Just like all kingdoms in Nusantara, Kraton Sumenep had always subjected to various influences that also enriched its already-colorful local culture. This also included the Dutch Colonial style that couldn’t be more obvious in this Royal Sumenep Cemetery Complex of Asta Tinggi.
Situated on the very special terrain ouside royal town of Sumenep, up to the hilly side of the island, lies the tomb of kings and royal families from ancient time.
Classic language (this time’s European-interpretation of roman classicism) had appears from the very beginning of this remarkable site. Impressive gate with five chained urns adorns the main gate that gave glimpse of the main building inside. Right in front the main entrance after dividers that we can see two storied building with Ionic-style rounded ‘porch’ and Corinthian pseudo
column that supported silvery-scaled dome complete with its wind direction (styled after flag over crescent , indicating the Moslem-nature of this building).
More evidence pronounced at the heavy twin gate with Baroque touch that leads to the older part of the grave where earlier kings and his royal family lies in more traditional-style building.
If there’s not the tombstones covering
every surface of the ground, you could easily forget that this is actually Sumenep, the place where religion and traditional way rules, even today.
One influence so obvious in Madura is Chinese. It is said that many of Sumenep people had Chinese descendants in the past and once 
massive population of Moslem Chinese once called Sumenep home. In older part of Asta Tinggi Royal Cemetary lies buildings with more traditional style housed earlier kings and his royal families.
It obviously shows this connection right away. As for today, in those day Chinese fine woodcarving was considered precious to be commissioned to adorned royal houses, and tombs. And obviously the rulers of the day also in favor of their Chinese-style ornamental style.
In this tomb-house back carving (gebyok-style) the small panels has various elements depicting phoenix and peonies, swallow birds with fan and ribbon, tho-flower branches and unmistakably the fabulous four-seasons panels.
Outside, panels with detailed carvings depicting peonies as ‘pohon hayat’ (tree of life) hide the lives within, while birds with various position lurked behind branches and leaves, some even with frog in the beak as their catch-of-the-day. 
Some senior citizen of Sumenep once told me that “That’s the difference between true artisan and mere skilled carver” to my requested explanation on why those in Asta Tinggi seems ‘superior’ compared to these product of ‘jaman sekarang’.
Quality rules.
