davidanugraha/M4-RAG huggingface dataset:
শ্রী লক্ষ্মী নারায়ণ মন্দির, করাচি

শ্রী লক্ষ্মী নারায়ণ মন্দির (উর্দু: لکشمی نارائن مندر‎‎) পাকিস্তানের করাচিতে অবস্থিত একটি হিন্দু মন্দির। পাকিস্তান হিন্দু কাউন্সিলের মতে, মন্দিরটি প্রায় ২০০ বছর আগে নির্মিত হয়েছিল এবং স্থানীয় সম্প্রদায়ের হিন্দুদের জন্য এটি একটি গুরুত্বপূর্ণ উপাসনালয়। মন্দিরটি প্রাচীনতম অপারেটিং মন্দিরগুলির মধ্যে একটি এবং করাচির একটি খাঁড়ির তীরে অবস্থিত একমাত্র মন্দির।
নারায়ণ মন্দির পাকিস্তানের সিন্ধু প্রদেশের করাচিতে একটি ল্যান্ডমার্ক নেটিভ জেটি সেতুর নিচে অবস্থিত। মন্দিরটি আরব সাগরকে উপেক্ষা করে যা অনেক হিন্দু আচার-অনুষ্ঠানের জন্য একটি গুরুত্বপূর্ণ স্থান।
মন্দিরটি মূলত হিন্দু দেবী লক্ষ্মী ও ভগবান বিষ্ণুর প্রতি উৎসর্গীকৃত। যাইহোক এখানে হনুমান এবং শিরডি সাই বাবার মূর্তিও রয়েছে। মন্দিরে পালিত প্রধান উত্সবগুলি হল গণেশ চতুর্থী, গণেশের জন্মদিন এবং রাখি বন্ধন। হিন্দুরা মন্দিরে আসেন দেবতাদের নিবেদন করতে এবং করনীর মৃত্যু অনুষ্ঠান করতে। মন্দিরটি শ্রাদ্ধ প্রদান এবং দেবী দুর্গার মূর্তি স্থাপনের জন্য একটি পবিত্র স্থান (নয় দিন গরবা করার পরে) এবং যথাক্রমে নও রাত্রি এবং গণেশ চতুর্থীর উৎসব শেষে সমুদ্রে গণেশের মূর্তি। হিন্দুরা ধর্মীয় পবিত্রতার জন্য আরব সাগরের জলে ডুব দিয়ে স্নান করে। বর্ষাকালে, হিন্দু মহিলারা উপবাসের জন্য এবং তাদের স্বামীর মঙ্গল কামনার জন্য মন্দিরে আসেন।
বন্দর উন্নয়ন কার্যক্রম এবং সাইটের কাছাকাছি নির্মাণ কাজের কারণে সমুদ্রের জলে মন্দিরের প্রবেশাধিকার এবং এর অখণ্ডতা হুমকির সম্মুখীন। সেপ্টেম্বর ২০১২ সালে স্থানীয় হিন্দু সম্প্রদায়ের দ্বারা একটি পিটিশন দায়ের করার পরে, সিন্ধু হাইকোর্ট করাচি পোর্ট ট্রাস্টকে মন্দিরটি ভেঙে ফেলা থেকে বিরত রাখার আদেশ জারি করে। আবেদনকারী বিশ্বাস করেছিলেন যে হিন্দু পঞ্চায়েতের সদস্য এবং আবগারি ও করপ্রদানের প্রাদেশিক মন্ত্রী মুকেশ চাওয়ালা মন্দিরের কাছে নির্মাণের জন্য দায়ী। তফসিলি জাতিভুক্ত এই অঞ্চলের হিন্দু পরিবারগুলি বিশ্বাস করেছিল যে প্রভাবশালী হিন্দু নেতা এবং শহরের কর্তৃপক্ষের দ্বারা "কর্পোরেট লোভ এবং একটি বৈষম্যমূলক বর্ণ ব্যবস্থার" কারণে তাদের জোরপূর্বক পুনর্বাসিত করা হচ্ছে। নতুন উন্নয়নমূলক পরিকল্পনায় একটি বিনোদন কমপ্লেক্স নির্মাণ অন্তর্ভুক্ত রয়েছে যা মন্দিরের আঙ্গিনা দখল করবে। ১৯৯৩ সালে ভারতে বাবরি মসজিদ ধ্বংসের পর প্রতিশোধ হিসাবে মন্দিরটিকে অপবিত্র করা হয়েছিল।
Gardez Ganesha

The Gardez Ganesha is a statue of the Hindu god Ganesha, discovered in Gardez, near Kabul in Afghanistan. It is considered "a typical product of the Indo-Afghan school". It was dedicated by a king named Khingal.
D.C. Sircar has dated the statue to the 6th-7th century CE, and more precisely 7th century CE based on the palaeography of the inscription on its base. Some authors have attributed the statue to the transitional period between Kushan art to Gupta art, to the 5th or even 4th-century CE. The statue of Ganesha from Gardez is now attributed to the period of Turk Shahis in the 7-8th century CE, rather than to their successors the Hindu Shahis (9th-10th century) as formerly suggested. The datation is essentially based on stylistic analysis, as the displays great iconographical and stylistic similarities with the works of the Buddhist monastery of Fondukistan, which is also dated to the same period.
The statue of Ganesha is also considered contemporary to the famous Hindu statue of Surya in tunic and boots discovered in Khair Khaneh near Kabul, also attributed to the Turk Shahis in the 7-8th century CE. Archaeologically, the construction of the Khair Khaneh temple itself is now dated to 608-630 CE, at the beginning of the Turk Shahis period. Brahmanism seems to have flourished to some extent under the Turk Shahis, who were primarily supporters of Buddhism, with various works of art also attributed to their period of the 7-8th century CE.
After its discovery in Gardez, the statue was transferred to the Hindu temple of Dargah Pir Rattan Nath in Kabul, near the Pamir Cinema.
The inscription appears on the base of the statue. It is written in the Siddhamatrika script, a development of the Brahmi script, or in proto-Sharada script: An analysis of the writing suggests a date from the 6th or 8th century CE.
The identity of this Khingala is uncertain. A famous Khingila is known from the dynasty of the Alchon Huns, and one of his coins has the legend "Deva Shahi Khingila" ( "God-King Khingila"), but he is dated quite earlier, to the 5th-century CE.
Given the stylistically probable mid-8th century date for the Ganesha, the Śrī Ṣāhi Khiṃgāla of the inscription may have been identical with the Turk Shahi ruler of Kabul known in Arab sources as Khinkhil or Khingala, who, according to Al-Yakubhi, gave his submission to Al-Mahdi in 775–785. The Khinkhil of the Arabs may also be identical with the Turk Shahi Bo Fuzhun (勃匐準) of the Chinese sources, which mention that he was the son of Fromo Kesaro and acceded to the throne precisely in 745 CE.
Khajrana Ganesh Temple

