SOSOK TEGUH TRIYANTO ORANG ASLI KARANGASEM BATANG PELAKU PENGGELAPAN MOBIL DAN PEMALSUAN EKTP KK


Setelah kami menyelidiki dan mengumpulkan informasi tentang sosok asli Teguh Triyanto ternyata dia punyak banyak nama panggilan diantarnya Teguh Riyanto, Teguh Pupung, Teguh Gudel dan Teguh ahwal. Setelah kami menyebarkan informasi pelaku penggelapan ini, setelah itu banyak yang menghubungi kami bahwa mereka juga menjadi korban penggelapan mobil yang dilakukan Teguh yang terakhir domisili di Gg.Keramik/Padi atau Gg.Singo Seturi Kelurahan Karangasem Kecamatan Batang Kabupaten Batang.
Menurut cerita keluarga dan warga di Kelurahan Karangasem bahwa Teguh sudah lama bekelakuan tidak terpuji. Dia telah menghabiskan harta benda milik orang tua angkatnya dan mantan istrinya. Selain itu dia sudah tidak peduli dengan ibu angakat dan ibu kandungnya yang telah membesarkannya. Ketika dia masih kaya, kelakuannya sombong sekali, tidak peduli dengan ibu kandung, adik atau kakak kandungnya yang saat ini tinggal di bilangan Keluarahan Klidang lor.
Menurut informasi yang kami himpun dia suka main judi dan perempuan. Terakhir dia mempunyai istri orang Bojong Pekalongan ada juga yang bilang orang Subah Batang.
Dia telah menggelapakan mobil rental milik Bapak Eka Perumahan Kalisalak Kauman Batang, Bapak Singgih Bogoran Batang, Bapak Adi Perumahan Wirosari Batang dan masih banyak lagi.

Berikut diskripsi salah satu mobil milik Bapak Eka yang digelapkan:

DAIHATSU GREAT XENIA 1.0 M DELUXE WARNA PUTIH
CIRI-CIRI: JOG WARNA COKLAT BEMPER DEPAN SISI KANAN & KIRI ADA BEBERAPA GORESAN
ADA STIKER PJK DAN ANNA
NO.RANGKA: M H K V 5 A A 2 J F K O O O O 5 8
NO.MESIN: DP97348
NO.POL: G 8541 LC
STNK Nama Pemilik: Maria Imelda Riwayatin Jl.Akasia Raya No.5 RT 04/09 Kel.Kauman Batang


Mohon bagi siapapun yang mengetahui keberadaan unit mobil atau Teguh segera menghubungi Bapak Eka dengan nomor hp:
INDOSAT:085868788968 TELKOMSEL 082227594993

Link Video:


 

Mesin ATM BTN Cab.Batang Menelan Banyak Korban


Hari Rabu,25 Mei 2016 sekitar jam 10 an pagi, Saya sedang berada di FIF Cabang Batang di daerah Sambong, kemudian saya kekurangan uang cash sebesar Rp 450.000,- Singkat cerita saya mencari ATM terdekat dari sambong yaitu ATM BTN Cabang Batang lokasi di depan Pasar Kota Batang. Saya masuk ke bilik ATM. Kartu ATM BCA  saya masukan ke dalam slot mesin lalu saya ketik PIN ATM setelah itu muncul menu dalam menu tersebut ada beberapa pilihan diantaranya "PENARIKAN CEPAT" kemudia saya pilih muncul lagi pilihan jumlah nominal uang diantaranya Rp 500.000,- saya pilih ini. Transaksi berhasil dan muncul di layar tulisan "Silahkan Ambil Uang...." tetapi slot tempat uang tidak tebuka buka akhirnya saya memangil satpam BTN Cab.Batang. Dia menyuruh saya untuk ke CSO. Sewaktu saya duduk menunggu giliran ada 2 orang yang kasusnya sama dengan saya yaitu "UANG TIDAK  KELUAR TETAPI KE DEBET" Alasan dari pihak BTN Cab.Batang koneksi terputus. Saya cek lewat internet banking BCA saldo saya  memang sudah berkurang Rp 500.000,-. dan sudah kena biaya transaksi sebesar Rp 7.500,-
CSO BTN Cab.Batang menyuruh saya untuk ke BCA karena ATM yang saya miliki BCA.
Kemudian saya langsung ke BCA Cabang Batang. Dan langsung menemui petugas CSO BCA lalu di jelaskan agar uang tersebut dapat kembali harus mengisi formulir klaim dan butuh waktu maksimal  14 hari.
Saya juga bertanya kepada petugas CSO BCA,penyebab mengapa dapat terjadi seperti ini lalu dia berkata "Jumlah uang yang ada di Mesin ATM sudah mencapai limit (sudah habis) sehingga tidak dapat mengeluarkan sejumlah uang yang kita tarik tetapi biasanya mesin ATM jika akan mendekati limit, dia akan memberi sinyal atau pemberitahuan kepada petugas bank dan kemudian petugas bank tersebut memasang pemberitahuan di mesin ATM bahwa mesin masih dalam perbaikan.

