Nagarakretagama (14th century). Nonetheless, the battle at Bubat became the main theme of the Kidung Sunda, a Balinese script from around the mid-16th century. The Bubat War is alluded to in one of the canonical Pararaton, Javanese chronicles from the 15th century. The identity of the author is unknown. Pararaton is compiled in the form of a record of events that occurred around the years 1474-1486, while the literary section is arranged as a historical description between the years 1500-1613. This manuscript was first published in 1896 by JLA Brandes, a Dutch philologist, complete with translations, descriptions, and reviews. Although it took place in the mid-14th century, the events of the Bubat War only surfaced in the 16th century in the Sundanese literary work entitled Carita Parahyangan, although it is only a brief piece of information about the incident. In the early 20th century, CC Berg, a Dutch historian, published the text of the Song of Sunda and its translation (1927). This Balinese literary work describes the Bubat incident, and is an abridged form of Kidung Sundayana (1928). In the field of Javanese history writing, Berg mentions that the Kidung Sunda - which was most likely composed after 1540 in Bali - contains historical facts because the Bubat incident was confirmed by the ancient Sundanese manuscript, Carita Parahyangan. Some experts are quite skeptical about some of these texts, including Pararaton, historian Aminuddin Kusdi mentions that the Song of Sunda is a secondary and even tertiary source. Some of the facts in it do not match with other more credible sources such as the Inscription.
It should be noted that Nagarakretagama, written by Mpu Prapanca in 1365, and widely regarded as the primary source of Majapahit history, does not mention this event at all. Therefore some historians question the authenticity of Pararaton, and argue that Kidung Sunda is just an ancient fiction novel and the Bubat War never happened. In order to reconcile these various studies, it is important to understand that Nagarakretagama is a pujasastra. The Bubat War began with a political marriage plan between King Hayam Wuruk (Sri Rajasanagara) and Dyah Pitaloka Citraresmi, the daughter of the king of Sunda, Prabu Linggabuana. Hayam Wuruk then sent a letter of honor to Linggabuana to propose to his daughter and stated that the marriage would take place in Majapahit. Although Linggabuana actually objected to the location of the wedding, he still went with his entourage to Majapahit. The Linggabuana delegation was accepted and placed at the Bubat Pesanggrahan. This triggered a dispute between the Sundanese and Gajah Mada. Before Hayam Wuruk gave his decision, Gajah Mada had deployed his troops to Pesanggrahan Bubat and forced Linggabuana to recognize Majapahit's superiority. The Sundanese, who did not accept and felt humiliated, finally decided to fight, even though the number of troops they brought was only a few. The unbalanced battle between the Sundanese and Majapahit troops took many victims.
Besan is a term that characterizes the relationship between the parents of the bride and groom.
Even the entire Linggabuana entourage was reportedly killed, leaving Dyah Pitaloka Citraresmi. Dyah Pitaloka Citraresmi then chose to end her own life by sticking a hair pin into her heart. After Dyah Pitaloka Citraresmi died, Hayam Wuruk mourned his death and regretted Gajah Mada's actions. As a result of the Bubat War, the relationship between Hayam Wuruk and Gajah Mada became tenuous. According to historian Agus Aris Munandar, who based on the story of Panji Angreni written in 1801, said that Gadjah Mada initially agreed with the marriage as an effort to unite Majapahit and Sunda. However, Hayam Wuruk's father, Krtawarddhana, objected to the marriage. This ancient Sundanese term is related to the word Tuan in the Malay-Indonesian language. This literary work is intended as a tribute to Hayam Wuruk, the King of Majapahit, and to describe the glories of the Majapahit sovereign. It is most likely that the incident which was considered a disgrace to the Majapahit palace was deliberately ignored and put aside by Prapanca. Besan is a term that characterizes the relationship between the parents of the bride and groom. Historia - Urban Women's Chat. Marwati Djoened Poesponegoro; Nugroho Notosusanto (2008). Indonesian National History: Ancient times. Historia - Urban Women's Chat. MM, Drs Haris Daryono Ali Haji, SH (2012-05-01). Exploring the Doho State Government: From Majapahit to Islamic Boarding Schools: Elmatera Publisher. VIVA, PT. NEW VIVA MEDIA - (28 May 2015). "Bubat War, True Story or Fictional? - VIVA".
