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2. This form of styling resembles very much the style of the pain- tings of ancient Egypt. The stränge way in which the Wajang figures are painted will probably seem very strange to those who see it for the first time, but not to the Javanese, who are used to them since their childhood, they seem perfectly familiar. The Wäjang-figures are, however, very fine works of art. A form of• art that is sp...
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2. This form of styling resembles very much the style of the pain- tings of ancient Egypt. The stränge way in which the Wajang figures are painted will probably seem very strange to those who see it for the first time, but not to the Javanese, who are used to them since their childhood, they seem perfectly familiar. The Wäjang-figures are, however, very fine works of art. A form of• art that is specific for the region and cannot be Pound in any other part of the world. The: shape and feature of' each wajang figure and the way in which it is painted clearly shows the nature and emotions of the figure. Natu, rally, these respective features and shapes of the wajang figures have their origin. Comparing the wajang figures of today with those painted in the temple of Prambanan and further east of Panataraii, and the wigangsa from Bali, we can study the changes in the shape and feature, of' them throughout the centuries. We now go back to the "performance" of the "wajang Purwa". To the lett of the Wajang showman (the Dalang) is a wooden box and at his right side is the cover of the box. This box eontains several wajang puppets which will be placed in front of the "Kelir" (the screen). From the side of the box nearest to the Dalang hangs a rattling instr ment made of iron sheets, the so-called "kepjak", on which the Dalang beats with his right foot when he considers it necessary to stress his words or the actions of the puppets. There is also a horn gavel, called the "tjempala", made from wood, with which he knocks against the box with his foot or hand in the same way as he does with the. "kepjak"; the purpose of this instrument is also more or less the same as that of the "kepjak". Above the Uad of the Dalang hangs a lamp, usually filled with coconut oil, but nowadays an electric lamp is also often used, which provides the screen with the necessary light. This lamp is called "blentjong". Purther a. group of musicians who form the "gamelan" orchestra sit behind the Dalang. These musicians are called the "nijaga". The spectators are usually divided into two groups. The men sit • in front of the "kelir" (the screen) or more exactly beside the Dalang and the gamelan orchestra, while the women take their set be- hind the "kelir", thus unseen from outside. • The "Lakon" The story which is performed (played) by the Dalang is called "Lakon". It.eontains the following four main scenes: 1. The life of the gods, starting from the old days. 2. "Ardjunasasrabahu" the story about the battle between Ardjuna, sasra (Wishnu) and Dasamuka (Kala). 3. The story of Sxl_ Rama, illustrating the battle between Sri Rama (Wishnu) and Dasamuka (Kala). 4. The story of Pendawa Lima, illustrating the legend about the Pendawa group and the Korawas, which enda up in a conflict and a battle in "Bratajuda". There is one complete set of the wajang puppet shadow play in Stock- holm. It is of small size and consists of 199 pieces, broken down into the following categories: 1) Gagah (10) and Gunungan (2) = large figures and mountains - 12 2) Sedangan = Middle-sized figures, with white and black faces - 22 3) Sabrangan = aliens, with red and green faces - 23 [ocr]
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