Khajrana Ganesh Temple is a Hindu temple complex, situated in Khajrana area of Indore in the Indian state of Madhya Pradesh, India. The main temple in the complex is dedicated to Lord Ganesha. It was built by Maharani Ahilyabai Holkar of the Holkar Dynasty.
This temple was built in 1735 by Maharani Ahilyabai Holkar of the Holkar dynasty, who retrieved the idol of god Ganesha from a well where it had been hidden to keep it safe from the Mughal ruler Aurangzeb. The devotees circle around the temple and tie a thread to pray to Lord Ganesha for the successful completion of their work. It is said that the ancient idol in the temple was seen in a dream of a local priest, Pandit Mangal Bhatt. The temple is still managed by the Bhatt family.
From a small hut to a huge structure, the temple has developed a lot over the years. The temple regularly receives money, gold, diamonds and other precious jewels in the form of donations. The gate, the outer and upper walls of the Garbhagriha are made of Silver and different moods and festivals are depicted on it. The eyes of the deity are made of diamonds which were donated by a businessman of Indore.
Currently it is under the control of DM of Indore, and priests are on monthly salaries. The area around the temple has also been developed for easy access.
5. ↑ What Is The Famous Temple In Indore?
Nishkramana

Nishkramana (Sanskrit: निष्क्रमण, Niṣkramaṇa) (literally, first outing) is the sixth of the 16 saṃskāras (sacraments) practiced by the Hindus. On the day of the Nishkramana, a square area in the courtyard from where sun can be seen is plastered with cow dung and clay and the sign of svastika is marked on it. The mother of the child scatters grains of rice over it. The child is brought by a nurse, and the ceremony ends when the father makes the child look at the sun with the sound of the conch-shell and the chanting of Vedic hymns. According to the Manusmriti (II.34), in the fourth month after birth, the Nishkramana of the child should be performed. According to the Yamasmriti, quoted in Viramitrodaya, a child should see the sun in the third month and the moon in the fourth month after birth.
Home altar

A home altar or family altar is a shrine kept in the home of some Western Christian families used for Christian prayer and family worship. Home altars often contain a cross or crucifix, an image of Jesus Christ, a copy of the Bible (especially a Family Bible), a breviary and/or other prayer book, a daily devotional, and prayer beads, among other religious articles specific to the individual's Christian denomination, for example, the images of the saints for Catholics, the Small Catechism for Lutherans, and the Anglican prayer beads for Anglicans.
The Christian Treasury traces the origin of the family altar to the prophet Abraham erecting one in the Old Testament (Genesis 12:7). Since at least the 2nd century, believers such as Hipparchus, hung or painted a Christian cross, to which they prostrated in front of, on the eastern wall of their home in order to indicate the eastward direction of prayer during the seven fixed prayer times, as an "expression of their undying belief in the coming again of Jesus was united to their conviction that the cross, 'the sign of the Son of Man,' would appear in the eastern heavens on his return (see Matthew 24:30)." Syrian Christians viewed their prayers in front of the Christian cross hanging on the eastern wall of their house as symbolizing "their souls facing God, talking with him, and sharing their spirituality with the Lord." Many Christians, such as those in the tradition of the Church of the East, continue the practice of hanging a Christian cross on the east wall of their house today; communicants in the Oriental Orthodox Churches today, such as those of the Indian Orthodox Church and Coptic Orthodox Church, pray the canonical hours contained in the Shehimo and Agpeya breviaries respectively (a practice done at seven fixed prayer times a day) facing eastward. Many Christians have built on this ancient custom, with those in the West erecting home altars and those in the East erecting icon corners, usually on the eastern wall of their dwelling place.
Home altars usually are adorned with pairs of votive candles and sometimes a small vase of flowers. In many Christian households, individual family members, or the family as a whole, may gather to pray at the home altar. Christian hymns may also be sung there. Family altars are also used to promote the "development or intensification of personal piety and godly conduct."
It is common for Western Christians to have a prie-dieu in front of their home altar, which provides believers a space to place their Bible and breviary while kneeling before God in prayer. The home altars of many Eastern Christians, particularly those living in the Indian subcontinent, often have the Bible placed on a rehal for reverent display and reading. As with certain traditions of Oriental Christianity, some Western Orthodox Christians make use of the prayer rug to provide a clean space for offering Christian prayers to God. The candles that adorn the home altar are often those that have been blessed that year on Candlemas Day, a feast observed in the Catholic, Lutheran, and Anglican traditions, among others.
Ashok Binayak Temple

Ashok Binayak (अशोक विनायक) is a Hindu temple located in Kathmandu district at eastern side of Kathmandu Durbar Square in Maru Tole. This temple is of Lord Ganesha also known as Binayak. The god is worshipped as the god of luck by Hindus. The temple hosts one of the four original Ganesh shrines of Kathmandu valley. It is a popular place of worship for Hindus.It is worshipped both by Hindus and Buddhists. The temple is visited during Tuesdays every week as it is the day which is considered the day of Ganesh.
Ashok Vinayak is one of the four original Ganesh of Kathmandu valley. The other three Ganesh shrines being Chandra Binayak, Surya Binayak and Jal Binayak. Additionally, there are other Ganesh temples like Kamal Binayak and Karya Binayak which are also popular Ganesh temples situated inside the valley.
The temple is a single-storeyed structure. The design is also noted for not having a gajur or a pointed design on the center-top of the roof. This design choice is also responsible for naming the locality "Maru" which literally in Newari language means "does not have". The entire exterior of temple is plated in gold and is surrounded by bars at the present moment.
The temple hosts the holy shrine of Ganesh or Ashok Vinayak. On special days like Tuesdays and during special occasions like Dashain and Indra Jatra, the statue is decorated with a metallic cover made of silver or other metals. Right across the narrow road where the temple is, you will find a mouse which is known as a loyal bahan of the god Ganesh. You will also find structures where people can light and place their oil candles. The temple is also decorated with bells.
Tulshibaug