"YA MAKSUD HATI AMBIL UANG DI ATM TERDEKAT BIAR CEPAT E MALAH JADI MASALAH"

                         

Great Mosque of Central Java / Masjid Agung Jawa Tengah


The mosque complex covers 10 hectares (25 acres). There are three central buildings arranged in the shape of a U, with the domed mosque at the center; all buildings have pitched, tiled roofs, while the central mosque has four minarets. The central roof resembles the roof of a "joglo", the traditional Javanese house, and symbolize the rising steps toward heaven or to gain God's blessing. The long buildings forming the arms of the U house a library and auditorium respectively; the auditorium can hold up to 2,000 people.
In the central courtyard are six large hydraulically operated umbrellas, inspired by the ones at Al-Masjid al-Nabawi in Medina, which are used to protect worshipers;the six umbrellas represent the six tenets of iman.More than 15,000 worshippers can fit in the 7,669-square-metre (82,550 sq ft) prayer area.At the open end of the U is a series of Arabic-style arches, with Arabic calligraphs of 99 attributes of Allah, stood on 25 pillars, each representing one of the named prophets in Islam.Beyond the arches is an inscription on a 3.2-metre (10 ft) tall, 7.8 ton stone fromMount Merapi, designed by Nyoman M. Alim.[1][3]
Nearby is the 99-metre (325 ft) tall Asmaul Husna Tower, designed to resemble the minaret of a mosque inKudus; the height represents the 99 attributes of Allah.Used for calling Muslims to prayer, the tower also houses a radio station for dakwah and museum at its base and restaurant and observation deck near its summit.The upper levels are accessible by lift.On premises there is also a 23-room hotel.










Kawah Sikidang Dieng / SIKIDANG CRATER, Central Java


Sikidang is probably not what you picture when you think of a volcanic crater. It's more like an open scar on the landscape, covered with rocks and ash in varying shades of gray, green and yellow. Scattered around the area are vents of varying sizes spewing steam and hydrogen sulfide, which gives the place its rotten egg odor. Some larger vents have filled with water, which mixes with the ash to form mud, which bubbles with the escaping gases. The focal point of the area is the large crater filled with bubbling mud and issuing constant billowing clouds of steam.


Kindly note: Tread very carefully in the area. Watch where other people are walking try to follow them. The ground can look like solid concrete but really be mud or a thin shell over a hidden vent. You could be seriously injured by being careless.
Admission to the Sikidang Crater is via a combined ticket for the crater and Arjuna Temple complex costing 25,000 Rupiah (1.75 USD).
















Candi Borobudur / Borobudur Temple Compounds


Borobudur Temple Compounds
This famous Buddhist temple, dating from the 8th and 9th centuries, is located in central Java. It was built in three tiers: a pyramidal base with five concentric square terraces, the trunk of a cone with three circular platforms and, at the top, a monumental stupa. The walls and balustrades are decorated with fine low reliefs, covering a total surface area of 2,500 m2. Around the circular platforms are 72 openwork stupas, each containing a statue of the Buddha. The monument was restored with UNESCO's help in the 1970s.


