Old Church Sikka

An Eternal Footprint of Faith and Culture: The Complete History of Gereja Tua Sikka

Gereja Santo Ignatius Loyola, more commonly known as Gereja Tua Sikka, stands as a silent monument that encapsulates the convergence of Portuguese colonialism, the local traditions of the Sikka kingdom, and the spread of Catholicism in Flores, East Nusa Tenggara. Located in Sikka Village, Lela District, Sikka Regency, this church is not merely a place of worship, but an architectural masterpiece that holds the collective memory of the East Flores community for over a century.

Origins and Historical Background

The historical roots of Gereja Tua Sikka are inseparable from the role of Jesuit missionaries (Society of Jesus) and the sociopolitical influence of the Sikka Kingdom. Its construction began in 1893 and was completed in 1899, making it one of the oldest churches in the Flores region. However, the seeds of faith in Sikka were sown much earlier, since the arrival of the Portuguese in the 16th century who brought with them a mission of sandalwood trade alongside evangelization.

The central figure behind the establishment of this church was Father Antonius Jacobus van Baars, SJ, a Dutch Jesuit priest and architect. He did not work alone; the construction of this church was a result of close collaboration with the then King of Sikka, King Joseph Mbako II da Silva. The king had a vision to build a magnificent place of worship to strengthen the Catholic identity in his kingdom and as a symbol of friendship with the European nations.

Architecture: A Blend of European Baroque and Local Wisdom

Architecturally, Gereja Tua Sikka displays a Renaissance-Baroque style adapted to Indonesia's tropical conditions. The building has a cruciform base, approximately 47 meters long and 12 meters wide. One of the most striking and globally unique features is the motif on its interior walls.

Unlike European churches that use classical biblical frescoes, the interior walls of Gereja Tua Sikka are adorned with paintings of Sikka's distinctive ikat weaving motifs. Motifs such as Wuran (moon) and Mawarani (morning star) are meticulously painted on wooden walls, creating an extraordinary harmony between Christian theology and local cultural aesthetics. The use of weaving motifs was a stroke of genius by Father van Baars to make the congregation feel an emotional and cultural ownership of the church.

The building's construction is dominated by high-quality teak wood, specially sourced to support the high roof. The interior does not use massive central pillars, thus providing a sense of spaciousness and grandeur. Large, pointed arch windows allow for good air circulation and dramatic natural lighting, which is crucial for the comfort of the congregation in the hot coastal region.

Historical Significance and Key Events

Gereja Tua Sikka is a silent witness to the transition of power in Flores from Portuguese to Dutch influence (VOC to the Dutch East Indies government). Although built during the Dutch colonial era, Portuguese cultural influence remains strong, especially in the surnames of the Sikka people, many of whom use Portuguese surnames like Da Silva, Da Lopez, and Diaz.

During World War II, the church miraculously survived major damage, even though the surrounding area experienced tremors due to the conflict. The existence of this church also marked a shift in leadership structure in Sikka, where the Church and the Kingdom worked hand in hand in regulating the social order of the community. To this day, the special chair once used by the King of Sikka during mass is still well-preserved as a historical artifact.

Figures and Leadership Legacy

Besides Father van Baars and King Joseph Mbako II, the name Father Le Cocq d'Armandville, SJ, is also often associated with the development of faith in this region. These missionaries not only built physical structures but also established educational and health systems that became the foundation for the progress of the Sikka community in the early 20th century.

This church also became the center of unique religious traditions, such as the Logu Se'u procession held on major holidays. This tradition involves a ritual of walking under a palanquin carrying a statue of Jesus or Mary, a practice that combines Catholic devotion with deep traditional reverence.

Preservation and Restoration Efforts

As a cultural heritage site protected by the Indonesian government through Law No. 11 of 2010 concerning Cultural Heritage, Gereja Tua Sikka continues to receive special attention. Given its age of over a century, the main threat to the building is wood decay due to sea air humidity and termite infestation.

A major restoration was carried out to strengthen the building's structure without losing the authenticity of its materials. The NTT Provincial Government and the Diocese of Maumere collaborated to ensure that every element, from the finely carved wooden pulpit to the original floor tiles, was preserved. Uniquely, despite its age, the church remains actively functioning as a parish center and a regular place of worship for the local congregation, making it a "living monument."

Cultural and Religious Meaning for the Community

For the Sikka community, this church is the heart of their identity. It is a symbol of pride that shows the Flores people are capable of absorbing external influences (European) without losing their local identity. The weaving motifs on the church walls are a strong statement that God is present in their culture, not as a foreign entity.

The existence of Gereja Tua Sikka also boosts religious and historical tourism in East Nusa Tenggara. Tourists from all over the world come not only to admire its architecture but to experience its strong spiritual atmosphere and learn how cultural reconciliation can be realized in the form of permanent architecture.

Conclusion

Gereja Tua Sikka is a historical gem on the southern coast of Flores. Through the blend of teak wood, ikat weaving motifs, and the spirit of devotion of its predecessors, this building has transcended time. As a historical site, it teaches about resilience, adaptation, and respect for cultural roots. Preserving Gereja Tua Sikka means preserving the memory of how faith and culture can dance in eternal harmony on the land of Flobamora.