Tulshibaug (Marathi: तुळशीबाग) is an area in Pune City in the state of Maharashtra, India. It is located in the old city area. Its main features are a historic temple precinct and a large market.
The Tulshibaug area is located in the old city of Pune. The area is accessed via three roads: Bajirao Road, Laxmi Road, and the road connecting Shanipar to Shivaji Road.
Tulshibaug gets its name from the Tulshibaug wada located in this area, which is a famous temple of Lord Ram, Ganpati and Shankar.
The Tulshibaug Ram Temple was built during the Peshwa era, after the battle of Panipat in 1761, under Naro Appaji Khire (Tulshibaugwale) (1700-1775), the Subhedar of Pune. Work commenced in 1763 and was completed in 1795 at a cost of Rs 136,667 and it covers an area of about an acre. In 1884 Nandram Naik completed work on the spire (shikhar) and the Sabhamandap. The temple is managed by Shree Ramji Saunsthan.
The statues of Lord Ram, Sita, and Laxmana, made by Umajibaba Pandharpurkar, were placed in the sanctum of the temple in November 1765. In 1767, the statue of Lord Hanuman, crafted by Bakhatram Patharvat Gujrathi, was placed in the sanctum. Later in 1781 statues of Ganapati and Parvati were brought to the temple. Ornaments in gold, silver, pearls and diamonds were made for these statues.
Apart from the Ram Temple, there are many other temples in the precinct. These include the temples of Ganesh, Vitthal and Rukmini, Dattatray and Maruts. Lord Ganesh here is called Moreshwar and Lord Shiva is known as Tribakeshwar or Kashivishveshwar. Right in front of the Ram Temple is a small temple of Hanuman. The idol is made of black stone showing Hanuman joining his palms in order to bow down before Ram.
To the north of the Ram temple, a large wada was built that would serve as a residence for the heirs to Naro Appaji.
Very few spaces and buildings of the Peshwa era survive in Pune today; however, the Ram Mandir precinct is largely intact. Architectural features of interest include woodwork, stonework, and lime stucco-work, in addition to a heritage of urban design over two centuries. It is relatively free of noise pollution. Today, a trade in sculpture, paintings and craftwork is carried on.
In September 2009, work began on a three-year restoration project sponsored by the Shree Ramji Sansthan Tulshibaug Trust.
The busy Tulshibaug market is located in front of the famous Vishrambaug Wada. The market sells goods including traditional Maharashtrian cooking items, cosmetics, jewelry and household goods, as well as Puja items. Other than shopping the market offers various refreshments and hotels.
Pramod Kamble

Pramod Kamble (born 11 August 1964) is an Indian artist, painter and sculptor. He promotes eco-friendly idols with NGOs creating Ganapatis made of clay and painted in natural colours for a safer festival. He conducts classes on making such eco-friendly idols during Ganesh Chaturthi.
Kamble was born in 1964 into a family of artists. His father was a known watercolor artist and the principal of an art institute. He won the National Talent Scholarship for sculpture in 7th standard of his school. He did his Foundation course and Art Teacher Diploma in Pragat Kala Mahavidyalaya, Ahmednagar, before joining Sir JJ School of Arts, Mumbai.
During calamities, he has collected donations from people by sketching them on the streets of Ahmednagar and donating the proceeds to relief funds for the Latur earthquake, Gujarat earthquake, and Kargil War respectively.
He encourages the idea of clay idol to be installed in every house during the Ganapati festival and conducts workshops for making clay Ganapati idols. He promotes idols of clay instead of Plaster of Paris which are not easy to dissolve in the water. He has taken many workshops in the schools and colleges of Ahmednagar. In Mumbai, since the height of Ganesh idols are high, he suggests using fiberglass idols instead of plaster of Paris. His wife Swati supports him in this initiative.
A large pencil drawing "Sare Jahan Se Achcha" – 70 ft. by 20 ft. in dimension was drawn by Kamble. The project started in the year 1996 and was completed on the eve of Independence of 1997. It commemorates the Nation on the occasion of 50 years of Independence on the specially prepared wall of Mahavir Art Gallery in Ahmednagar. This drawing portrays Bharat Mata and almost 500 notable people including sages, deities, freedom fighters, Bharat Ratna awardees, Dadasaheb Phalke awardees, GyanPeeth awardees, Param Vir Chakra recipients and the masters in various fields of life that includes sports-persons, musicians, dancers, painters, theatre personalities, singers, social activists and industrialists.
Apollo and Daphnis

Apollo and Daphnis is a c.1483 mythological painting by Perugino. It was sold to the Louvre in Paris in 1883, where it still hangs and in whose catalogue it was known as Apollo and Marsyas. By the 1880s it had become misattributed to Raphael.
It one of the most notable works commissioned from the artist by Lorenzo de' Medici. In the background is a rural scene with a city or castle, a three-arch bridge, trees typical of Perugino, hills and a river. The two nude figures in the foreground allude to that in ancient Greek and Roman art - this and the other classical references demonstrate how the work is intended to be decoded by the humanist classical elite of Florence. The standing contrapposto figure is the god Apollo, carrying a baton in his left hand and with a bow and quiver behind him. His pose draws on that of Hermes in a sculpture of Hermes and Dionysius by Praxiteles, now best known from the copy Hermes and the Infant Dionysus rediscovered in the 19th century.
The identity of the seated flute-playing figure on the left is debated - it may be Marsyas, but that character is usually depicted as a satyr and so it may instead by Daphnis, a young shepherd who died of love for Apollo. Daphnis is the Greek form of the name Laurus, possibly linking the work to Lorenzo de' Medici. His pose draws on a sculpture of Hermes by Lysippus, best known from the Seated Hermes discovered in 1758.
Babys (mythology)

Babys (Ancient Greek: Βάβυς, romanized: Bábus) is a figure in Greek mythology. He is the brother of the Phrygian satyr Marsyas who challenged Apollo to a flute-playing contest, and lost to him. Unlike his brother, who owned a double flute, Babys's flute had only one pipe. Perceiving him to be a simpleton who lacked any apparent skill, the goddess Athena persuaded Apollo to spare Babys his anger when the god won the competition, as Babys's playing had been that bad.
European Young Engineers

The European Young Engineers (EYE) is a European non-profit organisation, listed in the register of Engineering associations of the World Federation of Engineering Associations.
Young members of the European engineers’ organisations created a pan-European platform and founded the European Young Engineers (EYE) in 1994. During the following years several engineering associations in Europe were invited to join.
EYE became an organisation consisting of more than 23 associations and representing approximately more than 250.000 young engineers in Europe. EYE started to offer its member organisations and their students and young engineers the access to a Europe-wide network by linking the engineering associations.
EYE offers a member-hosted conference. Between these events, the community stays in contact via their website.
In 2007 the European Young Engineers signed a Memorandum of Cooperation with FEANI.
Apollo of Cyrene

