Note: This article first appeared on my newsletter Southeast Asian Archaeology on September 13, 2023, just a few days before a fire broke out at the museum which affected a number of its artefacts. At the time of writing, the museum is closed indefinitely, and this is a peek into the museum that was.
I’ve not spent any meaningful time in Indonesia’s capital, so when I was in Jakarta recently for a work trip, I eagerly set aside time for the National Museum of Indonesia. Located in Central Jakarta, just west of Merdeka Square and the National Monument, the Museum Nasional Indonesia is a spectacular showcase of the country’s archeological, historical, ethnological, and geographical treasures. Notably, it claims the title of being Southeast Asia’s inaugural museum, originating as the Museum of the Royal Batavian Society of Arts and Sciences in 1778. Today, its vast collection features over 140,000 artifacts, each narrating a unique tale from diverse periods and regions of Indonesia.
The museum sprawls across two primary buildings. The contemporary Gedung Arca, erected in 2007, is a multi-storied marvel, home to the prized treasure room. Yet, when most think of the museum, it’s the iconic Gedung Gajah that springs to mind. Constructed in 1862, it’s affectionately named for the striking elephant statue (gajah in Bahasa Indonesia) gracing its front.
Having personal connections to both Singapore and Thailand, a side note about the elephant: this elephant wasn’t just a random decorative choice. It was a gift from King Chulalongkorn of Siam in 1871. Interestingly, earlier that same year, a twin elephant statue had been presented by the king to Singapore, which now stands regally in front of the old parliament house. As far as I can tell, the elephants are identical, except that the one in Singapore is painted while this one retains is original bronze form.
I got into the museum at opening time with the plan of having one round through the exhibits before joining the guided tour at 10. I’m an early bird myself, and right when the museum opens, there aren’t many people around, allowing for a more intimate experience with the central hall’s sculptures and the freedom to snap some reference photos. The sculpture collection is among the most abundant and diverse in Indonesia, acting as a silent yet eloquent introduction to the country’s artistic heritage.
As I stepped into the hall, the first sculpture that caught my eye was a grand, 9th-century statue of Ganesha from Candi Banon – a most appropriate greeter as Ganesha is the god of knowledge and beginnings, and the remover of obstacles. Even more captivating was the statue of Bhairava, believed to be sculpted in the likeness of King Adityawarman of the Pagaruyung kingdom. Both sculptures serve as iconic representatives of Indonesia’s classical period, and their sheer magnificence could easily make one think they are the crown jewels of the entire museum. However, they are just an impactful beginning.
Deeper into the old building are a series of themed rooms, each a world unto itself. There are rooms dedicated to the wayang (traditional puppetry), keris (Indonesian daggers), ceramics, and ethnographic collections, among others. Each room offers a distinct lens through which to view Indonesia’s multi-faceted cultural identity. However, if the museum had a highlight, it would be the Treasury Room in the fourth floor of the new building. As the name suggests, this room contains gold artefacts – including the Wonoboyo Hoard, a collection of golden and silver artifacts from the 9th century Mataram Kingdom discovered in October 1990 near Prambanan, as well as the regalia from various sultanates in Indonesia. An adjacent room exhibits materials recovered from shipwrecks in Indonesia – of which there are many. Sadly, photography is not allowed in these rooms, and the rooms themselves are not easy to find. They are only accessible via the elevators at the back of the building – so make sure not to skip them if you ever pay a visit.
Returning to the entrance hall, I met Yuli, our guide for the 10 a.m. tour. As we began our journey through the museum, it was immediately clear that Yuli was exceptionally knowledgeable, offering insights into 20 pieces from the museum’s extensive collection. As I understand it, the guides are volunteers from the Indonesian Heritage Society. They spend several months learning how to give tours, and there are different tours catered to different language groups. Her tour started at this giant map of Indonesia, marking out all the different people groups, and through many different rooms in the building.
What I find particularly intriguing is that the tours are highly recommended and, since they are curated by the guides themselves, no two tours are the same. Each guide brings a unique perspective, influenced by their own interests and research.
Yuli’s tour led me through corners of the museum I had missed during my pre-tour exploration, including some rock art-adjacent exhibits. This stone is a painted fragment from a rock tomb in Pasemah, South Sumatra, where several other cist-graves have been found. These graves are decorated, with paintings on the walls of the burial chambers and here you can make out black, red and white pigments:
Another highlight was the Batu Gajah megalith, where the original is located in Tegurwangi. It is one of the most famous sculptures of the Pasemah culture and depicts a man, carrying what it thought to be a bronze drum, riding an elephant.
One final highlight for me was the Telaga Batu inscription, which was tucked away in a corner in the entrance hall. It is a 7th-century Srivijayan inscription that was discovered in Palembang. The inscription is written in Old Malay and Pallava script, and contains a curse formula to protect the kingdom from enemies. Note the spout at the bottom of the inscription – it was probably used to collect water poured over the words presumably as part of some sort of oath-taking ritual. Presumably, the curse would be infused into the water and the oath takers would have had to drink or bathe in the water to keep them loyal!
I spent a four hours exploring the museum, and yet, I barely scratched the surface. My visit was limited to the old building and the treasure room in Gedung Arca, leaving me with the realization that this museum demands multiple visits for a comprehensive understanding. Also, the gift shop was under renovation, giving me yet another reason to return.
The museum impresses with its sheer volume of artifacts, categorized into specific themes like wayang, keris, ceramics, and more. However, if there’s an area for improvement, it would be the integration of an overarching narrative. The museum offers fragments of Indonesia’s diverse cultural tapestry but leaves you wanting for the threads that weave them together. Therefore, I highly recommend taking advantage of the free guided tours. They not only enrich your visit with layers of context but also provide the narrative cohesion that individual exhibits lack.
Before you go, it’s worth noting that the museum operates from 8 a.m. to 4 p.m., remaining closed on Mondays and public holidays. Guided tours in English are available at 10 a.m., with options for other languages as well.
Despite its minor shortcomings, the National Museum of Indonesia stands as an irreplaceable treasure trove, encapsulating the richness of Indonesia’s history, art, and culture. Whether you’re a first-timer or a repeat visitor, this is one museum that will continue to captivate your imagination, inviting you back time and again to uncover its endless mysteries.
Recommended Books for Indonesian Archaeology
- Icons of Art: The Collections of the National Museum of Indonesia by John N. Miksic
- A View from the Highlands: Archaeology and Settlement History of West Sumatra by Mai Lin Tjoa-Bonatz
- Belitung: The Afterlives of a Shipwreck by Natali Pearson
- The Spice Islands in Prehistory: Archaeology in the Northern Moluccas, Indonesia by Peter Bellwood (ed.) (Amazon link, or get the Open Access version here)
