Nagarakretagama

[2] Much of its historical value was due to its having been the product of priestly activities directed at enhancing the magical powers of the ruler at the time.

[10] In Canto 13, several lands on Sumatra are mentioned, some of which possibly correspond to contemporary areas: Jambi, Palembang, Teba (Muaro Tebo), and Dharmasraya.

Also mentioned are Kandis, Kahwas, Minangkabau, Siak, Rokan, Kampar and Pane, Kampe, Haru (Aru Kingdom in coastal North Sumatra, today around Medan), and Mandailing.

In Canto 14 several lands on Borneo (and the Philippines) are mentioned: Kadandangan, Landa, Samadang, Tirem, Sedu (Sarawak), Barune (Brunei), Kalka, Saludung (Serudong River in Sabah[11]), Solot (Sulu), Pasir, Barito, Sawaku, Tabalung, Tanjung Kutei and Malano.

According to the account of Prapanca in the Nagarakretagama poem, the royal compound was surrounded by a thick, high wall of red brick.

Another gate led to a third courtyard crowded with houses and a great hall for those waiting to be admitted into the ruler's presence.

Further away, and separated from the palace by open fields, were more royal compounds, including that of the chief minister Gajah Mada.

Took part also the smiths of dadaps (embossed coverings) of gold and silver, all of them bestirring themselves the more in their respective customary occupations.

In the poem, Prapanca recounted Hayam Wuruk's religious observances in the Candi Singhasari, in which he entered the sanctuary and performed the puspa ceremony for his great-grandfather Kertanegara.

The honoured holy puspa (flower effigy) was worked on with yoga (concentration); in the night was performed the eminent pratistha (placing) ceremony.

He described specifically the ceremony for the Queen Grandmother's soul, Gayatri Rajapatni, who had died twelve years earlier.

During the ceremony, lion thrones were erected, where priests placed a flower effigy (puspa) symbolising the soul of the Queen Grandmother.

The posthumous ceremony continued and the king ordered the repair of the Kamal Pundak sanctuary to enact a new holy shrine (candi) for the Queen Grandmother, deified as the Prajnaparamita.

[16] Nagarakretagama was written as a puja sastra, a genre of Old Javanese literature of adoration and reverence, directed mainly to King Hayam Wuruk.

Prapanca did not shy away to express his admiration, even bordering somewhat a cult, since he often invoked a divine quality of the king and his royal family.

In one stanza, the poem describes the Queen Grandmother as chattra ning rat wisesa (the eminent protector of the world).

[19] Upon his death, the poem describes the deification of Kertanegara in three forms: a splendid Jina, an Ardhanarishvara,[i] and an imposing Shiva-Buddha.

[22] This religious belief is indigenous to the Javanese people who combined the Deities of two religions, Hinduism and Buddhism, into the same God, the oneness of the Dharma, as is written in the Kakawin Sutasoma (see Bhinneka Tunggal Ika).