The Apollo of Cyrene is a large Roman statue of Apollo found at the ancient city of Cyrene, Libya. It was unearthed at the site along with a great number of other ancient sculptures and inscriptions which were presented to the British Museum in 1861.
The sculpture was discovered in the mid-nineteenth century at the Temple of Apollo at Cyrene in Libya. It was excavated by the British explorers and amateur archaeologists Captain Robert Murdoch Smith and Commander Edwin A. Porcher. The statue was found broken into 121 pieces, lying near the large plinth where it originally stood. The fragments were later reassembled in the British Museum to create a relatively intact statue of 2.28 m height. Some parts are missing, including the right arm and the left hand.
The statue dates to the 2nd century AD, and is a copy of a Hellenistic work probably dating to between 200 and 150 BC. It is made from high quality marble and would have originally been painted. The god is shown nude with the exception of a cloak wrapped around his hips. As the god of music, he is shown playing a kithara while a python nestles round a quiver by his left leg. The statue has a curious mixture of masculine and feminine characteristics, which reflects its Hellenistic origin.
The statue was probably the main cult image in the Temple of Apollo at Cyrene. The deity would have acted as the focal point for worship and ritual activity.
Adikarya

Adikarya, adiseni, mahakarya, suprakarya nurutkeun istilah hartina nyaéta karya anu gedé, karya anu monuméntal, hasil cipta sastra, seni, jeung budaya umum anu salawasna bakal matuh. Mahakarya, karya gedé dianggap salaku hasil kontémplasi anu pangluhurna ti hiji atawa kumpulan seniman, atawa kumpulan nu tangtu, siga Moby Dick (Herman Melville), Nineteen Eighty - Four (1984, George Orwell), Bumi Manusia (Pramoedya Ananta Toer), kaasup di jerona Borobudur jeung mendut, TMII (Taman Mini Indonésia Indah) jeung Monas monumen Nasional), jeung saterusna. Kualitas anu dimaksud henteu nutup lolongkrang ajén-inajén élmu pangaweruh anu aya di jerona, siga katinggali ngaliwatan karya-karya anu dikategorikeun salaku novel élmu pangaweruh, siga:karya - karya Jules Verne ( Journey to the Center of the Earth, Twenty Thousand Leagues Under The Sea ) jeung H.G Wells ( The Time Maschine ).
Karya Klasik siga Mahabharata jeung Ramayana, Pancatantra jeung Carita Seribu Satu Malam, jeung saterusna kaasup kana adikarya. Tina Hubungan ieu adikarya atawa karya monuméntal téh dianggap aya sapanjang abad, sawaréh di antarana disebut salah sahiji kaajaiban dunya, sawaréhna deui meunangken hadiah Nobel, jeung sacara kasaluruhan mangrupa gambaran pikeun manusa sangkan ngahargaan kaéndahan jeung kaagungan Alloh anu nyiptakeun samesta.
R. Nuriana

R. Nuriana lengkepna Mayjen TNI (Purn.) Radén Nana Nuriana (gumelar di Sumedang , 17 April 1938; umur 86 taun) nyaéta saurang inohong Sunda. Ngalungguhan jabatan Gubernur Jawa Barat dua periode 1993−1998 jeung 1998−2003. Anjeunna ogé saurang purnawirawan tentara kalawan pangkat Mayjen TNI, namatkeun sakola di Akademi Militer Nasional (AMN) dina taun 1962.Saméméh ngalungguhan jabatan gubernur, anjeunna ngalungguhan jabatan Pangdam III/Siliwangi periode 1991-1993.
Dina mangsa pamaréntahanna, anjeunna kungsi ngaresmikeun sababaraha tempat anu pinuh ku sajarah saperti: masjid raya anu perenahna di sabudeureun alun-alun kota Bandung, ngarandapan pamugaran pikeun dilegaan tur dijangkungan. Pangwangunan ti mimiti nepi ka diresmikeun lilana 2 taun 99 poé (tanggal 25 Pébruari 2001 nepi ka 4 Juni 2003). Kaping 23 Agustus 1995 anjeunna ngaresmikeun monumén Perjuangan Rakyat Jawa Barat perenehna di Jalan Dipati Ukur Nomor 48 Bandung, monumen ieu ilahar disebut Monju beunang ngarancang Slamet Wirasonjaya jeung Sunaryo. Kaping 6 Agustus 2010 ngaresmikeun Masjid Al Imtizaj anu mibanda gaya arsitektur Tiongkok ieu masjid perenahna di Jl. ABC No. 8 Banceuy Bandung.
Kota Jakarta Wétan

Jakarta Wétan nyaéta hiji kota di beulah wétan Daérah Khusus Ibukota Jakarta. Di beulah kaléreun Jakarta Wétan wawatesan jeung Jakarta Utara, di beulah wétan jeung Bekasi, di beulah kidul jeung Dépok sarta di beulah kulonna jeung Jakarta Selatan jeung Jakarta Pusat. Lega wilayahna 187,73 km².
Kota Jakarta Kidul

Jakarta Kidul nyaéta hiji kota di beulah kidul Daérah Khusus Ibukota Jakarta. Di beulah kalér Jakarta Kidul wawatesan jeung Jakarta Pusat, di beulah wétan jeung Jakarta Wétan, di beulah kidul jeung Dépok, di beulah kulon kalérna jeung Jakarta Kulon sarta kulon kidulna jeung Tangerang.
Jakarta Kidul mangrupa kota di DKI panggedéna, miboga pangeusi panglobana, tur pangbeungharna.
Kacamatan di Jakarta Kidul nyaéta:
Kota Jakarta Kalér

Jakarta Kalér (Aksara Sunda Baku: ᮏᮊᮁᮒ ᮅᮒᮛ) nyaéta salah sahiji kota di Jakarta beulah kalér. Di beulah kaléreun Jakarta Kalér wawatesan jeung Laut Jawa, di beulah wétan jeung Bekasi, di beulah kidul jeung Jakarta Barat, Jakarta Pusat sarta Jakarta Timur. Di beulah kuloneunnana Jakarta Kalér wawatesan jeung Tangerang.
Di Jakarta Kalér aya Palabuan Tanjung Priok, Palabuan Sunda Kelapa jeung Balaikota lawas kota Batavia nu kiwari disebut Musieum Kota Jakarta.
Lega wilayah Jakarta Kalér aya 137 km pasagi, nu dicicingan ku jumlah pangeusi 1.181.096 jiwa (lalaki 604.778, awéwé 576.218), per 08/2006
Daptar kacamatan di Jakarta Kalér:
Sabah