Brief synthesis
The Borobudur Temple Compounds is one of the greatest Buddhist monuments in the world, and was built in the 8th and 9th centuries AD during the reign of the Syailendra Dynasty. The monument is located in the Kedu Valley, in the southern part of Central Java, at the centre of the island of Java, Indonesia.
The main temple is a stupa built in three tiers around a hill which was a natural centre: a pyramidal base with five concentric square terraces, the trunk of a cone with three circular platforms and, at the top, a monumental stupa. The walls and balustrades are decorated with fine low reliefs, covering a total surface area of 2,520 m2. Around the circular platforms are 72 openwork stupas, each containing a statue of the Buddha.
The vertical division of Borobudur Temple into base, body, and superstructure perfectly accords with the conception of the Universe in Buddhist cosmology. It is believed that the universe is divided into three superimposing spheres, kamadhatu, rupadhatu, and arupadhatu, representing respectively the sphere of desires where we are bound to our desires, the sphere of forms where we abandon our desires but are still bound to name and form, and the sphere of formlessness where there is no longer either name or form. At Borobudur Temple, thekamadhatu is represented by the base, the rupadhatu by the five square terraces, and the arupadhatu by the three circular platforms as well as the big stupa. The whole structure shows a unique blending of the very central ideas of ancestor worship, related to the idea of a terraced mountain, combined with the Buddhist concept of attaining Nirvana.
The Temple should also be seen as an outstanding dynastic monument of the Syailendra Dynasty that ruled Java for around five centuries until the 10th century.
The Borobudur Temple Compounds consists of three monuments: namely the Borobudur Temple and  two smaller temples situatued to the east on a straight axis to Borobudur. The two temples are Mendut Temple, whose depiction of Buddha is represented by a formidable monolith accompanied by two Bodhisattvas, and Pawon Temple, a smaller temple whose inner space does not reveal which deity might have been the object of worship. Those three monuments represent phases in the attainment of Nirvana.
The temple was used as a Buddhist temple from its construction until sometime between the 10th and 15th centuries when it was abandoned. Since its re-discovery in the 19th century and restoration in the 20th century, it has been brought back into a Buddhist archaeological site.
Criterion (i): Borobudur Temple Compounds with its stepped, unroofed pyramid consisting of ten superimposing terraces, crowned by a large bell-shaped dome is a harmonious marriage of stupas, temple and mountain that is a masterpiece of Buddhist architecture and monumental arts.
Criterion (ii): Borobudur Temple Compounds is an outstanding example of Indonesia’s art and architecture from between the early 8th and late 9th centuries that exerted considerable influence on an architectural revival between the mid-13th and early 16th centuries.
Criterion (vi): Laid out in the form of a lotus, the sacred flower of Buddha, Borobudur Temple Compounds is an exceptional reflection of a blending of the very central idea of indigenous ancestor worship and the Buddhist concept of attaining Nirvana. The ten mounting terraces of the entire structure correspond to the successive stages that the Bodhisattva has to achieve before attaining to Buddhahood.
Integrity
The boundaries contain the three temples that include the imaginary axis between them. Although the visual links are no longer open, the dynamic function between the three monuments, Borobudur Temple, Mendut Temple, and Pawon Temple is maintained.
The main threat to the ensemble is from development that could compromise the extraordinary relationship between the main monument and its wider setting and could also affect the Outstanding Universal Value of the property. The approach to the property has to a degree already been compromised by weak developmental regulations.
Tourism also exerts considerable pressure on the property and its hinterland.
There is a growing rate of deterioration of the building stone, the cause of which needs further research. There is also a small degree of damage caused by unsupervised visitors.
The eruption of Mount Merapi is also considered as one of the potential threats because of its deposit acidic ash as happened in 2010.
Authenticity
The original materials were used to reconstruct the temple in two phases in the 20th century: after the turn of the century and more recently (1973-1983). Mostly original materials were used with some additions to consolidate the monument and ensure proper drainage which has not had any significant adverse impact on the value of the property. Though the present state of Borobudur Temple is the result of restorations, it retained more than enough original material when re-discovered to make a reconstruction possible.
Nowadays the property could be used as a Buddhist pilgrimage site. Its overall atmosphere is, however, to a certain degree compromised by the lack of control of commercial activities and the pressure resulting from the lack of an adequate tourism management strategy.
Protection and management requirements
The protection of the property is performed under Indonesian Law No. 11/2010 concerning Cultural Heritage and its surrounding cultural landscape. It is executed under a National Strategic Area and the Spatial Management Plan by the Ministry of Public Works in accordance with the Law concerning Spatial Management No. 26/2007 and Governmental Regulation No. 26/2008 concerning National Spatial Planning and will be enforced further by another presidential regulation regarding the Management for the Borobudur National Strategic Area that is still being drafted by the Ministry of Public Works.
The legal and institutional framework for the effective management of the property is regulated by a Presidential Decree Number 1 Year 1992. The established zones within the World Heritage property are respectively under the responsibility of the Borobudur Heritage Conservation Office under Ministry of Education and Culture, of state-owned institute PT. Taman Wisata Candi Borobudur under the Ministry of Enterprises, and of the local governments (Magelang Regency and Central Java Province). A study on the integrated management of Borobudur Temple Compounds has been conducted, including attention for the ecosystem, social and cultural aspects, ecotourism, public and private partnership and organisational feasibility study. This study is the basis of the still to be developed visitor management approach.
In order to ensure consistency between the 1992 Presidential Decree and the 1972 JICA Master Plan zone-system indicated in the World Heritage nomination dossier and to strengthen the regulations regarding development, a New Presidential Regulation is still being formulated by a Coordinating Board (14 Ministries and local authorities as well as representatives of local communities) and by formalizing the role of the proposed Management Board into the wider zones. In addition, the protection of the property has been ensured by the regular financial contribution by the national budget.
Monitoring programs has been effectively executed to monitor the growing rate of deterioration of building stone and also damage by unsupervised visitors. A research is being conducted to determine the long- term impact of deposit acidic ash of eruption of Mount Merapi to set further protection and conservation management of the property. Furthermore, a risk preparedness plan will be formulated in 2012.
The Borobudur Heritage Conservation Office has conducted community development programs targeting especially at the youth to raise their awareness. In improving and empowering local community as specialist guide for Borobudur Temple Compounds, several training programs have been conducted. The community development related to economical sector (small enterprises that produce traditional handicrafts, culinaries, etc) have already being conducted by the municipalities of Magelang Regency and Central Java Province.

















