the reign of Kertanegara. While the third opinion, this object is used as a cover for the lower body / Badong.