Sabah (kedalan basa Malayu: [saˈbah]) nyaéta nagara bagian pangwetanna di Malaysia, salah sahiji tina dua nagara bagéan di Malaysia nu aya di pulo Kalimantan. Sabah ogé mangrupa salah sahiji anggota nu milu ngadegkeun federasi Malaysian babarengan jeung Sarawak, Singapura (kaluar taun 1965) katut Federasi Malaya (Bojong Malaysia atawa Malaysia Kulon). Kawas Sarawak, ieu teritori boga hukum otonom hususna ngeunaan kaimigrasiannu béda jeung nagara bagéan nu aya di Bojong Malaysia séjénna. Perenahna di bagena kaler pulo Kalimantan tur kasohor minangka nagara bagéan panggedéna kadua di ieu nagara sanggeus Sarawak, nu wawatesan di béh kidul kuloneunana. Babagi wates laut jeung Teritori Federal Labuan di béh kulon sarta jeung Pilipina di béh kaler jeung kaler wetaneunana. Wates mancanagara ieu nagara bagéan ukur jeung propinsi Kalimantan Kaler, Indonesia di béh kiduleunana. Ibukota Sabah nyaéta Kota Kinabalu, nu saméméhna mah katelah Jesselton. Sabah mindeng ditujul minangka "Lemah Handapeun Angin", hiji frase nu dipaké ku para pelaut jaman baheula keur ngagambarkeun lemah nu aya di kiduleun beubeur angin topan.
Migrasi katut padumukan manusa mangsa awal ka ieu wewengkon dipercaya ti mimiti 20,000–30,000 taun katukang. Manusa baheula dipercaya minangka jalma Australoid atawa Negrito. Glombang migrasi manusa saterusna, dipercaya minangka urang Austronesia Mongoloid, kira-kira taun 3000 SM.
Taun 2010 population Sabah ngaegm:
Syafruddin Prawiranegara

Sjafruddin Prawiranegara (Éjahan heubeul)(gumelar di Sérang, Banten, 28 Pébruari 1911 – tilar dunya di Jakarta, 15 Pébruari 1989 dina umur 77 taun). Ahli ékonomi monétér, pulitikus, da'i. Sababaraha kali nyekel kalungguhan jadi anggota pingpinan Partai Puseur Masyumi, sababaraha kali jadi Mentri Keuangan jeung Mentri Kemakmuran Indonésia, Ketua Pe, merintah Darurat Républik Indonésia (PDRI), Perdana Mentri Pemerintah Révolusionér Indonésia (PRRI), saterusna Presidén Rpublik Persatuan Indonésia (RPI), Ketua Himpunan Usahawan Muslimin Indonésia (HUSAMI) sarta sanggeus aktif jadi da'i ogé nyekel kalungguhan minangka Ketua Korps Mubalig Indonésia (KMI).
Ismail Marzuki

Ismail Marzuki (gumelar di Batavia, Hindia Walanda, 11 Méi 1914 – tilar dunya di Jakarta, Indonésia, 25 Méi 1958 dina umur 44 taun) nyaéta saurang komponis anu aktif tur produktif nyieunan komposisi lagu anu lolobana watek laguna téh nasionalis-romantis. Anjeunna bisa disebut minangka komposer panaratas anu sénior. Minangka tukang nyipta lagu, Ismail Mazuki nyaéta jalma anu neundeun dasar gaya nyanyian "Karesep Indonésia" nu satemenna dina lagu-lagu kasohor Indonésia. Gaya populer jeung irama lagu-laguna anu salsé jadi hiji modél anu diturutan ku para tukang nyipta musik nyanyian Indonésia dina zamanna nika taun 1980-an.
Ku sakumna dulur jeung sobat dalitna, Ismail Marzuki biasa nelah disebut Mail atawa Maing. Maing kaasup kana saguliwek masarakat pribumi anu dianggap cukup kadidik dina mangsa harita. Bakat-bakat musikna geus katara ti keur leutik mula. Sababaraha lagu munggaranna dijieun nalika anjeunna masih kénéh umur 17 taun. Anjeunna mahér maénkeun sarupaning instrumen musik, saperti gitar, akordéon, flute, saxophone, klarinét, jeung piano. Anjeunna ogé kasohor minangka tukang ngawih musik hiburan jeung keroncong.
Sakumaha umumna para pamusik dina zamanna, anjeunna loba icikibung di dunya hiburan musik liwat studio radio jeung tempat-tempat hajatan musik umum. Anjeunna ngahiji jeung Muziek Verenenging Lief Java ogé Hawaiian Band The Sweet Java Inlanders. Ismail Marzuki kawilang aktif di radio NIROM, BRV, VORO, jeung Perserikatan Perhimpunan Radio Ketimuran (PPRK). Babarengan jeung inohong-inohong musik keroncong, saperti M. Sagi, M. Sardi, Soetodjo, jeung Koesbini, anjeunna ngadegkeun orkés studio PPRK anu utamana mah maénkeun lagu-lagu Indonésia populér jeung musik keroncong.
Dina mangsa pangawasaan Jepang, Ismail Marzuki ogé aktif minangka pamusik di Orkés Radio Hosso Kanri Kyeku babarengan jeung para pamusik sazamanna, saperti Koesbini, Binsar Sitompul, Amir Pasaribu, jeung Soedharnoto. Babarengan jeung maranéhanana ogé, Ismail Marzuki jadi salah saurang panaratas kawangunna Orkes Studio Jakarta jeung pasanggiri musik vokal nasional Bintang Radio pasca–Proklamasi Kamerdikaan RI.
Sakumaha pamusik dina zamanna, sumanget kabangsaan Ismail Marzuki pikeun merjuangkeun kamerdikaan ogé kacida gedéna. Anjeunna ogé kasohor minangka "Seniman Pajoang" anu loba nyiptakeun lagu-lagu pajuangan jeung cinta lemah cai. Lagu-laguna anu geus jadi ikon lagu-lagu pajoangan nyaéta Hallo Hallo Bandung, Kopral Jono, Sepasang Mata Bola, Selendang Sutera, Sapu Tangan dari Bandung Selatan, Melati di Tapal Batas, Selamat Jalan Pahlawan Muda, Juwita Malam, Gugur Bunga di Taman Bhakti, Nyiur Melambai, Tanah Pusaka, jeung Rayuan Pulau Kelapa.
Lagu-lagu Ismail Marzuki geus ngilhaman arah lagu jeung warna panyiptaan lagu-lagu, musik, radio jeung musik pop Indonésia nika taun 1980-an. Ismail Marzuki geus nempatkeun diri manéhna minangka salah saurang panaratas dina ngembangna musik modérn di Indonésia. Saméméh tilar dunya, dina taun 1957 anjeunna nyiptakeun karyana anu pamungkas. Dina taun 1968 pamaréntah DKI Jakarta ngaabadikeun ngaranna pikeun hiji puseur kasenian Jakarta anu dipikawanoh ku ngaran Taman Ismail Mazuki (TIM).
Patung Liberty

