Prahara di Balik Gapura Gladak: Gugatan Hukum dan Perang Dingin Trah Mataram

TRIBUNSOLO.COM - A strong afternoon wind blew around Gladak Gate, Surakarta City, on Tuesday (June 9, 2026). In one of the iconic corners of this cultural city, two giant billboards stood proudly. To the casual passerby, the billboards might have looked like ordinary ceremonial notice boards. On the left side was the face of Sinuhun Pakubuwono XIV Hangabehi, while on the right side were lined up photos of Minister of Culture Fadli Zon, the Solo Palace Executor KGPHPA Tedjowulan, and GKR Koes Murtiyah Wandansari, who was listed as the Pengageng Sasana Wilapa. However, for those who understood the dynamics within the fortress of the Surakarta Palace, the billboards were more than just pictures. They were a declaration of a new cold war, a spark for a new chapter in an ongoing family conflict. In a room in Talang Paten, the atmosphere contrasted sharply with the hustle and bustle of the streets. GKRP Timoer Rumbay Kusuma Dewayani sat with a serious expression. For her, the writing on the billboard was not merely an administrative error, but a "public deception" that had gone too far. The position of Pengageng Sasana Wilapa—the driving force behind the palace administration—listed under the name of her aunt, Gusti Moeng (GKR Koes Murtiyah Wandansari's nickname), she considered an illegal claim. In the current era of Pakubuwono XIV Purboyo, that sacred position should have rested with Timoer. "As Sasana Wilapa, I will continue to pursue legal action. Because we have ample evidence that what was stated on the billboard is untrue," stated GKRP Timoer, her voice firm yet bitter. There is a deep wound when the law must mediate between one's own flesh and blood. Holding Back Anger for the Sake of City Stability Interestingly, despite knowing the billboards contained information they believed to be false, GKRP Timoer chose not to mobilize the masses to tear them down. In this modern era, he was well aware that physical clashes on the streets would only damage Solo's reputation as a peaceful, cultural city. He tried to maintain political maturity amidst mounting egos. "We don't want a fight. We want to maintain security stability at the Surakarta Palace so it doesn't trigger chaos," he explained. Timoer acknowledged that both sides have loyal supporters ready to mobilize at any time. "They have their own masses, and we have our own. When we want to take down the billboards, theirs will come down. We don't want Solo to become unsafe," he added. For Timoer, let the billboards continue to flutter in the Gladak wind. His logic was simple yet deadly: the longer the billboards remained up, the more evidence he would gather to take to court. "Let the law take care of the billboard installation. We don't need to use force and the masses," he concluded. The root of this latest conflict apparently stems from a letter sent to the Ministry of Culture. This letter ultimately led to the decision appointing KGPHPA Tedjowulan as the Solo Palace Administrator. According to the GKRP Timoer camp, the letter was legally flawed because it was sent by Gusti Moeng, who claimed to be the Pengageng Sasana Wilapa. On the other hand, KPAAd Nur Wijaya Adiningrat—familiarly known as Kanjeng Dany—also spoke out. As Pengageng Paran Parakarsa PB XIV Purboyo, he supported Timoer's legal action with coherent historical arguments. According to Kanjeng Dany, Gusti Moeng's tenure as Sasana Wilapa actually ended in 2017, the same year the palace peace agreement was signed. "After Sinuhun Pakubuwono XIII passed away, the position of Sasana Wilapa was transferred to Gusti Timoer. This position is what we will use as evidence in court, and it is valid," Kanjeng Dany asserted. He deplored the allegations of manipulation and falsification of the position for the political interests of certain groups. As of the publication of this report, the commotion outside the palace walls had not yet elicited a response from his aunt. GKR Koes Murtiyah Wandansari, also known as Gusti Moeng, had not responded when contacted for clarification on her perspective. The thick walls of the Surakarta Palace once again bore silent witness to how a great royal lineage in Java grappled with modernity, state legal legality, and family egos. Meanwhile, in front of the Gladak Gate, people were still milling about. Some glanced at the giant billboard, never truly realizing that behind the smiles of the figures displayed there, a legal storm was preparing to hit the Surakarta Palace.