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Moon Breathing (月 (つき) (こ) (きゅう), Tsuki no koky? ) is a Breathing Style derived from the Sun Breathing used by Upper Rank One, Kokushibō, who was one of the first Demon Slayers who utilized breathing techniques. The techique allows the user to create many "chaotic blades" when slashing that varies in length and size. It is known that Kokushibō continued to develop and add techniques to the Breathing Style over the centuries as an immortal Demon. At this point in the story, it is the only known Breathing Style to possess at least 20 different techniques, easily surpassing the other Breathing Styles. It has been revealed that, like all of the other original breathing styles, the Moon Breathing also branched out of the Sun Breathing. When its creator, Michikatsu Tsugikuni, attempted to learn the Sun Breathing from his twin brother, Yoriichi Tsugikuni, he discovered he was unable to master the breathing style and so was instead trained in an alternate Breathing Style. Yoriichi created it fit and cover his individual strengths and weaknesses, and Michikatsu then continued to train and develop this breathing until it eventually evolved into its own unique Breathing Style, which he named the Moon Breathing.
First Form: Dark Moon, Evening Palace (壹 (いち) (かた) (やみ) (づき) (よい) (みや), Ichi no kata: Yamidzuki - Yoi no Miya?) - Kokushibō draws his sword and slashes swiftly in a single motion; like with all Moon Breathing techniques, numerous chaotic blades originate from the slash. This technique resembles Iaijutsu. Second Form: Pearl Flower Moongazing (貳 (に) (かた) (しゅ) (か) (ろう) (げつ), Ni no kata: Shuka no Rōgetsu?) - Kokushibō performs several slashes while sending a barrage of chaotic blades forward. Third Form: Loathsome Moon, Chains (參 (さん) (かた) (えん) (き) (づき) (つが), San no kata: Enkizuki - Tsugari?) - Kokushibō swings his sword rapidly in two gigantic crescents slashes, from which a storm of smaller crescents spread.
39; yō Rakuen?) - Kokushibō spins his blade slicing through the ground and ripping it out.
This technique causes huge destruction in a small area. Fourth Form: Solar Rings, Frostmoon (肆 (し) (かた) (たい) (よう) (りん) (しも) (づき), Shi no kata: Taiyōrin - Shimodzuki?) - Kokushibō performs a circular small cyclone slashes of chaotic blades straight towards his opponent. Fourth Form: Improved, Red Sun over Paradise (肆 (し) (かた) (かい) (あっき) (よう) (らく) (えん), Shi no kata kai: Akk' yō Rakuen?) - Kokushibō spins his blade slicing through the ground and ripping it out. Causing multiple 180 slashes across the area to be sented towards his opponents as chaotic blades appear when near the enemy slicing into their body. As the circular slashes spin grinding into the enemys skin.
Fifth Form: Moon Spirit Calamitous Eddy (伍 (ご) (かた) (げっ) (ぱく) (さい) (か), Go no kata: Geppaku Saika?) - Kokushibō makes multiple curved slashes layered over one another, resembling a rising vortex. Numerous chaotic blades originate from these slashes. Kokushibō performed this attack without swinging his blade. Sixth Form: Perpetual Night, Lonely Moon - Incessant (陸 (ろく) (かた) (とこ) (よ) (こ) (げつ) (む) (けん), Roku no kata: Tokoyo Kogetsu - Muken?) - Kokushib releases a wild storm of slashes in multiple directions. This technique was powerful enough to not only slice up multiple Hashira around him but also overwhelm the Wind Hashira Sanemi Shinazugawa.
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Seventh Form: Mirror of Misfortune, Moonlit (漆 (しち) (かた) (やっ) (きょう) (づき) (ば), Shichi no kata: Yakkyō - Dzukibae?) - Kokushibō swings his sword in a powerful frontal slash that then creates a multi directional frontal assault, powerful enough to create several deep gouges in the ground and push back two Hashira. Eighth Form: Moon-Dragon Ringtail (捌 (はち) (かた) (げつ) (りゆう) (りん) (び), Hachi no kata: Getsuryū Rinbi?) - Kokushibō triples the range of his normal attack radius and creates a singular gigantic slash that slowly decreases in size.
Ninth Form: Waning Moonswaths (玖 (く) (かた) (くだ) (づき) (れん) (めん), Ku no kata: Kudaridzuki - Renmen?) - Kokushibō creates a seemingly endless stream of claw-like vertical and horizontal slashes, capable of cutting down his intended target from a long range. Tenth Form: Drilling Slashes, Moon Through Bamboo Leaves (拾 (じゅう) (かた) (せん) (めん) (ざん) (ら) (げつ), Jū no kata: Senmenzan - Ragetsu?) - Kokushibō creates a triple-layered slash twister, capable of mowing down his targets into three clean pieces.