Patung Liberty (judul sejen dina Basa Inggris: Liberty Enlightening the World, Basa Prancis: La Liberté éclairant le monde) patung buta nu aya dina pulo liberty di muara Hudson di New York harbor, Amérika Sarikat. Patung ieu dileler Perancis ka Amérika Sarikat dina ahir abad ka-19 jeung simbol ngabagéakeun nu datang, imigran jeung Amerika balik.
Patung perunggu diresmikeun dina 28 oktober, 1886 ieu nyaéta kado saratus taun kamerdikaan Amérika Sarikat jeung hiji ekspresi silaturahim antara dua nagara. nu mahat patung ieu Frédéric Auguste Bartholdi, jeung Gustave Eiffel (desainer tina Tower Eiffel) dirancang struktur pangrojong jero. Patung Liberty nyaéta salah sahiji simbul tina AS nu paling kawentar dina sakabeh dunya, sarta melambangkan kamerdikaan jeung kabebasan ti tekenan.
Dina taun 1984, Patung Liberty dina daptar Loka Warisan Dunya UNESCO.
Majapahit

Majapahit mangrupa hiji karajaan Hindu di Jawa Wétan. Karajaan ieu kaasup karajaan kuna di Indonésia anu nangtung dina taun 1293 nepi ka 1500 M. Karajaan Majapahit di adegkeun ku Radén Wijaya (1293 M).. Masa kajayaan majapahit nyaéta saprak Hayam Wuruk nyokot posisi raja anu ngawasa dina taun 1350 nepi ka 1389 anu dicirian ku ayana pangadegan gedé-gedéan nepi ka Asia Tanggara.. Kasuksésanana ogé diakui ka perdana mentrina, Gajah Mada. Kapunjulanana ogé diaku hasil tina jasa perdana menteri Gajah Mada.
Numutkeun Nagarakretagama (Desawarñana) anu ditulis taun 1365, Majapahit mangrupa karajaan anu ngawasa 98 daérah taklukan, ngampar ti Sumatra nepi ka New Guinea; ngawengku daérah anu ayeuna jadi Indonesia, Singapura, Malaysia, Brunei, kidul Thailand, Timor Leste, kulon kidul Filipina (hususna Kapuloan Sulu Archipelago) sanajan wewengkon pangaruh Majapahit masih jadi bahan diskusi di antara para sajarawan. Sifat hubungan jeung pangaruh Majapahit kana daérah taklukanana di luar negeri ogé statusna minangka hiji karajaan masih ngundang diskusi.
Majapahit mangrupa salah sahiji karajaan Hindu-Budha terakhir nu penting di wilayah éta sarta dianggap salaku salah sahiji karajaan nu pangagungna sarta pangkuatna dina sajarah Indonésia jeung Asia Tenggara. Kadang dianggap salaku cikal bakal wates-wates Indonésia modéren. Pangaruhna sumebar teu ngan di wilayah Indonésia modéren tapi ogé jadi topik seueur panalungtikan.
Perang Dunya I

Perang Dunya I nujul ka perang sababaraha nagara nu lumangsung di Éropa antara taun 1914 jeung 1918. Perang ieu ngabalukarkeun palastrana jutaan jalma sarta ngarobah kaayaan dunya modéren. Dina ieu perang, Sekutu (Allied Powers) nu diluluguan ku Prancis, Karajaan Rusia, Karajaan Inggris, Itali, sarta salajengna AS, ngéléhkeun Kakuatan Tengah (Central Powers) nu diluluguan ku Austria-Hungaria, Karajaan Jérman, jeung Kasultanan Usmani.
Sajarah Perang Dunya I lumangsung di Éropa mimiti taun 1914 sarta lekasan dina 1918. Faktor nu nyieun peperangan nagara-nagara kulon ieu salah sahijina dipicu ku persaingan industri sarta militer antara Jérman kalawan Inggris. Saprak taun 1910 dugi 1914, Jérman naekkeun anggaran pertahanan sagedé 73 persén. Perkawis ieu dipigawé Jérman margi basa éta aya anceman kakiatan militer ti nagara Éropa lain, utamana Inggris anu ngawasa saparapat wilayah dunya, ku kituna produksi persenjataan militer diprioritaskeun. Ti dieu, industri parabot militér di wilayah Éropa ogé marak diutamikeun deui ku nagara-nagara lain. Tujuanana pikeun maranéhanana bisa ngabéla diri ti serangan-serangan lamun hiji wanci boga potensi lumangsung.
Perang Dunya I jalaran ku industri militer anu marak ditaékkeun nagara-nagara Eropa. Kaliwat, maranéhanana anu rumaos peryogi rerencangan sabot pahareup-hareup kalawan satru ahirna ngawangun kubu-kubu (aliansi). Pembentukan aliansi ieu oge barobah kaayaan cukang lantaran Perang Dunya I. Wanci éta, aya dua kubu anu silih pahareup-hareup Triple Alliance atawa Aliansi Tilu sarta Triple Entente atawa Entente Tilu. Dina The Major International Treaties of the Twentieth Century: A History and Guide with Texts (suntingan John Grenville sarta Bernard Wasserstein) diungkabkeun, Triple Alliance mangrupa persekutuan antara Kekaisaran Jerman, Austria-Hongaria, sarta Italia anu saleresna atos dijieun saprak warsih 1882. Sedengkeun Triple Entente diwangun ti Kekaisaran Rusia, Republik Katilu Prancis, sarta Karajaan Inggris Raya sarta Irlandia anu geus lumangsung ti taun 1894. Sabot dua kubu kasebat dijieun deui dina lalampahan dekadeu kadua abad ka-20, Italia tétéla milih nyeberang ka kubu Triple Entente. Posisi Italia di Triple Alliance saterusna digantikeun ku Kekaisaran Turki Usmani.
Perang Dunya I ahirna ngajelegur sabot putra makuta Austria-Hongaria, Franz Ferdinand, dipaéhan. Perkara ieu matak pihak Austria-Hongaria jeung Triple Alliance milampah serangan ka kulon (Prancis). Dalang di wangsul kajadian pembunuhan kasebat disangka dimimitian ku Sérbia. Inggris anu usaha ngadamaikeun ngaliwatan dialog tétéla éléh sora ti Jérman. Sedengkeun Austria-Hongaria hayang perang. Jérman jeung Austria-Hongaria ngalancarkeun serangan ka Bélgia anu kabeungkeut jangji-pasini kalawan Prancis sarta Inggris. Perkara ieu matak Prancis sarta Inggris ahirna kudu milu dina perang. Taun 1915, Italia nyebrang ka Triple Entente sarta ninggalkeun Triple Alliance margi dijangjikeun bakal meunangkeun wilayah Dalmatia anu basa éta ditempatan ku Austria-Hongaria. Sanggeus éta, Turki Usmani megatkeun pikeun ngagabung sareng Triple Alliance margi rumasa boga satru anu sarua, nyaéta Uni Sovyet.
Sajarah lisan

