Vihara Tri Dharma Bumi Raya

Vihara Tri Dharma Bumi Raya: Spiritual Traces and a Symbol of Singkawang's Resilience

Vihara Tri Dharma Bumi Raya, also known locally as Kelenteng Tua Pek Kong, stands majestically in the heart of Singkawang City, West Kalimantan. Located right at the intersection of main roads, this building is not just a place of worship, but a living monument that records Singkawang's transformation from a small settlement of gold miners into a multicultural "City of a Thousand Temples".

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Historical Origins and Founding Period

The historical roots of Vihara Tri Dharma Bumi Raya can be traced back to the mid-19th century. Although colonial administrative records often do not specify the exact date of the first stone laying, local historical consensus and oral traditions place its construction around the year 1878. At that time, Singkawang served as a port of call and transit for Chinese immigrants, particularly the Hakka ethnic group, who came to work in the gold mines in the Monterado region.

Initially, the building was just a simple wooden hut with a thatched roof. These immigrants established this place of worship as a form of gratitude for their safe passage across the ocean and as a space to seek protection from the earth deity (Tua Pek Kong) so they would be spared from illness and conflict in their new land of hope. As the prosperity of the Chinese community in Singkawang increased, the building was gradually renovated until it became a sturdy permanent structure.

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Distinctive Architecture and Construction Details

Architecturally, Vihara Tri Dharma Bumi Raya is a representation of Southern Chinese traditional building styles combined with local adaptations. One of the most striking elements is the dominance of red and gold colors, which in Chinese cosmology symbolize happiness and glory.

The roof structure uses the Ying Shan style (gable roof with curved ridges) adorned with opposing dragon and phoenix ornaments. Dragons symbolize masculine strength and protection, while phoenixes symbolize grace and regeneration. Inside the vihara, there are very strong ironwood support pillars (columns), a characteristic Kalimantan wood known for its resistance to extreme weather and termites.

Another distinctive feature lies in the relief carvings on the side walls depicting classic Chinese epics and moral teachings. At the main altar, there is a statue of Tua Pek Kong (Earth Deity) accompanied by Dewi Kwan Im (Goddess of Mercy). The presence of an altar that unites various deities from Taoism, Buddhism, and Confucianism is the basis for the name "Tri Dharma" (Three Teachings).

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Historical Significance and Important Events

This vihara has weathered various major historical upheavals in West Kalimantan. One of the most traumatic events was the great fire that engulfed the city center of Singkawang in the 1930s. Most of the wooden buildings around the vihara were reduced to ashes, but miraculously, the main structure of the vihara remained standing. This incident strengthened the community's spiritual belief that this place had divine protection.

During the Japanese occupation (1942-1945), the vihara continued to function, albeit under strict supervision. However, the greatest challenge emerged in the 1960s during a period of political tension in Indonesia. The vihara became a silent witness to these difficult times, yet remained a gathering point for the community to seek inner peace. Its continued existence to this day is a testament to the resilience of the Chinese community in preserving their ancestral heritage in Indonesia.

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Figures and Connections to Historical Periods

Although no single architect's name is recorded, the construction and maintenance of this vihara were carried out collectively by local Chinese community leaders (Kapitan). Figures such as the clan elders in Singkawang played an important role in fundraising from generation to generation.

During the New Order era, activities at this vihara were temporarily restricted to private settings. However, after the reform era in 1998, especially under the leadership of President Abdurrahman Wahid (Gus Dur) who revoked Presidential Instruction No. 14/1967, Vihara Tri Dharma Bumi Raya experienced a revival. The vihara once again became a center for open celebrations, particularly for the Cap Go Meh Festival rituals, which are now internationally recognized.

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Preservation Status and Restoration

As one of the oldest historical sites in Singkawang, Vihara Tri Dharma Bumi Raya has been designated as a cultural heritage object by the West Kalimantan regional government. Preservation efforts are carried out very carefully to maintain the authenticity of its structure.

The last major restoration was carried out without altering the original layout or replacing main materials unless necessary. Regular repainting is done before the Lunar New Year using special paint to maintain the brightness of its red color. The Singkawang City government has also developed the surrounding area, making the vihara a central landmark for historical tourism integrated with the development of parks and pedestrian areas.

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Cultural and Religious Significance: The Heart of Cap Go Meh Celebrations

Vihara Tri Dharma Bumi Raya holds unparalleled religious significance in West Kalimantan. Every year, this vihara becomes the starting point and center for the city's purification rituals during the Cap Go Meh celebration. The Tatung (shamans possessed by ancestral spirits) must come to this vihara to perform honorific rituals and seek permission before commencing the city-wide parade.

Unique historical facts state that the bell and incense burners in this vihara are ancient items brought directly from mainland China during its early establishment. The sound of this bell is believed to ward off negative energy and bring peace to all residents of the city, regardless of their ethnic background.

In conclusion, Vihara Tri Dharma Bumi Raya is more than just an old building. It is a symbol of harmonized identity. Its presence in the city center, adjacent to the Singkawang Grand Mosque, forms a visual narrative of tolerance that has been deeply rooted for over a century and a half. As a historical site, it continues to tell stories of the hard work of migrants, the steadfastness of faith, and the ability of local culture to absorb and preserve the heritage of past civilizations amidst the currents of modernization.