Komplek Candi Arjuna Dieng / Arjuna Compound

Arjuna compound is located in the middle of Dieng Temple area, comprising 4 temples in a row from north to south. Arjuna is in the southernmost of the four, followed by Srikandi, Sembadra and Puntadewa temples. Right in front of Arjuna, there is another temple called Semar. The four temples in this compound face west, except Semar that faces Arjuna Temple. This compound is in the most intact condition compared to the other compounds in Dieng.

Arjuna Temple. This temple resembles temples in Gedong Songo complexes, and is laid out on 4 m2 square plan. The temple’s body stands on a 1 meter high base. On the west side, there is a stairway to access the door into the temple’s small interior. The door has a corbelled roof, projecting around 1 meter from the temple’s body, while a high-relief sculpture of Kalamakara in is attached to its upper frame.
The temple’s north, south, and west walls are adorned with slightly projecting stone arrangement that forms a framed recess to place a statue. Each frame is tiled with patterned pieces of flat stone. The lower frame is decorated with a pair of dragon heads with open mouth.
A water channel (jaladwara) is placed right under the recess. Above the frame, there is a sculpture of Kalamakara without its lower jaw. In each of the left and right sides of the north door, there is a niche to place a statue. Today there are no statues in the two niches.
The temple’s roof comprises layered cubes in ever-decreasing size to the top. The roof’s top has already crumbled. Each corner of the cubes has a recess and ornaments in the shape that looks like a crown with pointed top. Most of the ornaments are in damaged condition.

In the middle of temple’s interior, there is a carved stone that looks like a yoni. A damaged statue is attached to the outer corner of the temple’s rear part.
Semar Temple. This rectangular temple is situated right in front of Arjuna temple. The temple’s plain base is around 50 cm high. Stairs to access the temple’s interior is placed on the east side. The door has no corbelled roof. The doorframe is tiled with patterned pieces of flat stone and a dragon head on its lower end. Above the frame, there is a high-relief sculpture of Kalamakara without its lower jaw.
A small window is placed on each of the left and right sides of the door. There are two holes that function as window on each of the temple’s south and north walls, and three holes on the west (rear) wall. The temple’s interior is empty. The temple’s limasan (four-sloped) roof is a plain, without ornaments. The roof’s top has crumbled, which makes it not possible to describe the original form. It was said that Semar Temple was a storage to keep weapons and ritual objects.
Srikandi Temple. This temple is located to the north of Arjuna Temple. Standing on a 50 centimeter high base, this temple is laid out on a square plan. The temple has a staircase and corbelled roof on the east side.
The temple’s walls carry sculptures of Vishnu on the north, Shiva on the east, and Brahma on the south, all of which have deteriorated. As the roof has crumbled, the original form is not recognizable.
Sembadra Temple. This temple stands on a 50 cm high base on a square plan, with projecting parts on its south, east, and north sides that resemble corbelled roof. The door is placed on the west and has a corbelled roof. The projecting parts and corbelled roof have made the temple looks like a polygon. Blocks of stone are arranged in front of the temple as a footway that leads to the door.
The first impression of Sembadra is that this temple looks like a two-storeyed building because its cube-shaped roof has almost the same size as that of the temple’s body. The roof’s top has crumbled, which makes it not possible to describe the original form. On each of the roof’s four sides, there is a small niche to hold a statue.
Puntadewa Temple. Like that of other temples, the size of Puntadewa Temple is not too big, but this temple looks higher. The temple stands on a 2-meter high stratified-base and has two flights of stairs with stone banister to access the interior. The stairs are in two flights to fit the stratified base.
Its roof, which is a big cube, resembles that of Sembadra Temple. The roof’s top has crumbled, which makes it not possible to describe the original form. On each of the roof’s four sides, there is a small niche to hold a statue. The door has a corbelled roof and frame tiled with patterned pieces of flat stone.
The temple’s interior is narrow and empty. Each of the side and back walls has a window with a frame embellished with ornaments resembling those on the door’s frame. The temple is encircled by stone arrangement around half a meter from the base. To its front, there is a square stone arrangement that encloses two stone objects.
To the north, pieces of stones are arranged in rectangular pattern that surround two stone objects resembling wide-mouthed jar.