Sajarah lisan atawa sajarah oral hartina sajarah anu diturunkeun sacara lisan, turun-tumurun ti hiji generasi ka generasi salajengna. Ku lolobana ahli mah, sajarah lisan téh teu bisa dipercaya salaku sumber rujukan. Najan kitu, aya ogé ahli nu nganggap salaku cara pikeun miara jeung nyebarkeun sajarah, utamana nalika budaya tulisan can nyerep di hiji kaadaban. Pangalaman dina budaya sastra nunjukkeun yén manusa téh salawasna ngawangun ulang ingetanana (mémori). Najan aya parobahan, inti caritana mah ilaharna tetep kapiara. Nuturkeun guluyurna waktu, parobahan-parobahan téh beuki euyeub nepi ka antukna teu dipikawanoh deui. Jalma nu hirup dina budaya sastra bisa baé salah ngajénan kana kasohéhan sajarah lisan nu sumebar dina budaya prasastra.
Saméméh mekarna basa tulisan dina hiji masyarakat, sajarah lisan téh mangrupa alat utama pikeun ngawariskeun émbaran ka turunanana. Nu ilahar mah nyaéta maké dongéng, utamana dina wanda sajak/tembang (misalna carita pantun & guguritan, sangkan leuwih gampang kaapalkeun) nu katelah tradisi lisan. Kombinasi tradisi lisan nu ngandung moral katut ritual téh katelahna carita rahayat (folklore).
Sajarah lisan mangrupa salah sahiji ti asal kahirupan manusa, anu bisa dipaké sah minangka penulisan sajarah. Sajarah lisan ieu dibedakeun kalawan tradisi lisan, anu miboga harti béda. Lamun talari lisan éta ngagaduhan hartos ceritera rahayat anu diungkabkeun ngaliwatan lisan sarta dikembangkeun beruntun ogé ngaliwatan lisan. Si pelisan (pengungkap ceritera) henteu kabeungkeut ku kajadian na éta sorangan. Si pelisan lain penyaksi atawa lain peserta dina kajadian sajarah ceritera, sarta henteu tanggel walon luhur parnyataan anu diceriterakannya. Sajarah lisan ngabogaan harti anu has anu tanggel walon, nyaéta asal sajarah anu dilisankeun ku jalmi pamilu atawa anu barobah kaayaan saksi rék kitu kaayaanana kajadian sajarah dina jaman na. Si pelisan bener-bener nyaho, milu dina kajadian mangsa kapungkur anu diceriterakeun, kalawan caos tanggel walon luhur leresan na. Ku kituna si pelisan kudu diseleksi sacara kritis sakumaha nyanghareupan asal sajarah.
Kaleuwihan ti panalungtikan sajarah lisan nyaéta dina panalungtikan (panalitian). Sedengkeun kaleuwihan ti panalungtikan sajarah lisan, di antarana pangumpulan data bisa dipigawé kalawan kitu kaayaanana komunikasi ti dua arah (antawis peneliti kalawan inohong) ku kituna lamun aya perkawis anu teu bisa langsung ditanyakeun ka narasumber. Penulisan sajarah robah kaayaan langkung démokratis (kabuka) margi matak bisa sejarawan kanggo pilari informasi ti sadaya golongan balaréa (boh rahayat dawam dugi pajabat). Ngalengkepan kakurangan data atawa informasi anu tacan kacutat dina asal ditulis atawa dokumén.
Suharto

Soeharto (gumelar di Dusun Kemusuk, Desa Argomulyo, Kecamatan Sedayu, Bantul, Yogyakarta, 8 Juni 1921 – tilar dunya di Jakarta, 27 Januari 2008 dina umur 86 taun) nyaéta présidén Indonesia kadua nu ngajabat ti taun 1967 dugi ka 1998.
Abjad Jawi

Aksara Pegon atawa Arab Pegon (disebut ogé aksara Jawi) nyaéta aksara Arab nu diadaptasi pikeun nulis basa Malayu, basa Jawa, jeung basa Sunda (jeung di Nusantara umumna nu kapangaruhan Islam?). Aksara ieu mangrupa salah sahiji aksara resmi di Brunéi, sarta (kungsi) di paké di Malaysia, Filipina, Indonésia, jeung Singapura, utamana di kalangan Muslim.
Aksara Pegon geus aya di Nusantara ti sababaraha abad ka tukang, tumuwuh nalika datangna Islam ka wewengkon ieu. Aksara ieu méh sarua jeung aksara Arab, ngan katambah ku sababaraha aksara pikeun nyaluyukeun jeung basa-basa nu dipaké di Nusantara.
Aksara Pegon mangrupa salah sahiji tulisan munggaran nu dipaké di Malayu, dipaké ti mangsa Pasai, nepi ka mangsa Kasultanan Malaka, Johor, jeung Acéh abad ka-17. Bukti ngeunaan ieu bisa kapanggih dina prasasti Trengganu, taun 1303 (702 H), sedengkeun aksara Latin dipaké kira panungtungan abad ka-19.
Galat Lua: bad argument #2 to 'title.new' (unrecognized namespace name 'Templat').
2007

2007 (MMVII) nyaéta taun biasa nu dimimitian ku poé Senén dina kalénder Gregori. Taun ieu mangrupa taun ka-2007 Maséhi, taun ka-7 dina abad ka-21, sarta taun ka-7 dina 2000-an. Taun ieu ogé mangrupa taun nu keur kaalaman ku urang kiwari. Taun ieu diancer-ancer
lolobana waktu dina taun 2007 babarengan jeung Taun Babi dina kalénder Cina (tanggal nepi ka 17 Pébruari aya dina Taun Anjing). Taun Babi satuluyna bakal dimimitian taun 1600. 2007 ogé jadi taun Pisces dina Astrologi Kulon. Taun satuluyna keur https://solitaire.fungame.studio/asd/YYZF6 nyaéta 2400.
National monument

A national monument is a monument constructed in order to commemorate something of importance to national heritage, such as a country's founding, independence, war, or the life and death of a historical figure. The term may also refer to a specific monument status, such as a national heritage site, by reason of their cultural importance rather than age). National monument status is usually granted to colossal symbols of national identity.
Structures or areas deemed to be of national importance and afforded protection by the state are part of a country's cultural heritage. These national heritage sites are often called something different per country and are listed by national conservation societies. Romania has listed at least one plant as a national monument, Nymphaea lotus bar. thermalis.
Eternal flame

An eternal flame is a flame, lamp or torch that burns for an indefinite time. Most eternal flames are ignited and tended intentionally, but some are natural phenomena caused by natural gas leaks, peat fires and coal seam fires, all of which can be initially ignited by lightning, piezoelectricity or human activity, some of which have burned for hundreds or thousands of years.
In ancient times, eternal flames were fueled by wood or olive oil; modern examples usually use a piped supply of propane or natural gas. Human-created eternal flames most often commemorate a person or event of national significance, serve as a symbol of an enduring nature such as a religious belief, or a reminder of commitment to a common goal, such as diplomacy.
The eternal fire is a long-standing tradition in many cultures and religions. In ancient Iran the atar was tended by a dedicated priest and represented the concept of "divine sparks" or Amesha Spenta, as understood in Zoroastrianism. Period sources indicate that three "great fires" existed in the Achaemenid era of Persian history, which are collectively considered the earliest reference to the practice of creating ever-burning community fires.
The eternal flame was a component of the Jewish religious rituals performed in the Tabernacle and later in the Temple in Jerusalem, where a commandment required a fire to burn continuously upon the Outer Altar. Modern Judaism continues a similar tradition by having a sanctuary lamp, the ner tamid, always lit above the ark in the synagogue. After World War II, such flames gained further meaning, as a reminder of the six million Jews killed in the Holocaust. Judaism has a concept of a נר תמיד or everlasting flame. This is commonly found hanging in front of the Aron Kodesh (holy ark) in orthodox Synagogues. It is meant as a remembrance of the Temple. Occasionally this flame is a fire which is kept lit 24/7. Other times it is merely electric and stays on all the time.
In traditional Christian denominations, such as Catholicism and Lutheranism, a chancel lamp continuously burns as an indication of the real presence of Christ in the Eucharist.
The Cherokee Nation maintained a fire at the seat of government until ousted by the Indian Removal Act in 1830. At that time, embers from the last great council fire were carried west to the nation's new home in the Oklahoma Territory. The flame, maintained in Oklahoma, was carried back to the last seat of the Cherokee government at Red Clay State Park in south-eastern Tennessee, to the Museum of the Cherokee Indian in Cherokee, North Carolina, and to the Cherokee Nation Tribal Complex in Tahlequah, Oklahoma.
In China, it has at times been common to establish an eternally lit lamp as a visible aspect of ancestor veneration; it is set in front of a spirit tablet on the family's ancestral altar.
List of association football stadiums by capacity

The following is a list of football stadiums. They are ordered by their seating capacity, that is the maximum number of spectators that the stadium can accommodate in seated areas. Football stadiums with a capacity of 40,000 or more are included. That is the minimum capacity required for a stadium to host FIFA World Cup finals matches. Note that most sports venues with a capacity of at least 40,000 are used for association football. The list contains both stadiums used solely for football, and those used for other sports as well as football. Some stadiums are only used by a team for certain high attendance matches, like local derbies or cup games.
Indonesia Accuses

Indonesia Accuses (Indonesian: Indonesia Menggugat) is a speech read by future President of Indonesia Sukarno in his defense during his 1930 trial in Landraad, Bandung, Indonesia. Sukarno, along with Gatot Mangkupraja and Maskun Supriadinata, was accused of trying to overthrow the colonial government of the Dutch East Indies and thrown in jail. All three were founders of the Indonesian National Party (PNI). While in prison, Sukarno wrote the speech, which condemned international political conditions and the destruction of Indonesian society under colonial rule, making the speech a landmark political document against colonialism and imperialism.
List of World Heritage Sites in Indonesia

The United Nations Educational, Scientific and Cultural Organization (UNESCO) World Heritage Sites are places of importance to cultural or natural heritage as described in the UNESCO World Heritage Convention, established in 1972. The convention established that cultural heritage consists of monuments (such as architectural works, monumental sculptures, or inscriptions), groups of buildings, and sites (including archaeological sites). Meanwhile, natural heritage consists of physical and biological formations, geological and physiographical formations (including habitats of threatened flora and fauna), and natural sites with scientific, conservation, or aesthetic merits.
The Republic of Indonesia ratified the convention on 6 June 1989, making its historical sites eligible for inclusion on the list. As of 2023, there are ten World Heritage Sites in Indonesia, six of which are cultural and four are natural. This means Indonesia possesses the highest number of sites in Southeast Asia. The first four sites to be inscribed to the list were the Borobudur Temple Compounds, the Prambanan Temple Compounds, Ujung Kulon National Park, and Komodo National Park in 1991. The most recent addition to the list was the Cosmological Axis of Yogyakarta and its Historic Landmarks in 2023. In 2011, the Tropical Rainforest Heritage of Sumatra was inscribed to the list of World Heritage in Danger, due to threats posed by poaching, illegal logging, agricultural encroachment, and plans to build roads through the site. In addition, the government of Indonesia has nominated 18 sites on the tentative list, meaning that they intend to consider them for World Heritage Sites nomination in the future.
UNESCO lists sites under ten criteria; each entry must meet at least one of the criteria. Criteria i through vi are cultural, and vii through x are natural.
In addition to sites inscribed on the World Heritage List, member states can maintain a list of tentative sites that they may consider for nomination. Nominations for the World Heritage List are only accepted if the site was previously listed on the tentative list.